Guy Bisson: Last News

Jamie Lang Speaking at the Berlinale Series Market, Ampere Analysis’ Guy Bisson shared insights on the current state and future of television in a post-peak-TV world, one he’s calling 75% Peak TV. His analysis provided a comprehensive overview of the industry’s trajectory, highlighting key trends and challenges. Below, we revisit some of Bisson’s key thoughts on the evolving landscape of TV.

Jamie Lang From the Series Mania conference in Lille, France, Ampere Analysis‘ Guy Bisson and Cyrine Amor took to the stage Tuesday, armed with data, insights and a keen understanding of the seismic shifts in television production and commissioning. The duo painted a picture of an industry in transition as it adjusts to the end of Peak TV, the realities of cost-cutting and the evolving preferences of global audiences. 75% Peak TV: A Market in Correction “We are at 75% Peak TV,” Bisson declared, setting the tone for his presentation.

Berlin tuned into TV, Monday, and the drama crowd in Germany were told that after scaling the peaks, it’s time to survey the “open plain.”

John Hopewell Chief International Correspondent At Sweden’s Göteborg Film Festival last month, Ampere Analysis’ Guy Bisson observed that “today’s production market was scaled for 100% Peak TV. Global scripted first-run series orders are now, however, 75% of Peak TV.” Is Spain any different? Yes, if it’s bullishness at Berlin Series Market, the Berlin Festival’s TV Forum, is anything to go by.

Jamie Lang As the entertainment world continues to evolve post-pandemic, Ampere Analysis’ Guy Bisson offered a compelling look at the global film industry’s current state and its trajectory in 2025 during a presentation at the European Film Market. With the global box office still recovering from the pandemic’s devastating impact and streaming taking an increasingly dominant role in how audiences consume content, Bisson offered a sharp insight into where the market is heading and what it means for film production, distribution and financing. A Shifting Landscape “The global market, valued at $800 billion, is essentially split in two,” Bisson explained.

Variety, the U.S. streamers are starting to move away from aggressive rights grabs, in part because, as Blum pointed out, it is a “fundamentally unsustainable” strategy. “Back in 2020, 60% of the top 10 shows on Netflix were originals, and now, 60% of the top 10 shows are acquisitions, licensed in from AMC and others,” says Guy Bisson, executive director and co-founder of Ampere Analysis.

Ben Croll Questions about the free ad-supported streaming TV services (FAST) model and concerns about AI will take the foreground at the many conference panel sessions and keynotes organized for this year’s MipTV. If both are familiar subjects at the audiovisual market – as last year’s MipTV held a standing-room only FAST summit while the Mipcom “Unlocking AI” summit drew similar attention this past October – the interest they provoke reflects their topicality.

With the indie film business in buoyant mood here in Berlin, it’s The TV industry’s turn to take stock today and tomorrow, and it’s safe to say the drama crowd are navigating some choppy waters.

Annika Pham In an exclusive sneak-peek of its 2024 program, Cia Edström, head of the Göteborg Film Festival’s leading drama showcase TV Drama Vision, has unveiled that British actress Sarah Lancashire will be one of the 50-plus speakers due on-stage. The star of BBC’s “Happy Valley,” Max’s “Julia” and Netflix’s forthcoming “Black Doves” will be joining Lars Blomgren, head of international at Media Res (“Scenes from a Marriage”) in a fireside chat where Lancashire will discuss her expanding career on both sides of the camera and new shingle Via Pictures.

Gavin Bridge Senior Media Analyst FAST is having a moment.  Discussions around free streaming channels have been the buzz of industry events, beginning with MIPCOM 2022 in France and continuing around the world, first in Canada for Prime Time 2023, then Australia for Future of TV Advertising Sydney and, most recently, MIPTV 2023’s Global FAST Summit, where the event was standing-room only.  Variety Intelligence Platform has had an onstage presence at all of these conferences and has seen the interest levels in FAST boom. Now the VIP+ subscriber exclusive “Global FAST” provides analysis of just who are the major international forces in FAST and a deeper look at the top five global markets. 

