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Conventional wisdom dictates that in difficult times, the familiar is an easy fallback, and it would seem that commissioners are sticking with the things they know best right now.
Speaking at the TV Real Festival this summer, Ampere Analysis’s Fred Black noted, “Commissioners are continuing to renew their established content while avoiding the risk of new reality shows. While that is a risk-averse strategy in the short term, in the long term, it starts to risk stagnation. We’ve seen the average age of a reality commission go from around 4.5 [seasons] in the middle of 2022 to 6.2 in Q1 this year. Broadcasters are sticking to established titles, even if they only prove middlingly successful, rather than taking a risk on something new.”
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Anna Carugati
Executive VP
Mansha Daswani
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VP, Content Strategy
TV Formats
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In our trend report in this edition on entertainment formats, we did hear about a level of risk aversion in the market that is keeping megabrands in plum position and driving an interest in reboots. But even returning properties need creative renewal; we heard from sever al IP owners about the keys to franchise management, including not being afraid to tweak something that has worked for a long time. And no one is relying solely on their stables of best-known properties. From tapping into local production expertise to driving codevelopment partnerships, the hunt for the next great format innovation never ends. And it certainly doesn’t stop with what ends up on-screen either; from hub productions to help reduce costs to shared windows across streaming and broadcast, there is plenty of innovation taking place behind the scenes to help new ideas break through. BBC Studios restructured its formats business last year in order to drive its scale and ambition, as we hear from Matt Forde, the global entertainment unit’s managing director, in this edition of TV Formats .
As Black stressed at the TV Real Festival, the business needs new creativity to flourish. If risk aversion continues, he said, “it’s likely to lead to audience fatigue. That will lead to a further decline, and that’s a phenomenon that we may already be starting to see close in on the commercial free-to-air channels.”
From buzzy next-generation game shows like The Traitors to new takes on dating like Stranded on Honeymoon Island, the good news is it is still possible to birth a new format megabrand—but smart solutions and the ability to land both on-demand and live audiences are key. —Mansha Daswani
The managing director of global entertainment discusses his new remit and the breakout success of The 1% Club .
New spins on the always popular game-show and dating genres dominate the selections for the latest edition of the TV Formats Screenings Festival.
Leading distributors share their perspectives on trends reshaping the prime-time entertainment formats sector.
The Answer Run / Silence is Golden / Weakest Link
In BBC Studios’ game show The Answer Run, the answers are already known, and the players must match questions to the correct responses to earn money—and victory depends on a split-second swipe. “The great thing about The Answer Run is its scalability,” says Matt Forde, managing director of global entertainment. “It can be produced for multiple time slots and can sit comfortably in early evening access prime time or stripped daily across daytime, but it’s not limited to those, either.” Silence is Golden sees a team of comedians do whatever it takes to get the studio audience to make noise, and even the slightest sound impacts the prize pot. Weakest Link “is one of our biggest hits, and we consistently see heritage formats like this resurfacing,” Forde notes.
“As the biggest distributor of game shows and quiz titles, this year, we’re intentionally highlighting this via a bespoke panel, ‘The Power of Game and Quiz.’ ”
Treasure Box Japan / Japanese Entertainment Formats
Broadcast Program Export Association of Japan (BEAJ) has been driving multiple initiatives to enhance Japan’s presence in the global content market. Among those is Treasure Box Japan (TBJ), which promotes unscripted format sales. “This year’s TBJ will feature an expanded program slate compared to last year, presenting nine titles carefully selected to meet the diverse needs of a larger pool of buyers,” says Masaru Akiyama, chief executive of business management at BEAJ. The titles being showcased are The Swap Project, DASUNA— Don’t Show Your Pants!, The Tortoise and the Hare, Treasure Appraisers, Man or Mannequin?, KASSO, 100 Man Power (w.t.), In the Middle of Nowhere and Celebrity Fight Club. The Treasure Box Japan showcase will take place during MIPCOM on Monday, October 21, in the Hi5 Studio.
