Europe’s Content Comeback: How True Crime, Game Shows, and Streamers Are Shaping the New Normal

Europe’s Content Scene: From Boom to Balance — What’s Next for TV & Streaming?

At Spain’s Conecta Fiction & Entertainment event, Caroline Servy from The Wit laid out a fascinating picture of Europe’s evolving content landscape. Spoiler alert: it’s not collapsing — it’s just shifting gears. The industry isn’t crashing; it’s adapting. And if you’re tracking where European TV and streaming are headed before Mipcom rolls around in October, this insight is pure gold.

The Golden Age of Content Glut? Over. But Not Out.

Remember the wild binge-commissioning days when scripted and unscripted shows were popping up everywhere? Well, those heady times are officially behind us. Europe’s scripted content saw a 17% dip in commissions from 2022 to 2023, but here’s the kicker — it’s still slightly up (1%) compared to the pre-pandemic era of 2018-19. Not bad at all.

Unscripted content took a smaller hit — down just 6% year-over-year — and remains a solid 18% above where it was pre-COVID. So yes, while the market is cooling, it’s far from freezing.

Streaming: Pullbacks but Staying Power

Global streaming platforms have also hit the brakes, cutting original European productions by 14% in the last year. But despite this pullback, they’re deeply rooted in the region. Nearly 40% of all their non-U.S. productions come from Europe, especially hubs like the UK and Spain.

In Servy’s words, we’re not witnessing a collapse but a “new normal” — with commissioning volumes still sitting comfortably above those pre-COVID benchmarks. Streaming giants are adjusting, yes, but they’re not heading for the exit.

What’s Driving Europe’s Scripted Scene?

Three major forces are shaping scripted shows across Europe:

1. Co-productions

2. Real-life inspiration

3. IP-based storytelling (think book adaptations and known properties)

Here’s a striking stat: 41% of titles launched in the past year drew from real events or existing intellectual properties. Book adaptations, in particular, are leading the pack.

And if you thought true crime was just a U.S. obsession, think again. It’s exploding across Europe — up a whopping 233% since 2018. Detective dramas and comedies both command about 22% of the market, outperforming global averages. Meanwhile, thrillers are staging a comeback, catering to viewers craving smart, serialized stories with emotional depth.

Formats: Less New, More Familiar

Original formats might be slowing down, but don’t mistake that for stagnation. Adaptations are surging — 7.7% of all European premieres this year are based on pre-existing formats, compared to just 5.3% from 2020 to 2025. Reboots, spin-offs, and returning seasons are dominating the scene.

Game shows are stealing the spotlight in unscripted territory, making up 33% of all adaptations — that’s a jump from 25% in the previous five-year period. Shows like Talpa Studios’ The Floor, Can’t Stop Media’s The A Talks, and Warner Bros.’ The Golden Bachelor have collectively chalked up 15 new European adaptations this year alone. Clearly, game shows are back in a big way.

The UK: Export Powerhouse and Growing Importer

The UK is still Europe’s reigning champion for exporting formats, with about 24% of all adapted titles coming from British creators. Hits like Love Productions’ The Piano are topping sales charts across the continent.

But here’s an interesting twist: the UK has also broken into the top 10 list of format importers. ITV alone adapted six different formats last season. So Britain isn’t just sending shows out — it’s also snapping up fresh concepts from around Europe.

Meanwhile, Spain is flexing its muscles too, ranking as the continent’s second-largest buyer of international formats. Both private networks and regional public broadcasters (like FORTA) are driving this trend. It’s a neat reminder that Europe’s content ecosystem is truly interconnected.

Streamers Are Now the Big Format Buyers — But Playing It Safe

Amazon and Netflix have stepped up as the world’s top format importers, even edging out some traditional broadcasters like the Netherlands’ RTL4. Roughly half of the formats they premiere are developed in-house, and the other half come from third-party acquisitions.

But here’s a caveat: global streamers tend to favor low-risk, established IP. Reboots, reality franchises with a fresh twist, and formats featuring YouTube talent are becoming increasingly common. Classic competition shows are also getting gimmicky makeovers — think a “twist” here or a “new spin” there.

What This Means: Content Resilience & Sharpened Strategy

If there’s one clear takeaway from all this, it’s that the industry is resilient. While pipelines for new content may be narrowing, they’re also getting sharper and more strategic. Europe is leaving behind the binge-commissioning frenzy and embracing a more focused approach.

In other words: it’s not about quantity anymore, but quality and knowing exactly what resonates — and with whom.

Quick Recap: Key Takeaways to Watch

• Content volumes are cooling but still above pre-pandemic levels.

• Scripted shows are leaning heavily on real-life stories and IP adaptations.

• True crime is exploding in Europe — up over 230% since 2018!

• Game shows and format adaptations are booming in unscripted TV.

• The UK dominates as both a top exporter and rising importer of formats.

• Spain is growing fast as a major buyer of international formats.

• Streaming giants Amazon and Netflix lead format buying but prefer safer bets like reboots.

• The industry is entering a ‘new normal’ marked by resilience and sharper content strategies.

Why This Matters

If you’re involved in European TV, whether you’re a producer, broadcaster, or streamer, this evolving landscape demands a fresh mindset. The binge-fest era might be winding down, but smart, targeted content with proven appeal is thriving.

It’s a time to lean into tried-and-true IP, play to genre strengths (hello, true crime and detective dramas!), and keep an eye on successful format reboots and game shows. For streamers, balancing risk with recognizable brands seems to be the formula.

As we head toward Mipcom this October, expect to see companies consolidating their bets and focusing on what really works in a more mature, post-boom market.