Hiding In Plain Sight: Top Execs On Unlocking The Value In Legacy IP
TV executives and creatives at a MIPCOM roundtable argued that older intellectual property can be a source of new global hits, rather than relying on nostalgia alone. Familiar titles can bring audiences, useful data and revenue, making them attractive to buyers facing tight budgets and seeking projects with built-in recognition.
Parrot Analytics estimates that television shows based on existing IP generate three-and-a-half times the demand of shows without it; for films, the figure is four times. Creator Keith Chapman said franchises need to be planned as brands from the outset, pointing to PAW Patrol’s nearly 800 episodes, more than $500 million in film box office and billions in merchandise sales. Executives from WildBrain and BBC Studios stressed that revivals must feel relevant and authentic to younger audiences and existing fans.
In short
- Existing IP attracts substantially more audience demand.
- PAW Patrol shows the potential of a cross-media franchise.
- Executives say revivals must feel relevant and authentic.
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Revisiting established IP can give buyers and creators a recognisable starting point, helping projects attract audiences in a crowded market and making investment more viable when budgets are tight. With thoughtful updating, a revival can reach younger viewers while offering existing fans something that feels relevant and authentic.
The case against
Relying on familiar titles can encourage broadcasters and studios to favour safer, recognisable properties over original ideas, narrowing the range of stories that get funded. Strong demand figures do not ensure that a revival will be well made or connect with audiences, and planning a story primarily as a brand risks putting commercial expansion ahead of creative quality.
Explained simply
Legacy intellectual property, or IP, means characters and stories that a company already owns, often from older programmes, books or films. A revival can bring them back in a new series or film, or develop them for other formats and products.
Broadcasters and studios own or manage many familiar properties, while producers and creators develop new versions. Buyers may favour these projects because audiences already recognise the names, and that familiarity can help attract viewers and support sales.
The challenge is to make an old property work for new audiences while respecting what existing fans value. That balance matters as television and film companies look for ways to make their budgets go further.