Panel: Adapting existing IPs vs create original content
On the fourth day of MIA | Mercato Internazionale Audiovisivo, a fundamental discussion emerged around today's critical decision: whether to adapt existing IPs or create original content. Prominent creatives and executives from Nordic Drama Queens, Sony Pictures Television Studios, The Originals Productions, Miramax, and Palomar explored the advantages, challenges, and market dynamics driving these decisions. Morad Koufane, Director of International and Young Adult Fictions at France Télévisions, moderated the panel, offering insights into the landscape of IP adaptations in Europe. "The streamers offer more adaptations than broadcasters. Ninety percent of their fiction is based on an IP, compared to only 13% of broadcasters," he explained. He also shared some statistics: the UK leads Europe in adaptations, with 26% of its fiction based on IP, followed by France at 18%. Most adaptations are derived from books, with two-thirds of fiction adaptations based on works published in the 21st century.
Nicola Serra, Co-CEO, Partner, and Producer of Palomar (Italy), noted that while Italy is not at the top of the ranking regarding IP adaptations, his production company has taken a different approach. "The adaptation of IP represents most of our production, particularly from novels by great authors," he commented. Palomar adapted The Count of Monte Cristo with France Télévisions as a partner. "We didn't decide to adopt The Count of Monte Cristo based on a specific idea but from our passion for the book. We assembled a group of talented people around this property and started from there," he explained. Lauren Stein, Head of Creative at Sony Pictures Television Studios (US), stated that while Sony maintains a good mix of original and IP-based content, the majority of their offerings are based on IP. "Some of our most successful shows, like Breaking Bad and The Blacklist, were original creations, whereas The Good Doctor and The Boys are based on IP. So, we have a balanced mix, but I'd say the bulk of what's selling right now is IP-based," she shared, adding that IP offers a level of security for buyers. "Whether it's a book, an article, or a person's life, we're seeing far more IP selling than original ideas," she added, citing the example of the upcoming show Long Bright River, an award-winning novel by Liz Moore. Marc Helwig, Head of Worldwide TV at Miramax (US), highlighted their experience adapting The Gentleman into a TV series. "The Gentleman " is interesting because it's a recent film, not part of the older Miramax library. We made it fairly recently with Guy Ritchie, and we saw an opportunity for a creative continuation of that world in television," he noted.
Emmanuelle Bouilhaguet, CEO at TOP – The Originals Productions (France), spoke about their well-known productions Le Bureau and La Maison. "We don't adapt IP; we're an independent studio in France with a writing process inspired by the US model. We focus on creating premium content to develop global IP. We provide an ecosystem for our showrunners to help them envision the next new IP," she explained. She added, "Retaining the IP allows us to manage the project from creation to brand strategy. Le Bureau is a great example: we've sold it globally and recently sold remakes to Paramount Showtime, 101 Studios, and Smokehouse, George Clooney's company." She also discussed La Maison, produced with two showrunners. "From the start, we aimed to create a brand. La Maison is set in the haute couture fashion world, with four collections designed by real Parisian fashion houses. We created two fictional fashion houses, with all the authenticity we could muster to make it feel real," she noted. Josefin Tengblad, Co-Founder and Producer at Nordic Drama Queens (Sweden) emphasized how deeply the Nordic noir industry is tied to IP. "We're doing more IP adaptations than anywhere else," she said. "We have incredible crime novelists, and we often need to co-produce because we don't have the resources to do it alone. The streamers have changed things, but co-productions are how we built our industry," she explained, presenting Cry Wolf, based on a novel by Hans Rosenfeldt. "We aim to innovate with each project because we're quite tired of Nordic Noir. This book is a straightforward thriller, but we approached it with a dark comedy tone," she concluded.
