Atomfall TV series in development from Fleabag production company

Atomfall’s jump to television is a bigger signal than a standard game-to-screen deal. Rebellion’s British post-apocalyptic survival game has become a test case for whether a sharply local, heavily atmospheric game world can sell itself as prestige drama, not just as another IP grab in a crowded adaptation market.

Two Brothers Pictures, the company behind Fleabag, is developing the series, with Harry Williams and Jack Williams set to write it. Rebellion is keeping a direct hand on the project through co-founders Jason Kingsley and Chris Kingsley, along with Ben Smith, the studio’s head of film, TV and publishing. That matters because the project is being framed as an expansion of Atomfall’s mythology, while staying true to its tone, themes and British roots.

Those roots are exactly what make the property stand out. Atomfall launched on March 27, 2025, arrived day one on Game Pass, and shipped across Xbox Series X/S, Xbox One, Windows PC, Steam, Epic Games Store, PlayStation 5 and PlayStation 4. Rebellion set it five years after the Windscale nuclear disaster in Northern England, inside a fictional quarantine zone in the Lake District, and built it as an alternate-history, post-apocalyptic version of 1960s England. That combination of regional setting, real-world fallout and survival fiction gives the TV version a ready-made identity that can work outside games if the mood and worldbuilding hold together.

The business case is stronger than a typical license announcement too. Rebellion later said Atomfall had reached more than 3.7 million players globally, and the game won Best British Game at the BAFTA Games Awards 2026, with Chris Kingsley CBE accepting the award for the studio. Atomfall was also developed from an original idea by Jason Kingsley, which makes the TV project feel like a homegrown IP expansion rather than a rescue mission for an old brand.

For Rebellion, the adaptation suggests Atomfall is already moving toward franchise status. For the wider games industry, it is another reminder that producers are hunting for worlds with a clear sense of place, a strong visual hook and enough mythology to support characters beyond a controller. Atomfall has all three, and the television deal will now show whether that is the start of a durable cross-media property or simply another rights sale in an overheated adaptation boom.