Fresh from their trips to the LA Screenings last month, buyers from Scandinavian broadcasters tell C21 how demand for US content in their home markets is evolving as they finalise their fall acquisitions.
US series The Hunting Party in TV2 Norway’s line-up
Nordic buyers, from Sweden’s SVT, Norway’s TV2 and Denmark’s TV2, travelled to Los Angeles last month in search of insights into the market and to strengthen their industry relationships through networking.
“The LA Screenings remains an important event, offering the complete picture – not just individual series but also the tone, trends and strategic direction from Hollywood studios,” explains Nina Lorgen Flemmen, international content director at TV2 Norway. “Whilst we approach acquisitions more selectively than in the past, the LA Screenings provide a strong foundation for making informed decisions.
“The LA Screenings is one of two primary markets for US television fiction in which we participate for content screening and networking. The other is Mipcom, where all US studios are also present,” adds Lars Erik Nielsen, acquisitions executive at TV2 Denmark.
Nina Lorgen Flemmen
TV2 Norway approaches US acquisitions with an open mind whilst maintaining clear objectives. “We look for content that aligns with our audience and brand – whether that’s broad, entertaining drama; strong character-driven stories; or concepts that can complement our streaming portfolio. It’s about finding the right fit,” Lorgen Flemmen explains.
“In a market with so much on offer, precision in our evaluations is more important than ever. However, network shows, procedurals and relationship-driven drama remain key priorities.”
Like many Scandinavian broadcasters, SVT does not rely on US programming as heavily as it did a decade ago. “We maintain close relationships with US studios that have an international outlook and slate, which aligns with our goals as an acquisitions team. We cherry-pick the best shows that suit our audience and perform well on SVT Play, including first and second windows,” says Karolina Stallwood, head of SVT International.
Like SVT, TV2 Denmark once acquired much larger volumes of US fiction for its linear channels, including titles such as 24, Desperate Housewives and The Good Wife, as well as sitcoms for its niche channels. However, this year the Danish broadcaster and streamer is being more selective.
“These days it’s a different and more complex market, with US streaming services offering content directly in our small territory. Simultaneously, our focus has shifted towards local content in the linear universe on our channels,” Nielsen explains.
Karoline Stallwood
American scripted television continues to be vital to Norwegian broadcaster TV2, particularly through its streaming service TV2 Play. “Viewers demand more, and with increased competition, US titles need to offer more than just scale – they need a clear identity with strong characters,” Lorgen Flemmen says, citing titles such as The Rookie, Sullivan’s Crossing and FBI. TV2 Norway has recently launched Matlock, with The Hunting Party next in its line-up.
SVT’s focus remains on strong writing, and the public broadcaster mixes US drama with UK shows and series from Europe and the rest of the world.
“Quality and good storytelling are both key to our decision-making, as well as ensuring we fulfil our public service remit. We also always ensure that we have a varied slate of scripted programming – crime, thriller, drama and comedy – which will attract and entertain all age groups in Sweden,” Stallwood explains.
In 2025, SVT is looking beyond just US content. This year, it has seen success with British crime series such as The Jetty, The Crow Girl and the more comedic crime series Ludwig. “We also have high hopes for our post-apocalyptic US drama Earth Abides,” Stallwood adds.
SVT has high hopes for US post-apocalyptic drama Earth Abides
While in LA last month, some Nordic buyers also explored new creative innovations within the expanding reality genre. “There is still innovation happening, especially in competition-driven formats, and older formats being revitalised to stay relevant. Reality is far from exhausted; it just needs creativity, sharp execution and, above all, great casting,” Lorgen Flemmen observes.
Lars Erik Nielsen
Despite a week of networking on the West Coast providing a unique opportunity for the Nordic delegates “to learn from each other and build knowledge collectively,” as Lorgen Flemmen notes, some didn’t feel the need to attend the event at all.
Norway’s NRK did not go because the public broadcaster’s current need and interest in drama is low, but that does not rule out a return in 2026, according to Fredrik Luihn, NRK’s head of film acquisitions.
“Our interest in movie packages is currently lower, and there is no imminent need for new US series. However, we will be looking out for new series in 2026 or 2027,” he explains.
