TOP 20 SCRIPTED FRANCHISE COMMISSIONS 2022 - 2024
(# OF TITLES BY FRANCHISE NAME AND PRIMARY GENRE)
MO RE THAN TWO-THIRDS OF THE TOP 100 MOST POPULAR MOVIES AND TV SHOWS IN 2024 WERE BASED ON EXISTING IDEAS AND IPS, ACCORDING TO AMPERE ANALYSIS’S DATA.
20%
COMMISSIONS BASED ON EXISTING IPS MAINTAINED A STEADY SHARE OF ALL NEW CONTENT.
22
NETFLIX FRANCHISES WERE ADAPTED IN 22 DISTINCT MARKETS BETWEEN 2022 AND 2024.
While TV and movie titles based on crime & thriller franchises were the most commissioned, accounting for 22% of all franchise-based announcements between 2022 and 2024, the distribution of these franchises varied significantly based on commissioner type and target audience.
Mediawan has partnered with the UK and Australianbased powerhouse independent production company See-Saw Films through the acquisition of a 51% stake in the company. Working with many of the world’s most celebrated actors, directors and writers, the talent driven and premium content company SeeSaw has built a strong track record as a tastemaker, delivering critically acclaimed, multi award-winning and commercially successful TV series and feature films. •
Max will launch in Turkey on Tuesday, April 15th . Turkish streaming service BluTV will evolve into Max, an advanced global platform with enhanced features and functionality, leveraging BluTV’s local storytelling power. Subscribers will continue to enjoy popular BluTV shows and series while gaining access to the latest prestige HBO and Max Originals, and upcoming seasons of BluTV’s most beloved local productions, and exclusive new Turkish originals. •
BBC Studios and China’s Orient International Holding Shanghai Foreign Trade Co., Ltd have signed a co-production and co-distribution agreement to create “Asia: Wildlife at the Extremes”, a giant screen adaptation of the acclaimed BBC natural history series Asia. BBC Studios and Orient International Holding Shanghai Foreign Trade Co., Ltd will co-distribute the film globally, with BBC Studios partnering with SK Films for distribution. Adapted by the BBC Studios Natural History Unit, “Asia: Wildlife at the Extremes” will soon debut as an exciting 3D giant screen experience. •
Endemol Shine Australia, part of Banijay Entertainment, sealed a global partnership with Tokyo Broadcasting System Television, broadcaster, creator and producer of worldrenowned hit series “Ninja Warrior”, “Takeshi’s Castle” and more.
Leveraging ESA’s unique and award-winning creative approach to supersizing and supercharging unscripted formats, the co-development deal will give the label the flexibility to access TBS’ new and existing formats with the view to uniquely shaping them for both Australian and global audiences. •
Telia Company entered into an agreement to sell its TV & media business, including the TV4 and MTV brands in Sweden and Finland respectively, to Schibsted Media at an enterprise value of SEK 6.55 billion on a cash and debt-free basis. The agreement is in line with Telia’s active portfolio management and focus on growth in the Nordic and Baltic regions. The transaction is anticipated to close in Q3 2025 at the latest, subject to customary regulatory approvals. Through a multiyear partnership, Telia will continue to distribute TV4 and MTV’s content as part of its consumer TV offering. Headquartered in Oslo, Schibsted Media owns established news brands such as VG and Aftenposten in Norway, Aftonbladet and Svenska Dagbladet in Sweden, and additional Nordic media holdings. •
Federation Studios confirmed new appointments within its distribution division, with Chloé Horgues joining the sales team led by Monica Levy and Guillaume Pommier, as SVP International Sales & Coproductions. She will be in charge of international co-productions, and securing pre-sales in Germany and Scandinavia, in addition to selling ready-made programs. Simultaneously, Stanislas Frécher will continue to co-lead with Hannah Vidal Federation IP360, a strategic one-stop-shop dedicated to the acquisition, sale and circulation of IPs within and outside the group. •
ITV Studios and Zhejiang Media Group partnered to co-develop non-scripted IP for the local and global market. The deal was brokered on behalf of ITV Studios by Augustus Dulgaro, EVP Sales Asia Pacific, and Zoe Tsui, Head of Content & Format Sales Greater China. With an accomplished track record in creating high-end non-scripted TV shows, Zhejiang Media Group is known for its partnerships with established and emerging talent, best-in-class producers and directors. With 60 production labels globally and a 90,000+ hour distribution business, ITV Studios is the content powerhouse behind globally renowned format brands. •
THE PROJECTED GROWTH IN ONLINE CONSUMER SPENDING OUTPACES EVEN THE EXPANSION OF THE MEDIA AND ENTERTAINMENT SECTOR, WHICH IS EXPECTED TO GROW FROM $1.07 TRILLION IN 2025 TO $1.3 TRILLION BY 2029.
