In the following interview with ttvnews, Michelle Wasserman, VP of Latin America, USH, and Brazil at Banijay Rights, analyzes the changing landscape of the audiovisual industry, details the company’s strategic priorities in the region and its commitment to finding original IPs, and explains how franchises like MasterChef, Big Brother, and My Name Is continue to evolve to reach new audiences.
In a context where the Latin American audiovisual industry is undergoing an adjustment process, marked by more demanding budgets and moderate production growth, Banijay Rights has maintained a leading position thanks to the strength of its catalog and a strategy focused on the constant evolution of its intellectual properties.
The company continues to expand the presence of its formats in the region, combining established brands with new ideas, capable of responding to the changing demands of the market, driving the adaptation of successful international franchises, and identifying new growth opportunities in an increasingly competitive environment.
In this context, Banijay offers a vast catalog that includes some of the most internationally recognized franchises, such as MasterChef, Big Brother, and My Name Is, which continue to lead in audience ratings thanks to the constant updating of their narratives, mechanics, and audience experiences.
In the following interview with ttvnews, Michelle Wasserman, VPS LatAm, USH, and Brazil at Banijay Rights, shares her current vision of the global audiovisual industry, and lists the company’s strategic priorities and the most relevant developments in recent months, from new adaptations and production partnerships, to the expansion of renowned brands into new territories and audiences.
Banijay Rights is experiencing a period of great activity in Latin America, with established formats and new ventures in various markets. How would you describe the company’s current situation in the region, and what are its main strategic priorities?
Given the current market context, I would say we are in a very privileged position. The market has become more constrained, with production volumes in the non-scripted space perhaps remaining relatively stable, but certainly at lower levels than in previous years, as there has been virtually no growth across Latin America. Banijay Rights has a presence in most countries in the region, and our group produces an average of 50 shows from our catalog annually across LatAm, excluding the U.S. English-language market and Production Services. We have a broad and diverse catalog that continues to grow while, conversely, operating in a market that is contracting or adjusting year after year.
Budgets are becoming increasingly challenging. As players in the industry, we are all looking to sustain production levels in terms of both quality and volume, while demand is gradually becoming more receptive to models such as shared exclusivity and simulcast, which can help strike a more sustainable balance between cost and quality.
Today, our priorities are:
• Sustaining and strengthening our flagship IPs – Our focus is on ensuring the continued relevance and longevity of our strongest formats: updating them, refreshing them, and keeping them culturally relevant, while ensuring they remain competitive in each market. This means adapting them to local budget realities, optimizing resources and, where appropriate, enabling them to travel across the region through production synergies.
• Driving the development and expansion of new IPs – At the same time, we are working intensively to identify and position the emerging content and formats that will shape the next wave of trends. We are looking for projects that can open up new creative avenues, connect with established audiences while also attracting new segments, and help retain viewers who may be on the borderline of disengagement. Naturally, this process combines periods of smooth progress with others that are more complex, where experimentation and iterative learning are essential.
In summary, Banijay Rights is in a strategic position that combines strength, adaptability and a clear vision for the future. Our focus is firmly on maximizing the value of our existing IP while simultaneously building the portfolio that will define the next stage of growth in the region.
In recent months, we have seen significant developments from Banijay Rights in Latin America, including new adaptations, territorial expansions, and production partnerships. What developments would you highlight as the most relevant for the regional business?
The reality show has become one of the strongest-performing genres in the region and, even during periods when it was not necessarily considered a trend, it has always maintained a relevant presence, to varying degrees.
At the same time, talent shows and game shows have proven to be particularly resilient formats and true go-to genres in Latin America. They have built a strong and loyal relationship with audiences over decades and, even during challenging periods such as the pandemic, were among the few genres able to maintain a consistent presence in local production.
What is particularly interesting today is the way these two worlds are beginning to converge. In Mexico, for example, we have taken an established talent competition brand such as MasterChef and immersed it in the world of reality. In the U.S. English-language market, Deal or No Deal Island, whose second season recently premiered on FOX, is another example of this trend: a well-established and highly recognizable brand such as Deal or No Deal is reinventing itself by incorporating elements of the reality genre.
