LONDON TV SCREENINGS: Louise Pedersen of The Traitors distributor All3Media International shares insights into industry trends, emerging opportunities and how the company is adapting to the shifting sales landscape.
Louise Pedersen
Over the past five years, the London TV Screenings have quietly become a cornerstone of the international content distribution calendar. For Louise Pedersen, CEO of All3Media International, the focus this week is on delivering a buyer-centric experience while navigating an evolving market.
Pedersen emphasises the importance of providing buyers with an efficient and effective overview of All3Media International’s upcoming drama, unscripted and format slates. “Our focus is always to maximise the buyers’ experience – giving them an efficient and effective view into our forthcoming slates across drama, unscripted and formats,” she says.
As in previous years, the company is hosting its event at the Odeon Leicester Square, with sessions divided by genre to help attendees manage their schedules. Ahead of its screening today, it emerged that the number of territories adapting the IDTV format The Traitor has reached 30, following deals with companies in Ukraine and Mongolia.
In Ukraine, streaming platform Sweet TV has commissioned and will produce the Ukrainian version of the format. In Mongolia, The Traitors has been acquired by Hulegu Distribution for production by and broadcast on leading free TV channel EduTV, IPTV platform Univision and OTT service LookTv.
Reflecting on the evolution of the London TV Screenings over the past five years, Pedersen notes significant growth in the number of both sellers and attendees. “The event has certainly attracted more sellers as they realised that buyers are drawn here to hear more from the key London TV Screenings founders: ourselves, ITV Studios, Banijay and Fremantle,” she explains.
With acquisitions teams from around the world now sending additional staff to cover the packed agenda, Pedersen acknowledges that buyers require new ways to navigate the increasingly busy week. The latest event welcomed 36 distributors, compared with the four founders in 2021.
While the distribution landscape has maintained certain consistencies over those years, some shifts are evident in deal structures and audience engagement models. “It’s pretty similar; US coproductions are still challenging but we are seeing more willingness to consider windowing and non-exclusive deals, which is helpful,” Pedersen observes. She identifies advertising-based VoD (AVoD) as a notable area of opportunity, despite its longer revenue cycles. “The AVoD market is interesting in terms of growth opportunities,” she adds.
Peacock’s US adaptation of reality format The Traitors
Financing premium scripted content remains a pressing challenge, not just for the companies shopping those titles here in London this week but for the wider industry. “One of the challenges for the whole industry, not just distributors, is how to finance premium drama,” Pedersen states. Traditionally, UK secondary rights revenues have played a key role in investment strategies across genres.
However, recent regulatory proposals and broadcaster decisions are prompting concern. “Ofcom’s PSB [public service broadcaster] proposals plus the BBC’s reluctance to release secondary on-demand rights are a concern,” she says, highlighting how these changes could impact production financing.
Ofcom’s proposed changes to PSBs’ codes of conduct, which could allow them to negotiate individual arrangements with producers over secondary programme rights, have sparked industry fears. “It is a concern,” Pedersen admits, pointing to potential ramifications for both producers and distributors.
Despite these challenges, opportunities persist in areas requiring longer-term strategies. “Where are the greatest opportunities? AVoD – but revenues come in over a longer time period,” Pedersen says, underscoring the importance of patience and sustained investment in this sector.
Unscripted content has been a particular growth area for All3Media International. “Unscripted and formats have grown, helped by our expansion into premium factual and the global success of The Traitors,” Pedersen notes. One of the distributor’s big new titles for this week is documentary Diddy: In Plain Sight (1×60’), from All3Media-owned Lion TV for Channel 4.
This focus on high-quality factual programming, further evidenced by All3Media’s acquisition of Emmy-winning Our Planet producer Silverback Films in 2020, aligns with broader market trends favouring versatile and internationally adaptable content, Pedersen says.
Looking at global growth prospects, Pedersen identifies several promising markets. “India, in terms of both scripted formats and entertainment formats, feels buoyant right now,” she says, citing the local adaptation of The Traitors for Amazon Prime Video India as an example of strong regional engagement. Turkey and Africa are also emerging as key markets, she adds, reflecting the increasing demand for diverse storytelling across various territories.
Recent comments by a UK TV producer at a recent government inquiry suggested that distribution advances have “collapsed” amid the economic downturn and a seismic rethink at US streamers. Pedersen offers a measured perspective: “Our distribution advances are based on investment cases that reflect current market conditions.”
Her response suggests that while the market is evolving, financial decisions are guided by strategic assessments rather than a wholesale retreat from pre-existing models.
Sean ‘Diddy’ Combs is the subject of a new doc from All3Media (Photo: Cannes Lions Learnings via CC)
External factors, such as the recent wildfires in Los Angeles, have caused temporary disruption without long-term repercussions. “Buyers were completely, understandably, focused on the terrible fires for a couple of weeks, but we are not expecting any long-term impact,” Pedersen notes.
Artificial intelligence (AI) is becoming a more prominent feature of All3Media International’s operations. “We are using AI in some of our systems and processes and also in some technical areas like subtitling,” Pedersen reveals. These applications are helping to improve efficiency and streamline technical workflows.
Despite all these issues, UK programming continues to resonate on the global stage. “There is always interest in UK programming internationally – it is still a vibrant and creative originator of globally appealing content,” Pedersen affirms. While there is certainly increased competition – judging by all the French and German companies here at the London TV Screenings – British content maintains strong international appeal.
As the industry moves further into 2025, Pedersen remains focused on balancing immediate needs with longer-term strategies.
Prioritising buyer engagement at events like the London TV Screenings, expanding into high-growth markets, and embracing technological innovations are central to All3Media International’s approach. However, Pedersen is mindful of broader pressures – from financing complexities to regulatory shifts – that will continue to shape the content distribution landscape.
