{"id":15144,"date":"2025-06-23T08:50:02","date_gmt":"2025-06-23T12:50:02","guid":{"rendered":"https:\/\/worldscreen.com\/tvformats\/worldscreen.com\/"},"modified":"2025-06-25T10:33:27","modified_gmt":"2025-06-25T14:33:27","slug":"trend-watching-with-the-wit","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/trend-watching-with-the-wit\/","title":{"rendered":"Trend-Watching with The WIT"},"content":{"rendered":"

The WIT runs the popular Fresh TV sessions at markets worldwide and operates a real-time service tracking global format rollouts. The company\u2019s managing director,\u00a0Caroline Servy, presented some of the company\u2019s data at the TV Formats Festival last month<\/a>.<\/p>\n

According to Servy, the market has tended toward known IP post-Covid, with more returning brands and reboots than new concept rollouts.\u00a0 \u201cWe 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,\u201d Servy said. \u201cThose new adaptations represented 4.6 percent of all new unscripted shows around the world, which includes documentaries. This figure is slightly down compared to the previous year, from 5.2 percent in 2023.\u201d<\/p>\n

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.<\/p>\n

Unscripted dominated the format market, accounting for 77 percent of all adaptations, with 23 percent for scripted, up from 16 percent five years ago. \u201cThis evolution 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.\u201d<\/p>\n

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, \u201cincluding many new versions of classic game shows returning after a long break, a ratio that is four times bigger than 2021, when it was only 2 percent.\u201d<\/p>\n

Servy charted the top three formats of the year in terms of new rollouts. Talpa\u2019s\u00a0The Floor<\/em>\u00a0landed 12 adaptations in 12 months to reach 20 adaptations in total. \u201cThe Floor<\/em>\u00a0is the second most successful new format born in the post-Covid era, closely following\u00a0The Traitors<\/em>, with its 22 adaptations so far.\u201d Second on the chart is\u00a0MasterChef<\/em>, which has a slew of spin-offs, followed by Can\u2019t Stop Media\u2019s\u00a0The A Talks<\/em>, with adaptations in nine major territories, including Australia, the U.K., the Netherlands and Brazil.<\/p>\n

The WIT also tracks the top distributors of formats in the global market; a list that remains highly consolidated, Servy said. Banijay Rights is 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. 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.<\/p>\n

\u201cAll 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.\u201d<\/p>\n

The top six is rounded out by All3Media International, BBC Studios and Warner Bros. International Television Production. Indies shouldn\u2019t be disheartened, Servy said, pointing to success stories at Can\u2019t Stop Media and Primitives.<\/p>\n

In terms of exporting territories, Servy highlighted the U.K.\u2019s 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. 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.<\/p>\n

In terms of top buying markets, Spain remains at the top. Servy highlighted the diminished position of global streamers and the increased appetite for international format concepts from the U.K.<\/p>\n","protected":false},"excerpt":{"rendered":"

Caroline Servy, managing director of The WIT, presents some of the company\u2019s recent data.<\/p>\n","protected":false},"author":1,"featured_media":15149,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[79,69],"tags":[4333,2682],"class_list":["post-15144","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","tag-caroline-servy","tag-the-wit","pmpro-has-access"],"yoast_head":"\nTrend-Watching with The WIT - 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\/trend-watching-with-the-wit\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Trend-Watching with The WIT - 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