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Barantini says there is no sequel to Adolescence, signaling no direct Season 2 plans for the Netflix series.
The director notes the team intends to continue collaborating on future projects beyond Adolescence.
Barantini discussed the show’s success and its lightning-in-a-bottle feel, while not guaranteeing future iterations.
Barantini highlighted ongoing demand as Boiling Point director, with Netflix collaborations on new series ideas.
The article notes the show starred Stephen Graham and explored a northern town, aiding its international sales.
Thorne’s comments highlighted regional storytelling as a potential limiter for international sales.
The piece mentions Plan B Entertainment's involvement and potential future iterations.
The interview reiterates the show's format and Barantini’s collaboration with Warp Films and Brad Pitt’s Plan B.
Thorne commented on the show's potential to perform differently abroad due to its British setting.
The article places Adolescence as a high-profile Netflix original with global reach and critical attention.

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Fox aims to convert blinking greenlights into full financing by leveraging North American rights, signaling a shift in drama funding.
Jane Turton discussed de-risking via distribution partners, stressing the importance of scale and experience in a changing market.
Mo Abudu outlined EbonyLife ON Plus’s global rollout and the goal of two to three million global subscribers in five years.
Patrick Holland of Banijay UK said independent producers can collaborate to secure financing and scale across markets.
Thorn highlighted Fox’s goal to find breakout original content at any price point and to expand international partnerships.
Turton emphasized that funding models must allow producers to take risks and still reach distribution.
Abudu discussed EbonyLife’s global expansion with EbonyLife ON Plus, aiming for a diverse global audience and local storytelling.
Thorn cited Hazbin Hotel on Amazon as an example of an outlier that succeeded due to creator-driven content and multi-platform support.
Turton highlighted All3Media’s The Traitors as a model of IP that travels across platforms and audiences.
The discussion emphasized that local true crime and history stories can travel effectively when well-focused.

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Industry leaders on Content London debated if Adolescence's global impact can be repeated, with key players weighing Netflix’s role.
Panelists credited Netflix with enabling the show’s wider reach and support for the creative vision.
Thorne cautioned that crime-dominated TV trends may constrain British writers' opportunities.
Feller emphasized that producers can support creative vision and build infrastructure to help storytelling flourish.
The panel noted British accents and language can influence international sales opportunities.
Thorne suggested there’s a moment when a show’s timing intersects with audience appetite.
Emily Feller highlighted the infrastructure and support that enabled the creative team to tell their story.
Thorne served as President of the Writers' Guild of Great Britain and commented on industry pressures on writers.
Panelists recognized the show's British essence, including Liverpudlian accents, as a double-edged factor for global sales.
Content London 2025 ran through Thursday, providing a platform for industry leaders to discuss future trends.

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Mo Abudu asserts diverse, niche content can be profitable even without major studio support.
Abudu describes a 'local-for-global' strategy tailored to a niche audience.
She argues viewers now choose what they watch, reducing gatekeeping by others.
Abudu notes that big broadcasters haven’t invested heavily in diverse content because it may not be profitable enough for them.
Abudu emphasizes that only a portion of diversity initiatives will be picked up by others.
EbonyLife’s success includes local hits and global deals with Netflix and Sony.
Abudu says a smaller, nimble operation helps control costs.
The interview positions Abudu as a leading voice in African media.
Abudu frames niche, diverse content as a viable business model for global audiences.
The report notes Abudu’s ongoing influence in shaping content strategy for diverse audiences.

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