Has the demand for scripted declined? Is there a new boom for unscripted titles? Is that a new opportunity to enhance legacy titles and licensing? How to balance the scripted and unscripted pipeline? All those questions might have different answers, and executives from various parts of the world analyzed one of the most discussed issues in the global content industry this year: the balance between scripted and unscripted content, and the future of each business.
Lisa Perrin, Managing Director, International Production, ITV Studios
"It's clear that some linear broadcasters are making less scripted projects due to the rising costs of making drama. However, streamers are still demanding high-quality drama, and we're pleased to have producers all over the world who can create those types of shows. Viewers still love watching unscripted shows, so I'm not sure I would call it a boom but a continued love. Broadcasters know that unscripted shows are still very popular, but they are looking at titles that can work on lots of their platforms - not just one."
"We are still seeing broadcasters wanting our long-running, bankable brand titles. However, there is also a genuine desire for new content, and we're pleased to be launching a substantial slate of original new formats at Mipcom this year. We are already getting lots of interest from them."
"By having producers all over the world who have excellent relationships with their local broadcasters and streamers, we have an intimate knowledge of what our clients need. We rely on those producers of unscripted and scripted shows to have their finger on the pulse of the trends in their markets. It's definitely not one size fits all. In unscripted, we are always looking for a good idea from any of our producers and creators through our Creative Network, and Mike Beale's team does a brilliant job of identifying undiscovered jewels and getting them traveling around the ITV Studios group."
Vanda Rapti, EVP Viaplay Select & Content Distribution
"Internationally, the content that travels best across borders is scripted drama. The demand for such content by international content buyers has not declined, but what has declined is the commissioning of scripted content. We continuously monitor audience behavior and market dynamics across our footprint. Scripted commissioning has notably slowed down, primarily due to limited returns vs significant (and rising) production costs. In contrast, unscripted and reality formats have gained momentum, both for local and global streamers, as such shows provide a more certain return on investment and are of lower cost to produce. Therefore, our streaming platform and free TV channels in the Nordics have continued to commission strong reality and non-scripted shows, and reduced our scripted output. Internationally, however, we continue to expand our inventory with the best of Nordic and other European storytelling, to fulfil the acquisition needs of our clients globally, as well as our specialized SVOD and Viaplay Select offering that focuses on the genre."
"We approach the scripted and unscripted balance with a dual lens. On the commissioning side, we prioritize unscripted formats that resonate with local audiences and deliver a good return on investment. These titles enable us to remain agile and relevant in a rapidly evolving landscape. Internationally, we represent the region's best scripted content, including distinctive and premium dramas and crime series that buyers continue to seek out. This balance allows us to deliver what works best in each context: relevant, cost-effective unscripted for local markets, and high-quality scripted for international buyers."
Sebastian Kim, VP of International Content Business Department at CJ ENM
"For ready-made content, the demand for Korean scripted shows has remained consistently strong rather than declining. Buyers continue to prioritize high-concept dramas with clear export potential: character-driven thrillers, elevated rom-coms, and IP-based titles that leverage built-in awareness. The bar for story architecture keeps rising, so what's changed is not the appetite but the selectivity. In parallel, unscripted is enjoying a renewed tailwind, especially formats that can localize cleanly while preserving a signature game mechanic or reveal. Titles like 'I Can See Your Voice' and 'The Genius Game' demonstrate two durable vectors of demand: first, co-viewing entertainment built on simple, repeatable rules and secondly, premium mind-game competition that feels fresh in every market."
"Our internal read suggests that the total number of titles on-air in 2025 is down approximately 30% versus 2023, reflecting domestic ad-market softness and a broader recalibration of commissioning risk. That contraction pressures both scripted and unscripted."
Kelly Wrght, MD of Distribution, Keshet International
"From our experience, there's still a major appetite for scripted and unscripted formats and tape. In terms of our Keshet dramas, we recently sold three dramas to Netflix and licensed comedy formats in France for TFI and Germany for ProSieben.Sat1's JOYN, respectively. On the unscripted side, we are seeing renewed interest in format adaptations, particularly game shows. It's actually an opportunity for formats. Proven IP and legacy titles aren't going to stop being in vogue."
"We are lucky to have a continuous stream of scripted IP coming to us from our commercial broadcaster, Keshet 12. While these are local stories developed for local viewers, the themes are always universal. Simultaneously, we've always been known for our creativity in unscripted. We're now collaborating with various players to develop new IP from Latin America, and it's a fascinating venture for us. We love the creativity and the boldness of the TV leadership in this market; it's been an enjoyable and productive place to begin rebooting our unscripted creativity."
Brad Horvath, VP, Content Sales & Distribution, Boat Rocker Studios
"The industry is in a moment of recalibration. While scripted premieres in the U.S. have come down from the peak in 2022, they are generally in line with other recent years, and 2025 is on pace with 2024. We're seeing that buyers are more cautious with spend and risk, and that could create room for more unscripted, but it doesn't mean scripted has lost its value."
