After the panel, Formatbiz spoke with Servy to better understand what is really happening behind the numbers: how the entertainment industry is evolving, why formats remain central to broadcasters and streamers, and how creator-driven ecosystems, digital platforms and new audience behaviors are changing the future of unscripted television.
The presentation, based on The WIT’s latest international research, confirmed that the global unscripted market is not collapsing, but stabilizing after years of extraordinary expansion. According to the data presented, 8,577 unscripted series — both new and returning — were launched worldwide in 2025-26, down 6% compared to the post-pandemic peak of 2022-23, but still up 14% versus pre-COVID levels in 2018-19. Meanwhile, 1,118 unscripted format adaptations were launched globally during the same period.
The numbers suggest that the market is entering a new phase of maturity rather than decline. While broadcasters and platforms are commissioning fewer new formats, returning brands and established IPs continue to perform strongly. Servy explained that the industry is becoming increasingly focused on scalable concepts capable of working across multiple platforms and audience segments.
One of the most significant trends highlighted during the session was the convergence between traditional television, streaming services and the creator economy. A slide from the presentation declared that “The Creator Economy is graduating,” underlining how YouTube creators are rapidly becoming central players within the television ecosystem itself.
According to Servy, YouTube is no longer simply a digital companion to television, but an incubator for future entertainment formats. Creator-driven content is now influencing the language, pacing and structure of mainstream entertainment shows.
One of the clearest examples discussed was Stop the Train, a YouTube-originated concept launched in September 2025 and subsequently acquired by Banijay Entertainment for international format rights. The acquisition reflects a growing strategy among major production groups to scout digital-native concepts capable of evolving into scalable television IP.
Live digital experiences are also becoming increasingly important within the entertainment ecosystem. The presentation showcased the success of live events on YouTube, from creator-driven broadcasts to music events and interactive livestreams. This shift demonstrates how younger audiences increasingly expect entertainment to be continuous, interactive and community-based rather than limited to traditional primetime scheduling.
Another major topic explored during the panel was the rise of scalable and hybrid formats designed to work simultaneously across linear television, streaming platforms and social media ecosystems.
Among the most talked-about examples was The House of Hide & Seek, recently launched on RTL4 in the Netherlands. The format reinvents the childhood game of hide-and-seek as a large-scale family entertainment show and had already secured international adaptations before its local debut. Spain’s RTVE is among the broadcasters preparing a local adaptation, confirming the international appetite for accessible family-oriented formats with strong audience participation elements.
Servy also focused on the increasing convergence between linear television and streaming through innovative 24/7 reality formats. One of the most ambitious examples is the new version of MasterChef in Mexico. MasterChef México 24/7, launched by Azteca 1 in May 2026, transforms the classic competition into a continuous multiplatform reality experience.
In this reinvented version, contestants live together in a fully equipped culinary house where viewers can follow cooking lessons, livestream training sessions, behind-the-scenes interactions and challenges twenty-four hours a day across television, YouTube and streaming services. The project also incorporates digital creators responsible for producing additional social media content, demonstrating how entertainment brands are evolving into always-on ecosystems rather than isolated TV programs.
A similar approach was mentioned regarding Power Couple, the relationship reality format from Dori Media, whose 24/7 version successfully launched this year across television and digital platforms. According to Servy, these projects represent a clear direction for the industry, where broadcasters and streamers are increasingly looking for flexible formats capable of adapting to different budgets, programming needs and audience behaviors simultaneously.
The WIT’s research also revealed important structural changes within the global format business. Western Europe remains the dominant market, accounting for 48% of all format adaptations launched worldwide, while Central and Eastern Europe continues to be the world’s most format-oriented region, where formats represent 26% of unscripted premieres.
Streaming platforms are also becoming increasingly active in the format sector. Although unscripted commissioning on SVOD services has declined compared to the 2022-23 peak, formats are proving particularly resilient among streamers, increasing from 8% to 12% of unscripted premieres on global platforms.
At the same time, non-US productions now represent 23% of SVOD unscripted originals, with the UK remaining the strongest market while South Korea continues its rapid international rise.
The presentation further confirmed the dominance of Banijay Entertainment within the international format business. Banijay Rights currently leads all regions worldwide, with 43 formats achieving at least one adaptation during the analyzed period. Among its top sellers are MasterChef, Bloody Game and Deal or No Deal.
Meanwhile, Fremantle and ITV Studios continue to hold second and third place respectively, thanks largely to enduring entertainment brands such as Thank God You’re Here and Come Dine With Me.
One particularly significant insight from the panel concerned renewal rates. According to The WIT’s analysis, format adaptations achieve an average renewal rate of 28.5%, compared to just 12.4% for unscripted premieres overall. This explains why broadcasters and streaming platforms continue to prioritize proven adaptable IP despite the overall contraction of the market.
Ultimately, Caroline Servy’s presentation described an entertainment industry that is becoming increasingly hybrid, multiplatform and creator-driven. The future of unscripted television no longer appears centered solely around traditional linear scheduling or standalone streaming releases. Instead, the next generation of successful formats will likely be scalable entertainment ecosystems capable of existing simultaneously across television, streaming, social media, livestreaming and creator communities.
