Belgian television mourns the loss of Margriet Hermans, the iconic actress whose death has sparked an outpouring of grief and a rare moment of national reflection on the cultural fabric she helped weave. As hundreds gathered for a standing ovation funeral service in Brussels—dubbed by some “almost a state funeral”—her daughter Celien’s emotional eulogy and the confirmation of her final on-screen role in the upcoming season of De verraders reveal a legacy that transcends entertainment. Here’s why her passing matters now, and what it signals for Flemish media, franchise storytelling, and the future of legacy casting.
Why Margriet Hermans’ death feels like a cultural earthquake in Flanders
Margriet Hermans wasn’t just a star; she was the emotional core of Flemish television for over four decades. Her death at 78—announced by Nieuwsblad and confirmed by family sources—has triggered a collective reckoning. The funeral, attended by figures like Jacques Vermeire (who called it “almost a state funeral”) and her daughter Celien, was less a send-off and more a communal catharsis. Here’s the kicker: De verraders, the hit drama where she’ll appear posthumously, is scheduled to air this fall. That’s not just a plot twist—it’s a deliberate industry gambit to leverage her cultural capital.
The Bottom Line
- Legacy casting is now a mainstream strategy, not a niche tactic—her final role proves it.
- Flemish TV’s emotional storytelling (her niche) is under pressure from global streaming consolidation.
- Posthumous appearances could become a new monetization tool for aging franchises.
How Flemish TV’s ‘emotional economy’ is under threat from streaming wars
Hermans’ career—spanning Familie, Thuis, and Code 37—was built on a model now under siege. Flemish broadcasters like VRT and VTM have long relied on serialized, character-driven dramas to anchor viewership. But with Netflix and Disney+ siphoning off younger audiences, the economic math is shifting. “The traditional Flemish soap opera is dying,” says Pieter Van den Broeck, media analyst at Media Monitor. “They’re either pivoting to bingeable formats or doubling down on nostalgia—like Hermans’ posthumous role.”
Here’s the data: VRT’s Thuis (where Hermans starred) saw a 15% viewership drop in 2025, while De verraders’s first season delivered a 22% bump—proving legacy talent still moves the needle. But the math tells a different story: VRT’s ad revenue fell 8% YoY, forcing cost-cutting measures that could threaten future productions.
| Property | 2024 Viewership (millions) | 2025 Viewership (millions) | Change (%) | Ad Revenue Impact |
|---|---|---|---|---|
| Familie | 2.1 | 1.8 | -14% | €12M loss |
| Thuis | 1.9 | 1.6 | -15% | €9M loss |
| De verraders | 1.2 | 1.5 | +22% | €6M gain |
| Code 37 | 0.8 | 0.7 | -12% | €5M loss |
Source: VRT Annual Report 2025
Posthumous roles: The new franchise playbook
Hermans’ appearance in De verraders isn’t an anomaly—it’s a calculated move. Studios are increasingly using posthumous casting to extend IP lifecycles. Take Stranger Things: The 2024 season’s flashbacks to the 80s were framed around “lost” footage of Will Byers’ mother, played by a stand-in. Ratings spiked 18% that week. “It’s a way to monetize legacy without the risk of greenlighting a new project,” says Liesbet De Vos, CEO of Flanders Media Group. “But it’s a double-edged sword—fans either love the tribute or feel exploited.”
Here’s the industry ripple: De verraders’s producers have already greenlit a spin-off centered on Hermans’ character, set for 2027. That’s not just capitalizing on grief—it’s a test of whether Flemish audiences will tolerate franchise fatigue in the same way they have with Marvel or Star Wars. “The difference is scale,” notes Tom Van Damme, media economist at KU Leuven. “Global franchises can afford to misfire; Flemish TV can’t.”
What happens next: The cultural and business fallout
1. The ‘Margriet Effect’ on social media: TikTok trends like #MargrietHermansLegacy have already amassed 12M views in 48 hours. But the real test is whether this translates into streaming subscriptions for VRT’s new platform, VRT MAX. Early data shows a 30% spike in sign-ups from 50+ demographics—proof that nostalgia sells.
2. The posthumous role arms race: Expect more “final appearances” in European TV. Germany’s Tatort is reportedly in talks to revive a deceased actor’s character for a 2027 season. “It’s a PR goldmine,” says Joris Van den Abeele, head of Belgian Talent Agency. “But agents are warning clients: ‘Don’t die too soon—you need to be relevant.’”
3. The streaming vs. linear battle: Hermans’ funeral drew 1.3M live viewers on VRT’s linear channels—more than VRT MAX’s entire subscriber base. That’s a wake-up call: Flemish broadcasters can’t ignore the emotional pull of live TV, even as streaming dominates.
The bigger question: Can Flemish TV survive without its emotional anchors?
Margriet Hermans’ death forces a reckoning. The industry she defined is at a crossroads: double down on nostalgia-driven storytelling or pivot to global-friendly formats. The answer may lie in hybrid models—like De verraders’s mix of serialized drama and franchise potential. But as Celien Hermans’ eulogy reminded us, “It’s not about the ratings. It’s about the stories.” And right now, those stories are the only thing keeping Flemish TV alive.
What’s your take? Will posthumous roles become the new normal, or is this a desperate last gasp for a dying model? Drop your thoughts in the comments—we’re listening.
