All3Media International capitalises on breadth of content

All3Media International exec VPs Sally Habbershaw, Sabrina Duguet and Stephen Driscoll discuss highlights from the distributor’s catalogue, industry reactions to its Mipcom slate and what lies ahead in 2025.

“Our footprint has really evolved in the premium documentary space,” says Sally Habbershaw, executive VP of the Americas at All3Media International, who points to two blue-chip natural history titles from Silverback Films – David Attenborough: Ocean, produced in partnership with National Geographic, and Parenthood. Both are narrated by Sir David Attenborough.

“He remains incredibly charismatic, entertaining and engaging,” Habbershaw says of the celebrated naturalist.

She also highlights Spacey: Unmasked, produced by Roast Beef Productions, which looks at the sexual misconduct allegations against Oscar-winning actor Kevin Spacey. “When we started conversations, there wasn’t a result from the Kevin Spacey trial so it was important for us to find partners who were willing to take a risk,” she says. “Discovery put faith in this documentary, acquiring it for the US, Europe and Latin America. Other partners followed and we secured pre-sales across four continents.”

Meanwhile, Nutopia’s upcoming docudrama Jesus: Crown of Thorns has immense appeal in Latin America, says Habbershaw: “It features an array of experts, who provide a rigorous historical underpinning to the series. We’re seeing lots of interest by free-to-air broadcasters and streamers.”

Recently launched in the UK is Trump: The Criminal Conspiracy Case, which has already been acquired across Europe, Australia and Asia.

“We knew this title would be trickier in the US and we were aware it may prove divisive,” Habbershaw says of the doc on former US president and current election candidate Donald Trump. “However, the film is told with the trademark journalistic expertise of 72 Films and features access to all sides of the case, making this an important documentary to bring to the US market. We’ll be able to share more details on American deals soon.”

Premiering later this year on BBC Two and BBC iPlayer is Lion TV feature documentary Irresistible: Why We Can’t Stop Eating. “It explores the truth behind ultra-processed foods, and we’re thrilled to have secured pre-sales in four continents,” says Habbershaw.

She adds that with lower budgets available for drama, tentpole documentary can be just as “buzzy and appealing” to buyers: “At Mipcom, clients felt our slate stood out.”

Habbershaw says the company is also experiencing continued drive for formats: “IDTV’s The Traitors is our north star, and we are now seeing movement in Latin America for this title. We also have Studio Lambert’s The Anonymous (produced for NBC Universal), another strategic reality competition that sees players competing in two worlds – the real world and anonymous mode.

“At Mipcom, Optomen’s Bad Boyfriends generated a lot of buzz. Packed with humour, plenty of mischief and explosive drama, this addictive format follows unsuspecting bad boyfriends as they are flown to a paradise destination, only to find that the real purpose of their trip is to whip them into better boyfriend shape – at the behest of their long-suffering girlfriends.”

Sabrina Duguet, executive VP for Asia Pacific, says she is also seeing strong interest in formats: “The Traitors remains a global format phenomenon. With over 30 adaptations worldwide, this is the most talked-about format in the region.”

The format is being adapted by BBC Studios India for Prime Video India and by Luyworks Media and Something Special for the Korean market.

“Several other versions are expected to be announced and there is also a merchandise line including a board game, card game and a live experience coming to the UK next year,” Duguet says. The exec also highlights IDTV’s latest format, Turn on the Charm, which she says “offers a perfect mix of travel, strategy and charm.”

Another strong genre in the APAC region is scripted formats, including Kafas, the Indian adaptation of The Forge’s Dark Money, produced locally by Applause Entertainment for Sony Liv.

The format was named Best TV Format Adaptation (Scripted) at the 2024 ContentAsia Awards and Best Scripted Format at the 2024 International Format Awards, held in Cannes during Mipcom. “It’s been brilliant to see local adaptations receiving international recognition,” says Duguet.

Drama formats written and produced by Two Brothers Pictures, including Liar, Cheat, Strangers and The Tourist, have also had a huge amount of interest in the region, she adds.

