Industry

A new report released by the European Audiovisual Observatory, titled “Adaptations in Audiovisual Fiction Production in Europe – 2023 Figures”, casts a comprehensive light on the growing role of adaptations in the European audiovisual landscape. Authored by Dr. Agnes Schneeberger, a leading expert on audiovisual markets, the study offers key data on adaptation trends across the continent from 2015 to 2023, revealing the increasing weight of books and TV series as sources for scripted content.

Adaptations have become an essential element of the European fiction ecosystem. Between 2015 and 2023, 14% of all fiction titles produced—amounting to 1,524 TV films and series—were adaptations. This translates into an annual average of more than 160 titles and over 1,400 hours of adapted content, underscoring the enduring popularity of storytelling born from pre-existing IP.

One of the most striking findings is that 88% of all European TV and SVOD adaptations are based on original works from within Europe. The UK leads the pack with 23% of the source material, followed by Germany (17%), France (10%) and Spain (7%). Only 12% of adaptations are based on non-European sources, with the US accounting for half of that segment.

This highlights the strength of Europe’s own literary and television heritage, which continues to inspire local and international producers alike.

From 2021 to 2023, streaming platforms outpaced traditional broadcasters in their reliance on adaptations. A full 20% of all original fiction titles commissioned by streamers were adaptations, compared to 15% by private broadcasters and 11% by public broadcasters.

Among top commissioners, Netflix and public service broadcasters such as the BBC, ZDF, ARD, and France Télévisions have each ordered over 100 adaptations during the 2015–2023 period, reinforcing the role of large players in shaping the trend.

Books remain the primary source of adaptations, accounting for 74% of the adapted works, followed by TV series at 19%. Crime and detective stories are the dominant genres, with Agatha Christie (UK) and Claudia Rossbacher (Austria) leading the way with 10 adaptations each.

Interestingly, most adapted books are relatively recent: 68% were published after 2000, while only 4% derive from pre-20th-century literature. National content remains dominant when it comes to books—82% of book-based adaptations are produced in the same country as the original publication. In contrast, TV series adaptations are largely international, with 92% being produced in a different country than the original.

Among the most frequently remade European TV series, Norwegian youth drama SKAM and British thriller Liar lead with six remakes each across Europe. Israeli psychological drama BeTipul (In Therapy) follows closely with five remakes, and Belgian crime series Professor T. with four.

These titles showcase the universal appeal of strong characters and culturally adaptable formats, confirming the cross-border potential of serialized storytelling.

The UK has the highest share of adaptations relative to its overall fiction production (25%), followed by Italy (19%), Sweden and France (18%), Spain (17%), and Poland (15%). While British and German producers favour books, Dutch and Czech adaptations are more evenly split between books and TV series.

Adaptations are also more likely to be part of co-productions. In fact, 23% of fiction co-productions are adaptations, compared to 13% among single-country productions. This suggests that adaptation IP offers a safer bet for partners looking to pool resources across borders.

The majority of audiovisual fiction adaptations come in the form of high-end TV series with 13 or fewer episodes per season (54%), followed by TV films (36%). This reflects a broader trend in European storytelling towards compact, quality-driven content ideal for streaming and festival circulation.

The Observatory’s report confirms that adaptations—particularly from literature and successful TV properties—remain a vital source of creative inspiration and economic viability in the European fiction sector. With the vast majority of these works rooted in European cultural production, the findings point to a thriving ecosystem that balances tradition with innovation.

As streamers and broadcasters continue to seek out reliable IP to cut through the crowded content space, adaptations will likely play an even bigger role in the coming years—anchoring European identity while appealing to global audiences.

Read the full report at www.obs.coe.int
Author: Dr. Agnes Schneeberger – European Audiovisual Observatory