In a television landscape where creativity often battles against commercial pressures, one executive is championing the push for daring narratives that defy the ordinary—stories that could redefine what audiences expect from their screens. But here's where it gets intriguing: Is this bold vision truly sustainable in an industry hungry for quick hits? Dive in as we explore the insights from Banijay's scripted leaders, who are betting on innovation to shape the future of TV.
Johannes Jensen, a seasoned veteran in the bustling world of television production, has witnessed the highs and lows of the entertainment jungle firsthand. His journey kicked off in 1992 as a freelance contributor at Sweden's Strix Television, where he soon took on a pivotal role in crafting the original Swedish adaptation of the iconic Survivor series, dubbed Expedition: Robinson. This groundbreaking show aired on public broadcaster SVT in 1997, launching Jensen into a career marked by strategic acumen and creative flair.
From those early days, Jensen climbed the industry ladder with impressive momentum. He eventually helmed two prominent production outfits, Jarowskij and Yellow Bird, which later merged into Jarowskij/Yellow Bird under the umbrella of Banijay Entertainment—a French giant renowned for hits like Survivor, Black Mirror, Peaky Blinders, MasterChef, and Big Brother. Jensen progressed further, serving as Banijay's Nordic head of scripted content before a recent promotion expanded his responsibilities to head of scripted business, directly reporting to chief business officer Frédéric Balmary.
Teaming up with Steve Matthews, the head of scripted creative, Jensen is now entrusted with bolstering Banijay's extensive network of over 60 specialized labels across diverse regions. The company praises Jensen's contributions in elevating scripted programming through savvy co-productions, adept handling of industry shifts, and forward-thinking strategies for expansion.
As he gears up for his inaugural MIPCOM—the prestigious international content marketplace in Cannes where industry professionals pitch ideas and forge deals—Jensen reflects on his collaborative dynamic with Matthews. Far from dictating paths or forecasting trends, they see their roles as nurturing environments for talent and innovation. "We're not the directors scripting the roadmap; instead, we cultivate creativity and provide support where it counts," Jensen shares with THR. He emphasizes empowering labels and creatives to operate autonomously. Matthews, drawing from his rich background in creative development at networks like HBO, dives deep into scriptwriting and production processes, while Jensen's business-oriented lens focuses on strategic planning, funding models, and gauging global market demands. Together, their complementary skills foster a well-rounded, holistic strategy that balances artistic freedom with commercial viability.
The fruits of this ecosystem are undeniable. Banijay's more than 60 labels, spanning over 20 territories, have churned out impressive numbers: over 1,000 hours of scripted content and more than 100 titles in recent years, cementing their status as Europe's top scripted studio. This output showcases a blend of local sensibilities and international appeal, proving that thoughtful storytelling can thrive across borders.
So, what drives Jensen and his team in scouting new projects? "Creativity always leads the charge—we crave innovative, courageous tales that push boundaries," he explains to THR. Beyond that, they're committed to nurturing intellectual property (IP) for scalability and equilibrium. To facilitate this, they orchestrate connections among labels and producers, leveraging events like MIPCOM to spark collaborations. Imagine a producer with a brilliant concept but facing funding hurdles—Banijay steps in to link them with partners who can fill those gaps, fostering a community of shared knowledge and mutual growth. "The magic happens when people connect, exchange ideas, and learn together," Jensen notes.
Rather than chasing fleeting successes, Jensen advocates for steady, thoughtful expansion. "We're aiming high, producing more while staying prudent," he says. This means avoiding reckless overspending or relying on deficit financing; instead, they've built a resilient system through smart, diversified funding approaches developed over time.
Key markets for Banijay include the United Kingdom, Italy, and Spain as primary hubs, with France, Germany, and the Nordic countries as robust secondary players. These regions form the backbone of their operations, allowing for tailored content that resonates locally while eyeing global potential.
On the horizon, Jensen points to burgeoning partnerships with international streaming platforms. "Initially, we approached them with caution, but it's clear they're here for the long haul, enhancing what traditional broadcasters offer," he tells THR. This shift reflects a broader industry adaptation, where streamers provide fresh avenues for distribution and experimentation.
Heading into MIPCOM, the Banijay scripted squad has a packed agenda. "It's an extensive lineup," Jensen chuckles. They're spotlighting major returning series alongside fresh debuts. Recent successes include the Netflix premiere of the drama House of Guinness and the second season of The Buccaneers on Apple TV+, which has already secured a third installment. Other revivals feature U.K. staples like Bergerac and SAS: Rogue Heroes, plus Italy's The Law According to Lidia Poët.
New entries encompass the French historical epic Montmartre and the concluding film in Spain's Culpa trilogy, Culpa Nuestra, streaming on Prime Video. Upcoming highlights include Half Man, a BBC-HBO co-production starring Richard Gadd and Jamie Bell, delving into the intricate bond between two estranged brothers—one a nuanced exploration of family dynamics that could resonate deeply with viewers navigating their own relationships.
Jensen highlights the diversity in their English-language offerings for both streamers and broadcasters, alongside a wealth of non-English productions. What unites them? A commitment to authentic, locally rooted narratives rather than engineered global blockbusters. "Think locally, but operate globally," he advises. From sweeping Netflix historicals like House of Guinness to intimate Swedish comedies for young adults, these stories attract audiences by staying true to their origins—much like how a regional recipe gains worldwide fans through authentic flavors.
Additional scripted ventures include a modern take on the Wallander series, with Gustaf Skarsgård leading three feature-length films inspired by the novels, and Falling, a gripping six-part drama penned by Jack Thorne (known for His Dark Materials), starring Keeley Hawes and Paapa Essiedu. The synopsis paints Anna, a dedicated nun in a convent, and David, a prominent priest in Bristol, as unlikely lovers whose romance challenges their vows and faith. This setup invites viewers to ponder profound questions about love, duty, and spirituality in contemporary life.
Addressing the evolving landscape of premium series post the so-called "peak TV" era, Jensen acknowledges the hurdles: soaring budgets paired with tightening finances make high-end dramas increasingly tough to bankroll. "It's a universal struggle," he admits, "but we're committed to it because these stories maintain their global relevance." For beginners in the industry, this means understanding that premium content isn't just about spectacle—it's about investing in narratives that provoke thought and endure, even when resources are scarce.
And this is the part most people miss: the looming shadow of artificial intelligence. "AI is undeniably transforming our field," Jensen tells THR. "We view it as a supportive tool for creatives, not a creative crutch." They're experimenting with AI in ways that enhance workflows, akin to how smartphones became indispensable—streamlining tasks without replacing human ingenuity. But here's where it gets controversial: Should AI ever cross into scriptwriting itself, potentially diluting the human spark that makes stories unforgettable? Jensen and his team are cautious, avoiding over-reliance, but some might argue that embracing AI more boldly could democratize content creation, sparking debate on authenticity versus efficiency.
Through all the upheavals—from market shifts to technological tides—Jensen remains anchored to a core principle: sustainable growth. "It's crucial for our longevity," he stresses. "We pursue ambitious goals intelligently, weighing risks, ensuring solid funding, and prioritizing originality. This is why we embrace daring new tales while cherishing our established IPs, and it explains our balanced partnerships with broadcasters and streamers alike."
What do you think? Is Banijay's emphasis on locally inspired stories the key to global success, or should they lean more into universal themes to compete with giants like Netflix? And on AI—do you see it as a helpful ally or a potential threat to creative integrity? Share your thoughts in the comments; I'd love to hear differing perspectives!