Online consumer spending is set to reach $4.4 trillion in 2025, with the U.S. contributing $1.4 trillion, according to Omdia's recent statistics. By 2029, this figure will surge to $6.6 trillion, with the U.S. accounting for $2 trillion of total online expenditure. The projected growth in online consumer spending outpaces even the expansion of the media and entertainment sector, which is expected to grow from $1.07 trillion in 2025 to $1.3 trillion by 2029.
Video content continues to lead this charge, driving 70% of global revenues, with online video (up 13%), cinema (12%), and gaming (7%) seeing the most significant growth in 2025. While media and entertainment remain a key growth area, the acceleration of online consumer spending presents the most significant opportunity. Retail media and shoppable TV are transforming how content, commerce, and advertising intersect, creating new avenues for businesses to capitalize on.
With digital commerce expanding rapidly, leading retailers are pivoting to adapt. Amazon has surpassed Walmart as the world's largest retailer, highlighting the e-commerce shift. In response, Walmart has positioned itself as a digital-first powerhouse, making strategic moves like its recent acquisition of Vizio to enhance its digital advertising capabilities
Source: Omdia
and integrate shoppable TV into its offerings. Currently, 20% of Walmart's revenue comes from digital channels, and this figure is expected to grow significantly as the company invests more in retail media and connected TV (CTV).
As CTV adoption accelerates, TV operating systems (TV OS) are becoming essential in shaping the future of advertising and commerce. The integration of CTV, TV OS, and retail media creates seamless pathways from content consumption to purchase, unlocking new revenue streams for broadcasters, advertisers, and retailers alike. "Shoppable TV presents a massive opportunity for retailers, advertisers, and content
creators. However, challenges such as seamless checkout, consumer trust, and platform integration must be addressed before its full potential is realized," said Maria Rua Aguete, Omdia's Senior Research Director, speaking at Connected TV Summit in London.
As shoppable TV and retail media continue to mature, the industry will see new partnerships and innovations emerge. The convergence of entertainment and commerce is reshaping the digital media landscape. Companies that successfully integrate CTV, TV OS, and retail media into their strategies will be well-positioned to capture significant market share and drive growth in the next era of digital commerce.
By Omdia
WHILE PRODUCTION STATS ARE STAGGERING IN THE REGION, THE CONTENT NEEDS FROM PUBLIC BROADCASTERS AND GLOBAL STREAMERS ARE RISING, WHILE BOTH BUSINESS MODELS FIND THE BEST BUSINESS MODELS TO THRIVE IN A VERY COMPETITIVE CONTEXT.
The last edition of European Audiovisual Observatory's "Audiovisual Fiction Production in Europe – 2023 Figures" report, which analyses the volume of TV/SVOD fiction films and series produced in Europe, found out that in 2023, TV fiction production in Europe reached a turning point, with the number of titles fell by 6% across all formats. The boom of high-end series (13 episodes or fewer per season) has ended as the number of titles for 2023 stagnated by 2% compared to the previous year. Over half of fiction titles produced in Europe in 2023 were commissioned by public service broadcasters (55%), followed by private broadcasters (31%) and global streamers (14%).
The post-pandemic recovery didn't continue to stabilize the European TV fiction market, and after a brief moment of growth, the production and release of original TV fiction are declining. On average, over 1.200 titles, 23.000 episodes, and 14.000 hours are produced annually in Europe. Over 2.000 production companies produced at least one fiction title between 2015 and 2023, but only 3% did so for the last nine years.
VOLUME OF FICTION PRODUCED IN EUROPE 2015-2023
of all titles produced were series with 13 episodes or fewer per season. Production hours of these types of series in 2023 stagnated by 1%, as seasons had fewer and shorter episodes, probably as a way to cope with production costs and inflation.
(2015-2023)
TV Film/Collection
13 ep. or less
14 to 52 ep.
More than 52 ep.
Source: European Audiovisual Observatory
The UK, with 159 titles in 2023, was eminently the leading producer of high-end series, ahead of Germany (119), France (92), Italy (58), and Spain (58). BBC, Netflix, Amazon, ZDF, and ARD were the five main commissioners of the series, with 13 episodes or less per season.