The format Artistock Game , from CJ ENM, combines the global appeal of the music survival genre with stock and investment strategies. “By blending musical talent with high-stakes financial decisions, it creates a dynamic and unpredictable experience that sets it apart from typical music competitions, offering viewers a unique mix of entertainment and strategy,” says Jangho Seo, senior VP of content business. Also on the format slate, Trust or Lust is a psychological experiment show featuring diverse couples. “Trust or Lust stands out with thrilling twists like partner swap dates and themed rooms that intensify the format,” says Seo. CJ ENM also has two key drama launches: the multilayered Lovely Runner and the romantic comedy Love Your Enemy.
“BEAJ invites interested parties to join them at their networking event following the format presentations and to visit specific booths for more information.”
“We recognize the growing demand for fresh and diverse programming, and we’re committed to continuing our partnership with international buyers to bring these compelling narratives to screens worldwide.”
Untold Stories of the ER
Blind Dating / Round Table / Untold Stories of the ER
The studio-based dating game show Blind Dating, part of the GRB Media Ranch catalog, invites participants to swipe right on the person of their dreams. In each episode, the singles must find their match without seeing each other by answering questions while digging for clues (and some dirt) on social media. The singing game competition Round Table features celebrity and non-celebrity versions. The format was developed by DiTurn, led by The Masked Singer creator Wonwoo Park. Untold Stories of the ER reenacts real-life stories of the emergency room. “Audiences witness how a doctor’s blend of expertise, coolness under fire and decisionmaking ability are challenged by unpredictable circumstances—and how character makes the ultimate difference,” says Sophie Ferron, president of GRB Media Ranch.
Secret Makeover / Unstoppable
The Nippon TV scripted format Secret Makeover blends style, mystery and suspense. The series follows a top fashion coordinator who styles her clients from head to toe, turning their lives around while working to help cover up their flaws and scandals. “The universal theme of personal reinvention makes this story relatable to audiences across the globe while immersing them in the world of high fashion,” says Sayako Aoki, head of scripted at Nippon TV. The unscripted format Unstoppable is a new studio game show in which challengers relentlessly push themselves to break their limits, with a cash prize waiting for those who succeed. With around ten players competing across three missions, the most unstoppable challenger in each becomes the winner. As the difficulty increases, so does the cash prize.
“GRB Media Ranch has a wide variety of titles to offer international buyers.”
—Sophie Ferron
“Secret Makeover stands out by combining the glamour of fashion with the intrigue of personal transformation and hidden scandals.”
—Sayako Aoki
CBS is reviving the classic game show Hollywood Squares with Drew Barrymore in the iconic center square, and Paramount Global Content Distribution is offering the format to international buyers. “Hollywood Squares comes with a long track record of success and is perfect for prime time, with broad appeal,” says Laura Burrell, VP of international formats. “Broadcasters will have the chance to showcase their on-screen talent in a tried-and-tested formula, bringing warmth and humor to the schedule.” The game show Flip Side pits two teams of players against each other to test how they think two groups of people feel about the same issue. Out of Order is an original comedy game show from Comedy Central UK with “diversity and inclusion woven into the gameplay itself,” says Burrell.
“We are open for business to format buyers around the world, offering iconic IP with long-running track records alongside fresh new ideas.”
—Laura Burrell
By Mansha Daswani
Last September, BBC Studios restructured its formats business, creating a new global entertainment unit under Matt Forde as managing director. Bringing together three previously distinct areas—entertainment and music, factual entertainment and events, and international productions and formats—the global entertainment unit was formed to scale BBC Studios’ already thriving formats creation and export capabilities. Forde tells T V Forma ts about the benefits of the restructure, the breakout success of The 1% Club and finding innovative financing models to get shows off the ground.
