Göteborg 2025 – Göteborg Industry
Industry Report: Series
The “steady state” of TV explored at Göteborg
At TV Drama Vision, Guy Bisson delved into the outlook for the industry as the era of peak TV comes to an end, as well as the implications for global content production and consumption

At the opening session of Göteborg’s TV Drama Vision (28-29 January), Guy Bisson, executive director of Ampere Analysis, shared insights into global trends in content production and commissioning. His presentation outlined the industry’s transition from peak TV to a period of significant adjustment, with stabilising trends offering clarity about the current state of the market and its future direction.
Bisson emphasised that the era of peak TV, which dominated the entertainment industry until late 2022, is over. A sharp decline in commissioning activity throughout 2023 marked a downturn exacerbated by industrial action in Hollywood. By 2024, the industry had reached what Bisson described as a “steady state” – activity levels are about 25% lower than the height of peak TV but have stabilised. The recovery, though limited, has created an equilibrium in production and commissioning volume, halting further decline. Global scripted series orders, for example, remained flat between 2023 and 2024, reflecting this stabilisation across various commissioner types, including streaming platforms, traditional broadcasters and producers. Notably, there were no significant growth trends in any sector, with most categories maintaining their 2023 levels.
Globally, streaming services have also mirrored this plateau, showing no growth in commissioning activity compared to the previous year. Meanwhile, traditional pay television has declined further, while public broadcasters, linear commercial TV and producers have held steady. Despite hopes for regional variation, most global markets reflected similar flat trends, with the USA being a slight exception owing to its recovery from the effects of the Hollywood strikes.
Bisson highlighted the challenges posed by the industry’s shift from a peak production capacity – designed to serve unprecedented demand during the streaming boom – into a downsized market now operating at a more sustainable scale. This contraction has compelled companies to rethink their strategies, particularly as pressures of competition and consolidation grow in an increasingly globalised entertainment landscape. A central theme of Bisson’s analysis was the importance of adaptability. Drawing on evolutionary theory, he argued that survival in the industry is less about size and scale, and more about the ability to adapt to environmental pressures. Smaller players, often dismissed as vulnerable, could carve niches for themselves through strategic positioning and collaboration.
One of the most profound changes that Bisson outlined was the convergence of distribution models, with streaming dominating the way audiences consume content. Where entertainment was once segmented into theatrical, pay TV and free TV windows, almost all consumption now flows through streaming platforms, dismantling the older geographical and structural limitations. This collapse of traditional distinctions means that social media, streaming services and other digital platforms are now direct competitors, vying for the same screen time and audience. According to Bisson, global video entertainment now represents an $800 billion market, divided into four main categories: television, streaming, cinema and online video advertising. Among these, only streaming and online video are currently experiencing growth, while legacy models such as pay television are shrinking. Cinema, still recovering from the effects of the pandemic, contributes a negligible portion of overall value, while subscription-based platforms and ad-supported services dominate.
In terms of commissioning activity, the data reveal signs of recovery, particularly for streaming platforms, which saw an increase in first-run scripted commissioning by 16% in 2024. Europe has emerged as a key region, particularly Central and Eastern Europe, where scripted series orders grew by over 150% compared to 2023. Western Europe also saw growth, though at a lower rate of 50%. This trend reflects a wider migration away from the traditional dominance of North America as the entertainment epicentre, with more global diversity in content creation. However, the strong performance of some regions contrasts with stagnation or decline in others, such as Germany and Italy, which experienced slight reductions in production activity.
Following his presentation, Bisson joined media analyst and Nostradamus Report author Johanna Koljonen for a deeper dive into the shifts reshaping the entertainment industry, reflecting on the “75% of peak production” mark. Koljonen noted the unsustainability of the previous peak, with Bisson explaining that while 75% might seem like a reasonable level, it's still a shock for an industry scaled for 100% output. He emphasised that while markets differ, global demand is shifting, with facilities outside the USA benefiting from their cost-effectiveness and English-language productions still generating strong demand.
The conversation also delved into licensing versus original commissions, with Bisson noting a resurgence of licensing as streamers seek profitability. Platforms like Netflix increasingly feature licensed shows prominently, balancing costs and expanding content. The pair highlighted opportunities for collaboration, like public broadcasters pooling resources or leveraging evolutionary niches for unique content. Bisson mentioned examples like Australia’s Bluey to illustrate how localised productions can find global success through international adaptations and partnerships.
Finally, Bisson discussed the “broadcaster-ification” of streamers as they diversify into unscripted content, sports and regular programming to attract broader audiences and advertising revenue. This shift, Koljonen noted, could leave room for niche-focused players to cater to underserved audiences. The discussion concluded with optimism about evolving collaboration and monetisation strategies in this dynamic industry.
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