{"id":14852,"date":"2025-02-10T08:50:55","date_gmt":"2025-02-10T13:50:55","guid":{"rendered":"https:\/\/worldscreen.com\/tvformats\/worldscreen.com\/"},"modified":"2025-02-11T10:02:38","modified_gmt":"2025-02-11T15:02:38","slug":"prime-time-wins","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/","title":{"rendered":"Prime Time Wins"},"content":{"rendered":"

Leading distributors share their perspectives on trends reshaping the prime-time entertainment formats sector.<\/em><\/p>\n

The Hollywood strikes and an overall slowdown in scripted commissioning didn\u2019t 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\u2014on budgets that won\u2019t break the bank.<\/p>\n

There has been a slowdown in the number of formats traveling, notes Vasha Wallace, executive VP of global acquisitions and development at Fremantle. \u201cBut equally, if the show\u2019s right, a broadcaster will buy it. Sometimes it\u2019s not just about the show; it\u2019s about having production solutions in place and having a story that will convince them to get it over the line.\u201d<\/p>\n

Nick Smith, executive VP of formats and licensing at All3Media International, highlights the tremendous success of\u00a0The Traitors<\/em>, which launched mid-pandemic, and sustained traction on some of the company\u2019s megabrands.<\/p>\n

\u201cBroadcasters and platforms need local content,\u201d he says. \u201cThere is risk aversion of trying new stuff. That\u2019s the challenge. But things that work in other countries, there are still buyers that are willing to push the button on those.\u201d<\/p>\n

Tim Gerhartz, managing director of Seven.One Studios International, concedes that current market conditions are challenging for everyone, \u201cbut that\u2019s exactly why commissioners cannot afford to be risk-averse. Everybody is under pressure to figure out what tomorrow\u2019s business model looks like\u2014how to attract a broad audience and earn money at the end of the day. In the conversations we\u2019re having with commissioners, creators and producers, it feels like, despite the economic pressure, everybody is willing to collaborate. Everybody\u2019s showing flexibility in business models, sharing IP, talking about windows, etc., to come up with the next big thing.\u201d<\/p>\n

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.<\/p>\n

The last few years have seen several reboots, including\u00a0Let\u2019s Make a Deal<\/em>\u00a0and\u00a0Cash Cab<\/em>, \u201cwhich tapped into the familiarity and nostalgia of established brands,\u201d notes Sophie Ferron, president of GRB Media Ranch. \u201cThe trend persisted with the U.K. rebooting\u00a0Gladiators<\/em>. That has even caught the attention of international platforms like Prime Video in the U.S. We saw our own flagship IP\u00a0Untold Stories of the ER<\/em>optioned in South Africa to production company Khelgejo\u00a0<\/strong>as a format for the very first time. These moves highlight a broader trend: in uncertain times, both viewers and networks gravitate toward \u2018comfort TV\u2019\u2014familiar 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.\u201d<\/p>\n

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.<\/p>\n

\u201cWith\u00a0Power Couple<\/em>, we are continuing to develop additional seasons, episodes and challenges together with our international clients,\u201d says Nadav Palti, president and CEO of Dori Media Group, on that company\u2019s long-running game-show property. \u201cAt the same time, we are presenting the format to new clients who are increasingly interested in\u00a0Power Couple<\/em>\u00a0due 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.\u201d<\/p>\n

Palti continues, \u201cReviving 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.\u201d<\/p>\n

Ferron adds, \u201cKnown 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\u2019s essential to meet the audience where they are\u2014on social media\u2014and embrace these platforms fully to reach and engage new, broader demographics effectively.\u201d<\/p>\n

At Seven.One, Gerhartz references the franchise management around\u00a0Married at First Sight<\/em>, which has rolled out to 30-plus countries. \u201cThe format is constantly evolving via spin-offs and add-ons. The business model behind it is also flexible. It\u2019s not just a linear proposition. It\u2019s 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\u00a0Married at First Sight<\/em>\u00a0that will air in 2025.\u201d<\/p>\n

