DRAMA BRIEF

Asked whether Netflix would bid in the Doctor Who tender, Mensah ruled it out on editorial rather than commercial grounds: "It's a really special show, but it belongs on the BBC." The appetite read-through is that Netflix UK is not pursuing legacy British public-service IP as an acquisition route, and is holding to its own originated-slate strategy. PROVENANCE CAVEAT: the quote comes from a Radio Times interview; the URL below is an aggregator that was fetched and confirmed to carry the quote verbatim, but the Radio Times original could not be fetched by this session, so this entry is one remove from source.

Unveiling Netflix's UK slate at the Edinburgh TV Festival, Mensah set the bar for what she will buy: "In the amazingly competitive UK landscape, it's not good enough to be just ok. You need to swing for exceptional. Across drama, comedy, entertainment, live and factual programming, our slate underscores the risks we are happy to take and the extraordinary UK creativity we are proud to champion." Appetite spans returnable universes (two Top Boy spin-offs), auteur limited series and live event sport.

Frow is buying factual-drama hybrids built from recent, headline-dominating British scandal, ordering To Nicola, Love Peter (1x90) from Wonderhood on the Peter Murrell SNP embezzlement case. His brief: "This is an epic tale of Shakespearean proportions. An extraordinary tale of power, envy, deception and greed. It's both a high-stakes political melodrama and bizarre domestic drama that has dominated headlines and gossip columns." Second such order after Power: The Downfall of Huw Edwards.

Greenlighting Kate Cortesi's romantic comedy-drama Mad Love (6x45) with Element Pictures and Sinestra, Mason defined the buy: "Kate Cortesi's writing is incisive, authentic and uproariously funny, and we're thrilled to bring her refreshingly honest take on the romantic comedy-drama to Disney+... Mad Love is exactly the kind of bold, distinctive storytelling we want to champion as we continue to grow our UK Originals slate." Authored, writer-led, tonally mixed romance is the target.

Ordering a second run of Claire Oakley's Under Salt Marsh, Lyvers named what makes a Sky crime drama returnable: "Under Salt Marsh deeply connected with our audiences... Claire is an exceptional storyteller, with a remarkable ability to create richly drawn characters and a powerful sense of place." REVEALED PREFERENCE, but the stated criteria are authored crime with strong regional specificity and a returning lead detective.

Giving a straight-to-series order to Fox Entertainment Studios' medical drama Diplomatic Immunity, Boreland restated the network's buying identity: "USA Network has always been a home for compelling, character-driven storytelling, and Diplomatic Immunity delivers that with a fresh, global point of view... a smart drama that blends high-stakes medical cases, international intrigue and romance in a way that feels perfectly at home on the network." Genre-blended, internationally set procedurals with romance are the ask.

On Sky Original Charmer, an eight-parter from Working Title Television and Story Films, Lyvers set out the scripted test: "Charmer is exactly the kind of bold, original storytelling we champion at Sky. Tom has crafted a brilliantly distinctive take on modern love... this outstanding creative team is bringing something provocative and thrilling to the screen." The ask reads as provocative, contemporary-relationship drama from newer writing voices with heavyweight producer backing.

Co-backing the BBC's 10-part The Detection Club with BBC Studios Drama Productions, Farrar set out BritBox's genre appetite: "The Detection Club is the perfect gift for fans of this iconic crime writing trio whose stories are beloved by BritBox audiences. We know this will add an exciting new dimension to the mystery genre they helped establish." REVEALED PREFERENCE for golden-age-inflected British mystery with recognisable literary IP for North American subscribers.

Actively looking for the next Star Trek series concept, talking to multiple writers and working with CBS Studios on the franchise's next iteration — 'It is our goal and it is our job to figure out what the next bounce of Star Trek is.' SOURCING CAVEAT: the interview is Deadline's; deadline.com is unfetchable from here, so the page actually read and cited is ScreenRant's write-up, which reproduces the quote with attribution and links the original.

Kaja Wolffers, Prime Video's Netherlands-based content chief for the Benelux region, has added Poland to his remit — consolidating Benelux and Polish commissioning under one content lead. (Headline and standfirst verified; the full C21 article is behind a subscription wall, so no further detail is claimed here.)

Co-commissioned Monarch of the Glen (6x60') with Sebastian Cardwell — a returnable Highlands-set family saga from Ecosse Films and MASTERPIECE PBS, produced in Scotland and Northern Ireland, airing on 5 and PBS in 2027. Signals appetite for warm, landscape-led returnable drama with recognisable legacy IP and a co-production partner already attached.