TV FORMATS: BBC Studios restructured its format operations last year, creating the new global entertainment unit you oversee. Talk to us about this division and the benefits of the realignment.
FORDE: We are now a true global network. All countries we operate in sit in this global network, including the U.K. We’re present in 11 territories. The benefit of that is the ability to move IP around the network. We can build shows in different countries if it suits us; if we can’t sell it in one place, we can sell it in another. It also means we can leverage our skills from different areas. I’m interested in what we might do with live events, for example, where we have expertise in the U.K. with the likes of the Queen’s funeral, King Charles III’s coronation and, of course, Glastonbury, which saw over 50 million streams
for content in 2023. It’s also helpful to be able to move production seamlessly around the world. It’s brilliant creatively that teams are talking to each other about ideas from India, South Africa, Australia, America, the U.K., France and Germany. We’ve also, in the past 12 months, added Brutal Media in Spain and Werner Film Productions in Australia to our global network. It’s inspiring for everyone within the network to get input and creative ideas from different areas of the world. It makes it a much stronger creative community.
TV FORMATS: We’re hearing a lot about risk aversion in the marketplace. Are you finding that to be the case, or are broadcasters and platforms still willing to gamble on compelling new ideas?
FORDE: We’re seeing people take risks. We have an investment in the U.K. indie production company Met tlemouse Entertainment, which has just had a commission from Channel 4. You might think that Channel 4 would be risk averse because of its financial stresses, but that doesn’t seem to be the case. We’ve seen other new shows get commissioned. For example, Silence is Golden for UKTV. There is no question to me that people are prepared to take risks. It’s about everybody being smart in the system. Looking at what the cost of making that show is. Have you considered that in the context of who you’re pitching to? Creative risk-taking is still there if there is a quality idea. You do see reboots, but they’re not straight reboots. When we remade Weakest Link in the U.S. and thought about what the tone could be, it’s more friendly, it’s more Jane Lynch than it is Anne Robinson. The successful reboots are done with skill.
TV FORMATS: Talk to us about the franchise management approach to keeping your returning brands successful year after year.
FORDE: We spend a lot of time on it because they’re so valuable in every way. They are defining as brands as well as being good business. Every year, we have creative exchanges in the U.K. All of the producers, sometimes the network executives, come to the U.K., and we have two days of sharing information about the last season. That could be new ideas and innovations, or it could be things that were difficult. We circulate all of those ideas. We have a team of four flying producers that go around the world to ensure the show is the best it can be. We have production markets where we also have a lot of expertise to call on. It is a 365-days-a-year project for Bake Off , Dancing with the Stars and now The 1% Club, which has already been sold to 12 territories. We’ll have our first creative exchange for that soon, which I’m excited about because we have learned so much . The shows evolve. That’s what’s great about what we do with Dancing with the Stars and Bake Off . It’s not the same all the time.
The same will be true for The 1% Club and Weakest Link , which has been licensed in over 45 territories, returning most recently in France and Spain.
TV FORMATS: The 1% Club has been one of the fastestselling new game shows of the last few years. Why do you think it struck such a chord?
FORDE: When we started Dancing with the Stars , if you’d asked us what made it special, it would be a different answer to what we give now. Fundamentally, at the core, the idea of The 1% Club works, and it is brilliant. Every time we pitch just one example to people, they’re like, I love this. You don’t need to be good at quizzes. You need to have good lateral thinking. It’s fantastic that the audience [members] are the participants. The fact that it’s comedic—that’s a theme that you see as a trend at the moment. As you watch the show, you build relationships with the contestants. By the time you’re down to the last seven or eight, you’re rooting for two or three of them. It’s a real prime-time event that the whole family can play along with at home, encouraging co-viewing. It has connections, relationships and an enjoyable story. The app sits alongside the show and keeps the show alive outside its broadcast. It quickly became the number one trivia/free game app in the U.K. every Saturday night, and there have been 2.4 million downloads to date. This speaks to another thing I think is important to all of us in formats: What are you doing to keep that brand alive when you’re not on air? With Dancing with the Stars, ticket sales of the live show have risen in America over the last two years. That speaks to something about fans and experiences. Brands must have a life outside of the linear broadcast of a show.