\u201cThere is also a notable interest in original IP,\u201d Ferron adds. \u201cNetworks and platforms are actively seeking innovative and unique content to differentiate themselves in a crowded market.\u201d<\/p>\n

IDEA MACHINES<\/strong>
\nWhat does a new concept need to grab the attention of commissioners? Palti highlights several qualities, including \u201can 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.\u201d<\/p>\n

Ferron adds, \u201cTo 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\u2014while avoiding repetitive content and focusing on building unique, platform-specific experiences\u2014amplifies the IP\u2019s value.\u201d<\/p>\n

Gerhartz referenced the breakout success of\u00a0Stranded on Honeymoon Island<\/em>, which is coming to the BBC in the U.K. later in 2025. \u201cIt is the fastest-traveling dating reality format since 2020. We\u2019re also seeing a lot of interest in new ideas coming out of our pipeline.\u201d<\/p>\n

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.<\/p>\n

\u201cOne way to minimize risk is through co-productions,\u201d Dori Media\u2019s Palti says. \u201cThere 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.\u201d<\/p>\n

STREAM ON<\/strong>
\nWhether 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\u2019t that different from linear broadcasters anymore.<\/p>\n

\u201cLinear and streaming are getting closer and overlapping,\u201d Gerhartz says. \u201cThe 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\u2014attracting 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.\u201d<\/p>\n

\u201cWe are definitely still seeing a commitment to entertainment formats from the streamers,\u201d Palti reports. \u201cThey 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.\u201d<\/p>\n

All3Media International\u2019s Smith concurs, noting, \u201cWhen you look at the streamers\u2014taking Netflix out of it\u2014they\u2019re all playing in the traditional format space now. They\u2019re licensing formats for individual territories. Even with Netflix commissioning something like\u00a0Squid Game: The Challenge<\/em>, you don\u2019t really get much bigger swings than that. It gives confidence to the whole industry.\u201d<\/p>\n

Streamers have also allowed edgier shows like\u00a0Naked Attraction<\/em>\u00a0to find international homes; the format is in ten territories, Smith says.<\/p>\n

\u201cIn Europe in particular, local streamers are increasingly important,\u201d Fremantle\u2019s Wallace notes, referencing Videoland in the Netherlands and RTL+ in Germany as examples. \u201cThose platforms will commission local shows in a local language. They\u2019re often attracting young audiences as well. It\u2019s good for us as producers, but it\u2019s also good for the audience.\u201d<\/p>\n