Returnable heritage-IP family saga for 5: a reimagining of a well-loved title with a contemporary hook, built as a 6x60' romantic and humorous ensemble piece rooted in legacy, love and survival, with a strongly branded landscape as a character. Financed as an international co-production with a US public-broadcaster partner and a national screen agency (Monarch of the Glen, with MASTERPIECE PBS, Northern Ireland Screen and Banijay Rights).

Disney plans to 'roughly triple' the volume of international originals on Disney+ over the next three years, citing 'early success' with local titles — Rivals (UK), Dear Killer Nannies (Spanish-language) and The Perfect Crown (Korean) all became the most-viewed premieres ever on Disney+ in their markets. CEO Josh D'Amaro: Disney wants to 'bring local content onto Disney+ at scale', and outside the US 'subscribers that watch our international originals churn far less than those that don't'. Total content spend ~US$24bn this year. Disney+ has begun commissioning in new markets, including its first local Canadian shows.

Ordered Bergerac series 3 for U and U&DRAMA with Emma Tibbetts, filming now for a 2027 launch. The commission sits alongside The Marlow Murder Club, Outrageous and Bookish in a U&Original slate built on recognisable, warm, returnable titles supported by regional and destination partners — here Jersey-based Westward Studios and Visit Jersey, whose research shows Bergerac viewers are three times more likely to consider visiting the island.

Recommissioning proven audience favourites and raising the stakes within them rather than replacing them: 'Bergerac has become a firm favourite with our audiences, so we're thrilled to recommission it for a third series. The next chapter raises the stakes even further, with a gripping mystery that will keep audiences guessing until the very end.' Signals a preference for returnable detective drama with escalating, guessable-but-unguessed mystery construction.

Ordered Bergerac series 3 (6x60') for U and U&DRAMA alongside Hilary Rosen. Series two averaged 1.3m viewers across its run, the second highest-rating series on U&DRAMA and across the UKTV network in 2026 to date, behind only The Marlow Murder Club series three, and drove U's best week and best day of the year — evidence that the buying case at UKTV scripted is built on demonstrated platform-level performance, not premise alone.

Apple TV has created a new London-based Head of Local Language Scripted role inside Jay Hunt's team, after the exits of Morgan Wandell and Oliver Jones widened her remit. The role is defined as 'defining and executing a comprehensive content strategy for local language scripted series across key international markets' and building 'a compelling slate of shows that resonate in multiple markets' — a clear signal that Apple is buying local-language scripted judged on multi-market travel, not single-territory appeal.

ITVX first-run drama that is big, glossy and noisy enough to cut through a crowded streaming interface, plus well-loved library drama with recognisable value; crime, thriller, science fiction and fantasy.

For pre-buy and co-production: serialised premium crime, gripping thrillers, relationship stories and grounded supernatural or science fiction — but only where a non-UK primary commissioning broadcaster is already attached and at least one key on-screen performer has meaningful UK resonance.

ITV2: US or other English-language comedy and drama for 16-34s.

Locally specific, authentically rooted stories that travel globally - 'a specific place, a specific truth'.

Continued commitment to a very large, varied core film and TV slate, judged by the strategic job each category does rather than viewing hours alone. A pitch should be precise about its primary job: acquisition, retention, reactivation, advertising, household value, cultural conversation or franchise building.

Locally rooted work with an emotionally portable engine — strong local audience insight, evidence of demand that justifies further ownership, travel without erasing cultural specificity. Cited examples include a Zimbabwean novel adapted as a South African soap and Rosario Tijeras moving from licensed success to original continuation.

SAT.2 (launching winter 2027) targets viewers aged 50+ with the strongest SAT.1 programmes of the last two decades and a clear emphasis on German fiction — curated familiarity rather than an undifferentiated archive, distributed across linear, Joyn and third-party platforms including free YouTube.

German-language fiction with durable characters and easy re-entry; reboots, continuations, reunions or companion formats attached to trusted SAT.1 brands.

“As viewing habits continue to evolve, we have to be bold, especially in creating content for younger audiences” — wants experimental short-form content that meets young audiences where they watch (S4C’s Hansh TikTok channel).

Building out local-language scripted internationally under her expanded remit — Apple TV is recruiting a Head of Local Language Scripted to work with Hunt to set strategy and commission non-English-language content

“Vertical dramas are a popular international format which reflect S4C’s vision of transforming to a digital-first broadcaster… Bold content that travels is key to expanding our viewing.”

