With an exclusive preview of the second series of cult Scandinavian crime series The Bridge (SVT Sweden/DR Denmark) on the opening day of the annual Eurovision TV Meetings, Head of Eurovision TV Bettina Brinkmann drew attention to the success of scripted formats in tapping into the American market.

The second series of the The Bridge, due to be aired this month, follows a police investigation into the discovery of a body on the bridge connecting Sweden and Denmark. Ms Brinkmann told delegates that this and other popular Scandinavian co-productions to the United States is the start of a bigger wave of interest. "Scripted formats are increasingly a source of prestige and extra revenue for Europe's public service broadcasters," she asserted.

"More and more, American networks and cable companies turn to Europe for inspiration and innovation," said Ms Brinkmann. "These successful formats are made for TV, with a proven audience track record. The Scandinavians were among the first to venture outside Europe and others are following. A version of The Bridge, centred on a crime committed on the US-Mexico border airs on American ABC this month. Another scripted format, based on the Dutch drama Adultery (NPO VARA Netherlands) produced under the name 'Betrayal' is also complete."    

Robert Kievit, head of Drama, VARA Netherlands says the format has been adapted to meet the expectations of American audiences.

"You don't need to tell Americans how to tell a story," said Mr Kievit. "What they're buying is an idea. Remakes are inexpensive. Of course, there are other considerations, according to the audience. No nudity, no swearing; it has to be more mainstream and I respect that. Ideally what we're selling is a cable show with a network touch."

Stefan Baron was Head of SVT's Drama Department in 2008 when The Bridge first hit TV screens. "Financially, it makes sense. But these formats offer American audiences much more: quirky characters, with plot-driven stories; second and third level layers. The Bridge is into its second series and the original has been sold to more than 60 countries."

Executive Producer Lars Blomgren told delegates the series' popularity demonstrates the growing acceptance of subtitles.  

"It's the originality of these formats that enable them to travel," said Mr Blomgren. "On one level, there's the cultural differences that European's love to play up: the humour that comes of rubbing rival cultures together. The Danes and the Swedes, the Brits and the French. It's difficult to plan for success, but my advice to other Members would always be, to make financial considerations secondary. Make something good. The momentum will follow."   

During the afternoon session of the Eurovision Fiction Plenary, participants will be presented with the best formats produced by Europe's public service broadcasters during the past year; some of which are into their third season.

Highlights include The Lerchenberg Series (ZDF Germany), Diabolical Dilemma (NPO Netherlands), New Day (YLE Finland), Harmless Lies (Chezch Television), You can’t take the church out of the village (SWR Germany), Time of Secrecy (RTS Switzerland), The Undertaker (SRF Switzerland), Crime scene cleaner (NDR Germany), There's something about love and seaside umbrellas (RAI Italy), Secret of Barslet (NPO Netherlands), Quiz me quick (VRT Belgium) and Adam and E.V.A. (NPO Netherlands).

More than 350 TV executives from the EBU have gathered in Berlin (9 - 11 September) to pitch programme ideas, share best practices and recognise industry achievement as part of the annual Eurovision TV Meetings.