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At this year’s Series Mania, Jérémie Kessler, Head of International Affairs at CNC, moderated a conference panel titled “Scripted Formats: The Golden Age of European Series IP?” . He opened an urgent and illuminating conversation on the growing global relevance of European intellectual property (IP) in the world of television series. As industry players continue to look for safer bets in an unpredictable market, the value of local success stories, especially from Europe, is increasingly being recognized — and adapted — around the world.

The panel highlighted a marked shift: while cinema has long enjoyed a robust international remake culture, since the early 2000s, scripted TV series have rapidly become the industry's most coveted IP assets. In particular, France has become a key exporter of successful scripted formats, with international remakes of Call My Agent and Le Bureau des Légendes (The Bureau) leading the charge. These shows are not only examples of creative excellence but also symbols of a larger political and economic concern: who owns IP, and how can European producers retain control in a media landscape increasingly dominated by global players — particularly American studios?

The French CNC (Centre National du Cinéma et de l'Image Animée) has been proactive in addressing this challenge, launching Cannes Remakes and other initiatives to protect and promote French and European formats. “We need to be stronger as Europeans - said Kessler - Keeping IP means keeping creative autonomy — and the ability to fund future content.”

Hannah Vidal from Federation Studios shared her company’s vision through Federation IP 360, a unique initiative that combines the buying and selling of IPs. Federation operates across nine territories with over 55 producers and 33 production companies. Their high-profile co-productions include The Bureau and its U.S. remake, The Agency, now airing on Showtime and co-produced with George Clooney’s Smokehouse Pictures and 101 Studios. Starring Michael Fassbender, Richard Gere, and Jeffrey Wright, the remake has already been renewed for a second season.“This success story started ten years ago with a French series,” Hannah Vidal noted. “And today, it’s a globally recognized brand — a journey that speaks volumes about the strength and flexibility of European IP.”

Reinventing the North: Selling Originals First, Remakes Later
Hélène Auro from Reinvent International Sales offered a perspective from the Nordic region, with roots in the Danish Broadcasting Corporation behind classics like Borgen and The Killing. Reinvent first aims to sell its series as originals, then follows up with remake rights. A current example is Out of Touch, a Swedish dramedy now undergoing multiple-territory remake deals.
“We see a real appetite for lighter series that are thematically relatable — love, family, crime,” Hélène shared. “These formats resonate across cultures and are increasingly in demand.”

Studio TF1: From Local Blockbusters to Global Blueprints
Rodolphe Buet from Studio TF1 described how their series HIP became a phenomenon: sold to 100 territories within three months of its premiere. In contrast, it took Candice Renoir eight years to achieve the same feat. TF1 initially withheld remake rights in key European markets to prioritize visibility of the original and elevate French talent globally. “Our strategy was long-term value creation,” said Rodolphe. “And it worked — Audrey Fleurot is now a star not just in France, but in Italy, Spain, and Germany.”

Studio TF1 now balances selective IP licensing with strategic partnerships. For example, their decision to go with ABC Studios for the U.S. remake of HIP was driven by a package including star showrunner Drew Goddard — a move designed to ensure maximum value for the franchise.

ZDF Studios: Stability in the Classics
From Germany’s ZDF Studios, the commercial arm of public broadcaster ZDF, the sentiment was clear: remakes aren’t a passing trend. “They’ve always been here,” Mirela Nastase, Director Drama noted. “They’re pragmatic solutions in a market where budgets are shrinking, and risk aversion is high.”
ZDF’s library includes iconic properties and rhe company continues to license both ready-made content and remake rights, especially in genres like light crime, procedural drama, and dramedy.

Throughout the session, panelists agreed on one key point: IP is now central not only to international sales but also to development pipelines and talent attraction. Writers, showrunners, and even high-profile actors are increasingly drawn to remake projects with strong IP because they offer creative structure and market credibility.

As Annah Vidal put it: “Good IP is a fast track to greenlighting. It gives everyone — from creators to broadcasters — a little more confidence in a very uncertain industry.”

Examples like One of Us and Six Women (both TF1 productions) were cited as dramedies that tackled heavy topics like disability and cancer. Despite their risks, these shows achieved high ratings, proving that with the right tone and execution, even sensitive topics can succeed — and travel.