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One of the clearest distinctions highlighted during the session is the structural difference between scripted and unscripted formats. While the latter still operates under a “gold rush” logic—where multiple territories rapidly acquire the same breakout hit—the scripted space appears far more fragmented and deliberate.
According to K7’s data, 72% of the adaptations launched between July 2024 and December 2025 are one-offs. In other words, even when a format has a proven track record, most deals involve a single new territory rather than a wave of simultaneous remakes. This suggests that buyers are no longer chasing global trends en masse, but instead are identifying highly specific narratives that can resonate within their local cultural context.
The implication is significant: scripted formats are increasingly functioning as tailored editorial solutions rather than scalable global commodities.
"The proportion of adaptations based on IP older than ten years has risen sharply—from 21% in the previous report to 38% in the current dataset "- said Linnet.
In terms of titles: The Office continues to generate new local versions, most recently in Australia, while Monk has found new life through an Indian adaptation. Even classic Korean melodrama such as Autumn in My Heart is being reinterpreted for Middle Eastern audiences.
Geographically, South Korea continues to dominate as the leading exporter of scripted formats, with 19 adaptations launched in the period analysed. However, the United Kingdom is closing in, with 17 remakes driven largely by major players such as BBC Studios and All3Media. The contrast between the two markets is telling. South Korea’s success is distributed across a wide range of titles, often with one adaptation per format and strong circulation within Asia. The UK, by contrast, relies on fewer but more intensively exploited properties, particularly within the crime and comedy genres.
Meanwhile, Israel continues to punch above its weight as a creative hub, while Japan and Turkey are expanding their global footprint. Notably, the United States appears less active in the format space, as its content continues to travel effectively as finished tape.
On the demand side, the market is becoming increasingly decentralised. Rather than a single dominant territory, four regions—India, Germany, Thailand and the Middle East—share the top position in terms of acquisition activity.
Each of these markets displays distinct editorial preferences. India combines adaptations of Korean dramas with remakes of Western classics, while Germany shows a strong appetite for comedy. Thailand continues to draw heavily from Asian storytelling, and the Middle East is emerging as a significant player through pan-regional streaming platforms.
In terms of genre, crime remains the dominant force, particularly in its darker, investigative forms. Procedural elements combined with psychological depth continue to travel well, while lighter “cosy crime” formats appear to be losing ground.
Several titles highlighted in the report illustrate the mechanisms behind successful adaptation. Doctor Foster and Call My Agent! continues to expand across Europe, leveraging its meta-narrative structure and the integration of local celebrity culture. Your Honor stands out for its ability to transcend cultural boundaries, recently entering the Chinese market—an important milestone for Israeli formats.
However, the standout performer of the period is Ghosts, which has become the most adapted scripted format of the last 18 months. Its success lies in a combination of structural robustness and creative flexibility. The central premise—a haunted house inhabited by characters from different historical eras—offers a highly adaptable framework, allowing each territory to integrate culturally specific archetypes while maintaining a consistent narrative identity.
Meanwhile, Israel continues to punch above its weight as a creative hub, while Japan and Turkey are expanding their global footprint. Notably, the United States appears less active in the format space, as its content continues to travel effectively as finished tape.
On the demand side, the market is becoming increasingly decentralised. Rather than a single dominant territory, four regions—India, Germany, Thailand and the Middle East—share the top position in terms of acquisition activity.
Each of these markets displays distinct editorial preferences. India combines adaptations of Korean dramas with remakes of Western classics, while Germany shows a strong appetite for comedy. Thailand continues to draw heavily from Asian storytelling, and the Middle East is emerging as a significant player through pan-regional streaming platforms.
In terms of genre, crime remains the dominant force, particularly in its darker, investigative forms. Procedural elements combined with psychological depth continue to travel well, while lighter “cosy crime” formats appear to be losing ground.
Several titles highlighted in the report illustrate the mechanisms behind successful adaptation. Doctor Foster and Call My Agent! continues to expand across Europe, leveraging its meta-narrative structure and the integration of local celebrity culture. Your Honor stands out for its ability to transcend cultural boundaries, recently entering the Chinese market—an important milestone for Israeli formats.
However, the standout performer of the period is Ghosts, which has become the most adapted scripted format of the last 18 months. Its success lies in a combination of structural robustness and creative flexibility. The central premise—a haunted house inhabited by characters from different historical eras—offers a highly adaptable framework, allowing each territory to integrate culturally specific archetypes while maintaining a consistent narrative identity.