TV FORMATS: Are there significant differences in the format needs of streamers versus broadcasters?
FORDE: There are some companies that we work with that will say, “This show doesn’t work in digital, so it’s a no.” When I speak to Disney about Dancing with the Stars, they’re quite thoughtful about it. This brand sits in the middle of Disney, if you like. They get to different audiences in different ways. They have the ABC audience with a bit of catch-up. They have Hulu, which is mainly catch-up. And Disney+ gets it to another sector. With FOX and Prime Video [on The 1% Club], there was a lot of discussion about how to do it, and it worked out well for both. They both benefited from each other’s awareness. That is smart for everyone. It removes a certain amount of risk. You get to more people and can defray some cost across two platforms. Not everybody will do that model, but we’ll see more. There’s less buying of global rights. That is still going on. But I’m enjoying the more pragmatic approach!
TV FORMATS: Are there particular genres in demand right now?
FORDE: Feel-good is still a big part of it; something with warmth, connections and comedy. That lends itself to games and quizzes because you have a host who often comes from a comedy background. Jason Manford [hosts] The Answer Run, which is our new quiz show in the U.K.; it gave the BBC its biggest-ever daytime quiz launch for over a decade. Also Jane Lynch for Weakest
Link [in the U.S.], Jim Jefferies for The 1% Club [in Aus tralia]. There seems to be a real demand for quizzes and games. There’s been an uptick in the number of versions of Weakest Link we’re making. The other area [in demand] is social experiment and reality.
TV FORMATS: You worked with Nippon TV on Koso Koso . What opportunities do you see for format codevelopment internationally?
FORDE: Creative processes are collaborative by their very nature. The Nippon TV adventure, if you like, has been brilliant. We’ve benefited from their creative sensibility. It’s helped us take something back into the U.K. that’s got a sense of something different. If anything, we’d like to make it more zany than what we’ve been doing. We see opportunities in Germany, Denmark, Japan, Korea and the U.S. You’ve got to work out which partners you think you’ll have a fruitful relationship with.
TV FORMATS: What other growth areas are you prioritizing?
FORDE: Scripted formats are proving a particularly strong area for us. We’ve launched a spin-off of Death in Paradise called Return to Paradise in Australia, and it’s done well. It recorded a total TV reach of 1.2 million and was the highest-rating drama on launch day. With scripted formats, sometimes you follow the original script. The most successful and interesting ones are where we take the premise and reinvent it for that local market. Ghosts in America is the best example. We’re now doing it in Australia with The Office for Prime Video. Game and quiz are going strongly. The big brands are so important. They are still alive and well. I feel very confident and passionate about where unscripted is going. It is doing a fantastic job for Kate Phillips [director of unscripted] on the BBC.
New spins on the always popular game-show and dating genres dominate the selections for the latest edition of the TV Formats Screenings Festival, which features a slew of new and returning properties that will be on offer at MIPCOM.
ZDF Studios’ format slate for MIPCOM is packed with uplifting entertainment that can be easily adaptable to multiple markets.
Hack My Yard, for example, features gardening experts tasked with transforming a boring family garden. On the game-show front, meanwhile, ZDF Studios is showcasing QUIZ HUNT , which premiered in prime time in 2019. “Three years later, the market share in this time slot almost quadrupled, and subsequent time slots benefited from this rapid growth,” says Ralf Rückauer, VP Unscripted. Launched at MIP Formats, Skydive Quiz sees contestants answer questions while jumping out of a plane. Rounding out ZDF Studios’ highlights is the longrunning staple Wanna Bet? “In this show, nothing is pre-recorded or
All3Media International’s Bad Boyfriends
edit ed,” Rückauer says. “If the celebrities lose their bet, they must complete a task of their own, most often an entertaining charitable gesture. Airing since 1981, Wanna Bet? was the absolute top entertainment show in the German-speaking territories, and to date, a hit around the world.”
