Checking the industry’s pulse ahead of London TV Screenings

The Famous Five (Source: BBC Studios)

We are just days away from the start of London TV Screenings and BBC Studios Showcase, as the global TV community descends upon the UK capital to strike deals on the latest content hitting the market.

This year’s event is taking place against the background of some serious upheaval in the TV world, as companies of all sizes cut jobs and content requirements to fit new levels of spending as they try to balance budgets.

So ahead of the screenings, TBI took the pulse of more than 25 distribution companies to find out how they are finding their footing on this shifting ground and what the next 12 months have in store. Below is just a sample of their insights, with more to come over the course of next week.

Rebecca Glashow (Source: BBC Studios)

Rebecca Glashow, CEO, BBC Global Media

What three words would you use to describe the state of the TV/streaming industry as a whole right now?

In flux, exciting, resilient

What three words would you use to describe the state of the distribution sector right now?

Creative, flexible, opportunistic

What is the single biggest difference in the discussions you’re having with buyers today compared with 12 months ago?

There is more transparency about the pressure and needs in the marketplace, felt by all parties. Buyers are more open to working with other partners and to suggestions around creative windowing and rights models. As example of partnerships would be our recent agreements around The Famous Five, which is a co-production with ZDF in Germany in association with The MediaPro Studio across Latin America, Spain and Portugal.

To read more about BBC Global Media’s distribution strategy, click here.

Louise Pedersen (Source: All3Media)

Louise Pedersen, CEO, All3Media International

What three words would you use to describe the state of the TV/streaming industry right now?

Cautious, risk averse, variable globally (some steady markets, some much tougher ones).

What three words would you use to describe the state of the distribution sector right now?

Steady, prudent, tough for smaller distributors.

Where does opportunity lie for you in 2024?

There is certainly room for format/ancillary expansion and that is one area we are exploring. There are also opportunities around premium and long running factual, as well as increasing catalogue/second cycle revenues.

To read more about All3Media International’s distribution strategy, click here.

Ruth Berry (Source: ITV Studios)

Ruth Berry, MD, ITV Studios Global Distribution & Global Entertainment

What is the single biggest difference in the discussions you’re having with buyers today compared with 12 months ago?

Exclusivity is less important to many buyers.

How do you expect global streamer demands for rights to change in 2024 compared with 2023?

I think they will buy more locally and regionally and window within home markets.

Where does opportunity lie for you in 2024?

Tape sales, great new international drama, growing formats, growing FAST and AVOD. We now have over 130 owned and operated social channels, and more to come, in addition to the continued strength of a broad and deep catalogue.

To read more about ITV Studios’ distribution strategy, click here.

David Smyth (Source: Fox)

David Smyth, EVP, content sales & partnerships, Fox Entertainment Global

With fewer shows being commissioned, how are you securing your pipeline?

We are fortunate in that our primary sources of new titles – Fox Entertainment and Tubi – have continued to commission strongly in recent times. However, we are also open to selective third-party acquisitions where it makes strategic sense to build the size of our catalogue.

What is the single biggest difference in the discussions you’re having with buyers today compared with 12 months ago?

There is a greater openness to discussing new models of distribution, and we feel an increasing appetite for finding innovative ways of securing great content at more affordable price points.

How do you expect global streamer demands for rights to change in 2024 compared with 2023?

To remain robust, but with a greater degree of pragmatism around rights and geographical scope.

To read more about Fox Entertainment Global’s distribution strategy, click here.

Kelly Wright (Source: Keshet International)

Kelly Wright, MD of distribution, Keshet International

Where does opportunity lie for you in 2024?

Our opportunity lies in the fact that we have really strong international IP. Because so many verticals are so interested in making brands their own, established brands like Deal With It!, Boom!, Prisoners Of War and False Flag are really valued. We are still seeing the power in that. Another big opportunity for us is that we are now behaving more and more like a studio – so we’re involved more and more in how shows get made, from our role as non-writing creative EPs through production and production financing, and naturally all the way through to distribution. I think we’ll be looking to lean more into those kinds of collaborations in 2024.

Tell us in no more than two sentences about the biggest problem facing the distribution industry and what needs to change so it can be overcome.

1) (Excluding tape sales) The creation of new IP is extremely complex now. There are no straightforward, single-buyer deals anymore (and if you do land those rare deals, those buyers expect to scoop up all of the rights, sometimes without separate fees and premiums).

2) Human resources. If costs keep rising, then the natural reaction is to cut back on expenses – which means laying off your staff. Who is going to manage the IP then – acquire it, create it, manage it, program it, analyze it? We are basically playing right into the hands of AI.

To read more about Keshet International’s distribution strategy, click here.

Cathy Payne (Source: Banijay)

Cathy Payne, CEO, Banijay Rights

With fewer shows being commissioned, how are you securing your pipeline?

Having internal production companies that focus on long-running, returning franchises provides a level of security along with a library of proven franchises that can be scaled to suit a variety of production budgets.

What is the single biggest difference in the discussions you’re having with buyers today compared with 12 months ago?

A year on, it’s safe to say that buying is more selective. The days of commissioning shows just to have volume are gone – it was never sustainable.

How do you expect global streamer demands for rights to change in 2024 compared with 2023?

I believe there will be a continued focus on broad audience entertainment in 2024, whether this is in the form of reality, factual or scripted content.

To read more about Banijay Right’s distribution strategy, click here.