Banijay’s Feb. 25 screenings ignite surge in demand for Asian drama and revivals

Banijay’s London TV Screenings on Feb. 25 at BAFTA 195 Piccadilly helped propel what attendees called the market’s largest week of activity, sharpening buyer interest in Asian microdramas and franchise revivals. The concentrated run of MIP LONDON sessions and standalone Screenings in late February crystallized a shift: buyers are prioritizing scaleable IP from Asia alongside proven Western library titles.

The week’s calendar split attention between MIP LONDON’s curated showcases (22–24 February) and the London TV Screenings events that followed, with Banijay staging daylong sessions on Feb. 25. Banijay framed its offering as a deliberate mix of scripted, factual and format-driven programming to meet “global demand for premium, scalable IP.” Cathy Payne, Banijay Rights CEO, said: “The London TV Screenings is the perfect stage to spotlight the scale and breadth of our catalogue. This year’s line‑up reflects the continued global appetite for premium storytelling, with stand‑out UK dramas sitting alongside hit returning titles which resonate with buyers worldwide. We look forward to welcoming partners back to BAFTA 195 Piccadilly for another exclusive event.”

All3Media International used its Thursday afternoon showcase to parade a high-caliber scripted slate from producers such as Two Brothers Pictures, Synchronicity, Easy Tiger, Drama Republic, Studio Lambert, New Pictures, Balloon Entertainment, Snowed‑In Productions, Playground and Observatory Pictures. Louise Pedersen, CEO at All3Media International, emphasized global buyer interest and named an on-and-offscreen roll call that included Bella Ramsey, George Kay, Robyn Maclom, James Marsh, Gemma Arterton and Paapa Essiedu: “The London TV Screenings is now firmly established as a must‑attend highlight in the industry calendar, attracting buyers from across the world looking for exclusive insights into the latest new shows. We’re thrilled that our 2026 slate is packed with must‑see drama from leading producers – and on and offscreen talent, such as Bella Ramsey, George Kay, Robyn Maclom, James Marsh, Gemma Arterton and Paapa Essiedu. As we approach the 2026 edition, we’re excited to build on the buzz by announcing a premium scripted slate packed with must‑see new and returning titles. Whether buyers are looking for all‑star thrillers, fresh new dramas or the next instalments from ratings‑winning favourites, our showcase on Thursday afternoon at the [...]”

Paramount and major U.S. distributors leaned into both premieres and proven catalogues. A Paramount representative, McGregor, said: “We have a packed screening session this year. For M.I.A. and CIA, we have full episodes, and for our unscripted shows we have teasers and key segments to share with buyers.” Decker noted the commercial gravity of familiar titles: “We have The Pitt, which is doing incredibly, incredibly well and Abbott Elementary on ABC that is also doing very well. Then we have library shows that are resonating like never before. We have Big Bang Theory and Friends, which we sell globally, and we also have Gilmore Girls, which has had this resurgence. We’re having a lot of meetings about how to really amplify that.”

Asia’s role was structurally embedded across the week. Major Japanese broadcasters including Nippon TV and TV Asahi were present, Korea’s push was anchored by KOCCA and CJ ENM and China mounted a large pavilion featuring Jiangsu Broadcasting Corporation, Shenzhen Media Group, Linmon Media International and Yulele Media Group. China’s COL Group International announced a coordinated global microdrama network and an expanded catalogue of more than 1,700 titles with regional partners during the market, while organizers highlighted a new visa-free regime for U.K. nationals as easing cross-border collaboration.

Buyers in town reflected the market’s widening footprint. “London is a global hub. You tend to see a strong mix of UK, European, Australian and U.S. buyers, and increasingly buyers from further afield as well,” said Fraser. NBCU’s Bonner added that attendance now includes clients from the U.S., Canada, Australia and across Asia, a trend that makes London an efficient marketplace.

The commercial takeaway is clear: formats and micro-scale Asian IP are now packaged with the same global ambition as legacy franchises. That pairing, high-volume short-form pipelines from Asia and nostalgia-fueled Western libraries, is recalibrating rights strategies and cultural flows, with implications for co-productions, platform programming and how global audiences access serialized storytelling.