Duguet sets this in the context of the local landscape: “Asian content is getting stronger, with more appeal outside of [a show’s] original country. Production budgets are higher than ever and getting harder to finance.

“Scripted formats offer a fantastic option as they are efficient and economic. Adapting stories with a proven track record provides reassurance to advertisers and partners about the quality of the content, and the process of going into production is often quicker, as the scripts are already available.

“We have a catalogue of over 70 scripted formats, 15 of which have had recent adaptations, with more to come in 2025. We have more than 40 production companies within the All3Media group, as well as collaborations with many third-party producers who are bringing us a lot of wonderful content and formats.”

Stephen Driscoll, executive VP for EMEA, is excited about second seasons of recent dramas.

The Gold, from Tandice Pictures and Objective Fiction, which premiered on BBC One in 2023, returns in early 2025 to complete the story of what happened to Brink’s-Mat Robbery bullion. In Australia, Stan is launching season two of Goalpost Pictures’ mystery series Black Snow, starring Travis Fimmel.

For public service broadcasters and commercial channels, the focus remains on “broad accessible dramas that can perform well for linear and non-linear audiences alike,” says Driscoll, citing miniseries The Ex-Wife, which is also returning for season two, and long-running detective franchises Midsomer Murders, The Brokenwood Mysteries and Van Der Valk, as well as All Creatures Great & Small.

Foreign-language dramas are facing a more challenging market landscape, but Driscoll says: “Our German-language adaptation of Neal Street’s The Informer, known locally as Informant [from NDR, Arte and NRK], premiered recently and we’re thrilled to see FLX’s Swedish contemporary thriller Blinded returning for a third season.

“It’s fantastic to have VRT and YLE returning as coproducers for season two of Glassriver’s Icelandic drama Black Sands, which will be back on screens later this year.”

Driscoll also highlights BBC Alba’s mixed-language (Gaelic/English) crime drama The Island, produced by Black Camel and due on screen in 2025.

Referring to the uncertain economic environment, he says: “Some buyers are focusing more of their limited budget on local originals or coproductions, while some are seeking to secure titles early to plan their budgeting more carefully.

“Others are running down their inventory until their finances improve and extending or renewing license periods on strong franchises that perform well for their audiences, year in, year out. We are fortunate to have a broad catalogue of content to suit any budget or region.”

In terms of coproductions, Driscoll says: “In Europe we have found the copro landscape slower in 2024 than in previous years, in part due to clients’ restricted budgets. However, we are delighted to have copro partners like ZDF, Acorn TV, Tubi and The CW on board for our 2024 and 2025 scripted slate.

“Acorn TV came on board Company Pictures’ new detective series Ellis for Channel 5. It also coproduces New Pictures’ detective franchise Dalgliesh and will return as coproducer for the third season.”

ZDF and Stan are coproducing Two Brothers Pictures’ The Assassin for 2025, says Driscoll: “ZDF is a regular collaborator who we partnered with on The Tourist and this year on Ben Wheatley’s Generation Z for ZDF NEO.

“ZDF Studios is also on board as coproducer for the second season of Studio Lambert’s comedy-drama Boarders for ZDFneo, joining Tubi in North America and Latin America and commissioner the BBC in the UK.”

Driscoll reports a busy Mipcom 2024 with “an enormous number of meetings” held on the company’s stand: “Clients complimented us on bringing so many new shows to market. This helped us stand out from the crowd and attract new deals.”

All3Media International also had a lot of interest from buyers around new seasons of The Gold and Trigger Point, as well as for The Assassin.

“Scripted series remain our most important genre in revenue terms, and we seem well positioned in a competitive market to capitalise on new launches, as well as on our broad slate of returning and successful franchises,” Driscoll says.

Habbershaw adds that the company is going to become more creative with its dealmaking: “The CW premiered Snowed-In Productions’ Joan in North America, followed by BritBox, showing there is an opportunity to place titles in different homes that don’t conflict with our partners’ audiences. Windowing is a strategy we’re going to be exploring more.”