Fremantle’s Vasha Wallace on Entertainment Format Trends

It was a typically busy week for Fremantle in the formats space as the global content business convened in Cannes for MIPCOM. The company revealed the return of The Celebrity Apprentice to BBC One with two specials supporting BBC Children in Need, a landmark pact with Viral Nation for a slate of creator-led formats and a deal to take on rights to Inside The Grid, among other announcements. Vasha Wallace, executive VP of global acquisitions and development at Fremantle, shares with TV Formats her perspectives on the state of the entertainment formats sector.

TV FORMATS: What’s your broad overview of the health of the non-scripted formats business right now?
WALLACE: There is strong demand in the market at present, with buyers hungry for new formats—particularly competitive reality and authentic reality. Fremantle’s Pandora’s Box is a perfect example of this appetite: a high-stakes strategic reality competition, inspired by the Greek myth, where contestants must decide whether to open the box and risk money, trust and their place in the game. The format is already generating strong momentum, with RTL Hungary launching this autumn, RTL4 in the Netherlands confirmed for next year and M6 in France currently in production. We are firmly in the attention economy, where viewers expect to be hooked within moments; otherwise, they’re quick to switch off or scroll elsewhere. The challenge for us as creators is to deliver shows that not only captivate instantly but also sustain that interest over time. It remains a challenging landscape, but mainstream, marketable formats continue to cut through. Long-running, returning brands are more vital than ever—Fremantle has formats that have thrived for decades and remain global crowd-pleasers. At the same time, audiences are seeking escapism, formats that deliver fun, humor and light-hearted diversion. Reboots are still in vogue, but they must feel genuinely fresh and relevant, while quiz and game shows continue to prove themselves some of the most resilient genres in the business.

TV FORMATS: Are budgetary concerns making formats a better option for broadcasters and platforms today?
WALLACE: Undoubtedly. Budgets are tight across the board, with advertising slowdowns and streamer contraction making buyers even more risk-averse. The good news is that in this landscape, proven formats can cut through—this environment favors formats that are repeatable, returnable and internationally scalable. Mainstream IP with recognizable talent continues to be at the top of the shopping list—shows that are instantly marketable and familiar, yet feel modern. The Piano is a prime example: It delivered outstanding ratings in the U.K. and is now rolling out internationally. Equally, Thank God You’re Here has had a major revival, demonstrating how adaptable, flexible structures travel well.

TV FORMATS: What trends are you seeing in what buyers are looking for?
WALLACE: Authenticity is paramount. There’s a huge appetite for noisy, original IP that cuts through marketing clutter—shows that feel bold, contemporary and culturally relevant. Reality competitions with strong storytelling continue to resonate. Our new format Pandora’s Box is a case in point; our contestants face the dilemma of whether to open the box—risking money, suspicion and their survival in the game. It’s a thrilling mix of strategy, jeopardy and human psychology.

TV FORMATS: What new models are you pursuing to make format rollouts more cost-effective?
WALLACE: Production hubs are increasingly attractive, enabling premium value while controlling costs. We are constantly fine-tuning formats to ensure broadcasters get maximum return on investment. Scrabble is a good example—proven IP with instant brand recognition, but produced in a high-volume model that’s both efficient and scalable. In today’s climate, these kinds of solutions aren’t optional; they’re essential.

TV FORMATS: How important is it to consider social extensions at the outset of developing a property?
WALLACE: It’s absolutely critical. Television and social are no longer separate spheres—they’re deeply interconnected. Audiences often engage with a brand first through TikTok, Instagram or YouTube, before coming to broadcast. If a show isn’t designed with shareability and community engagement in mind, it risks feeling invisible. Knockout Champs is a strong example: a bold comedy format co-created with digital-first talent, which broke records in the Netherlands by harnessing social reach to supercharge audience connection.