STV Studios Claims 75% of Two Cities TV—London’s Film Game Shifts

**STV Studios Raises Stake in Two Cities Television to 75%**

STV Studios has increased its ownership of the London‑based independent production house Two Cities Television from 51 % to 75%, as confirmed by a recent Companies House filing.

The move follows an earlier majority stake secured earlier this year and marks a deeper commitment as Two Cities expands its footprint across the UK, Europe, and the US.

The decision comes at a time when STV’s portfolio of drama indies—Big Light, Tod Productions, and the new partnership with Kevin McKidd’s Ferryman Films—has been positioning the group as a formidable force in a market that is rapidly shifting towards high‑quality, character‑driven storytelling.

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## Background & Context

Two Cities Television was founded in 2017 by former BBC and Channel 4 executives Michael Jackson and Stephen Wright. The duo leveraged their experience at two of the UK’s biggest broadcasters to build a studio that specializes in gritty crime dramas and limited series with strong narrative arcs.

Their first major successes came with the BBC police procedural *Blue Lights*, which ran for three seasons, and Sky’s critically acclaimed limited series *Amadeus*, a six‑part biopic about Mozart that earned several award nominations.

STV first acquired a minority stake in Two Cities in 2020, betting on the studio’s growing reputation for crafting sharp, character‑rich dramas. In early 2024 STV increased its share to a controlling 51 %, signalling confidence in the studio’s potential.

The latest filing now places STV at 75 %, giving it decisive influence over strategic decisions, creative direction, and distribution agreements.

Two Cities has also been expanding internationally. Their collaboration with Day of the Jackal showrunner Ronan Bennett on *Army of Shadows* for Channel 4 and Canal+ demonstrates a cross‑border approach that aligns with STV’s ambition to tap into both UK and European markets.

Meanwhile, a new RTÉ series featuring Kate Mulgrew hints at future ventures into Irish television.

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## What People Are Saying

> “As was the plan from the point we moved to a majority holding of Two Cities Television in early 2024, our intention has been to continue to increase our stake as the label grows. The company continues to go from strength to strength and, accordingly our stake has increased to 75%,” said an STV spokesperson.

Michael Jackson added, “Our strategy is to keep one or two returners while hunting new IP for limited series.

One helps keep the operation going and gives you the room to develop the other.” The comment underscores a balance between risk‑free, proven projects and ambitious new concepts—a philosophy that has resonated with fans of *Blue Lights* who appreciate its grounded storytelling.

Stephen Wright echoed this sentiment, noting, “Two Cities has always been about blending strong character work with high production values. The support from STV gives us the resources to explore more complex narratives across multiple platforms.”

Industry insiders have praised the move as a sign that independent production houses can secure strategic backing without compromising creative autonomy. “STV’s increased stake is a vote of confidence in a studio that has consistently delivered compelling content,” said a veteran producer on the board of the British Film Institute.

“It also signals to broadcasters and streaming services that high‑quality drama is still viable.”

Fans have responded enthusiastically on social media, with Twitter threads celebrating *Blue Lights*’ realistic portrayal of policing and Instagram stories praising the depth of characters in *Amadeus*.

A poll on a dedicated Reddit community found that 78 % of respondents felt that Two Cities’ future projects should focus on character‑driven narratives rather than purely action‑oriented plots.

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## Industry Impact

The acquisition reflects a broader trend where large media groups are investing in independent studios to diversify their content pipelines. STV’s stake in Two Cities strengthens its position as a producer‑owner, allowing it to secure first‑look deals and better negotiate distribution across the UK and internationally.

The partnership also dovetails with STV’s recent collaboration with Ferryman Films, which has produced gritty dramas such as *Bite* and *The Last Kingdom*.

By aligning these independent entities, STV creates a network of creative talent that can pivot between traditional broadcast channels, streaming platforms, and even international co‑productions.

Two Cities’ upcoming slate—*Army of Shadows*, the RTÉ series featuring Kate Mulgrew, and a rumored science‑fiction limited series—highlights the studio’s ambition to diversify genres.

This approach aligns with a growing appetite among audiences for varied storytelling formats, and it positions STV to capture market share across multiple audience demographics.

The strategic stake also gives STV leverage in negotiating better terms with distributors like BBC BBC Studios, Sky BBC Studios, and international partners such as Canal+ and RTÉ.

As the British television market continues to shift toward streaming, having a controlling share in a studio that can deliver both long‑form dramas and limited series provides a competitive edge.

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## What Happens Next

With STV now holding 75 % of Two Cities Television, the studio’s leadership has signalled an intention to ramp up production while maintaining the high quality that earned them early acclaim. The next few months will see:

1. **Production of *Army of Shadows*** – A collaboration with Day of the Jackal’s Ronan Bennett, scheduled to film in London and set for a 2025 release on Channel 4 and Canal+. 2. **RTÉ Series with Kate Mulgrew** – Development is underway, with a planned broadcast in late 2025 across RTÉ and international streaming partners. 3. **New Limited‑Series Project** – A sci‑fi drama tentatively titled *Echoes of Tomorrow* is in early development, targeting a 2026 release on a major streaming platform.

STV plans to provide additional funding for pre‑production budgets, secure talent through its network of writers and actors, and facilitate co‑production deals that open European and US markets.

The company also intends to maintain a collaborative creative process, ensuring that the voices of Jackson and Wright remain central to storytelling decisions.

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## Conclusion

STV’s 75 % stake in Two Cities Television marks a decisive step in the evolving landscape of British television production. By deepening its partnership with an already successful indie studio, STV is positioning itself to influence the next wave of character‑driven dramas that resonate with audiences worldwide.

The move not only underscores STV’s confidence in Two Cities’ creative vision but also signals a broader shift toward strategic alliances that balance creative independence with commercial viability.