NBCU’s Universal Int’l Studios eyes UK expansion

Universal International Studios (UIS) is looking to “double down” on its scripted activity in the UK, with increased investment into labels and production on the cards.

The NBCUniversal-owned division owns a handful of UK-based outfits including Carnival Films, Heyday Television and Working Title, but UIS’s exec vice-president of global scripted series Kelsey Balance told the Edinburgh TV Festival that further expansion is planned.

Balance said Carnival’s The Day of the Jackal had improved confidence levels in the ability of British shows to travel, particularly in the US where it was a hit on NBCU’s streamer Peacock.

The company is now looking to grow its UK scripted slate, with third-party financing being explored.

“We can come in as a third-party deficit financier, with the amounts ranging, but right now we are really doubling down in the UK market.

“We are really investing in shows, using our infrastructure to make global hits, using the US as a tool to get shows made,” she said.

Asked by moderator, Sony’s Wayne Garvie, about “expanding your footprint with other labels” in the UK, Balance was unequivocal. “Absolutely, we are really ambitious about growing in the UK market.”

Microdrama moves & financing

BritBox content chief Jon Farrar also said he expects a “tidal wave” of microdramas being produced out of the UK in the next six months, as interest in vertical scripted grows.

“We’re looking at this with interest and trying to get a sense of the viability of it and if it is an area we want to play in,” he said.

“It is not clear in the UK market where the supply is in any great volume, but I expect that will change over the next six months, and there will be a tidal wave but we’re not there yet. We’re on the sidelines looking at it with interest.

“In terms of the production of vertical videos, I’m getting the sense from some suppliers that they are seriously looking to produce in that area, with very high volume at low cost.

“I don’t see a significant number of suppliers yet but given the monetisation looks like in the Far East and the US that this will become an ever more interesting source of revenue.”

Beverley McGarvey, president of Australia’s Network 10 and head of streaming and regional lead of Paramount ANZ, said there were “lots of conversations” around microdramas in her country.

“It is interesting. Everyone is looking at [microdramas] but how do you actually make it work,” she said.

“You still have to invest in them, how do you monetise them? Is it a marketing exercise at this point? We’re open to all those things but we haven’t quite yet nailed what comes next. But we’re absolutely open to shortform content.”

McGarvey added collaboration with other broadcasters is also on the cards, given the smaller population of her home country.

“Australia is a small market with 26 million people so to be able to commission for a network and Paramount+ is a good thing, it allows us to make more content and do things a bit differently.

“Most Australian businesses are open to doing that, so it could be Paramount+ and the ABC, for example,” she said, adding that it enables a broader range of show to be ordered.

Farrar also outlined how his BBC Studios-backed streamer is expanding its budget repertoire, as it looks to balance “premium” drama with lower cost series.

Christian Vesper, Fremantle’s chief exec of global drama and film, added the super-indie is adapting to the US pull-back with series that have broader appeal, while Canal+’s deputy head of originals, Morgane Perrolier, said co-productions with UK companies remained of interest following Paris Has Fallen.

Canal+ earlier this week unveiled Hit Point, which it co-financed with BBC Studios-owned U&Dave in the UK, marking the latter’s first drama. It is also partnering with Channel 4 on dystopian series Army of Shadows.