LA SCREENINGS: As ITV Studios lines up its screenings in Hollywood later today, exec VP Julie Meldal-Johnson says she sees signs of “cautious optimism” in the market, despite the manifold challenges.

Julie Meldal-Johnson

At this year’s LA Screenings, the mood is markedly different from previous editions. Between industry-wide budget cuts, shifting geopolitical headwinds and natural disasters disrupting business on the ground, the context has changed significantly.

Yet, according to Julie Meldal-Johnson, exec VP of global content at UK-based ITV Studios, there are reasons to be cheerful. “We can only speak for our own experience, and while we acknowledge the challenges, what we’ve been seeing is cautious optimism,” she says. “We’ve been encouraged by clients’ desire to ‘return to new.’”

ITV Studios’ revenues grew by 1% to £386m (US$513.75m) in the first quarter of 2025, which parent company ITV said reflected strong demand from global streaming platforms. Recent programmes delivered include dramas Run Away (Netflix) and The Devil’s Hour (Prime Video), plus unscripted format Squid Game: The Challenge (Netflix).

Internationally, ITV Studios has also seen continued demand for strong British content, with dramas like Cold Water from Sister and The Guest from Quay Street Productions proving especially resonant with buyers. “Naturally, quality is really important,” Meldal-Johnson says, “and with shows like Cold Water, marking the return of Andrew Lincoln to British TV, we are feeling confident.”

Meldal-Johnson’s confidence is also reflected in the numbers. “The buying community is still heading out to LA en masse this month,” she notes. “We’ve had a record number of RSVPs to our screening this year, which has two full sittings on the 16th.” Even in a tougher economic environment, international appetite for premium scripted content has not disappeared – it’s simply become more selective and strategic.

The Walking Dead star Andrew Lincoln in Cold Water, produced by Sister

Yet the impact of US cost-cutting is clearly being felt, particularly by UK producers who have traditionally relied on American coproduction partners to close budgets. The industry is awash with stories of greenlit UK shows sitting on shelves because US partners aren’t coming forward and distribution advances have fallen.

But Meldal-Johnson sees this as a challenge to be met with creativity and preparation. “It depends on the content you’ve got and how you approach the market,” she says.

ITV Studios, for example, has responded by bolstering its international team. “Last year we appointed Jemma Harvey as senior VP of global content, coproductions, to work specifically on coproduction and pre-sale deals,” she explains.

The strategy has already borne fruit, with US public broadcaster PBS commissioning The Forsytes directly from Mammoth Screen, and commercial broadcaster 5 later coming on board for the UK. Other recent examples include Code of Silence, which launches on ITV this Sunday, and Ludwig – the BBC’s biggest drama of 2024 – both of which are coproductions with BritBox in the US. “So yes it’s challenging, but those challenges are not insurmountable so long as you have a strong slate,” Meldal-Johnson adds.

Beyond the UK-US axis, other international markets are showing signs of resilience and opportunity – particularly Latin America, which usually has a good presence at the LA Screenings.

Code of Silence, debuting on ITV this weekend, features a deaf main character

“The Latin American market remains selective and faces similar challenges to all markets,” Meldal-Johnson says, “but it’s also looking more vibrant this year.” Titles like Good Cop, Bad Cop, starring Leighton Meester and Luke Cook, are drawing strong regional interest, she notes. For ITV Studios, compelling storytelling paired with recognisable talent remains a winning formula.

In terms of genre trends, Meldal-Johnson says demand from US buyers for contemporary British shows remains high, particularly when it comes to thrillers. “A good thriller can really get a lot of traction,” she says, pointing to recent ITV Studios launches such as Cold Water, Code of Silence, The Guest and Watching You, which debuted at the London TV Screenings and will be front and centre at the company’s screening in LA today.

At the same time, the evolving strategies of US studios – especially their tendency to reserve programming for their own platforms – have opened new doors for non-US players. “Demand remains strong for US/Canadian content like Snowpiercer from Tomorrow Studios, and long-running shows like Schitt’s Creek continue to perform,” Meldal-Johnson says. “But UK content is also very desirable.”

The success of ITV Studios’ BBC hit Ludwig, which has been sold into over 85 countries, speaks volumes about the global appetite for strong British drama. Meldal-Johnson also highlights series from outside the UK, like After the Party from New Zealand’s Lingo Pictures and Austin from Northern Pictures in Australia, which recently completed a successful run on the BBC.

Meldal-Johnson says Good Cop, Bad Cop is among the titles drawing strong regional interest

On the issue of US president Donald Trump’s protectionist measures and fears around ‘runaway production’ being curbed under the new US administration, Meldal-Johnson remains pragmatic. “We continue to assess the possibility of trade tariffs in the US,” she says. “As ITV Studios only produces TV programming, we don’t anticipate any direct impact from the imposition of tariffs on films.”

In this unpredictable landscape, the LA Screenings still play a vital role. “The event is still a focal point for the global buyer community,” Meldal-Johnson says. Despite fires, funding constraints and geopolitical uncertainty, the appetite for bold, quality storytelling remains strong. For ITV Studios and others navigating this shifting terrain, adaptability, strategic partnerships and a clear sense of what audiences want are more important than ever.

As the industry recalibrates, Meldal-Johnson’s approach exemplifies how content companies can remain both commercially viable and creatively ambitious. The rules may be changing – but the game is far from over.