Patrick Holland from Banijay on Managing Budgets and Aspirations Amid Changes in UK Drama
EXCLUSIVE: Richard Gadd’s Half Man and the upcoming Peaky Blinders film are set to be among the prominent drama productions of 2026. The landscape of scripted television has changed notably in recent years due to the impact of Covid-19, a shift that has placed the responsibility on Patrick Holland, Executive Chairman of Banijay UK, to ensure these scripted endeavors align with the interests of both broadcasters and streaming platforms, while also supporting the company’s financial objectives.
In March, Banijay CEO Marco Bassetti announced that the firm’s scripted revenue is projected to surpass $1 billion, highlighting the UK as a significant growth market. While the breakdown of revenue by genre was not specified, Banijay noted that drama revenue for Banijay UK experienced a remarkable 77% increase from 2023 to 2025, with expectations for more than a doubling of this figure by 2027.
“The shows that are thriving are those with an intersection of outstanding writing, talented casts, and a practical approach; it’s about understanding that getting a show made is often preferable to awaiting substantial funding,” Holland stated.
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Highlighting upcoming projects, Holland pointed to a Channel 4 adaptation of A Woman Of Substance from The Forge, a production company acquired by Banijay in late 2023. “They developed a shooting method that captures the period’s grandeur without the extensive costs associated with full world-building, allowing for a period-appropriate production without requiring an enormous cast,” he explained.
The financial landscape for drama production shifted significantly after the Hollywood strikes and a decrease in spending by streaming services, which left some UK producers grappling with the absence of US funding. Several high-profile projects found themselves in limbo, reliant on domestic commissioning while struggling to secure overseas partnerships to finalize budgets.
“While ‘complacency’ may be too strong a term, there was certainly a prevailing assumption that securing a BBC commission would guarantee US investment. That perception has altered,” Holland commented. “There’s now a more pronounced hesitancy in the market, where potential partners question whether certain projects will be viable. The comfortable expectation of reaching budgets of £3 million per episode has faded, but this doesn’t negate the possibility of creating quality shows on a £2 million budget, especially with strong investment partners.”
Despite prevailing pessimism following a peak period for drama, Holland remains optimistic about the UK’s structural strengths. “The BBC continues to commission around 30 dramas annually, which is impressive, with Channel 4 hovering around the same and ITV producing roughly 20. Netflix is contributing about 10 to 12 dramas, while Disney is putting forth about eight. Collectively, this indicates a robust scripted market in the UK,” he stated.
Jamie Bell and Richard Gadd in ‘Half Man’
Holland acknowledges the existing budgetary divide between the UK and the US but asserts that British production companies can still compete at high levels in television drama. “There are prestigious, high-budget shows like Shogun, The Last Of Us, and House of the Dragon that blur the lines between television and film,” he noted. However, he emphasizes that quality can be delivered without exorbitant costs, as illustrated by Half Man, produced by Gadd and Banijay’s Mam Tor. “HBO co-commissioned this show along with the BBC. While it’s not the most economical production, it reflects the U.S. industry’s respect for British talent and storytelling capabilities.”
Banijay’s recent financial results indicate an upward trajectory for its drama division, with Holland spearheading strategies that have the potential to accumulate further revenue. He proposed the creation of a £50 million Growth Fund aimed at investing in independent production companies to solidify Banijay’s presence in the UK drama market.
“We observed that companies like Bad Wolf and Element Pictures were being acquired at high multiples, making the purchase of established entities cost-prohibitive,” Holland explained. “Thus, our focus shifted towards investing in smaller companies and scaling them up.”
Pictured: Anna (Keeley Hawes) and David (Paapa Essiedu) in Falling
“Our investment acquires a minority stake in the business, allowing us to increase our equity as the company profits,” Holland noted. “This approach aims to significantly enlarge our scripted slate over the next few years, while sending a clear message to the UK drama community regarding our commitment to scripted programming. Previously viewed predominantly as an unscripted entity, we aim to balance our portfolio, shifting from a 70% unscripted and 30% scripted ratio to a 50-50 distribution this year.”
