For this episode of Inside Content, I sat down with Jens Richter, CEO of Commercial and International at Fremantle. We covered a lot—from Fremantle’s evolving content strategy to why the FAST market hasn’t grown as expected outside the U.S.
Jens didn’t hold back. He spoke candidly about the shifts shaking up the industry, from the decline of peak TV to the rise of social-first formats. And he shared how Fremantle’s adapting, fast.
We started with MIPCOM 2025. The mood was clear: buyers are playing it safe. “It’s very much rating and number focused,” Jens said.“Even documentaries have shifted—now it’s about pop-docs. Big topics. Not niche topics.” The experimental era is over. What sells now are formats with broad, brand-friendly appeal.
Fremantle’s been ahead of the curve on social. While others pulled back, they leaned in—especially on YouTube. “We didn’t take our content down like others—we let the kids post, and we learned fast,” Jens said.That early bet has paid off. Today, they manage over 1,500 social channels worldwide.
But this isn’t just about clips. Fremantle is producing original content for digital platforms—YouTube spin-offs, TikTok shows, and branded series built from scratch. The model works because it’s consistent.“You have to come back, repeat, repeat, repeat,” Jens said.
On FAST, Jens was frank: the U.S. still dominates.“It’s about 90% U.S.,” he told me. Fremantle runs more than 25 owned and operated FAST channels there. Internationally, growth has lagged behind the hype. But there’s potential—especially as BVOD platforms mature. The key is infrastructure: smart scheduling, a strong Media asset management system, and cost-effective marketing that cuts through.
As for global streamers, Jens sees a full-circle moment. “It’s back to the future,” he said. Streamers today resemble commercial broadcasters from 2005. Most are now ad-supported, so the content brief has changed. Think brand-safe, budget-friendly, and returnable. “Everyone but Apple is selling advertising.”
We also talked about what’s next. Fremantle’s rebooting Baywatch, with Burn Notice creator Matt Nix at the helm. “It’s like Top Gun: Maverick,” Jens said. “Same DNA, but made for today.” And they’re still backing new formats too—Pandora’s Box, launched inHungary, is already showing early signs of success.
Short-form, mobile-first storytelling is another frontier. Platforms in China are driving huge viewership through microdramas—fast, formulaic, and made for vertical screens. Fremantle’s looking at how to repurpose content for this model.
Despite the challenges, Jens remains optimistic. Fremantle is on track to hit 55 billion social views and over half a billion FAST viewing hours in the U.S. this year. “It’s pragmatic optimism,” he said. And when his daughter binge-watched Hotel Costiera, it reinforced his belief in long-form storytelling. “We thought we lost them to social,” he said,“but great TV still hits.”
Key Takeaways:
● Fremantle’s evolving strategy across distribution, social, and FAST
● Buyers are focused on broad appeal and ratings—not niche content
● YouTube and TikTok are key platforms for growth and experimentation
● FAST is booming in the U.S., but international markets are slower to scale
● Streamers are leaning into ad-supported, returnable formats
● Fremantle’s reviving big IPs like Baywatch, while backing new ones like Pandora’s Box
● Vertical video and micro-dramas are the next wave in digital storytelling
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