The WIT’s Caroline Servy Charts Global Format Trends

Tapping into The WIT’s extensive global database tracking content worldwide, Caroline Servy joined the TV Formats Festival today to showcase the titles, markets and companies leading the global non-scripted format business today.

The Geneva-based research company runs the popular Fresh TV sessions at markets worldwide and operates a real-time service tracking global format rollouts. Servy, managing director of The WIT, showcased data tracking trends in formats over the last year in a session you can view here.

The market has tended toward known IP post-Covid, with more returning brands and reboots than new concept rollouts. “We counted a total of 380 new format adaptations generated by 249 different formats, which is a relatively low average of 1.5 adaptations by format,” Servy said. “Those new adaptations represented 4.6 percent of all new unscripted shows around the world, which includes documentary. This figure is slightly down compared to the previous year, from 5.2 percent in 2023.”

The decrease in new format adaptations is even starker when compared to pre-Covid levels, falling from 8 percent. Returning formats represent 10.2 percent of all new and returning shows this year.

Servy pointed to LatAm as a significant territory for formats, with a format ratio of 10 percent, nearly double the global average. “This demand is stimulated by the increasing appetite of linear broadcasters, but also streaming platforms who rolled out this season several localized versions across LatAm of entertainment formats such as Temptation Island, Love Is Blind and Last One Laughing.”

Unscripted dominated the format market, accounting for 77 percent of all adaptations this year, with 23 percent for scripted, up from 16 percent five years ago. “This is an evolution which is directly related to the push of streaming platforms, which have become the number one scripted format importers, although they have significantly reduced their commissioning volume in recent times.”

Within unscripted, entertainment, which includes reality formats, drives demand at almost 50 percent of launched adaptations, with game shows gaining ground to 30 percent, up from 26 percent five years ago.

Reboots are also increasing in demand, reaching 8.5 percent of adaptations, “including many new versions of classic game shows returning after a long break, a ratio which is four times bigger than 2021, where it was only 2 percent.”

Servy then charted the top three formats of the year in terms of new rollouts. That list is tapped by Talpa’s The Floor, with 12 adaptations in 12 months to reach 20 adaptations in total. “The Floor is the second most successful new format born in the post-Covid era, closely following The Traitors, with its 22 adaptations so far.”

Second on the chart is MasterChef, which has a slew of spin-offs, followed by Can’t Stop Media’s The A Talks, with adaptations in nine major territories, including Australia, the U.K., Netherlands and Brazil.

Topping the list of most-adapted formats is MasterChef, followed by The Traitors, Big Brother, The Voice and Dragons’ Den.

While referencing risk aversion, Servy said commissioners are still looking for fresh concepts; 36.2 percent of adaptations in the last year were based on formats that were less than 5 years old; 15 percent were based on formats launched in 2023.

Servy then charted top distributors, with Banijay Rights out front in all regions but Asia, holding 22 percent of all unscripted adaptations launched worldwide last year and 23 of the top 100 formats in the world. “And an impressive 50 formats from Banjay had at least one adaptation.”

In second is ITV Studios, which delivered 8.5 percent of all new unscripted adaptations, seven formats in the top 100 and 24 formats with at least one adaptation. Fremantle was third with 7.9 percent of new unscripted adaptations launched worldwide, eight formats out of the top 100, and 27 formats with at least one adaptation.

“All in all, we have the indicators of a highly concentrated format market with the top ten distributors accounting for over 67 percent of the total number of adaptations and only six distributors are able to boast a portfolio of over ten active formats.”

The top six is rounded out by All3Media International, BBC Studios and Warner Bros. International Television Production. Indies shouldn’t be disheartened, Servy said, pointing to success stories at Can’t Stop Media and Primitives.

In terms of exporting territories, Servy highlighted the U.K.’s return as top exporter, generating 25 percent of all adaptations worldwide with 71 different formats across all genres, followed by the U.S. with 20 percent and the Netherlands.

“The most notable move in the ranking is the progression of France and Belgium, which outperformed South Korea this year to reach the fourth and fifth positions. The takeaway of the year is that Western Europe is regaining power on format creation, with over half of all adaptations worldwide coming from formats made in Europe and over 188 different formats to choose from.”

In Asia, South Korea had a quiet year, while Japan made a comeback, with almost 20 percent of its formats being remade outside of Asia.

In terms of top buying markets, Spain remains at the top for a second year. Servy highlighted the diminished position of global streamers and the increased appetite for international format concepts from the U.K.