Global Content Crossroads: London TV Screenings Defy Headwinds with Star-Studded Slate and Strategic Shifts
The recent London TV Screenings (LTVS), an essential fixture on the international content calendar, concluded amidst a palpable sense of industry paradox: unprecedented attendance and star-studded content offerings clashing with a market riddled by uncertainty and rapid evolution. Drawing in record numbers of industry professionals, the event showcased an impressive roster of series featuring household names like Bella Ramsey, Brenda Blethyn, Shemar Moore, and Catherine Zeta Jones. Furthermore, it unveiled hotly anticipated titles from the creative minds behind global hits such as “Adolescence,” “Lupin,” “Narcos,” and “Ozark.” This surge in engagement underscored the enduring allure of premium storytelling, even as the global television landscape grappled with profound shifts.
Cathy Payne, CEO of Banijay Rights, captured the sentiment, telling Variety, “This incredible uptick represents the continued growing appetite for premium storytelling across all genres.” Yet, this vibrant display of the U.K. TV industry’s resilient pulling power unfolded against a challenging backdrop. The market was overshadowed by significant merger and acquisition (M&A) speculation, compounded by the disruptive forces of rapidly evolving business models. The rise of platforms like YouTube, the transformative potential of artificial intelligence (AI), and the burgeoning popularity of microdramas were all major talking points, pushing traditional industry players to rethink their strategies and adapt to an increasingly fragmented and competitive environment.
The intense 2026 edition of the London TV Screenings, held from February 22-27, culminated in a mega-showcase by Fremantle on Friday, drawing significant attention. Running concurrently from February 22-24, MIP London offered complementary conference strands that featured illuminating panels, providing vital insights into the industry’s complex challenges and emerging opportunities. This synergistic timing allowed attendees to maximize their engagement, absorbing both cutting-edge content presentations and strategic discussions shaping the future of television.
A central theme of the event was the remarkable surge in the London TV Screenings’ prominence. Already established as Europe’s second most important television market after Mipcom, LTVS holds particular significance for its founding members: Fremantle, Banijay, ITV Studios, and All3Media International. This year, however, saw the event reach new heights. Banijay Entertainment’s Showcase reported record attendance, with over 500 buyers participating across its morning and afternoon sessions, nearly doubling its 2025 figures. Similarly, All3Media International confirmed an increase in attendees, with 500-600 individuals registered across various genres. Rachel Glaister, EVP of Press & Marketing at All3Media International, articulated the event’s success: “The London TV Screenings works. It’s free and incredibly focused for buyers – efficiently highlighting content slates for 2026. It’s grown as an event so there is more on offer than just English-language product across the wider event – but that is the buyers’ main focus. It serves this sector of U.K. trade very well.” This growth is a testament to the event’s strategic value, offering a streamlined and cost-effective platform for crucial content transactions.
However, beneath the surface of record attendance, the industry grappled with profound disruption. A major bombshell landed mid-week as Netflix reportedly withdrew from the bidding war for Warner Bros. Discovery. This development sent ripples of concern through U.K.-based international distributors, who feared the loss of another potential buyer and co-producer, particularly if Paramount Skydance proceeded with an acquisition of WBD. Such large-scale M&A activity injects considerable uncertainty into the market, influencing commissioning strategies and distribution deals. Last year, much discussion revolved around a potential merger between All3Media and ITV Studios. This year, the industry buzzed with speculation about a possible Banijay-All3Media fusion. The television industry, inherently risk-averse, views such unpredictability with apprehension. Unable to fully predict the ramifications of these colossal corporate maneuvers, attendees at the London TV Screenings largely maintained their focus on the immediate tasks of buying and selling content, a pragmatic response to an unpredictable landscape.
Amidst this flux, a critical question emerged: what content is truly selling? Jens Richter, Fremantle CEO Commercial and International, noted that the London TV Screenings largely confirmed trends observed over the past year or two. The market demonstrated a strong preference for “shows that can reach an audience, that drive a conversation, ideally having a built-in marketing component.” This often translates into projects with exceptional star power, such as “Kill Jackie” starring Catherine Zeta-Jones, or those leveraging significant intellectual property (IP) like the “Baywatch” reboot, which boasts immense pre-existing awareness. Beloved long-running series, exemplified by “Sullivan’s Crossing,” based on the Robyn Carr book series and now entering its fourth season, also proved highly marketable. Cathy Payne of Banijay underscored the enduring appeal of quality storytelling, stating, “Stories that are told well and have ‘returnability’ will always sell well – that’s always the feedback from our clients.” Similarly, Tom Clark, Executive VP Global Sales and Commercial Strategy at ITV Studios, highlighted a slate “rich with escapism and rich with entertainment. It’s all about being thrilling but also fun,” reflecting a demand for content that offers a compelling escape from everyday realities.