TOP FICTION-PRODUCING COUNTRIES, IN HOURS, 2023
Source: European Audiovisual Observatory
Despite the downturn, some of the fundamental characteristics of TV fiction production in Europe remained unchanged. Telenovelas accounted for the bulk (61%) of hours produced, while more than half (58%)
Europe's video entertainment landscape is evolving rapidly, with continued growth for streaming platforms around key markets. The latest Futuresource Consulting report stated that Spain and Italy aren't
alone in this push forward into new streaming territory, with growth in Poland seeing another year of doubledigit growth at 12%. Through 2028, growth soars, rising by just 3% annually, with consumers content on having around 2.1 services per household, sitting not far behind Italy at 2.2 and Spain at 2.4. The stacking of multiple services is static in Poland as new consumers enter the subscription sector, taking a slightly more cautious approach to the number of services they take. Streaming has enjoyed strong growth in Europe, with Ampere Analysis predicting a 37% increase in revenue to reach €38.4bn by 2029, driven by US streaming giants, led primarily by Netflix following the introduction of its ad tier in 2022, its account sharing crackdown, and more recent expansion into live events. Subscription price hikes from streamers have also helped drive further growth, as have further launches of new products, as with Max's European launch. Particularly for streaming players, 2024 saw Europe hit a record volume of crime and thriller commissions from the leading global streamers (Amazon Prime Video, Apple TV+, Disney+, Max/HBO Max, Netflix, and Paramount+), reaching 94 titles. Overall, Western Europe accounted for a 43% share of their scripted first-run TV, season renewals, and movie commissions in the crime and thriller genre ordered in 2024.
CRIME & THRILLER TITLES ORDERED BY MAJOR STREAMERS
Source: Ampere Analysis
Western Europe's share has risen from 28% in 2020, now more than the North American (NAM) and Asia Pacific (APAC) regions combined. In contrast, North America's share of the streamers' commissions in the genre has declined, dropping by half over the same period to just 19% of orders in 2024. Across all genres, global streamers have been increasingly shifting scripted commissions abroad, with NAM volume share dropping from 55% in 2020 to 31% in 2024. Western Europe has benefited most, securing 29% of their global production orders by 2024 across all scripted genres. The primary beneficiary for crime & thriller titles has been the UK, which matched the US for commissions of new crime series for the first time in 2024, with 21.
PUBLIC BROADCASTERS: POWER AND DANGERS
As the European Audiovisual Observatory reported, over half of fiction titles produced in Europe in 2023 were commissioned by public service broadcasters (55%), followed by private broadcasters (31%) and global streamers (14%). Due to their bigger share in daily soaps and telenovelas, private broadcasters produced more hours (57%) than public service broadcasters (39%). Global streamers accounted for 5% of hours, as they do not invest in long-running TV series. Co-productions comprised 10% of all TV fiction titles produced in Europe in 2023. On average, over 100 TV fiction coproductions are produced in Europe yearly, almost exclusively high-end TV series and films.
At the same time, challenges for public broadcasters are arising. New research by Ampere Analysis shows that total revenues from streaming services (subscriptions and advertising) surpassed public TV revenue (taxes, license fees, and advertising) in Europe for the first time in 2024. Public TV revenue growth from license fees, taxes, and advertising is stagnant, projected to rise by just 1% to €27.9bn by 2029. In 2024, public broadcasters commissioned 43% of all TV titles in Europe, stabilizing the broader European production sector. A decline in their financial power could have significant implications for the future of European TV. However, despite the changing financial power, European public service broadcasters' VOD services are highly popular among local audiences and consistently rank among the most used services. According to Ampere Analysis' biannual survey of internet households, local public service broadcasters VOD services were the second most used streaming video platform in Q3 2024 in the UK, Denmark, and Finland, while in Sweden and Norway, respective local public service broadcasters' platforms ranked third. To remain competitive amid shifting viewing habits and in the face of global streamers, public broadcasters must prioritize further developing their streaming platforms and find innovative ways to operate within limited and often uncertain funding structures. Forming ambitious strategic partnerships can enable them to continue to produce high-quality content at lower costs and expand their audience reach.
By Diego Alfagemez
“WHAT MAKES ‘MASTERCHEF’ UNIQUE IS THE LONGEVITY OF
As Banijay’s International Format & Production Consultant, Dave De Bie’s main responsibility on the production level is to make sure that all the parts involved know how to produce each show, especially during its first season, sharing innovation and new knowledge. Señal News spoke with De Bie to go deep on the format’s global adaptation process.
What are your responsibilities for every adaptation project in the Americas?
