LOS ANGELES: Warner Bros International Television Production is gambling big on grey matter and guilty pleasures as it unveils its format arsenal for Mipcom 2025. The American studio’s international arm has assembled a motley crew of offerings—from cerebral challenges that torture contestants’ neurons to reality stars trading Instagram likes for insect bites.
Leading the charge is The Final Circle, a French import from Satisfaction that subjects players to mental gymnastics across logic, memory, language and maths. The format tortures every synapse as contestants battle to prove their intellectual mettle under crushing pressure.
At the opposite end of the sophistication spectrum sits Reality Kings on Safari, courtesy of WBITVP Netherlands. The concept dumps pampered male reality television veterans into the wilderness, forcing them to swap luxury lifestyles for basic survival skills—a premise guaranteed to deliver schadenfreude by the bucketload.
Denmark’s contribution, World’s Wildest Race, dispatches celebrity duos on the ultimate road trip, blending high-octane competition with friendship drama. The format promises viewers both petrol-fueled thrills and interpersonal combustion.
The unscripted stable includes Custom Cars, a high-octane dive into Britain’s modified motor scene for Quest, and two historical offerings from Wall to Wall: The Murder Club resurrects forgotten cold cases for BBC Two, whilst The Unheard Tapes uses authentic voices from pivotal historical moments for BBC One.
Most intriguing is Finland’s Special Rescue, where adults with learning disabilities join volunteer fire units—proving heroism comes in unexpected packages.
On the scripted front, Belgian drama Oh, Otto! leads the charge with its unflinching examination of love and loss. The award-winner joins psychological courtroom anthology The Twelve, now in its third Australian season, plus family dysfunction saga The Divine Monster and relationship drama Double Life.
Global vice-president of format and finished sales André Renaud insists audiences crave “high-concept, high-stakes” entertainment. His mixed bag suggests Warner Bros believes viewers’ appetites are as diverse as they are voracious—spanning intellectual torture, celebrity suffering and historical resurrection.
The strategy reflects television’s post-streaming reality: with infinite choice, formats must either assault the brain or assault the senses. Warner Bros appears confident it can do both.