Quality over quantity — roughly 31 shows a year, chosen for originality and “the risks that they take in their storytelling”; wants shows that “own your own lane” and stand out in a crowded market, and wants talent to bring passion projects to Apple.

Building a genre-based model at Prime Video with dedicated leads for Drama, Comedy, Young Adult, Worldbuilding, Nonfiction and Animation; “a flatter approach that prioritizes clarity and speed to nurture creativity”, with drama executives shepherding series from development through subsequent seasons.

Urgent, campaigning contemporary drama on the biggest issues families face — has commissioned a Jeff Pope drama on social media's impact on children and the fight for online safety, calling it 'an urgent campaigning story'

Building the young-adult slate; loves 'comfort romance' (Ransom Canyon); backing first-time creators

THIN BUT IT IS ALL THAT EXISTS: his only public statement of appetite to date, given on appointment - "I'm excited to collaborate with our industry's outstanding community of writers and producers at the BBC, to find stories and voices which resonate with, and entertain, audiences across the UK." No genre, scale or format specifics have been stated publicly. Context: he arrives from Disney+, where he oversaw Rivals S2, A Thousand Blows, Suspect and Shardlake.

More European local-original drama, more frequently, backed by higher spend

Broad, co-viewing entertainment formats and highly returnable procedural drama for massive commercial audiences.

Female-forward, high-stakes premium dramas as natural successors or spin-offs to the Power and Outlander universes.

Aggressive pre-existing IP and traditional procedurals; a dozen-plus franchise spin-offs (NCIS, FBI); predictable, highly returnable formats with built-in audiences and low marketing.

High-end, event-level co-productions: cinematic thrillers and sweeping international dramas that retain domestic subscribers while scaling across Canal+/Studiocanal's European footprint.

High-budget, event mini-series and broad procedural content tailored for terrestrial commercial dominance.

High-budget, star-driven event mini-series and returnable prime-time procedurals for terrestrial dominance; dark literary adaptations (Bussi's Rien Ne T'efface).

Grounded, socially relevant domestic dramas and regional mysteries that reflect the whole of France.

Bold, diverse narratives tackling urgent, polarized societal issues without fear of social-media reaction or self-censorship; plus comfortable linear hits (Tom et Lola) for regional audiences.

Socially conscious, purpose-driven drama on climate, cohesion and ethics (Elixir); intense personal drama with broad family co-viewing appeal.

Regional UK voices and working-class representation in premium scripted spaces, moving away from London-centric narratives.

High-volume, reliable returners in popular factual, alongside scalable stripped drama events across consecutive nights.

Double original drama to 16 shows a year (26 with acquisitions); diverse genres at lower cost-per-hour via co-pro partners (Arte France, ZDF) while keeping the premium reputation.

Edgy, cinematic Spanish-language dramas that compete directly with international premium cable standard-bearers.

Global tentpoles: the Harry Potter series and Game of Thrones spin-offs; massive IP adaptations for retention, balanced with returning critical darlings (Hacks, Industry).

Aggressively expand existing IP universes (Anne Rice) to super-serve passionate built-in fandoms; low marketing cost, high subscriber loyalty.

Returnable, family-friendly Italian melodrama and crime procedurals built for commercial broadcast stamina.

Familiarity with a twist; star-driven comedies, emotional romances and light procedurals built around established Italian stars, plus Spanish co-pros (Secuoya) for high-volume family melodrama.

Netflix as the most flexible partner for emerging Spanish talent; globally exported teen romance and thrillers (Through My Window) pitched with pre-existing, highly engaged digital fandoms.

Bold, singular voices and cinematic prestige; dark true-crime series set at pivotal moments in modern Spanish history (El Nani, the 1980s transition to democracy).

Max Italy launch: prestigious auteur-driven Italian scripted (Bellocchio's Portobello) with global export, plus star-led live entertainment and legacy reality formats on NOVE.

Premium cinematic IP and dark authored memoirs; bold true-crime and biographical adaptations (Gucci) and high-end genre (Rosa Elettrica) that sit alongside exclusive HBO acquisitions.

Hyper-local retreat: premium violent Nordic Noir crime procedurals and returnable unscripted reality for subscriber retention; no broad English-language swings.

High-end European co-productions; strategic partners to share financial risk on ambitious pan-European historical or thriller series.

