Industry executives at a major European market agreed that crime drama rules scripted television, while successful projects—whether original or adapted—require a bold contemporary take and distinctive identity
At a major European content market this week, one theme kept coming up: crime and thriller storytelling still rules first-run scripted television across Western Europe. Executives, sellers and buyers told reporters that while both originals and adaptations have a place, commissioners now want projects that feel urgent, contemporary and easy to sell beyond their home territories.
Why crime travels
Panelists argued that crime’s export strength is not just topical—it’s structural. Stories driven by character dilemmas and moral conflict tend to survive translation. A tight premise, a clear ethical tug for the protagonist and brisk plot momentum make a series legible to foreign buyers while retaining local texture. In short: you can keep the setting but the emotional stakes must be universal.
What buyers are asking for
Buyers are more discerning. Familiar titles or mere name recognition no longer guarantee a commission. Whether the material comes from a novel, a film or an original idea, platforms want a distinct creative angle—a contemporary hook that proves the project is relevant now. Procedurals, thrillers and true‑crime formats still do well because they deliver consistent viewing and easy positioning, but even these must be refreshed to stand out.
Originals versus adaptations
Markets are seeing a two‑track creative strategy. Rights holders continue to mine known properties, but adaptations must be reimagined rather than faithfully reproduced. Commissioners now expect adaptations to add fresh structure, thematic depth or a modern reinterpretation that expands their commercial life—spin‑offs, format sales and international remakes are the kinds of scalability buyers prize.
Packaging for international appeal
Sellers are adjusting how they pitch. Clear premises, strong series bibles and scalable formats are table stakes. Executives advised packaging that highlights exportable themes and distinctive character voices, while keeping format and episode structure easy to map for different territories. Some teams are deliberately framing projects in broad, legible terms—an “action‑oriented medical series” instead of a conventional hospital soap, for example—to speed buyer recognition.
Language, period pieces and cultural friction
Commissioners signalled caution about shows set in the past: period projects now need an explicit modern hook to travel. Language remains a practical barrier—many broadcasters still prioritise local subscriber demand—so producers are experimenting with strategies to reduce friction: bilingual scripts, early-format adaptations, or contemporary settings that translate more readily across markets.
Genre shifts and buyer appetite
Horror has softened in demand compared with previous years, while action, disaster and thriller content continue to attract steady buyer interest. Non‑traditional buyers are also showing increased appetite for premium, character‑driven crime series for global windows, opening new routes to finance and distribution.
Practical takeaways for creators and sellers
– Sharpen the contemporary voice. Explain clearly why this story matters now. – Build a compact, market‑ready hook and a bible that shows scale—how the series can grow beyond a single season. – Rework adaptations with demonstrable added value: novel structure, thematic resonance or a fresh perspective. – Frame concepts in instantly legible terms to help buyers assess fit quickly (genre hybrids and hybrid positioning can help). – Consider language and format choices early to ease international licensing.
A changing marketplace
The market is in flux: buyers are refining what they will pay for, and sellers are recalibrating to match. Projects that marry distinctive local voices with accessible, exportable formats—especially within the crime and thriller space—appear best positioned to secure commissions and longer‑term international revenue.
Reporters at the market observed these trends shaping commissioning briefs and pre‑sale conversations, as rights holders and studios compete to turn strong ideas into durable intellectual property.