TVF International’s Poppy McAlister on What’s to Come Throughout 2026

In a market that is increasingly fragmented, budget constraints, risk aversion and a host of other challenges, TVF International continues to thrive with its robust factual slate of current affairs, true-crime, history and science documentaries. Poppy McAlister, head of TVF International, tells TV Real Weekly about the company’s plans for 2026 and the current highlights of its slate.

TV REAL: What’s your take on the state of the unscripted programming landscape at present?
MCALISTER: In the world of unscripted, 2026 is the year to go big or go home! To stand out in the crowd, unscripted series and documentaries need to turn heads, spark conversation and generate debate.  There is a constant demand for premium specialist factual and noisy documentaries that reflect the cultural zeitgeist. Titles like CBC’s The Ozempic Effect from the TVF catalog is a prime example; it’s topical, controversial and deeply relevant to global audiences. Shows like this will always turn heads regardless of the market climate.

Also, in a world where fake news and misinformation online are becoming ever more prevalent, broadcasters are relying on documentaries and factual programming now more than ever to help their audiences stay informed and go behind the headlines they see on social media.

TV REAL: In what ways has TVF International responded and adjusted to the shifts in the market over the last year?
MCALISTER: TVF never misses a major factual market, from WCSFP to Realscreen to MIPCOM. We seize every opportunity to meet our broadcaster and producer partners in person. In an increasingly competitive market, we are focusing on presence, relationships and partnerships.

We have also increased our investment in co-productions. TVF co-productions like China’s Wild Secrets with Stephen Fry, which we have sold in over 40 territories, including to WDR/ARTE, and Japan’s Wild Side, which we sold to National Geographic, have been key success stories over the last year, so we intend to do more in this space in 2026.

TV REAL: With the current economic climate, what types of factual programming is TVF International focusing on, in terms of format, genre, etc.?
MCALISTER: We release three major slates a year, the first of which in 2026 [is] at the London TV Screenings. We’re looking for a combination of volume series in our key genres and outstanding one-off documentaries.

Specialist factual is our heartland. However, the current climate calls for a strategy that helps documentaries in this space to stand out. We are seeing success with anniversary-driven history and world affairs that go behind the headlines. Escape from Chernobyl: 48 Hours That Changed the World, for the upcoming 40th anniversary of the Chernobyl disaster, is attracting major interest, as is 1979: The Year of the Islamist Revolution, which provides historical context on the contemporary situation in Iran.

TV REAL: What has been key to securing funding in today’s market? What role are co-productions playing? How early do you board projects?
MCALISTER: It’s crucial to have a strong “why now?” and unique, exclusive access can also help to secure funding. Pre-existing relationships with broadcasters and a reputation for producing quality factual always helps.

We primarily board projects that have at least one anchor broadcaster attached, so we can then look to the international market for deficit financing, presales or finished tape sales.

For the right project, we can come on board early, if we’re confident there will be global demand. Our geopolitical world affairs documentary Arming the Arctic is a perfect example of this. We supported this project from concept stage, came on board as a co-producer and secured a presale from RTL Germany. We’ve since sold the film in over 50 territories, and it is only becoming increasingly internationally relevant.

TV REAL: How are you finding the overall state of commissioning for factual shows? Are you seeing more demand for new content, or are buyers still preferring reruns and sequels?
MCALISTER: Both. Broadcasters are looking for new, standout IP, but we are also in a risk-averse environment, so returning series can feel like safer bets. The mantra across the industry is: fewer, bigger, better. There is less room and less budget for programming that is “nice to have,” and increasingly only space for the “must-haves.”

TV REAL: What is driving your digital strategy?
MCALISTER: We have ambitious plans for scaling our digital strategy in 2026. As well as monetizing the back catalog, we’re looking at doing more digital-first acquisitions, focusing on key genres that we know perform well online like history, science and biographies.

TV REAL: What is your overall outlook for 2026? Where are the biggest areas of opportunity for the industry at large and for TVF International more specifically?
MCALISTER: The year starts off with a bang, with Realscreen and the London TV Screenings. We’ll be launching our first slate of new titles for the year at TVF’s event at the London TV Screenings in front of 150 international buyers, many of whom have fresh budgets for the year.

TV REAL: Are there any upcoming titles you would like to mention?
MCALISTER: Some headline titles [we’ve brought] to the London TV Screenings include: Escape From Chernobyl: 48 Hours That Changed the World (1×60 min.); a visually spectacular luxury watch series, Man of the Hour (8×60 min.); and Channel 4’s Saving Britain’s Country Houses with Penelope Keith (10×60 min.).

We’ll also be launching the most recent season of Nine’s gripping true-crime series Australian Crime Stories: The Investigators (20×60 min. each season).