The TV Landscape is Evolving, and Johannes Jensen is at the Forefront of its Boldest Stories
Forget what you think you know about TV production. Johannes Jensen, a veteran of the industry with a career spanning over three decades, is reshaping the narrative. From his early days as a freelancer at Strix Television, where he played a pivotal role in launching the iconic Survivor format (known in Sweden as Expedition: Robinson), Jensen has climbed the ranks to become a powerhouse in the global TV scene. Today, as co-leader of Banijay’s scripted division, he’s not just following trends—he’s setting them. But here’s where it gets controversial: in an era dominated by global streaming giants, Jensen is doubling down on local stories as the key to worldwide success. Can this approach truly compete in a market hungry for universal appeal? Let’s dive in.
Jensen’s journey to the top is a masterclass in adaptability and vision. After leading production labels Jarowskij and Yellow Bird (now merged under Banijay Entertainment), he took on the role of Nordic head of scripted before being promoted earlier this year to head of scripted, business. Alongside creative powerhouse Steve Matthews, Jensen is tasked with nurturing Banijay’s portfolio of over 60 labels across more than 20 territories. Their approach? Empowerment over control. ‘We’re not here to dictate the future,’ Jensen explains. ‘We’re here to nurture talent, support creativity, and let the labels act independently.’ This philosophy is bold—almost counterintuitive in an industry often driven by top-down decision-making. But it’s working. Over the past few years, Banijay has produced over 1,000 hours of scripted content, solidifying its position as Europe’s leading scripted studio.
But what does Jensen really want? ‘Bold, new stories,’ he says. ‘Creativity comes first.’ And this is the part most people miss: while chasing the next global hit, Jensen is also fostering intellectual property (IP) and creating opportunities for collaboration. At events like MIPCOM, he brings producers together to share ideas, resources, and challenges. ‘It’s about building an ecosystem where everyone can learn from each other,’ he notes. This focus on community and knowledge-sharing is rare in a competitive industry, but Jensen believes it’s essential for sustainable growth.
Speaking of growth, Banijay’s strategy is anything but short-sighted. ‘We’re ambitious, but we’re also smart,’ Jensen explains. ‘We’re not over-investing or chasing quick wins.’ Instead, they’re focusing on long-term partnerships with global streamers like Netflix and Apple TV+, while maintaining strong ties with local broadcasters. This balance is key, especially as the streaming landscape continues to evolve. ‘In the beginning, we were uncertain about streamers,’ Jensen admits. ‘But now, they’re here to stay, and they complement what local broadcasters offer.’
At this year’s MIPCOM, Banijay’s lineup is a testament to this approach. From the Netflix drama House of Guinness to the Apple TV+ hit The Buccaneers, Jensen’s team is delivering a mix of returning favorites and fresh titles. Notable mentions include the French historical series Montmartre and the Spanish film Culpa Nuestra, part of a trilogy for Prime Video. But it’s the upcoming drama Half Man, starring Richard Gadd and Jamie Bell, that’s generating buzz. A co-production between the BBC and HBO, the series explores the complex relationship between two estranged brothers—a story that’s deeply personal yet universally relatable.
Here’s the controversial part: Jensen believes that local stories, not global formulas, are the key to worldwide resonance. ‘Think locally, act globally,’ he says. Whether it’s a sweeping historical piece like House of Guinness or a small Swedish young adult comedy, the focus is on authenticity. This approach challenges the industry’s obsession with creating universal hits, raising the question: Can a story rooted in a specific culture truly transcend borders? Jensen’s track record suggests it can.
Looking ahead, Jensen is also grappling with the role of AI in scripted TV. ‘AI will affect the business,’ he acknowledges, ‘but we don’t see it as a creative tool. It’s more about supporting our creatives, like how iPhones became a natural part of our lives.’ This pragmatic view contrasts with the fear-driven narratives surrounding AI in the industry. But Jensen’s focus remains on sustainable growth, balancing ambition with smart risk-taking.
As he navigates the challenges of the post-peak TV era, Jensen’s vision is clear: bold stories, smart investments, and a commitment to creativity. Whether you agree with his approach or not, one thing is certain—Johannes Jensen is reshaping the future of television. What do you think? Is his focus on local stories a recipe for success, or is the industry too globalized for such an approach? Let’s debate in the comments!