On the heels of the tremendous success of The Traitors —with 30 versions commissioned to date—All3Media International is touting a new strategic reality competition, The Anonymous , from the team at Studio Lambert. In the dating and relationship formats space, All3Media International will be talking to clients about Bad Boyfriends. “Equally explosive, authentic and addictive, this fresh spin on the dating show format is packed with mischief and mayhem as couples face plenty of challenges, chores and dilemmas,” says Debra Bergg, VP of sales for Iberia and Italy. Turn on the
BEAJ will host Treasure Box Japan at MIPCOM
Charm , meanwhile, blends “adventurous road trips, strategic gameplay and fascinating group dynamics,” Bergg says. All3Media International is also touting two scripted formats based on hit U.K. dramas from the award-winning team at Two Brothers Pictures: Liar and Angela Black.
MIPCOM will again feature Treasure Box Japan (TBJ), a showcase of Japanese formats. The lineup includes a wide range of productions, from low-budget to large-scale. “Japan boasts a remarkable track record in format localization, with over 90 titles and hundreds of localized versions created worldwide,” says Masaru Akiyama, chief executive of business management at BEAJ (Broadcast Program Export Association of Japan). “This year’s TBJ features an expanded program slate compared to last year, presenting nine titles, carefully selected to meet the diverse needs of a larger pool of buyers.”
BBC Studios arrives in Cannes with a strong slate of game and quiz shows. Among its highlights is The Answer Run . “The best quiz formats have a fantastically simple premise at their core, and The Answer Run delivers on this front perfectly,” says Matt Forde, managing director of global entertainment. BBC Studios is also continuing to roll out The 1% Club, which was recently adapted in the U.S. for Prime Video and FOX.
CJ ENM’s latest entry in the game-show space is Artistock Game, while in the dating/relationship arena, it has high hopes for Trust or Lust . “We recognize the growing demand for fresh and diverse programming, and we’re committed to continuing our partnership with our international buyers to bring these compelling narratives to screens worldwide,” says Jangho Seo, senior VP of the content business at the Korean media giant.
CJ ENM’s Artistock Game
Leading distributors share their perspectives on trends reshaping the prime-time entertainment formats sector.
By Mansha Daswani
The Hollywood strikes and an overall slowdown in scripted commissioning didn’t give the entertainment formats business the boost many had been hoping for, but the sector has proved its resiliency, largely thanks to the long-running hits that have continuously demonstrated their ability to bring in mass audiences—on budgets that won’t break the bank.
There has been a slowdown in the number of formats traveling in the last 12 to 18 months, notes Vasha Wallace, executive VP of global acquisitions and development at Fremantle. “But equally, if the show’s right, a broadcaster will buy it. Sometimes it’s not just about the show; it’s about having production solutions in place and having a story that will convince them to get it over the line.”
“In this challenging market, there are opportunities across the board,” adds James Townley, chief content officer of development at Banijay. “There are budget restrictions, but if you have the ability to make your productions as efficient as possible and when you’ve got catalogs that are built on incredible IP, the market gets enormous confidence from that.”
Nick Smith, executive VP of formats and licensing at All3Media International, agrees, referencing the tremendous success of The Traitors, which launched mid-pandemic, and sustained traction on some of the company’s megabrands.
“Broadcasters and platforms need local content,” he says. “There is risk aversion of trying new stuff. That’s the challenge. But things that work in other countries, there are still buyers that are willing to push the button on those.”