“’Masterchef’ is a global brand, with 70 adaptations in 37 markets. It is still growing, which is also interesting. The bigger markets have all adapted it, like the U.S., Australia, Germany, France, and Spain; but now also smaller markets, like French-speaking Canada, Malta or Serbia. In those new markets where we're introducing the brand again, with over 90% recommissions, which is a high rate. What makes ‘MasterChef’ unique is the longevity of the format with the ratings breaking records. My job is to make sure that all the parts involved know how to produce each show and protect the format. If people want to do something that potentially damages the brand, I must prevent it. For example, we're strict on not having endangered species on the show, and about sponsorship, we don't want fast
food chains to be connected to ‘MasterChef.’ I connect the dots, protect the brand, and share creativity.”
What are the essential production standards that must be present at any adaptation?
“If you're producing the regular version of ‘MasterChef’ the first essential element is amateur home cooks. So, we don't want professionals to be part of the cast. We need home cooks who have a strong passion for food but have no experience of cooking in a professional kitchen. That's essential because these are people from all different backgrounds. We are talking about regular people and that makes the show interesting because it's what viewers can relate to. The second element is the judges, with experienced chefs or food critics, who have a lot of credibility and are highly regarded in the culinary world. The third element, which we always try to implement, is the production standards that make ‘MasterChef’ a global recognizable brand, like the iconic set, that wherever in the world you are, when you turn on the TV and you see the show, without seeing the logo, you know you're looking at ‘MasterChef’”.
How important is it to be flexible in terms of production, innovations, and budget?
“We must be flexible because if you compare budgets from the U.S. or Australia with budgets in Uruguay, Serbia or any other smaller market, obviously they are very different. We have a lot of knowledge of how we can adapt the format and make it smaller, but also there is a limit to how much we can downsize it. There are certain standards that we must keep because we can't dilute the brand too much. We want it to look great, and with great dishes and credible judges, and that costs money. If a country production company or a channel cannot afford to pay a minimum production budget, we probably won't do it. Because it potentially damages or jeopardizes our brand. We want this show to travel to every country in the world at some point, because it's one of the greatest formats.”
Considering the cultural differences, what specific things must you take care of when internationally adapting the format?
“I think part of the global success of ‘MasterChef’ is that it is a globally recognized brand that has certain values that allow every country to adapt to their local needs, without losing that international appeal and value of the brand. When countries want to change ‘MasterChef’ too much, I'm like, why would you pay us a license? If you want to create your own food competition, please go ahead, make it yours. But if you want to have an international appeal, there are certain things you need to include in your format.”
By Roxana Alcalá
TV ASAHI AND SMART DOG MEDIA TEAMED UP ON A NEW ENTERTAINING AND DYNAMIC SHOW IN JAPAN. TAKAAKI KITANO, THE SHOW'S CREATOR AND PRODUCER, AND CRAIG AND CLARA PLESTIS, SMART DOG MEDIA'S EXECUTIVE PRODUCERS, DESCRIBE THE FORMAT'S GLOBAL POTENTIAL.
Japan's TV Asahi has partnered with Emmy Award-winning producers Craig Plestis and Clara Plestis from Smart Dog Media to coproduce an innovative talent competition, "Song vs Dance." This groundbreaking show combines two iconic forms of artistic performance: singing and dancing, setting a new benchmark for TV competitions. "We've been thinking about this idea for a long time, and we're just amazed no one's ever done it before," said Craig Plestis.
In "Song vs Dance," outstanding performers compete in thrilling head-to-head battles in a video game-inspired format, leaving only one winner. "We used a live studio audience, a crucial part of the format. It's not commonly used in Japan, but it gave the show fantastic energy. It's going to be the next hit TV show," added Clara Plestis.
Takaaki Kitano explained that they aimed to select Japanese singers and dancers who could perform in a global environment. "We tried to find the best talent available and selected different genres. For dancing, we included breakdancing and tap dancing. For singing, we featured opera singers and even beatboxers. We wanted a lot of variety from different backgrounds and brought them together," Craig Plestis said.
Renowned Japanese comedian
Takashi Yoshimura hosts the show and features two coaches and three judges, including comedian Naomi Watanabe, making comedy a key element of the program. "'Song vs Dance' is thrilling to watch. TV Asahi casts great people who are not only talented in their fields but also incredibly funny. That's the magic ingredient of the show, the comedy," Craig Plestis stated.
The show's comedy essence stems from Takaaki Kitano's extensive background and expertise in the genre. His passion for games and anime has also played a significant role in shaping the show's direction. "I draw much inspiration from games and anime when producing shows. I'm actually an active Pokémon card player, and that's where the idea for the 'player selection' process came from, where the coaches choose players by placing down a card. Additionally, the LED screen set up was inspired by the Japanese video game 'Super Smash Bros,' reflecting its fast-paced competitive nature of the show," Kitano said.