The unscripted genre also showcased distinct trends. Lucas Green at Banijay Entertainment observed that “scalable franchises that can flex across both local broadcasters and global streamers continue to dominate the format landscape.” He cited the successful mega-reboot of “Fear Factor” in the U.S. as a prime example. Established reality staples like “Big Brother” and “Temptation Island” continued their strong performance, demonstrating their consistent appeal across various markets. Furthermore, Green noted the emergence of global hits that ingeniously blend reality, physical challenges, and gameplay, delivering the “scale, spectacle and distinctive visual worlds buyers are seeking.” Titles such as “The 50” and “Let’s Play Ball” were highlighted as standouts in this innovative category, pointing to a future where unscripted content is increasingly ambitious and visually engaging.
The buzz dramas generated significant excitement. Among the London TV Screenings founders, ITV Studios presented “The Neighbourhood,” a reality show hosted by the globally recognized Graham Norton, alongside scripted projects like “Two Weeks in August” from “I Will Destroy You” producer Various Artists Limited. “Tip Toe,” a highly anticipated re-teaming of “It’s a Sin” creator Russell T Davies and producer Quay Street Productions, also garnered considerable attention. Fremantle’s scripted slate was led by the “Baywatch” reboot, which Richter dubbed “the biggest IP in television,” currently in high-profile casting with Fox. Other key titles included “Kill Jackie” with Catherine Zeta Jones and “The Cage,” Tony Schumacher’s follow-up to the acclaimed “The Responder.” Following Banijay’s showcase, Payne reported strong interest in their “powerhouse U.K. dramas,” including “A Woman of Substance” and “Falling” from The Forge, as well as Richard Gadd’s highly anticipated “Half Man.” All3Media International saw significant buyer interest in “Maya,” starring Bella Ramsey and Daisy Haggard, and received positive feedback for the reportedly involving “Careless.” “Gold,” featuring the in-demand David Morrisey, also secured a crucial BritBox deal for the U.S., underscoring the market’s appetite for compelling British drama.
A notable development was Asia’s prominent and structurally embedded presence, particularly at MIP London 2026. Japan showcased its formidable format-export strength through heavyweight broadcasters like Nippon TV and TV Asahi, reinforcing its reputation as a hub for innovative unscripted concepts. Korea’s influence was significant, anchored by KOCCA and CJ ENM, signaling a strategic pivot towards European co-development and distribution partnerships, moving beyond mere content sales to collaborative production. China’s presence was highly visible, marked by a bustling China Pavilion and the participation of major companies including Jiangsu Broadcasting Corporation, Shenzhen Media Group, Linmon Media International, and Yulele Media Group. These entities highlighted China’s robust microdrama sector, supported by favorable policy backing, including a new visa-free regime for U.K. nationals, facilitating greater collaboration. Microdrama players, notably China’s COL Group International, proactively scaled their distribution infrastructure, announcing a coordinated global microdrama network and expanding its catalogue to over 1,700 titles through regional partnerships during the market. In contrast, India maintained a comparatively modest footprint, not featuring prominently on major stages or headline panels. Across these markets, Asian players were not simply selling individual shows; they were strategically showcasing entire production ecosystems, robust IP pipelines, and long-term collaboration strategies, indicating a deeper integration into the global content landscape.
The evolving landscape also prompted a re-evaluation of international co-production partners. Jens Richter of Fremantle observed, “It is still possible to sell shows in the U.S. and co-produce but it just takes longer and there’s less compared to a couple of years ago. So companies have had to pivot a little bit co-producing or pre-selling, whether it’s Canada or Australia or with the European continent.” This strategic pivot was evident at LTVS. All3Media International’s banner title “Careless” was developed not only for the U.K.’s Channel 4 but also for Australia’s Stan, highlighting cross-continental collaboration. Cineflix’s “Anne Pigeon” marked USA Network’s first co-commission with Canada’s Bell Media, diversifying funding streams. Similarly, Federation International was marketing “Dustfall,” a series produced by ABC TV in association with the BBC and Germany’s ZDF. This shift towards broader international partnerships has the positive net result of fostering greater international renown for a wider array of talent, exemplified this year by Australia’s exceptional Anna Torv, who stars in “Dustfall,” and “Careless” lead Robyn Malcolm.
