The European content landscape is evolving and consolidating, according to Caroline Servy from The Wit, who spoke at Spain’s Conecta Fiction & Entertainment. Despite the end of the golden age of content glut, Europe’s scripted and unscripted sectors remain healthy. Scripted commissions in Western Europe saw a 17% decrease from 2022-23 but were still up 1% compared to 2018-19. Unscripted content fared even better, with only a 6% decrease from the previous year and an 18% increase since 2018-19.
Streaming platforms experienced a sharper decline, with a 14% drop in original productions in Europe. However, global streamers continue to source 40% of their non-U.S. productions from Europe, with the U.K. and Spain leading the way. This shift indicates a new normal for the industry, with commissioning volumes remaining above pre-COVID levels.
European scripted output is influenced by co-productions, real-life inspiration, and IP-based storytelling. A significant 41% of titles launched in the past year were based on factual events or existing properties, particularly book adaptations. True crime content has seen a 233% increase since 2018, while detective dramas and comedies continue to outperform global genre averages. Thrillers are also making a comeback as audiences seek engaging, serialized narratives.
In terms of formats, while original creation has slowed, adaptation is on the rise. Reboots, returning seasons, and spin-offs are prevalent, with game shows experiencing a resurgence. Game shows now make up 33% of all unscripted adaptations in Europe, up from 25% in previous years.
The U.K. remains a dominant force in exporting formats to Europe, with hits like Love Productions’ “The Piano” leading sales charts. Interestingly, the U.K. has also entered the top 10 list of format importers, with ITV adapting six formats in the past season. Spain has emerged as the second-largest buyer of international formats on the continent, driven by both private networks and regional public broadcasters.
Amazon and Netflix are now the top two format importers globally, surpassing traditional broadcasters like RTL4. While half of their adaptations are in-house, the other half are acquired from third parties. These platforms tend to favor established IP over creative risk, opting for reboots, reality franchises, and formats featuring YouTube talent.
Overall, the European content industry is showing resilience as it moves away from binge commissioning towards a more refined content pipeline. The trends highlighted by Servy indicate a stronger sense of what resonates with audiences, paving the way for future success in the industry.
