Banijay's global reach and growth

At the MIA – Mercato Internazionale Audiovisivo on 19 October, Banijay Entertainment CEO Marco Bassetti discussed the company’s expansion and its evolving role in the streaming era. He highlighted Banijay’s position as the world’s largest independent production group following its July merger with All3Media.

Company scale and financial figures

Banijay operates across 25 countries, with over 170 production labels and 1,750 formats in its catalogue. The company reportedly generated €4.3 billion in revenue in 2025 and produces around 19,000 hours of content annually, with a library exceeding 265,000 hours.

Banijay's content and market position

Bassetti described Banijay as Europe’s leading unscripted IP studio, citing international brands like MasterChef, Big Brother, The Traitors, and Survivor, as well as scripted content such as Peaky Blinders. However, he noted that Banijay remains a small player compared to global tech and audiovisual giants, with global content expenditure estimated at €210 billion.

Banijay's transformation and acquisitions

Bassetti outlined Banijay’s transformation through key acquisitions, including Zodiak Media in 2016 and Endemol Shine in 2020, as well as the recent merger with All3Media. These moves provided capabilities that would have been difficult to develop internally, such as distribution, English-language production, and digital expertise.

Banijay's business model and challenges

Bassetti stated that traditional production now accounts for about 75% of Banijay’s business, and the company identifies itself as an entertainment company rather than a production company. He also noted that being larger does not automatically give better terms with streaming platforms, which still hold significant power in negotiations.

Producer rights and industry challenges

Bassetti criticized the erosion of producers’ rights, arguing that current commissioning models discourage investment in original ideas. He pointed out that commercial and public broadcasters do not invest in creativity, leaving producers to bear the financial risk. He also called out European policymakers for focusing too much on attracting shoots and employment rather than building sustainable, rights-owning companies.

Production incentives and YouTube's role

Bassetti mentioned that production incentives in Italy are often undercut by more generous schemes elsewhere, and delayed payments add pressure on smaller producers. While Banijay can invest its own resources in productions, he dismissed the idea that YouTube advertising can replace conventional financing for ambitious original content, emphasizing the importance of monetizing existing libraries and long-form content.

Diversification and AI's impact

Bassetti discussed diversification beyond traditional screens, citing examples like Balich Wonder Studio’s international ceremonies and Lotchi’s immersive performances. He also addressed artificial intelligence, noting its role in streamlining support functions but not fundamentally transforming production. He raised concerns about the potential for efficiency gains to be captured by commissioners rather than producers.

Future ambitions and strategic goals

Looking ahead, Bassetti outlined Banijay’s ambition to grow beyond Europe and compete directly with global entertainment giants. He emphasized the need to build a business capable of retaining, distributing, and exploiting the value of its content across multiple platforms and experiences.