The scripted hub at Banijay is home to various projects, including Half Man, psychological thriller Unchosen (formerly Out Of The Dust), and the rebooted detective series Bergerac. The company is also developing lower-budget shows such as the Welsh crime drama The One That Got Away.
Banijay’s interaction with streaming platforms continues to expand, with recent projects such as The Buccaneers for Apple, which has just been granted a third season, and Kudos-produced House of Guinness, both considered major offerings for subscription video on demand.
Holland expressed admiration for the ambition brought forth by streaming platforms but emphasizes the sustained significance of public service broadcasters (PSBs) in the creative industry. “Our creators still aspire to pitch their projects to PSBs, which are regarded as crucial venues for innovation. Moreover, if we can cultivate a show with a PSB and maintain its value long-term, it serves our business interests well. Kudos, for instance, continues to earn significant revenue from Broadchurch,” he remarked.
Wild Mercury-produced ‘The Rig’
Questions about Holland’s potential move to top roles at BBC arise frequently, given his former leadership position at BBC Two and advocacy for public broadcasters. Nonetheless, Holland affirmed his commitment to Banijay, stating, “Definitely. It’s a privilege to work with such a diverse range of incredible creatives… I truly enjoy this role. It’s one of the finest positions in television, and I have no plans to leave anytime soon.”
The Script For 2026 And Beyond
The 2026 lineup features Falling, created by Jack Thorne, which stars Paapa Essiedu and Keeley Hawes as a priest and a nun embarking on a forbidden romance. Thorne, recognized as one of the UK’s most prolific screenwriters, is also adapting Suzanne Heywood’s bestselling novel Wavewalker in collaboration with Kitty Kaletsky and James Norton’s Banijay-backed label, Rabbit Track. Additionally, this label is set to release a new project from acclaimed writer Sally Wainwright (Happy Valley). Mam Tor is also working on Open Water for the BBC, an adaptation of a highly regarded novel by Caleb Azumah Nelson, which Holland compares to Normal People set in South London. Furthermore, preparations are underway for the adaptation of Eloise Ridge’s debut novel, Life’s A Bitch, following Conker Pictures securing the rights after a competitive bidding process.
L-R: Mia Threapleton and Josie Totah in ‘The Buccaneers’ Season 2
Returning series often yield substantial returns for production companies, as demonstrated by the filming of Season 3 of SAS: Rogue Heroes and the anticipation for a potential Season 4. Banijay is similarly optimistic about the renewal of Kudos’ House Of Guinness. The saga of Thomas Shelby will continue with the film Peaky Blinders: The Immortal Man, alongside two new seasons greenlit for the regular series on BBC in the UK and Netflix in the US. “The movie will astonish audiences,” Holland remarked. “Cillian Murphy and Barry Keoghan together is quite remarkable, and Rebecca Ferguson’s performance is exceptional.”
Banijay’s acquisition of Peaky Blinders producer Caryn Mandabach Productions, now named Garrison Drama, appears to be paying off, particularly with the continued success of the Steven Knight-written series and feature film. Additionally, they have invested in Popcorn Storm, the indie production company led by Negeen Yazdi and Tom Harper, who previously directed episodes of Peaky Blinders.
Meanwhile, U.S. buyers have begun easing their spending constraints. Michael Thorn, CEO of the Fox network, recently discussed efforts to transition the British drama industry from tentative prospects to pronounced opportunities. A recent report from the producers’ industry organization PACT indicated a notable increase in exports of UK-produced shows, particularly to the U.S.
“As the recent report highlighted, British drama is enormously popular worldwide,” Holland observed. “This is why Marco and I are committed to expanding our investments in UK scripted content. The global demand for high-quality scripted television is unwavering, and we possess the language, talent, and expertise in the UK to produce shows that resonate authentically across the globe.”
