Manchester United’s agreement with Lionsgate to develop a dramatised television series chronicling the club’s history represents another calculated step in the modern monetisation of football heritage. As first reported by The Athletic, the concept mirrors the narrative driven approach of Netflix’s The Crown, applying long form drama to institutional legacy rather than pure documentary access.
From a financial and strategic standpoint, this proposal sits at the intersection of brand exploitation, intellectual property control and risk management. United are not opening training ground doors or exposing the current squad to cameras. Instead, they are licensing history, an asset they already own and one that carries global resonance.
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Commercial logic behind a dramatised series
Unlike access all areas documentaries, a scripted series offers Manchester United a more predictable commercial framework. According to the report, “an agreement has been reached which will see United receive a guaranteed sum in the low multi million pounds in the event the show is produced and sold”. That wording matters. Developmental risk sits largely with Lionsgate, while United’s downside is limited.
From United’s perspective, this is classic low volatility revenue. No disruption to football operations, no weekly filming schedules and no requirement for current staff buy in. Royalties, shared with Lionsgate, scale upwards with success, aligning incentives without operational compromise.
It also allows United to monetise eras that remain commercially powerful, from the Busby Babes and Munich Air Disaster through to the Sir Alex Ferguson dynasty. Those stories already exist in the public domain but dramatisation enables the club to participate financially rather than merely observe.
Editorial control and reputational balance
One unanswered question is editorial influence. The report notes, “It is not known at this stage the extent to which United have negotiated broad editorial control and approval over the dramatised series”. That uncertainty matters. United’s history contains relegation, ownership controversy and prolonged underperformance post 2013.
However, drama thrives on tension. Provided United have consultation rights rather than veto power, the club can allow authenticity without reputational damage. Viewers expect nuance, not sanitisation. From a valuation perspective, a credible portrayal enhances brand depth rather than erodes it.
The involvement of Jed Mercurio, described as “a childhood United fan”, suggests an attempt to strike that balance between narrative tension and institutional respect.
Context of withdrawn documentary deals
This development should be viewed alongside United’s recent withdrawal from an Amazon Prime “All or Nothing” style documentary. That deal, worth more than £10million, was abandoned due to concerns over intrusion and timing following defeat in the Europa League final.
A scripted historical series avoids those pitfalls entirely. It also explains why previous talks with Disney and Amazon stalled. Documentaries require living stakeholders to sign off, including Ferguson and former players. Drama requires no such consensus, only rights clearance.
In economic terms, United are shifting from access based revenue to archive based exploitation. That reflects a club increasingly aware of operational distraction costs.
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Long term brand value implications
Manchester United remain one of football’s most recognisable global brands despite a prolonged absence from domestic dominance. A high quality scripted series reinforces that stature for new audiences who may never have seen the club lift a Premier League trophy.
Lionsgate’s track record with premium drama and sports themed projects suggests production values will match ambition. If successful, the series becomes a long tail asset, generating royalties, renewed interest in merchandise and greater engagement across international markets.
Crucially, this approach keeps football decisions separate from commercial storytelling. As one source in the report stated, discussions were conducted by people “who all spoke on the condition of anonymity to protect their positions”, highlighting the sensitivity around aligning entertainment with elite sport.
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From a Manchester United supporter’s perspective, this report lands with mixed but largely positive sentiment. There is pride in seeing the club’s story considered worthy of a prestige drama series. Few football institutions possess a history that spans tragedy, dominance, celebrity and controversy in quite the same way.
Supporters will appreciate that this project focuses on the past rather than the present. After years of turbulence on the pitch, fans are understandably wary of anything that distracts from rebuilding a competitive side. The collapse of the Amazon Prime deal showed welcome restraint, especially given Ruben Amorim’s discomfort with intrusion.
A scripted series feels safer. It allows the Busby Babes, Munich, 1968 and 1999 to be told with emotional depth rather than soundbite nostalgia. Many fans grew up on these stories, passed down rather than witnessed. Seeing them treated with dramatic seriousness rather than marketing gloss matters.
There will be concern about ownership portrayal. The Glazer era remains divisive, and Sir Jim Ratcliffe’s changes are still unfolding. Most supporters would accept honest depiction, provided it avoids caricature. Football fans value authenticity more than protection.
Ultimately, this feels like a club finally learning how to commercialise itself without undermining football priorities. If done properly, it can remind the world why Manchester United mattered so deeply in the first place, while allowing supporters to reconnect with an identity that has sometimes felt distant in recent years.