Streamers have also allowed fans to consume multiple versions of a format, as Peacock has done with\u00a0The Traitors<\/em>\u00a0and\u00a0Love Island<\/em>. \u201cIt allows you to build the brand a lot stronger,\u201d Smith says. \u201cIt wouldn\u2019t 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\u2019re a fan of a particular show, whether it\u2019s\u00a0The Traitors<\/em>\u00a0or\u00a0Love Is Blind<\/em>, you want to see the other versions. That\u2019s been a huge boon for everyone in the business.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Leading distributors share their perspectives on trends reshaping the prime-time entertainment formats sector.<\/p>\n","protected":false},"author":290,"featured_media":14853,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[79,69],"tags":[157,143,1482,3535,826,532,3926,1501,2351,1383],"class_list":["post-14852","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","tag-all3media-international","tag-dori-media-group","tag-fremantle","tag-grb-media-ranch","tag-nadav-palti","tag-nick-smith","tag-seven-one-studios-international","tag-sophie-ferron","tag-tim-gerhartz","tag-vasha-wallace","pmpro-has-access"],"yoast_head":"\nPrime Time Wins - TVFORMATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Prime Time Wins - TVFORMATS\" \/>\n<meta property=\"og:description\" content=\"Leading distributors share their perspectives on trends reshaping the prime-time entertainment formats sector.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/\" \/>\n<meta property=\"og:site_name\" content=\"TVFORMATS\" \/>\n<meta property=\"article:published_time\" content=\"2025-02-10T13:50:55+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-02-11T15:02:38+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvformats\/wp-content\/uploads\/sites\/10\/2025\/02\/ALL3-THE-TRAITORS.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"681\" \/>\n\t<meta property=\"og:image:height\" content=\"481\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Mansha Daswani\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mansha Daswani\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/\",\"url\":\"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/\",\"name\":\"Prime Time Wins - TVFORMATS\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#website\"},\"datePublished\":\"2025-02-10T13:50:55+00:00\",\"dateModified\":\"2025-02-11T15:02:38+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\"},\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tvformats\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Prime Time Wins\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#website\",\"url\":\"https:\/\/worldscreen.com\/tvformats\/\",\"name\":\"TVFORMATS\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/worldscreen.com\/tvformats\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\",\"name\":\"Mansha Daswani\",\"description\":\"Mansha Daswani is the editor-in-chief and associate publisher of World Screen. She can be reached on mdaswani@worldscreen.com.\",\"url\":\"https:\/\/worldscreen.com\/tvformats\/author\/mdaswaniworldscreen-com\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Prime Time Wins - TVFORMATS","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/","og_locale":"en_US","og_type":"article","og_title":"Prime Time Wins - TVFORMATS","og_description":"Leading distributors share their perspectives on trends reshaping the prime-time entertainment formats sector.","og_url":"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/","og_site_name":"TVFORMATS","article_published_time":"2025-02-10T13:50:55+00:00","article_modified_time":"2025-02-11T15:02:38+00:00","og_image":[{"width":681,"height":481,"url":"https:\/\/worldscreen.com\/tvformats\/wp-content\/uploads\/sites\/10\/2025\/02\/ALL3-THE-TRAITORS.jpg","type":"image\/jpeg"}],"author":"Mansha Daswani","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Mansha Daswani","Est. reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/","url":"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/","name":"Prime Time Wins - TVFORMATS","isPartOf":{"@id":"https:\/\/worldscreen.com\/tvformats\/#website"},"datePublished":"2025-02-10T13:50:55+00:00","dateModified":"2025-02-11T15:02:38+00:00","author":{"@id":"https:\/\/worldscreen.com\/tvformats\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad"},"breadcrumb":{"@id":"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/worldscreen.com\/tvformats\/prime-time-wins\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/worldscreen.com\/tvformats\/"},{"@type":"ListItem","position":2,"name":"Prime Time Wins"}]},{"@type":"WebSite","@id":"https:\/\/worldscreen.com\/tvformats\/#website","url":"https:\/\/worldscreen.com\/tvformats\/","name":"TVFORMATS","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/worldscreen.com\/tvformats\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/worldscreen.com\/tvformats\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad","name":"Mansha Daswani","description":"Mansha Daswani is the editor-in-chief and associate publisher of World Screen. She can be reached on mdaswani@worldscreen.com.","url":"https:\/\/worldscreen.com\/tvformats\/author\/mdaswaniworldscreen-com\/"}]}},"_links":{"self":[{"href":"https:\/\/worldscreen.com\/tvformats\/wp-json\/wp\/v2\/posts\/14852","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worldscreen.com\/tvformats\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worldscreen.com\/tvformats\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvformats\/wp-json\/wp\/v2\/users\/290"}],"replies":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvformats\/wp-json\/wp\/v2\/comments?post=14852"}],"version-history":[{"count":0,"href":"https:\/\/worldscreen.com\/tvformats\/wp-json\/wp\/v2\/posts\/14852\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvformats\/wp-json\/wp\/v2\/media\/14853"}],"wp:attachment":[{"href":"https:\/\/worldscreen.com\/tvformats\/wp-json\/wp\/v2\/media?parent=14852"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worldscreen.com\/tvformats\/wp-json\/wp\/v2\/categories?post=14852"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worldscreen.com\/tvformats\/wp-json\/wp\/v2\/tags?post=14852"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}