Notes on the method

Executive Summary

1. «Intensive» entertainment
   The 2021/2022 season shows a growth in entertainment on OTT networks and services in terms of content (titles), which, however, does not correspond to an “extensive” growth in terms of hours: there are 16,253 hours of overall unscripted first run content (28% of the macro-genre products), flagging a slight decrease compared to the 2020/2021
2. More titles, but less hours
   Linear networks and OTT services recorded a growth in titles both in linear (+ 20%) and streaming TV (+ 18%), but a loss in the overall hourly volume of entertainment, albeit less for networks (-7%), signaling that productions have been realizing a higher number of titles in shorter formats (also in relation to the growth on non-generalist networks and Svod services, which are less linked to the “extensive” coverage logic of daytime
3. The return to in-house productions
   As for the ratio between in-house and outsourced productions, in-house titles are gaining ground. On the other hand, the share in terms of hourly volume is stabler than last year.
   Analyzing the percentage increases (again, compared to last year), in-house productions have increased in titles by 44% while independent productions gain only 6% in terms of content.
   In terms of hours, in-house productions have lost 2% compared to last year while the hourly volume of independent productions has lost 12%.
4. The streaming model is diversifying
   Over the season, titles produced by global SVODs have grown, while the total hourly volume has decreased. The production methods follow two models: “total indie” (global SVOD, Discovery +, Mediaset Infinity) and “mixed”, with a consistent presence of in-house titles (RaiPlay, Timvision). Amazon Prime Video, Netflix and RaiPlay have increased in hourly and title volume, while TimVision content has dropped significantly (during the pandemic years, it had grown thanks to unscripted content with an educational edge).
5. Relentless centrality of prime-time for independent quality products
   Prime time (i.e., the high-end band) is the highest productive time slot for indies. 65% of unscripted titles and 61% of the hourly volume is “outsourced”, i.e., produced by indies. However, independent productions lost 4% of titles and 15% of hours in this slot compared to last year.
   Prime access, on the other hand, is the most expanding range for independent production.
6. Some genres have marked the season, with a general growth across linear TV and streaming platforms
   Entertainment, Docu, Game, Talk, Magazine and Factual recorded a positive increase in hourly and title volume. Entertainment increased in count on all channels (generalist, multichannel, OTT), while Game shows and Docus were stronger mainly on multichannels and OTT, while Talk Shows mostly on generalist and partly on multichannel networks. Uscripted genres are becoming more and more transversal according to the supply models (generalist, multichannel, OTT).
7. International formats are stable while «domestic formats» are still limited
   In relation to the overall offer of unscripted products (title volume) and with respect to the geographical origin of the products, the adaptation of international formats is stable but records an overall hourly decrease of 12%. The weight of original Italian formats is constantly residual (a few titles, 1% of unscripted products, and 5% of the hourly supply).
8. Innovation is growing, but with a limited impact on the hourly volume
   More than half the seasonal titles are original, but with a marginal incidence in terms of produced hours (only 15%), in relation to the growth of one-shot or short-sized titles (such as Docus)
   On linear TV, originals are growing, with an increase of 35% compared to the previous season.
   Among networks, Rai presents a widespread and stronger index of innovation on general and thematic TV, and digital; while OTTs grow significantly in terms of new titles commissioned by Amazon Prime Video.
9. The scenario of production companies: the growing role of mega-indies
   “Mega-indies” are confirmed as leaders, in some cases increasing the number of products, while a group of small production companies emerges again (Casta Diva, Blue Yazmine, Loft Produzioni). Even mega-indies (Banijay and EndemolShine) are strongly oriented towards local productions (except for FremantleMedia), as well as adaptations of international formats.