MipTV and Mipcom, Cannes two TV trade fairs, announcing final figures of 5,560 participants, including 5,510 on-site delegates.  That said, attendance was sizeably down on pre-pandemic levels – 9,500 attendees in 2019 – with major European drama sales companies literally counting the cost of attendance and exhibition space versus Mip-driven sales. In a fast-evolving TV landscape, the future and identity of MipTV still remains uncertain. 10 takeaways from this year’s edition:

Marta Balaga Total spend on content will “flatten and slightly decline” this year. This tendency might continue for “at least” the next couple of years, according to Ampere Analysis’ Guy Bisson, a speaker at Monday’s opening panel of the Berlinale Series Market, which runs through Feb. 22. “We are entering a phase of market maturity in streaming: Growth is difficult to come by. We see it across the globe, most drastically in the U.S.,” he observed.  That said, there is one “lockdown trend” that happened to stick around: Unscripted commissioning rose to match scripted, with streaming commissioning currently focusing ever more at documentary, entertainment and reality. 

John Hopewell Chief International Correspondent In subscription terms, Brazil rates as the Netflix’s second-biggest market in the world, with a 2022 year-end estimate of 16.4 million subscribers, says Ampere Analysis’ Guy Bisson. “The market is huge and the talent outstanding,” agrees Fremantle’s Manuel Marti. As Brazil shapes up as Latin America’s ground zero for streamer wars, where do you find new talent and how do you nurse it? Some answers are given by Brazil’s philanthropic org Projeto Paradiso. Launched in March 2019 by heiress Olga Rabinovich, it initially focused on new talent and project development, especially screenwriting, the industry’s direst need. Also, in this discipline, Projeto Paradiso’s limited finding could go furthest.

K.J. Yossman “Stranger Things” star Nikola Djuricko has been tapped to present the Serbian edition of NBCUniversal Formats’ entertainment series “Hollywood Game Night.” This is the 24th international edition of the series, joining adaptations in the U.K., France, Greece, Hungary and Thailand, among others. The show pairs celebrities with contestants as they compete in a variety of party games.

New research shows almost a third of Netflix’s European content now hails from the continent, as the effects of quota regulations and its push into local original content kick in. An Ampere Analysis study suggests the streamer is at or above the 30% European content in “almost all” European markets, though the figure is slightly below this mark in the UK, Ireland and France.

John Hopewell Chief International Correspondent“There is a new studio Star System…but instead of focusing on acting talent (as it did in the 1930s), it prioritizes those with the skills to create new stories, produce new shows and manage the evolution of new character IP…in other words, to make content that will succeed by the measures important in the new world order,” Ampere Analysis’ Guy Bisson announced at MipTV in a presentation. By that measure, few figures were as important at this month’s buoyant French TV festival Canneseries than German author Ferdinand von Schirach and Constantin TV’s Oliver Berben. Broadcast on ZDF and produced by Berben, 2013’s ”Crime Stories” and 2015’s “Shades of Guilt,” both based on von Schirach best-selling short story anthologies, scored up to 5 million viewers per episode and exceptional market shares of 17%-18%. Inspired by a von Schirach stage play ”The Verdict” punched almost 7 million viewers and a market share of over 20% on a Monday evening.

John Hopewell Chief International CorrespondentThe Mediapro Studio Distribution has confirmed a flurry of new sales deals on “The Head,” “Paraíso,” “Express” and “Hunting Ana Bravo” and state-of-play roll-out on the first two titles which underscores a still bullish demand for high-end titles sold on the open market at events such as last week’s MipTV.The sales also have a bigger picture. With major studio sales to third parties plunging as they retain productions for their own platforms – Netflix carried 748 Disney titles in 2015, just 221 in 2021, according to Ampere Analysis – it’s a great time to be an independent, the consultancy’s Guy Bisson announced at MipTV.