"When scripted commission volume softens, it is an opportunity to lean into unscripted, but scripted remains essential, especially on projects with strong creative voices that resonate internationally. Yes, it's also a moment to maximize the value of legacy titles and licensing."
"For Boat Rocker Studios, adaptation is built into our DNA. We've always been a multi-genre, multi-platform studio, so we're set up to adapt with shifts in demand. We don't see scripted and unscripted as competing. Our goal is to have a diversified slate with the flexibility to lean into whichever side the market rewards at any given moment. That's how we build resilience through cycles, by being able to move where the audience and the buyers are headed."
Bryan Gabourie, SVP, International Sales & Partnerships at Blue Ant Studios
"We do have strong scripted programming at Blue Ant, primarily in the Kids & Family, Y/A, and animated spaces, for which we have established strong broadcast partnerships in key territories around the world. Our scale and position in the market enable us to continue producing premium content across all genres through a range of flexible deal models, leveraging co-production partnerships, strategic windowing, and various production finance models and incentives. We are also uniquely positioned to include participation from our O&O Channels and Services as part of these collaborative models, bringing fresh content to market, a key component of the advantages the broader Blue Ant Media brings to the table. Our slate is an example of very strong creative that we are putting the full weight of Blue Ant Media behind, to commence production and deliver premium content in proven genres ahead of securing platform partners. Our clients have had a tremendous response to this model thus far, and it's a key component of our international content strategy going forward."
Paula Teruko, Director, Content Sales, Latin America & U.S. Hispanic, BBC Studios
"In Latin America, scripted remains a cornerstone, particularly local drama and telenovelas, which continue to drive audiences and subscriptions. Even with budgets under pressure, buyers in the region continue to seek high-quality scripted content with broad appeal consistently. Alongside this, we're seeing sustained and growing interest in BBC Studios' Natural History Unit and factual programming. Natural history resonates strongly, offering both global prestige and family-friendly appeal. My role is to help clients identify the right mix, whether that's premium scripted titles with international potential or standout factual programming that delivers scale and distinction."
"It's not about scripted being replaced but rather complemented in smarter ways. Local drama and telenovelas remain the backbone of viewing, but with fewer originals being commissioned globally, catalog titles and factual content are playing a bigger role. Buyers are turning to natural history and other factual genres to refresh their offerings, appeal to family audiences, and stand out in an increasingly competitive landscape."
"Because we offer both premium scripted and world-class factual programming, we can adapt quickly depending on what partners are prioritizing. That agility is key, sometimes the immediate demand is for a scripted title with international recognition, and other times it's for standout factual content, such as natural history, that delivers global prestige and broad family appeal."
Rebecca Tavares, Manager, Formats Sales, Latin America, BBC Studios
"In Latin America, clients have become more selective when approving projects, as the region grapples with significant global shifts, such as M&A activity with the merger of Warner Bros. Discovery and the sale of Paramount, among other corporate restructurings. That said, BBC Studios' portfolio of scripted IP remains strong, high-quality, and well-known, and we are confident in its long-term potential in the market. On the unscripted front, I wouldn't describe the current moment as a "boom." What we are seeing is a stable and consistent flow of unscripted production and renewals, which has remained relatively unchanged. In contrast with the slowdown in scripted, that steady activity can look like a surge, but in reality, it is more a continuation of the usual cycle for unscripted formats."
"In most cases, it's an opportunity to enhance legacy titles and licensing. When there is a decrease in the commissioning of scripted originals, the natural tendency is not necessarily to replace that demand with unscripted, but rather with other forms of scripted content, such as licensed formats or well-established legacy titles. Commissioners still prioritize content that aligns with the same consumption habits and audience expectations and scripted remains a core viewing choice. We are also seeing an increased willingness for our partners to invest in strong scripted IP at the start of a scripted format's international journey."
Jeromine Ader de la Villardiere, International Sales Manager at Federation Studios
"While the market has become more cautious, scripted content remains central to global programming strategies. What we're seeing is a shift toward selectivity and strategic investment: buyers are looking for strong IPs, distinctive editorial voices, and stories that resonate across cultures. At Federation, scripted is our core strength. We continue to see solid demand for premium drama. Rather than a decline, we see a refocusing of scripted commissioning, toward projects that are editorially sharp, internationally scalable, and creatively ambitious."
"The slowdown in scripted commissioning is a chance to reinvest in existing IPs and formats. At Federation, we've created IP360, a dedicated entity focused on identifying, acquiring, and adapting scripted formats with strong international potential. We also see continued interest in licensing and reboots of legacy titles. In a more cautious market, scripted formats that are already tested and editorially distinctive offer a compelling path forward."
"We've built our model around editorial ambition and international reach. Scripted is at the heart of our identity, and we continue to invest in premium drama series that combine strong storytelling with global resonance. While we do explore unscripted opportunities, our focus remains on developing scripted series with strong IP, international co-production potential, and long-term value. We adapt by staying close to our partners, listening to market signals, and building a pipeline that balances creative ambition with strategic pragmatism."