The documentary sector at London Screenings 2026 presented a picture of guarded resilience. While the broader market grappled with budget cuts from streamers and pay-TV operators, factual distributors demonstrated agility by pivoting towards public broadcasters and international co-production partnerships to keep projects viable. Julian Chou-Lambert of TVF International acknowledged the event was “bigger than it’s ever been,” but stressed that “with the sort of cuts to streaming budgets… we need [international co-productions] more than ever.” He also welcomed the reprieve and return of France’s Sunny Side of the Doc – an event that had recently faced closure – calling it “really important for the industry” as a rare dedicated co-production market for documentaries. In a tightening funding landscape, the message was unequivocal: cross-border financing and early-stage collaboration are no longer optional but have become structural necessities for the continued vitality of factual storytelling.
Sportainment emerged as a significant area of growth and interest. James Townley, Chief Content Officer for Development at Banijay Entertainment, noted widespread positive feedback for Banijay formats, telling Variety, “It wasn’t just one title that landed – it was the range.” He cited the success of large-scale culinary format “100 Knives” and, notably, three Dutch sportainment formats: “Football Island,” “Last One Standing,” and “The Bicycle Race.” This trend aligns with observations from Guy Bisson of Ampere Analysis, who, in his Mip London report on Factual Trends, highlighted the rise of sports companion programming, encompassing streamer series, documentaries, and reality shows. This genre taps into a broader cultural appetite for sports-related content, extending beyond live games to narrative-driven and competitive formats.
Beyond the founding distributors, several other buzz titles captured attention. “S.W.A.T. Exiles,” a franchise spin-off sold by Sony Pictures TV, stood out as one of the biggest and most anticipated market offerings. Beta Film’s “Maxima” Season 2 generated considerable expectation, following the first season’s impressive sales to over 85 territories. The BBC’s Welsh mountain-set thriller “Deadpoint,” featuring a powerful ensemble cast including Callum Scott Howells (“It’s a Sin”), Christine Tremarco (“Adolescence”), and Michael Socha (“The Gallow’s Pole”), was rated as one of the network’s top new draws. “Dustfall,” a sweaty and discomforting Australian tropical noir driven by a powerhouse performance from Anna Torv, built significant buzz ahead of its world premiere in main competition at Series Mania. Other fan favorites included Sphere Abacus’ “Pierre,” a stylish, noir-esque series anchored by David Harewood’s long-overdue first lead performance, and Keshet International’s “Number One Fan,” a psychological thriller starring Sally Lindsay as a TV presenter stalked by a fan from hell, played by Jill Halfpenny.
The burgeoning phenomenon of microdramas received extensive discussion, particularly at a packed Mip London marquee panel. Timothy Oh, from COL Group International, revealed striking facts about this sector, noting that as much as 90% of microdrama budgets are allocated to marketing rather than production. This aggressive user-acquisition business model, he explained, increasingly resembles that of mobile gaming. Maria Rua Aguete of Omdia provided a broader context, highlighting that 75% of video consumption now occurs on smartphones, perfectly positioning microdramas for this mobile-first audience. While initially associated with low-cost romance narratives, Alex Montalvo of GammaTime added that producers are now expanding into genres like thrillers and true crime, and even adapting premium IP for the microdrama format, signaling its growing versatility and market potential.
The London TV Screenings also saw a flurry of significant deals, underscoring the market’s transactional energy:
Sony Pictures Television-owned Left Bank Pictures’ Liverpool-set crime drama, “This City Is Ours,” produced for the BBC, was acquired by AMC Networks for the U.S., slated to launch in March on AMC+. With its U.S. distribution secured, SPT successfully closed major territories across more than half the world for the series.
