In a recent article from Deadline, Heartstopper executive producer Patrick Walters shared the creative team is “working hard” on landing a fourth season of their hit Netflix show. He opened up about the present funding challenges in the YA drama market, despite its wide appeal and deeply resonant story.
Read the full article here: https://deadline.com/2025/03/heartstopper-season-4-netflix-patrick-walte...
This raises a big question for all of us working to bring our own stories to life:
Why is it so hard to finance coming-of-age and YA projects, even when the audience is clearly there?
Studios and streamers often claim to want fresh voices and relatable, grounded stories, but time and time again, those very projects struggle to secure financing.
Let’s share experiences and ideas below, your insight could help another filmmaker push through the same roadblock.
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Just a theory is that YA is "young adult" which does not have as much discretionary income to spend to purchase movie tickets or subscribe to streaming channels. Perhaps studios feel it's a risk investing into that age group. But, you look at properties like TWILIGHT that transcend all age groups, and, quite frankly, YA like Colleen Hoover that defy age groups and YA really appeals to all demographics.
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Netflix is definitely the leader in this space but even they go for IP more often. The real reason is YouTube and to some extent TikTok. That's where the eyes are. The main reason it's hard for theatrical is the same everyone struggles with it. And that's marketing. I was listening to an indie distributor today and they said they can't even get trailer time in theaters much less dedicated distribution screens.
The other aspect is that even if the content is YA audiences under age 24 tend to "watch up" meaning that tweens are the market for YA. It's been that way in publishing for ages and that's why/how Netflix goes after the YA novels.
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Amanda Toney, I completely agree with you and I’ve always been a sucker for a great coming-of-age story. There’s just something about those emotional turning points and identity shifts that feels universally relatable, no matter your age.
You make a great point about the perceived risk in marketing to younger audiences, especially with concerns around spending power. But you’re right, so many YA stories do transcend their target demographic. The emotional stakes and themes in YA: first love, self-discovery, grief, rebellion- they’re timeless.
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Laurie Ashbourne, this is such a sharp breakdown and I really appreciate you bringing up the role of YouTube and TikTok. That’s absolutely where the attention is, especially for younger audiences, and it’s reshaped not only where content gets discovered but also how it’s marketed. Theatrical marketing is expensive and heavily gatekept, and you’re right without trailer slots or guaranteed screens, indie distributors are often boxed out before they even begin.
I also really resonate with your point about YA audiences “watching up.” It’s such a layered challenge. Thanks for jumping in with so much insight!
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Of course. And the big thing is, it will rebound. It just won't do so via the studio system. None of the rebound of this industry will come from traditional resources. Honestly, someone should do a film festival that targets the YA/Youtube generation.
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I love that idea, Laurie Ashbourne!