OPPORTUNITIES AND CHALLENGES FOR FACTUAL CONTENT
Ilan Astrug, VP of Format Acquisitions at Warner Bros Discovery; Gerbrig Blanksma, SVP of International Sales and Partnerships, EMEA, at Blue Ant Studios (UK); and Abigail Priddle, Creative Director – Specialist Factual at BBC Studios (UK) discussed the opportunities and challenges in co-production between European countries and new financing models for the production of factual content. Priddle highlighted three essential concepts for successful formats: clarity, universality, and freshness. "The clarity ingredient means having a powerful, simple proposition. What are you trying to achieve? What is the purpose of this format? What is it getting at? The concept of universality is about creating a format that can cut across continents, resonating in multiple cultures. We're always looking for those big, general, universal topics like love, baking, or dancing. Finally, freshness is crucial—look at who's buying formats, what's working there, and what they've already got. Find your niche," she explained. Astrug emphasized the importance of having a unique idea that stands out and also noted the significance of timing. "Sometimes you have a great idea and great execution, but the timing isn't right," he said, adding, "When you think of an idea, don't get obsessed with making it work in 30 territories internationally. Focus on your territory first. It needs to work locally." Blanksma agreed with Astrug on timing and added that projects must find editorial matches in other territories. "You want it to work locally, but you also want to have an idea that might work internationally if you plan to take it beyond your territory. That needs to be considered from the start," she affirmed.
When discussing co-productions of factual content with Italy, Priddle noted that BBC Studios had not yet made any but would love to. She emphasized that BBC Studios places great value on and understands the strategic importance of co-production relationships. "We've done a lot of global co-productions, and we really want to do more," she said. Regarding acquisitions, Priddle pointed out that BBC Studios has long-standing, trusted European and Italian partners. Blanksma mentioned that, while Blue Ant Studios has not co-produced much in Italy, they offer other ways of working in the market, similar to their approach in Germany. "We work with a very successful producer there who sometimes reworks some of our shows into German versions that are better suited for local broadcasters, which helps us secure higher financial input from the channels," she explained. Blue Ant also brings content from non-English-speaking markets to the international stage by helping producers adapt the content to English. "We approve the English script and voiceover and shape it into something that could work internationally," she added. Warner Bros Discovery doesn't manage co-productions in the same way as BBC or Blue Ant, so Astrug explained that they create locations where different territories can come and produce back-to-back, making it more cost-effective. He also noted, "Italy has all the elements to become the next international generator of formats. For years, Italy has been one of the biggest adaptors of international formats in Europe, like France and Spain, learning how to adopt formats from the UK, the US, and other territories. Now, they have the skills, experience, and know-how to turn a new, original idea into a format that can work both in Italy and internationally."
Regarding current trends in formats, Blanksma noted that the true crime trend remains very strong, along with factual entertainment. For Blue Ant, there is always demand for natural history and history. Astrug pointed out that digital streamers and linear channels have different needs. "For platforms, the current trend is all about reality—whether it's dating reality, adventure reality, or anything with a big adrenaline impact that appeals to a younger audience," he said. "But linear TV is still thriving with shows like Who Do You Think You Are, The Repair Shop, and Cash or Trash. It couldn't be better," he added.
UNIVERSAL STUDIOS KEYNOTE
Monica Rodman, Executive Vice President of Universal Television Alternative Studio, and Ed Havard, Senior Vice President of Universal International Studios, gave a keynote revealing how current industry changes impact Universal's work and slate. "It's impossible to ignore the challenges; however, I do think they create some unique opportunities," said Rodman. She highlighted that diversification of the slate has become crucial. "Formats will always be the core of our business, but documentaries and true crime, for example, are two very active spaces. For us, building partnerships and opportunities to stay competitive in those genres is critical," she emphasized. On the international side, Havard noted that the focus is on collaboration and finding the right partners to create projects that maintain Universal's level of creative ambition while being cost-effective. "We have a big strategic partnership with the BBC where we co-commission and jointly develop projects. Then, when it comes to execution and production, we share the costs and may even create hubs that other partners can join," he explained.
Regarding opportunities for European and Italian producers in particular, Havard pointed out that about 85% of the biggest unscripted shows launching in the US are coming from the European market. "We are heavily invested in finding those projects and making sure we're the first to discover them. We're always hustling to speak with, find, and work with the best producers from various European territories," he said. Havard cited the example of "Destination X," explaining, "We were able to bring a whole set of resources and expertise to that project, turning a great Belgian show into a global project that truly traveled the world."
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