"The format is really simple, but it's essentially head-to-head song
versus dance battles, inspired by boxing and fighting. 'Team Song' and 'Team Dance' are led by their respective coaches, who choose their performers for each battle, so you never know who will be competing against whom," described Clara Plestis. "The coach selects a player, places their card down, and the battle begins. After all the versus battles, the coaches choose the final two competitors to go head-to-head to determine, once and for all, what's better: song or dance?" she added.
"Song vs Dance" is a format that can be easily adapted in other territories. TV Asahi and Smart Dog Media have created a truly distinctive and unique set design to make the show stand out. "The set features huge prizefighter-style tunnels where contestants make their entrances. There's a mouthshaped tunnel for singers and a pair of legs for dancers. Before each battle, the performers emerge from their tunnels and meet in the center to compete. It's a really unique set that can be replicated when sold internationally," Clara Plestis explained. She also emphasized that the show is one of the few TV titles where American and Japanese cultures blend seamlessly. "The Japanese elements are integral to the format, just as the American elements are. No matter where this show travels worldwide, it will always maintain those distinctly Japanese and American concepts," she concluded.
By Romina Rodriguez
"REVO+ FILLS A CRITICAL GAP BY ENABLING BLACK FILMMAKERS TO MONETIZE THEIR CONTENT GLOBALLY"
MURPHY BEN ANAWANA , FOUNDER & CEO OF MURPHY BEN INTERNATIONAL, THE PLATFORM'S PARENT COMPANY, DESCRIBES THE STREAMING SERVICE'S CONTENT OFFERING AND HIGHLIGHTS THE GROWING GLOBAL DEMAND FOR AFRICAN AND BLACK SHOWS.
Revo+ is a premium VOD platform designed to support Black creatives from Africa. Señal News spoke exclusively with Murphy Ben Anawana, Founder & CEO of Murphy Ben International, the parent company of Revo+, to understand its content strategy and the increasing global demand for African productions.
How would you explain the original concept of Revo+?
"MBI, the owner of Aforevo (Africa Online Revolution), is YouTube’s largest African content partner, with over 500 million monthly streams. Revo+ is a premium Video on Demand platform dedicated to empowering Black creatives and filmmakers, providing them with multiple monetization options such as transactional, subscriptionbased, and freemium ad-supported models. Revo+ fills a critical gap by enabling Black filmmakers to monetize their content globally, while reaching a worldwide audience. This platform is designed to support Black creatives from Africa, the African diaspora, and around the world, allowing them to grow their audiences and maximize
their revenue in markets such as the US, UK, Canada, Nigeria, South Africa, Ghana, Kenya, and more."
How would you define the platform's current catalog?
"Revo+ offers a diverse collection of African films and content across genres like drama, historical, documentary, fantasy, comedy, entertainment, lifestyle, and music. The catalog highlights creatives from Nigeria, South Africa, Kenya, Ghana, and other African countries, strongly focusing on Black voices in cinema. Revo+ celebrates both mainstream and independent Black creatives, emphasizing African cultures, women's representation, and the unique stories that reflect the rich experiences of the African and Black communities globally."
Does the platform include original productions?
"Yes, Revo+ has original productions focused on amplifying Black talent and stories such as 'Passions,' a story of brothers who fall in love with the same woman. It is slated for premiere in April. Moreover, 'The Handshake' is a romantic comedy about a Yoruba scriptwriter who spends the week with his Igbo girlfriend's family in the east trying to get a handshake from her father. It is slated to premiere in August. In 'Father Chris,' still in
post-production, a young catholic priest delves back into his criminal past to save his parishioners who have been kidnapped for organ harvesting. We have more films in our slate for production in 2025."
What makes African content attractive in an international arena? "African and Black content is increasingly appealing internationally due to its authentic storytelling, rich cultural heritage, and fresh perspectives on universal themes. The diverse genres and powerful narratives resonate with a global audience seeking new, engaging content. Revo+ brings these captivating stories to a wider audience, offering a platform for established and emerging Black filmmakers, ensuring that their voices and stories are heard and appreciated worldwide."
What are Revo+'s main goals for this year?
"Revo+ 2025's goal is to launch a consumer platform that provides African and Black film lovers in the diaspora with access to high-quality Black and African films. For Black creatives, Revo+ aims to leverage its dynamic VOD platform to offer flexible monetization options (transactional, subscription, and freemium ad-supported), helping them expand their global reach and maximize their earning potential. Revo+ is committed to creating opportunities for Black filmmakers to thrive and make their mark on the global stage."
By Romina Rodriguez
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