Tim Gerhartz, managing director of Seven.One Studios International, concedes that current market conditions are challenging for everyone, “but that’s exactly why commissioners cannot afford to be risk-averse. Everybody is under pressure to figure out what tomorrow’s business model looks like—how to attract a broad audience and earn money at the end of the day. In the conversations we’re having with commissioners, creators and producers, it feels like, despite the economic pressure, everybody is willing to collaborate. Everybody’s showing flexibility in business models, sharing IP, talking about windows, etc., to come up with the next big thing.”
While everyone works to come up with trailblazing new ideas, known IP continues to resonate in the format world, as it is doing in other parts of the business.
The last few years have seen several reboots, including Let’s Make a Deal and Cash Cab, “which tapped into the familiarity and nostalgia of established brands,” notes Sophie Ferron, president of GRB Media Ranch. “This year, the trend persisted with the U.K. rebooting Gladiators. That has even caught the attention of international platforms like Prime Video in the U.S., which has announced its own adaptation. We saw our own flagship IP Untold Stories of the ER optioned in South Africa to production company Khelgejo as a format for the very first time. These moves highlight a broader trend: in uncertain times, both viewers and networks gravitate toward ‘comfort TV’—familiar and reliable formats that offer a sense of stability and predictability. Proven brands provide a level of safety and assurance for networks and audiences alike.”
Getting a commission on a returning brand may be easier, but the process of keeping these IPs fresh and engaging year after year is a business unto itself.
“With Power Couple, we are continuing to develop additional seasons, episodes and challenges together with our international clients,” says Nadav Palti, president and CEO of Dori Media Group, on that company’s long-running gameshow property. “At the same time, we are presenting the format to new clients who are increasingly interested in Power Couple due to its success in many territories. Additionally, we are creating new variations/remakes of content with a proven track record, expanding the formats in new creative ways.”
Palti continues, “Reviving past successes is another way to minimize risks and maintain superbrands. If the format is still relevant, producing a remake and adjusting it in terms of quality, number of episodes and characters presents an opportunity for developing and producing a new series in a shorter period of time and with fewer challenges.”
Ferron adds, “Known IPs can generate significant buzz, but for younger and international audiences who may not be familiar with them, adaptation is key. This involves not only updating the look and feel but also reimagining storytelling to align with modern trends. Platforms like Instagram and Tik Tok have reshaped how stories are told, so leveraging these for interactive and dynamic content is crucial. It’s essential to meet the audience where they are—on social media—and embrace these platforms fully to reach and engage new, broader demographics effectively.”
At Seven.One, Gerhartz references the franchise management around Married at First Sight, which has rolled out to 30-plus countries. “The format is constantly evolving via spin-offs and add-ons. The business model behind it is also flexible. It’s not just a linear proposition. It’s also a brand that works across digital. In Australia, Nine Network is exploiting English-language tapes from across the globe in an online offering, next to the one big new season per year linear proposition. Editorially, we are constantly discussing how to expand and evolve the brand. We are working on a younger-skewing version of Married at First Sight that will air in 2025.”
Balancing out the prominence of superbrands with new IP is key, “because the audience wants fresh and new with their warm, favored, delightful tentpole programming that they make an appointment to view,” Townley says.
“There is also a notable interest in original IP,” Ferron adds. “Networks and platforms are actively seeking innovative and unique content to differentiate themselves in a crowded market.”
What does a new concept need to grab the attention of commissioners? Palti highlights several qualities, including “an international theme, high production quality, interesting characters and a relevant number of episodes. As such, it can be of interest to global buyers and streamers and sell to many territories. To make the package more appealing, it would be advisable to involve a well-known creator, director or actors.”