Distinct local YA and high-octane genre that travel across EMEA and actively drive cross-border subscription growth between neighbouring European countries.

Culturally poignant, female-led dramas examining toxic masculinity and power dynamics (e.g. Dominic Savage's I Am Helen with Nicola Coughlan).

Singular, creator-driven limited series and returning premium dramas with immense critical upside and cultural cachet.

Compelling Welsh-language scripted (Celtic Noir) that can co-premiere seamlessly on UK networks or streamers.

Broad, accessible crime and emotional relationship thrillers engineered specifically for rapid binging.

Broad-appeal comedies and dramatic expansions of beloved Viacom/CBS legacy IP for the middle-America base built by the Sheridan universe.

Low-budget vertical micro-series (Rosita) as talent labs; short-form mobile-first pitches from emerging voices before larger long-form drama budgets.

Undeniable pre-sold regional IP with global crossover; premium cinematic crime thrillers led by A-list talent (Jo Nesbo's Harry Hole).

Authentic Swedish public-service fiction balancing traditional linear viewing with digital-first youth formats.

Pivot from cosy crime to bold elevated genre (e.g. Blood Cruise, a vampire horror on loneliness); briefs seeded by surveying 100 scientists; New8 to de-risk ambitious swings.

High-end Swedish crime and relationship dramas built specifically to drive TV4 Play subscriptions.

Retaining the pilot model to stay 'ballsier'; uncompromised, auteur-driven narratives amortized globally via Hulu/Disney+.

Professional vertical micro-dramas with SPi - intense thriller, comedy and romance shot vertically for TikTok, Instagram and RTP Play, episodes strictly capped at 90 seconds.

Local authenticity to balance US Paramount/Universal output; creative windowing and shared financing on mid-to-high-budget local originals (Polish crime, Spanish dramedies) with broad commercial appeal.

Premium Polish crime, espionage, and thriller originals that dominate the local pay-TV ecosystem.

High-end cinematic Polish thrillers and espionage dramas for premium pay-TV, plus the CANAL+ Content Lab's non-standard, experimental, fast-turnaround digital formats.

Bold, cinematic UK-originated dramas that cut through the noise, capable of co-production funding with US entities.

Diverse, female-forward premium dramas leveraging and expanding the Power and Outlander ecosystems.

High-concept German thrillers and YA content aimed at global crossover success.

High-concept local stories that export globally, prioritising territories with favourable production frameworks (UK) and pulling back from strict local-IP quota and levy markets.

Dramas with a deep specificity of place and complex character writing, pushing for authentic regional representation.

Deeply authored, resonant stories on urgent societal themes; 'visceral, sharp concepts' and the BBC's answer to elevated-yet-grounded genre shows akin to Severance.

High-volume character-driven procedurals and workplace comedies as NBC linear anchors that drive continuous Peacock retention.

Broad, engaging Danish dramas balancing traditional cozy crime with pressing modern societal themes.

Fast-paced, high-volume relationship dramas and modern crime mirroring contemporary Danish societal shifts for high daily co-viewing.

Belgian-French co-productions: distinctive local comedies and dark psychological thrillers that cross borders to French broadcasters and global streaming platforms.

Grounded Dutch social dramas and historical narratives reflecting modern society within public-broadcast guidelines; public-value gatekeeping amid funding scrutiny.

Bold, cinematic Italian stories (crime and dark drama) with high international co-production value.

High-volume, family-friendly Italian procedurals and sweeping historical epics for the massive RAI 1 audience.

European Alliance co-pros (France TV, ZDF); sweeping historical epics, literary adaptations and returnable family procedurals as fresh variants of Made in Italy, plus big returning events (Mare Fuori).

Deeply layered, socially conscious Danish drama that holds public service value while appealing globally.

Noisy, undeniable Danish event series that cut through global algorithms - earning audience attention back, avoiding middle-of-the-road PSB filler.

Pioneering Microdramas for Gen-Z; mobile-first, vertical, algorithm-driven formats with emotional honesty to rival TikTok.

Hyper-targeted, culturally relevant stories with grassroots/influencer community marketing built in from day one of development (e.g. Requiem for Selina).

Fast-paced Spanish thrillers and daily soaps that feed both terrestrial broadcast and the Atresplayer streamer.

Emotional, broad-appeal historical melodramas (Entre tierras) and character-driven legal procedurals (Perdiendo el juicio) with marketable Spanish stars and export potential.

