Prime Time Wins

Leading distributors share their perspectives on trends reshaping the prime-time entertainment formats sector.

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, 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.”

Nick Smith, executive VP of formats and licensing at All3Media International, highlights 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. “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. We saw our own flagship IP Untold Stories of the ERoptioned 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 game-show 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 TikTok 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.”

“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.”

IDEA MACHINES
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 leveraging buzz through strategic use of all platforms. Taking the idea across different channels—while avoiding repetitive content and focusing on building unique, platform-specific experiences—amplifies the IP’s value.”

Gerhartz referenced the breakout success of Stranded on Honeymoon Island, which is coming to the BBC in the U.K. later in 2025. “It is the fastest-traveling dating reality format since 2020. 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.”

STREAM ON
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-by-territory 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.”

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.”