Against this backdrop, it is no coincidence that Popstars, which is set to premiere in, is generating so much anticipation. The format brings together two particularly powerful elements that are currently gaining significant momentum: the talent show and the reality genre, with a strong emphasis on audience participation.
This is further strengthened by the return of a brand to Argentina 25 years after its successful debut, which gave rise to musical phenomena such as Bandana and, subsequently, to a second male edition that launched Mambrú. This will be the format’s third production in the country, but it arrives in a completely different environment, where digital communication and social media will play a fundamental role in driving conversation, virality and, above all, engagement with an audience that today does not simply want to watch — it also wants to participate and feel like part of the show.
Argentina is therefore positioning itself as the kick-off country for a new era of Popstars: a return that captures the essence of an iconic brand while simultaneously reinventing it for a new generation and for an entertainment ecosystem in which content, social conversation and audience participation are increasingly inseparable.
Formats such as MasterChef, Big Brother, or Yo me llamo continue to demonstrate enormous strength in different markets. What factors explain the enduring appeal of these brands, and how do you work to keep them relevant for new audiences?
As I mentioned earlier, great brands have the ability to constantly reinvent themselves. We introduce new elements, evolve storytelling, and adapt formats to emerging trends and changing audience expectations. And this is not only a reflection of Banijay Entertainment, but also of the broadcasters and production companies -including the local production companies within our group- that continuously innovate, experiment, and find new ways to surprise and engage their audiences.
This is precisely one of our key differentiators: the ability to enrich our properties with a truly global perspective. Our major brands travel across multiple territories, creating a continuous exchange of ideas and creativity. Every local adaptation becomes a new source of inspiration and an opportunity for other markets to take those ideas, reinterpret them, and take them even further. It is a constant process of learning and creation, where innovation flows in both directions.
Looking specifically at the three properties you mentioned, there are some very clear examples of this ability to evolve. One is MasterChef, which in Mexico has been developed and adapted by our local production company, incorporating elements that take the format into new narrative and entertainment territories.
Another great example is Yo Me Llamo, which is now heading into its 11th season and ranks among the top five highest-performing programs in the history of Colombian television. Throughout its different seasons, the format, together with Caracol, has consistently introduced new elements -from theatrical staging and set design to innovations such as virtual reality- demonstrating that even a brand with such a strong track record can continue to evolve and surprise audiences.
And, in the case of Big Brother, Telefe has taken the reinvention of the format to the next level. Season after season, the team finds new ways to refresh the proposition and generate conversation, even when it seems we have already seen everything the format has to offer. That ability to constantly evolve is undoubtedly one of the key factors behind the extraordinary longevity and strength of these major brands.
The audiovisual industry is going through a period of adjustment, with fewer buyers, tighter budgets, and changes in business models. How is this scenario impacting Banijay Rights’ distribution and format development strategy?
Like everyone else. These are challenging times, as I mentioned earlier, but we have to keep pushing forward – working, learning, and continuing to grow. The industry is undergoing a profound transformation and, while the doors are becoming narrower and, unfortunately, some are closing, new opportunities are also emerging.
The real difference lies in our ability to identify those opportunities, understand where each of us can fit within this new model, and have the flexibility and vision to ride this wave of change and evolve with it.
That is why, no matter how much seniority or experience you have, you are never done learning. This is a constant learning process.
You have repeatedly emphasized the importance of building experiences that transcend the traditional screen. What role do social media, digital platforms, and brand extensions play in the success of an entertainment format today?
It is absolutely key. Today, you simply cannot survive without the support of the broader ecosystem around a brand. A brand is much more than a television show; the show itself is just one small piece of a much larger engine.
There is no sustainable show today that does not have a strong digital presence, supported by a well-integrated on-air and off-air marketing strategy. But simply having these elements in place is not enough. What is truly critical is having a thoughtful, well-planned and effectively executed marketing strategy in all wings: digital, on-air and off-air that works together to build the brand, drive engagement and sustain its relevance over time.