Ferron adds, “To attract a commissioner, a new property must present a compelling high-concept idea with broad appeal. It should be versatile enough to adapt across various cultures and scalable to fit different production budgets, whether for weekly or daily formats. The concept needs to be repeatable, ensuring ongoing success for many seasons. Building an ecosystem around the brand is essential, allowing for the creation of related IPs and ancillary content to enhance its impact and sustain its relevance. Additionally, the new property must have the potential of
Seven.One Studios International’s Stranded on Honeymoon Island is headed to the U.K. with the BBC.
leveraging buzz through strategic use of all platforms. Taking the idea across different channels—while avoiding repetitive content and focusing on building unique, plat form-specific experiences—amplifies the IP’s value.”
Gerhartz referenced the breakout success of Stranded on Honeymoon Island, which recently landed a BBC commission in the U.K. “It is the fastest-traveling dating reality format since 2020. The addition of the BBC deal and two new local versions Warner Bros. Discovery has ordered for Sweden and Denmark bring the total number of international commissions to nine, 18 months after the show first launched. We’re also seeing a lot of interest in new ideas coming out of our pipeline.”
On the quest for new ideas, there are a variety of models distributors are using, from tapping into the scale of their global networks to partnering with third-party producers to entering into co-development and co-production alliances.
“One way to minimize risk is through co-productions,” Dori Media’s Palti says. “There are countless models that can be adapted to suit the various parties involved. We are interested in co-productions and offer different models, both financial and production-based. Each partnership is unique. We apply a great deal of creativity in tailoring the co-production to fit the specific title, partners and country of production. We are open to co-producing with both local and global partners. While co-productions reduce risk, they also share the opportunity, so we always strive to balance the model to ensure the best possible fit.”
Whether new or returning, formats are increasingly finding good homes on streaming platforms, and while the global SVODs have largely scaled back their peak TV slates, a commitment to local entertainment formats remains. And their needs aren’t that different from linear broadcasters anymore.
“Linear and streaming are getting closer and overlapping,” Gerhartz says. “The brief we receive from a traditional player is no longer different from what we receive from streamers. Streamers tend to commission bingeable shows, but so do established players whenever they commission for their streaming services. The big challenge is to come up with ideas that work as a hybrid and function in both roles—attracting a traditional linear audience as well as a younger online audience. How can I find a format that does
both at the same time? That goes back to how you can make a show more attractive for the new generation, which is more likely to watch online.”
“We are definitely still seeing a commitment to entertainment formats from the streamers,” Palti reports. “They also need fresh content. But unlike in the past, most streamers today are purchasing content on a territory-byterritory basis, thereby reducing costs and risks.”
All3Media International’s Smith concurs, noting, “When you look at the streamers—taking Netflix out of it—they’re all playing in the traditional format space now. They’re licensing formats for individual territories. Even with Netflix commissioning something like Squid Game: The Challenge, you don’t really get much bigger swings than that. It gives confidence to the whole industry.”
Streamers have also allowed edgier shows like Naked Attraction to find international homes; the format is in ten territories, Smith says.
“In Europe in particular, local streamers are increasingly important,” Fremantle’s Wallace notes, referencing Videoland in the Netherlands and RTL+ in Germany as examples. “Those platforms will commission local shows in a local language. They’re often attracting young audiences as well. It’s good for us as producers, but it’s also good for the audience.”
Streaming platforms are “getting more and more robust with their commissioning strategies,” Townley says. “There seems to be a significant focus on that local for local, but then the local that can potentially go global, where you have those big swings like Squid Game. They’re quite nicely balanced because they’re looking at global catalogs. Whether you call them reboots or dormant formats or sleeping giants, they’re always looking at the catalog about what potentially can be refreshed. At the same time, they are also taking those swings on big, brand-new, fresh IP.”
Streamers have also allowed fans to consume multiple versions of a format, as Peacock has done with The Traitors and Love Island. “It allows you to build the brand a lot stronger,” Smith says. “It wouldn’t have been common for reality shows to be sold all around the world. You want to see people from your own country speaking your own language. But now, if you’re a fan of a particular show, whether it’s The Traitors or Love Is Blind, you want to see the other versions. That’s been a huge boon for everyone in the business.”
