Why Are ‘Baywatch’ and ‘Dance Moms’ Reboots Making a Splash? The Surprising Return of ‘Windowing’ and What It Means for TV
Ever wondered why your favorite old shows are suddenly getting a modern makeover? From Baywatch to Dance Moms, reboots are dominating the conversation, and it’s all tied to a strategy called windowing—a term that’s making a massive comeback in the entertainment industry. But here’s where it gets controversial: is this a clever way to monetize nostalgia, or are studios running out of fresh ideas? Let’s dive in.
At Content London, top executives from industry giants like Fox Entertainment Global, Fremantle, Banijay, A&E, and ITV Studios gathered to discuss what’s driving their content investments. In a session titled “Fundamentals: Show Me the Money – What Content the Majors Are Investing In and Why,” these leaders spilled the beans on their strategies. Among them were Prentiss Fraser (President, Fox Entertainment Global), Jens Richter (CEO, Commercial and International, Fremantle), Ruth Berry (President, Global Partnerships & Zoo 55, ITV Studios), Cathy Payne (CEO, Banijay Rights), and Patrick Vien (Group Managing Director, International, A+E Global Media).
Fremantle’s Jens Richter boldly declared, “Windowing is back big time,” signaling a shift away from the early streaming era’s walled-garden approach. In simpler terms? Studios are no longer hoarding content exclusively on their platforms. Instead, they’re licensing shows across multiple platforms to maximize reach—and revenue. And this is the part most people miss: except for Apple, nearly every major player is now selling ads, which means they’re hungry for mainstream shows that can pull in massive audiences, even if only for a limited time. Think of it as the era of “commercial, mainstream” programming.
Fox Entertainment’s Prentiss Fraser revealed her team’s “extensive shopping list,” which includes one-hour procedurals, “returnable dramas” across genres, and formats in food, music, and dating. But what caught everyone’s attention? Fox is actively seeking “shows with strong central characters”—a nod to the timeless appeal of compelling storytelling. Fraser’s enthusiasm was clear: “Fox is very ambitious, and there’s definitely an appetite to grow.”
Banijay’s Cathy Payne teased a Fear Factor reboot for Fox, promising “a new take” with “pretty crazy people having a lot of fun.” This isn’t just a rehash of the old show—it’s a fresh iteration designed to captivate today’s audience. Payne also shared her team’s passion for digging through Banijay’s catalog to uncover hidden gems for modern reinvention.
A&E’s Patrick Vien highlighted the success of reboots like Dance Moms and Duck Dynasty, noting that these revivals often outperform the network’s original brands. He also teased an upcoming 20-episode WWII documentary series on the History Channel, hosted by none other than Tom Hanks. Vien called it “the most immersive experience I’ve seen” about the war—a bold claim that’s sure to spark curiosity.
ITV Studios’ Ruth Berry emphasized the importance of starting with “great talent,” pointing to producer Nicola Shindler (behind Harlan Coben’s hit series) as an example. She also touched on a significant industry shift: content exclusivity is no longer the holy grail. Instead, studios are embracing partnerships to co-produce programming, a move that could democratize content creation—or dilute its quality. Which side are you on?
As Content London wrapped up, one thing was clear: the TV landscape is evolving faster than ever. But here’s the question: Are reboots and windowing a sustainable strategy, or just a temporary fix for an industry struggling to innovate? Let us know your thoughts in the comments—we’re all ears!
