Balancing Budgets & Big Ambitions: Banijay's Patrick Holland Adapts to Changing Landscape of UK Drama

Looking ahead to 2026, projects such as Half Man by Richard Gadd and a new Peaky Blinders feature film are shaping up to become standout moments for British television drama. Yet the industry has transformed rapidly since the pandemic, and Banijay UK Executive Chairman Patrick Holland now faces the challenge of aligning creative ambition with realistic financial strategies for both broadcasters and streaming platforms.

Banijay has identified the United Kingdom as a key engine for scripted growth. Although the company does not publicly divide revenue by genre for the region, internal figures indicate that Banijay UKs drama income increased by roughly 77% between 2023 and 2025, and is projected to more than double by 2027.

According to Holland, the most viable projects now combine exceptional writing, strong casting potential, and a grounded, practical production plan. He cites the upcoming A Woman of Substance, produced by The Forge, as an example of how period drama can be achieved without excessive spending through smart staging and efficient scale.

The financing model that once depended heavily on American co-investment has shifted. High-profile disruptions, including Hollywood strikes and tighter streamer budgets, left multiple British productions stuck in development. Holland notes that producers can no longer assume U.S. backing will automatically follow a domestic commission, forcing a more strategic, diversified approach to funding.

Despite some industry pessimism, Holland remains optimistic. The BBC continues to commission around 30 drama titles annually, with Channel 4 and ITV following close behind. Streaming services such as Netflix and Disney also maintain steady investment in British stories, creating a robust and competitive scripted landscape.

To strengthen Banijays foothold in this market, a 50 million Growth Fund was established to support emerging production companies rather than acquiring only mature, high-cost studios. This strategy involves purchasing minority stakes and gradually increasing ownership as these companies expand, ultimately integrating successful labels into Banijays broader network.

While larger companies such as Kudos and The Forge operate with independent infrastructures, smaller labels are supported through a centralized scripted hub that provides shared services and reduces overhead risk. This model helps new companies survive setbacks and focus on securing commissions rather than managing excessive fixed costs.

Banijays recent and ongoing slate includes Half Man, the psychological drama Unchosen, the revived detective series Bergerac, and regional projects such as the Welsh-set crime drama The One That Got Away. The group is also developing premium streaming content, including The Buccaneers for Apple and House of Guinness for Netflix.

Though large-scale U.S. productions may operate on substantially higher budgets, Holland believes British creators remain competitive through originality and efficiency. He points out that high-end drama from the UK continues to resonate globally due to its authenticity and storytelling depth.

Speculation occasionally links Holland to leadership roles within public broadcasters, but he insists his focus remains firmly on Banijay. He describes his current role as both creatively rewarding and professionally fulfilling.

The companys development pipeline includes Falling by Jack Thorne, adaptations of major literary works, and new projects from acclaimed writers such as Sally Wainwright. Mam Tor is also preparing Open Water for the BBC, inspired by a novel by Caleb Azumah Nelson and set in South London.

Returning franchises are expected to remain vital revenue drivers. Plans are underway for additional seasons of SAS: Rogue Heroes and a potential continuation of House of Guinness. The Peaky Blinders universe will expand with a new feature film and further series installments for both British and American audiences.

Banijays acquisition of the original Peaky Blinders production company, now renamed Garrison Drama, has strengthened its position, despite minor tax complications. The group is also backing emerging producers such as Popcorn Storm, led by Negeen Yazdi and Tom Harper.

Signs suggest renewed interest from American partners, with industry leaders discussing expanded collaboration and greater investment in UK storytelling. Recent reports have also highlighted an increase in British drama exports, particularly to North America.

Holland concludes that the worldwide appetite for premium scripted content remains strong. With the English language, experienced talent, and technical expertise on its side, the UK is well positioned to continue delivering drama that connects with global audiences.

Author: Riley Thompson