{"id":6646,"date":"2019-01-07T11:40:38","date_gmt":"2019-01-07T16:40:38","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvformats\/2018-year-formats\/"},"modified":"2019-01-09T09:13:34","modified_gmt":"2019-01-09T14:13:34","slug":"2018-the-year-in-formats","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvformats\/2018-the-year-in-formats\/","title":{"rendered":"2018: The Year in Formats"},"content":{"rendered":"

As the demand for drama showed no signs of letting up in 2018, scripted formats had a booming year across the globe.<\/em><\/p>\n

Asia, in particular, saw a raft of announcements in both drama and comedy. BBC Studios licensed Doctor Foster<\/em> and Luther<\/em> to South Korea and The Office<\/em> in India. Endemol Shine Group inked deals for Chinese-language remakes of Broadchurch<\/em> and Humans<\/em>, and the first Asian version of The Bridge<\/em> for Viu and HBO Asia. Japan’s Fuji TV commissioned a version of the legal drama Suits<\/em>. The Israeli thriller Hostages<\/em> headed to India. Twentieth Century Fox Television Distribution licensed How I Met Your Mother<\/em> for a local adaptation in China, while Last Man Standing<\/em> is being remade in India and Vietnam. Nippon TV clinched its first format deal on the Japanese drama series Abandoned<\/em>, with a version set for Thailand. It was indeed a good year for Asian scripted IP, with Global Content Hub by Zee scoring an African deal on the Indian drama Pavitra Rishta<\/em>; Medyapim acquiring the rights to make a Turkish version of Nippon TV’s Oasis\u2014A Love Story<\/em>; and CJ ENM licensing Hidden Identity<\/em> and Stranger<\/em> in Russia and Another Miss Oh<\/em> in Turkey.<\/p>\n

The U.S., too, saw a wave of activity, including FOX commissioning an adaptation of the detective drama Witnesses<\/em>, originally produced for France 2. Red Arrow Studios International\u2019s Einstein<\/em> and The Last Cop<\/em> are in development for the U.S. 20th Century Fox Television and Endemol Shine North America are working together on the dramedy Let’s Spend the Night Together<\/em>, inspired by the series Quadrus<\/em> from France. Paramount Network issued a pilot order for 68 Whiskey<\/em>, adapted from the Israeli series Charlie Golf One<\/em>. Dynamic Television and Adi Hasak are working on a U.S. version of the German series Tempel<\/em>. David Shore is adapting the British drama Accused<\/em> for Paramount Network in partnership with Sony Pictures Television.<\/p>\n

In Europe, TF1 ordered a local version of Doctor Foster<\/em>; Lagard\u00e8re Studios closed a deal to develop a French remake of the hit Norwegian drama Home Ground<\/em>; STUDIOCANAL sealed a Russian agreement on La Porta Rossa<\/em>; VIASAT3 in Hungary premiered a local version of Dori Media Group’s Argentine romantic comedy Ciega a Citas<\/em> (Date Blind<\/em>); This Is Us<\/em> landed its first format deal, in Turkey; and the Belgian series Tytgat Chocolat<\/em> (Team Chocolate<\/em>) scored a U.K. remake deal.<\/p>\n

Mexico also proved to be a hot spot last year, with deals on Keshet International\u2019s Mythological Ex<\/em> and The A Word<\/em>, Red Arrow Studios International\u2019s The Last Cop<\/em>, and the Spanish series Pepe\u2019s Beach Bar<\/em> (Chiringuito de Pepe<\/em>).<\/p>\n

On the nonscripted side, meanwhile, it was another banner year for megaformats, particularly in the Asia Pacific. Of note, Talpa clinched a multiseason, multiyear deal with Star India for The Voice<\/em> and The Voice Kids<\/em>; Fremantle closed an agreement for Idols<\/em> to return to the Philippines on a new home, ABS-CBN, and for Kids Got Talent<\/em> to launch on Tencent Video in China; Australia\u2019s Got Talent<\/em> is set to come back to Channel Seven; and Indonesia’s RCTI signed a deal with Endemol Shine International for a fifth season of MasterChef<\/em>.<\/p>\n

Elsewhere, too, the big format brands scored renewals or were resurrected. Banijay Productions prepped Temptation Island<\/em> for Germany and the U.S.; The Voice <\/em>is coming back in Switzerland, the Czech Republic, Slovakia and Argentina. Deal or No Deal <\/em>made its return to Brazil and was revived in the U.S. Mark Burnett and Bear Grylls teamed up to revive the competition series Eco-Challenge<\/em>. The Great Bake Off<\/em>, MasterChef <\/em>and Dancing with the Stars<\/em> franchises continued their global expansion. ABC renewed the new iteration of American Idol<\/em> for a sophomore season. There was also a smattering of volume deals for established brands, such as Dori Media Group granting RTL in Hungary ten years of exclusive broadcasting rights for the local adaptation of Power Couple<\/em>, PPTV HD 36 in Thailand inking a three-year deal with Talpa for the entire The Voice<\/em> franchise, and Asia Broadcasting Corporation in Sri Lanka agreeing to a five-season pact with Keshet International for Rising Star<\/em> on Hiru TV.<\/p>\n

There was also room for new formats to emerge, notably the singing competitions The Four<\/em> from Armoza Formats and All Together Now<\/em> from Endemol Shine Group, both of which notched up a slew of deals in 2018. Love Island<\/em> also arrived as a major contender in the dating formats space in 2018 after having been on the air in the U.K. since 2015.<\/p>\n

Last year saw new activity in the digital arena with OTT operators beginning to up their game in the format business. Studio Lambert’s Channel 4 show The Circle<\/em> is being adapted locally by Netflix in multiple countries, including the U.S. Facebook and Fremantle struck a deal to launch new international versions of the interactive game show Confetti<\/em> in the U.K., Thailand, India, Vietnam and the Philippines for Facebook Watch. Amazon Prime Video is developing a new global reality fashion series with Project Runway<\/em> alums Heidi Klum and Tim Gunn.<\/p>\n

Keep up with all the developments in the formats business by subscribing to TV Formats Weekly<\/a><\/em> and visiting TVFormats.ws<\/a>.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

World Screen looks back at the major trends in formats in 2018.<\/p>\n","protected":false},"author":290,"featured_media":6647,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[68,69],"tags":[],"class_list":["post-6646","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-profiles","category-top-stories","pmpro-has-access"],"yoast_head":"\n2018: The Year in Formats - 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\/2018-the-year-in-formats\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"2018: The Year in Formats - TVFORMATS\" \/>\n<meta property=\"og:description\" content=\"World Screen looks back at the major trends in formats in 2018.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvformats\/2018-the-year-in-formats\/\" \/>\n<meta property=\"og:site_name\" content=\"TVFORMATS\" \/>\n<meta property=\"article:published_time\" content=\"2019-01-07T16:40:38+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-01-09T14:13:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvformats\/wp-content\/uploads\/sites\/10\/2017\/07\/2019-01-02-Year-in-review.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"319\" \/>\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=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/2018-the-year-in-formats\/\",\"url\":\"https:\/\/worldscreen.com\/tvformats\/2018-the-year-in-formats\/\",\"name\":\"2018: The Year in Formats - TVFORMATS\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#website\"},\"datePublished\":\"2019-01-07T16:40:38+00:00\",\"dateModified\":\"2019-01-09T14:13:34+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\"},\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tvformats\/2018-the-year-in-formats\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tvformats\/2018-the-year-in-formats\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tvformats\/2018-the-year-in-formats\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tvformats\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"2018: The Year in Formats\"}]},{\"@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. 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