Global buyers discuss their content wish lists at the Banff World Media Festival.

At the same time, he stresses that “connecting with like-minded international broadcasters and working out their editorial requirements and financial contributions is as important to us as finding specific content opportunities. We are growing our prebuying model and that requires making connections with new partners.”

Also heading to BANFF is Lauren Frasca, SVP of content and strategy at Warner Bros. Discovery-backed Magnolia Network. Priorities include “premium unscripted series and specials that are the very best stories that come across producers’ desks. We want our content to feel like time well spent to a viewer – programming that is thought-provoking, with bold ambitions and stakes, or access to people, places or ideas rarely seen. Right now, we are interested in programming with humour, where everyone is in on the joke.”

Key genres for Magnolia are home, design, food and lifestyle, says Frasca: “But really we are keeping a wide aperture. As long as the content fits our brand – which is family-friendly, hopeful, diverse, authentic and aspirational – we’d love to hear about it.”

Echoing the situation at ITV, Frasca is now “commissioning for two platforms: our linear network as well as Warner Bros. Discovery’s new Max streaming platform. For linear, we are looking for long-running series that pair well with our existing standouts – like Maine Cabin Masters. It’s a more co-viewing, lean-back environment. For streaming, we are looking for younger, female-skewing, more premium programs.”

Kathryn Tyus-Adair, SVP, original programming, Starz says “representation of underserved audiences” is always a top priority when hunting for new content. More generally, “I’m looking for fresh voices and sophisticated storytelling for ongoing series, exclusively for adult audiences; shows with specific ways of presenting universal themes.”

In terms of genre, she is “drawn to grounded drama, dramedy and comedy,” she says. “I like shows that introduce audiences to unfamiliar people and worlds, but feel familiar in their themes.”

Regarding the pitch, she says: “I am always listening for a clear vision of what the show is and that it is a show that works for what we do. I’m also a fan of brevity. Pitches should be under 20 to 25 minutes with room for questions. I want a sense of key characters and what’s driving them, of the world of the show and why we’ll be drawn to it.”

Aubrey Clarke, commissioning executive, children’s 7+, BBC, will be at BANFF looking for “unique but relatable storytelling where kids can see themselves reflected on screen. Ensuring content is diverse and inclusive is a cornerstone in anything we commission.”

Scripted and non-scripted projects are of interest, says Clarke, “however there is greater emphasis in finding the next big animated show that will have broad appeal domestically and internationally. Because we have CBBC and CBeebies channels plus iPlayer, we are looking for commissions, cocommissions and acquisitions that can work across media.”