Image: Peaky Blinders, BBC One
Fair or not, English remains the most popular language for television in the world. In 2023, 84 of the 100 most in demand TV series were originally broadcast in English, according to Parrot Analytics. If we exclude Japanese anime from the count, that number rises much closer to all 100. Though the United States remains the most dominant and mature entertainment market, the United Kingdom continues to punch above its weight even with a population smaller than America, Japan, India, China and other major entertainment hubs. Importantly, British shows boast the consistent ability to penetrate the US, which creates more value globally.
Recent data from Parrot Analytics reveals that British TV shows accounted for nearly 6% of the total demand for TV series in the US during the fourth quarter of 2023. This represents the single-highest demand share for non-US content, surpassing hot markets such as Japan and South Korea. Impressively, the demand for British shows in the US has grown roughly 85% since Q1 2020, outpacing the 65% growth rate for shows from other countries (including the US) during the same period.
Given the UK’s established track record in producing high end entertainment, the question now becomes how effectively it can help address the media needs of the entire world. A big ask, I know, but perhaps the right responsibility for the right market at the right time.
The entertainment industry is enduring a painful contraction. The pandemic and dual labor strikes forced production shutdowns, which has limited the number of new movies and shows in recent years. The number of scripted English-language non-kids series that aired across broadcast, cable and streaming shrank from 599 in 2022 to 516 last year, the first non-pandemic related decline since the early 2000s, according to FX Networks president John Landgraf. None of this should result in a waving of the white flag, however. Spending must be more strategic, not curtailed altogether.
Global Content Needs
As of Q4 2023, TV genres that were in high demand but low supply included: Science-fiction, Western, Musical, Horror, Children, Fantasy, Adventure and Thriller. These can be considered whitespace opportunities, or undersaturated programming lanes worthy of further investment.
Understanding the narrative and audience DNA attributes that help shows resonate on a global basis can guide development, investment and green light decisions moving forward. Unsurprisingly, it just so happens that top British programming already addresses some of these voids.
Peaky Blinders can be considered a drama thriller with its high stakes set in the criminal post-World War I environment. Peppa Pig is one of the most popular kids shows in the world. Black Mirror mixes sci-fi, horror and thriller elements in its exploration of the dangers of technology. Doctor Who is a classic blend of sci-fi and fantasy thanks to the Doctor’s time-traveling escapades, while Good Omens combines elements from the two genres as well. His Dark Materials is straight fantasy.
If we look at more recent UK shows that premiered in 2023, standouts include Netflix’s Squid Game: The Challenge, ITVX’s The Winter King and BBC One’s The Woman in the Wall.
Each title provides a small lesson in what can work with audiences outside a show’s country of origin — compelling historical setting, unique leading characters and mysteries, insight into unknown figures, competition and good old fashioned intriguing drama.
Genres and Formats
Drama (38.1%), comedy (13.4%), animation (12.3%), reality (9.8%), children (8.9%) and action and adventure (6.2%)were the six most in-demand genres globally in 2023 based on demand share. If we exclude Japanese anime, then crime dramas, sitcoms, romantic dramas, school, dramedies and sci-fi dramas were among the most in-demand subgenres. This insight can be coupled with greater clarity into the current UK market to help focus programming decisions. Specifically, reality television holds unique attributes.
Formats, or a framework that can be localized to resonate with specific audiences, has long been a cornerstone of broadcasting strategy. It offers a reliable and adaptable blueprint for success that can be repeated across various regions(see: Survivor). In 2023, BBC Studios, ITV Studios, Fremantle and All3Media were among the leaders in both most in-demand formats in the UK and formats that boasted the best travelability. These included variations of The Voice (ITV),America’s Got Talent (Fremantle), Love Island (ITV), TaskMaster (Avalon Distribution) and more. As American broadcast networks de-emphasize scripted programming, it opens the door for British developers to deliver a greater flow of unscripted programming.
It’s well established that the UK can develop and deliver highly in-demand programming to the US and the rest of the world thanks to a diverse array of talented storytellers. But in this time of industry uncertainty and seemingly insurmountable obstacles, particularly for major American programmers, can the UK cut a viable path forward that helps on a global scale? Based on what is potentially underrepresented on the worldwide stage and the UK’s unique existing programming strengths, the region is well positioned to help navigate through the stormy waters of the present and future.
