Unpicking the formula of Israel’s scripted format success

For a small country, Israel punches above its weight in scripted formats. The 2024 K7 report ‘Tracking the Scripted Giants’ has Israel as the fourth-ranking country, while yes Studios’ Your Honor is the joint-second most successful scripted format of the 2020s thanks, in part, to its Showtime adaptation.

Furthermore, yes Studios has been amongst the top 10 worldwide distributors of scripted formats for the past two years.

But Your Honor is no fluke.

The past year or so has seen our dramedy Significant Other adapted for ITV, comedy drama Johnny and the Knights of the Galilee arrive on Amazon Prime as French-language series Escort Boys, rom-com Bloody Murray enter production in Georgia, thriller Magpie in India and we’ve just announced the first adaptation of our new psychological drama Night Therapy, in Germany.

So, how does a boutique business in Israel keep riding high in scripted formats alongside such behemoths as BBC Studios and All3Media International? And why, when so many great series with storylines around universal subjects such as family or redemption are delivered every year, do relatively few cut through as formats?

Perspectives & relative isolation

Firstly, Israel is a tremendous story-telling nation, and with so many different cultures, religions and a challenging history, we do generate more than our fair share of brilliant stories with lots of different perspectives.

On top of that, as a relatively isolated country, our creatives continually look outside for inspiration, and this helps add interesting layers and exciting spins to the universal themes many write about.

But more importantly, I think it’s about attitude, strategy – and knowing where you can make money. At yes Studios, scripted formats are valuable IP and a central part of our business, baked into our DNA – not an afterthought to squeeze out extra cash once tape sales are exhausted.

Our starting point is having a range of shows with format potential in our catalogue – everything from crime and thrillers to comedy and YA – to meet market demand. And then, we carefully identify opportunities for every title: it’s not solely about chasing the big US remake. We talk to everybody. A successful remake in a small territory may spark the interest of the big territory next door and then the gates can truly open. I am a great believer in this ‘tree strategy’.

We always work closely with the creators of the shows that we distribute, advising on the format potential from the outset and what needs to be done to maximise that opportunity in production.

Sometimes, the potential is naturally limited: despite huge ratings and glowing reviews, plus four seasons, the singular subject matter of Fauda has allowed for only one adaption so far in India. Whereas Night Therapy, with its strong USPs, was ripe for adaptation from the start.

Putting formats first

We are now acquiring third-party international content, too, and are making sure that the scripted format rights are central to our deal and that any new partners understand the potential of their work.

When we pitch a format, we do our homework. We look at what has worked in different territories and try to find creative ways to bring the story alive so that broadcasters and producers can identify with the subject matter.

It’s not a one-size-fits-all approach. And we remain open and flexible in our negotiations, understanding that adaptations may need fundamental changes to work. We ensure that our creators are on board with this and, indeed, remain on hand to help if required.

With scripted formats, each new partnership is different, requiring creativity in every deal aspect for maximum returns. Aside from the obvious format fees and backend participation, consulting at various points can earn the distributor extra revenue – and, of course, some go on to represent the remakes.

Distributors are used to playing the long game to recoup, but patience really is a virtue in the scripted format world. Decisions run hot and cold, developments can take aeons to perfect, and a first adaption may not arrive on screen until years after the original.

But when the right format lands with the right partner in the right territory – and you remain close to and carefully manage your IP - it can be the gift that keeps on giving.

• Sharon Levi is managing director of yes Studios