Returnable high-quality crime and mystery with strong multi-dimensional female leads and atmospheric Dutch settings that travel to European buyers.

Gen-Z digital-native adaptations of viral Italian BookTok sensations and YA rom-coms (Non e un paese per single) to de-risk scripted investment with guaranteed built-in fandoms.

Southern Europe: non-English International Originals with guaranteed digital communities - BookTok romance adaptations and unscripted IP with massive social-media footprints.

Mainstream British thrillers and serialized genre pieces leveraging MGM's legacy studio scale.

Premium French hip-hop/urban culture stories, action-thrillers, and young adult romances.

High-octane action (GIGN), urban/rap cultural phenomena (Blood Coast) and event movies; integrating TF1 linear onto Netflix to complement domestic viewing.

Universally translatable, high-volume crime and medical procedurals licensable across global broadcast networks and streamers.

Unashamedly mainstream, box-settable 4-6 part thrillers and procedurals with a fresh take on crime (e.g. deaf protagonist in Code of Silence) to drive ITVX momentum.

A major new daily soap (Nouveau Jour): a high-volume feuilleton to compete with TF1 and France TV's daily slots and anchor M6 ad-revenue.

Elevating the channel's brand with premium domestic dramas while maintaining cost-effective factual volume.

High-concept dramas and elevated genre with diverse, localized perspectives that keep the unassailable HBO-quality sheen.

Fewer, bigger, better: high-budget internationally competitive series; untold Dutch stories with global resonance, co-financed via New8; character-driven sagas from surprising true events (e.g. The Machine on Booking.com).

Poaching top Spanish film directors for their first TV series; culturally resonant, debated narratives - high-end action, cult docs and dark thrillers (Las largas sombras); premium and cinematic.

4-6 scripted series, 6-8 unscripted formats and 3-4 UK films a year; scouting BookTok/Substack for YA/female-skewing IP; flexible on IP ownership.

Shift from local to international originals: Young Adult content with global fandoms, and an open call for 'the next procedural' to build habitual streaming viewing.

Unseen versions of top Italian talent - high-budget action (Senza Volto), adult animation (Zerocalcare), culturally specific light crime, plus live unscripted (Physical 100 Italy) and live WWE.

High-end British genre series (sci-fi, fantasy, action) targeting a massive global audience.

Distinctly Flemish, socially relevant dramas and thrillers with strong international co-production appeal.

New8 co-financing: homegrown Flemish stories with undeniable international potential exploring societal issues (Elixir/big pharma), plus vertical youth-focused scripted drama (Red Flag) for VRT MAX.

Expanding M6's scripted footprint with female-skewing thrillers and event mini-series.

Accessible, female-skewing prime-time thrillers and event mini-series; light, family-oriented procedurals that feel modern but fit M6's legacy brand.

High-end, multi-partner European co-productions; sharing risk on sweeping historical or sci-fi epics.

Scaling Apple's slate with undeniably massive IP, broad sci-fi, and A-list star vehicles.

An original nearly every week; massive A-list narratives and sci-fi world-building; reinstating weekly 'appointment television' drops to dominate the watercooler.

Making 'more prestige TV than ever' - beautiful, powerful shows - plus specific/quirky/local titles

Scripted thrillers

Expanding 5's scripted drama slate across peak-time series

Original drama in peak slots; increased investment in high-quality scripted originations

Blockbuster British shows with steady, consistent commissioning — and expansion of the UK slate into a broader range of genres.

A more diverse range of British stories and voices — 'tons of people we're not representing yet'.

Low-cost volume series plus high-end premium drama and docs; the 'soft middle' ITV used to make has gone

Contemporary, returning shows with broad appeal, propulsive and entertaining; NOT limited series in the US

HISTORICAL, NOT LIVE APPETITE - said in 2022 while at Disney; Keelan left Disney in early 2025 and has no publicly recorded commissioning seat since. Unmissable, authored shows: "We're interested in making shows you can't miss out on." He wanted originals or "projects with IP behind them", and ran a slate that was a "mix of 50-50 returning brands and franchises, and limited series". Across scripted and unscripted the common thread was "a sense of authorship, something to say, a voice."

HISTORICAL, NOT LIVE APPETITE - 2022, Disney-era. Local authenticity was his first test, and he wanted short pitches. "Whenever I'm pitched ideas at Disney, for me it's, 'Will it work in its local market, first and foremost?'... It's so important that the audience is reflected back to itself in its full diversity." He did not want "long treatments or bibles" - "We're interested in getting a dialogue going" - asking early whether there was existing IP and a writer attached.