ITV Studios unveiled its new banner, Studio 55, during the London TV Screenings. This initiative aims to open up ITV Studios’ extensive library to digital-first creators and establish a comprehensive licensing hub for iconic ITV brands such as “Love Island” and “The Voice.” Studio 55, a strategic move to expand consumer touch-points, particularly among Gen Z, will be led by former Snapchat and X executive Will Scougal.
Fremantle began scaling the music game show “Hitster,” based on the highly popular party game that broke out in the U.S. over Christmas, securing series orders from Germany (RTL Deutschland), the Netherlands (RTL4), and Canada (Attraction and Productions Déferlantes).
BritBox acquired the U.S. streaming rights to Banijay banner title “A Woman of Substance,” starring double Oscar nominee Brenda Blethyn, known for “Vera,” a series sold to 178 territories. From Banijay-owned Forge Entertainment, this series is a ravishing, decades-spanning tale of revenge, ambition, empowerment, and ultimately, love and reconciliation.
“Gone,” from “Hijack” and “Lupin” creator George Kay, secured a pre-sale to BritBox for North America through All3Media International. Robust additional pre-sales for “Gone,” starring David Morrissey and Eve Myles, included Australia’s Stan, Sky in New Zealand, and the BBC in Asia, signaling strong international confidence in the drama.
The British detective drama “Bergerac,” sold by Banijay Rights, was acquired for the U.S. by PBS Distribution. Billed as a “modern re-imagining,” the new “Bergerac” features a single character-led murder mystery unfolding across all six episodes, a departure from the original’s episodic format.
Hudson Williams, star of “Heated Rivalry,” joined the Crave mystery thriller series “Yaga,” which also features Carrie-Anne Moss and Noah Reid. The show was actively shopped at the London TV Screenings by Sphere Abacus.
Beta Film announced that the true-life inspired Dutch Royalty series “Maxima” is expanding its franchise with a first spin-off, titled “The Other Royals,” capitalizing on the success of the original series.
The Singapore-headquartered COL Group International formalized a cross-continental distribution structure and expanded its global microdrama catalogue to more than 1,700 titles, a significant revelation made at Mip London, showcasing their leadership in this emerging format.
In another significant acquisition, PBS Distribution secured U.S. Rights to “Trespasses,” starring Lola Petticrew (“Say Nothing”), Tom Cullen (“The Gold”), and Emmy and Golden Globe winner Gillian Anderson (“Sex Education”), alongside “I Fought the Law,” featuring the inimitable Sheridan Smith.
Beta Film announced a wave of international sales for the British hit series “Patience,” bringing the Channel 4 show to 100 territories worldwide with deals including AMC Networks for Latin America, ABC for Australia, and across Africa to BBC Brit, demonstrating its broad global appeal.
ZDF Studios acquired sales rights to “Ancient Superstructures” Season 4, which will feature the much-anticipated completion of Barcelona’s iconic landmark, the Sagrada Familia, continuing its exploration of engineering marvels.
Banijay Rights boarded the BBC Docuseries “The Clickbait Clinic With Stacey Dooley,” a timely show that critically examines the veracity of social media health advice, from fitness boosters and pain beaters to youth elixirs and fat busters, reflecting a growing public concern about online misinformation.
Fremantle sealed a production and distribution deal for the wacky comedy competition “Special Delivery,” co-developed with Japan’s Tokyo Broadcasting System, showcasing international collaboration in unscripted entertainment.
France TV Distribution brought to market the period drama-thriller “Sorority,” a compelling tale of three women – a wet-nurse, a midwife, and a grieving mother – navigating a male-dominated world in 1889 Paris, highlighting strong female narratives.
All3Media International announced that “The Traitors” reached a remarkable 40-territory format adaptation milestone, securing new partners in Asia (including Indonesia’s Falcon) and Europe (Slovakia, Estonia, Serbia, and Malta), underscoring the format’s global resonance and adaptability.
Beta Film boarded the premium crime drama “Ludwig,” centered on the mysterious death of King Ludwig II of Bavaria, whose Castle Neuschwanstein famously inspired Disney’s iconic castle logo. The show is being produced by W&B Television, known for “Pagan Peak,” “Dark,” and “4 Blocks,” for German broadcaster ARD.
Japanese comedy hit “You Laugh You Lose” received a significant global push as Banijay Entertainment acquired format rights from “LOL” creator Yoshimoto Kogyo, signaling its potential for international adaptation.