Family-centred reality formats for a faith audience, a space he reads as underserved — 'There haven't been a lot of family shows on the reality side. It's an open space to go into and look at.' The tonal brief reported alongside it: content rooted in heart, humour, hope and meaning, and safe — without sex, violence or profanity.

Ordered Will You Marry Me?, an ambitious 12-part LIVE unscripted series from Banijay UK's Workerbee and Initial, launching globally on Netflix in 2027 across four weeks. One man lives in a custom-built house with a group of single women and hands total control to Netflix members, who vote on every major decision and every exit, culminating in a live televised proposal. Described as Big Brother meets Married at First Sight. It sits inside Netflix's push into live entertainment alongside The Rest is Football, Skyscraper Live and Building the Band — all made by UK outfits.

Reality needs a highly visible cast or a strong social engine, not only a competent format; originals gain value when they connect to the NBCUniversal ecosystem without feeling like marketing extensions; advertising suitability and repeat engagement matter alongside subscription appeal.

ITV2: mainstream, big-budget entertainment and glossy, aspirational, fun reality or lifestyle series from the US, Canada or Australia; pre-watershed suitability preferred; distinctive characters or a strong repeatable format.

Proven format engines refreshed by cast and real-world interaction — celebrity as catalyst rather than the whole proposition, with comic unpredictability generated by celebrities seeking help from ordinary members of the public.

A provocative contemporary behaviour embedded in everyday family life, carried by a genuine ensemble whose existing relationships create story without producer invention — moral tension handled with curiosity rather than a punitive frame, and repeatable domestic stakes: partners, children, money, identity, neighbours, reputation.

Wants audacious unscripted originals at volume; no boundaries if it brings a big audience

Wants volume and nerve in unscripted, to rival Netflix's established drama and star-led docuseries roster: 'We want shitloads of stuff', and 'What's brilliant about Netflix is there are no boundaries, so if it's a good idea we will make [it].' Promising an 'audacious' debut slate. Her background is the commissioning of The Traitors, Top Gear and MasterChef at the BBC, and The Last Leg, Alan Carr: Chatty Man and The Big Fat Quiz of the Year across ten years at Channel 4.

Buying character-driven docusoaps; 'lean in urgency' over 'lean back' TV

GBP 100,000 proof-of-concept fund for big, broad, returnable British unscripted formats and bold ideas that benefit from being demonstrated rather than explained — Channel 4 will finance evidence where the magic lives in tone, game play, technology, casting chemistry or a new production method.

Doubling down on dating and docusoaps; serialized competition on Hulu (The Mob, its answer to The Traitors)

Rebalancing toward unscripted: returning series, reality, observational docs and factual entertainment

Cost-effective international co-productions and unscripted formats, pivoting away from expensive YA superhero fare.

Ad-friendly, talent-driven lifestyle and reality formats; highly efficient unscripted swings for FAST and AVOD.

Extremely efficient, talent-led lifestyle, renovation and reality formats engineered precisely for ad-insertion and FAST.

A return to core competencies: premium Nordic Noir and local unscripted formats following corporate restructuring.

Next-generation reality franchises; high-drama, noisy unscripted with massive social media footprints and virality.

Loud, social-media-integrated unscripted franchises; docu-soaps that organically generate viral TikTok moments to feed the Bravo-to-Peacock pipeline.

High-volume, ad-friendly reality, game shows, and procedural unscripted at extremely efficient price points.

Aggressively pushing ad-supported entertainment formats and live reality tentpoles for ProSieben and Sat.1.

Reality event programming; on the hunt for the next major format to succeed legacy brands.

High-impact domestic unscripted and factual that speaks to the immediate Norwegian zeitgeist.

Diversifying the unscripted and entertainment slate to round out its premium drama offerings.

Big, live studio entertainment and reality formats that demand synchronous, communal viewing to drive ad-revenue.

A faster path to yes, bypassing pilots; star-driven scripted swings plus high-efficiency multi-season unscripted game shows (The Floor) and Gordon Ramsay properties.

The next big global unscripted / psychological reality / game-show format, de-risked via pop-culture tropes or digital fanbases (Traitors); on Videoland, local crime thrillers and bingeable YA.

Loud, high-concept reality competition formats (continuing the success of The Masked Singer universe).