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Contents Q&A

ATV BRINGS ITS OWN SUN TO CANNES

Müge Akar, Group Head of Sales & Distribution at ATV Distribution _16

A GREAT START TO THE NEW SEASON

Elif Tatoğlu, Sales and Distribution Strategy Director, Kanal D International _26

INTER MEDYA EXPANDS ON TWO FRONTS

Beatriz Cea Okan, VP and Director of Sales and Acquisitions at Inter Medya _66

A NEW WINDOW FOR CHILEAN FICTION

Javier Goldschmied, Programming Director at TVN _72

ORIGINAL DISTRIBUTION THAT SETS THE COURSE

Michelle Wasserman, SVP for LatAm, USH & Brazil at Banijay Rights _94

BIG STORIES WITH GLOBAL REACH Fernanda Namorado, Commercial Director at Seriella Productions _96

CALINOS AIMS TO IMPRESS IN CANNES

Ismail Dursunov, Deputy General Manager at Calinos Entertainment _98

INTERVIEWS

GROWING THROUGH CONTENT Rebeca Aguilar, Head of International Distribution at Movistar Plus International _63

TURNING DIGITAL SCALE INTO A 360° IP BUSINESS

Felipe De Stefani, CEO, & Ylka Tapia, Partnership Manager, El Reino Infantil _50

EXPANDING THE REACH OF A GLOBAL CATALOG

Béatrice Nouh, Head of Distribution & Co-Productions at Imagina Sales _82

A GLOBAL SLATE BUILT TO TRAVEL

Miguel García Sánchez, Sales Director of Atresmedia International Sales _90

22 82

REPORTS WHO WILL PAY FOR THE NEXT KIDS’ HIT?

ARTICLES

TV AZTECA CONTENT WITH A DISTINCT IDENTITY _20 TELEFILMS THE ULTIMATE UNDERDOG _22 MEDITERRÁNEO OLIVIA SET TO MOVE AUDIENCES _28 GLOBO TO LOVE IS TO CARE LAUNCHES AT MIPCOM _30

35 SPECIALS KIDS&TEENS

GLOBAL AGENCY A MYSTERIOUS NEW FORMAT HEADS TO CANNES _32

Listings_104

SIC INTERNATIONAL DISTRIBUTION PORTUGUESE FICTION WITH GLOBAL APPEAL _34 ORF-ENTERPRISE BLENDING FACT AND FICTION INTO ONE SLATE _64

MISTCO GLOBAL SALES WITH LOCAL INSIGHT _66 ESTUDIOS RCN NEW CHAPTERS FOR GREAT STORIES _70 CARACOL TELEVISIÓN BUILDING STORIES BEYOND BORDERS _74 WBD A STEADY SHIP IN RESTLESS WATERS _76 RTVE WHEN WORDS BECOME CLUES _84

ECCHO RIGHTS A NEW PERIOD DRAMA TAKES SHAPE _92

90 @todotvnews

@todotvnewsoficial

@todotvnews

MARKETS

PRESIDENT/CEO Sebastian Lateulade - slateulade@todotv.tv EDITOR AND DIRECTOR OF PUBLICATIONS Luis Cabrera - lcabrera@todotv.tv ONLINE EDITOR Carolina Mussio - cmussio@todotv.tv EDITORIAL TEAM Rosa Fuentes - rfuentes@todotv.tv

RX FRANCE TO LAUNCH MIP TALKS AT THE LONDON BOOK FAIR 2027

MIP London will not take place in 2027. Following its initial two-year launch, RX will instead introduce this new two-day conference taking place 16–17 March 2027 alongside The London Book Fair.

SOCIAL MEDIA EDITOR Karina Torres - ktorres@todotv.tv SALES MANAGER INTERNATIONAL Ana Paula Carreira - acarreira@todotv.tv SALES MANAGER – LATAM Fernando Moreno - fmoreno@todotv.tv WEBMASTERS Nazario Pereira - npereira@todotv.tv Bernardo Soulage - bsoulage@todotv.tv CHIEF FINANCIAL OFFICER Cr. Michel Schwartz - mschwartz@todotv.tv ADMINISTRATION Valeria Morena - morena@todotv.tv ART AND DESIGN UNIK Media Solutions - info@unikms.com www.unikms.com

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X France announced MIP Talks, a new two-day conference taking place 16–17 March 2027 alongside The London Book Fair (LBF), one of RX’s (Reed Exhibitions) flagship events, bringing together leading voices from across the increasingly connected worlds of entertainment, media and culture to explore what is changing, what is breaking through and where new opportunities are emerging. MIP London will not take place in 2027. Following its initial two-year launch, RX will instead introduce this new format that will “examine the ideas, cultural shifts and business models shaping entertainment as a whole, bringing together global leaders alongside creators, entrepreneurs, authors, athletes, brands, platforms and emerging businesses,” shared the company. MIP Talks will take place at ExCel London and represents a new expression of MIP in London, looking beyond traditional television and content to the wider cultural, creative, technological and commercial shifts reshaping global entertainment.

The inaugural MIP Talks will be built around the editorial theme “From IP to Fandom – and Fandom to Global Business.” MIP Talks will explore an entertainment world where traditional boundaries are disappearing, audiences move seamlessly across platforms and experiences, and IP can come from anywhere. Programming will be highly curated and editorially led, spanning headline conversations, unexpected pairings, global trends and data, cultural insight and case studies from across the international entertainment business. “The boundaries of entertainment have all but disappeared,” Lucy Smith, director of the Entertainment Division, RX France, said. “IP can come from anywhere. MIP has always been about understanding where the entertainment business is going next. MIP Talks at The London Book Fair takes that curiosity further, bringing together the people shaping what breaks through, how fandom is built and where new global businesses are emerging.”

Q&A ATV Distribution

MÜGE AKAR, GROUP HEAD OF SALES & DISTRIBUTION AT ATV DISTRIBUTION

Following the success of ‘A.B.I.: A Broken Inheritance’, ATV Distribution arrives at Mipcom with a strong slate, led by fresh content, including ‘Land of the Sun’, ‘Different Lives’ and ‘Villa Coral’.

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By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

ATV BRINGS ITS OWN SUN TO CANNES

he new TV season in Turkey finds ATV Distribution soaring high, once again, thanks to the success of ‘A.B.I.: A Broken Inheritance’, and the premieres of ‘Land of the Sun’, ‘Villa Coral’ and, earlier this year, ‘Different Lives’. ‘A.B.I.: A Broken Inheritance’ was one of the standout Turkish dramas of last season, with fantastic local ratings and great interest from the international market: “The title has continued to expand its international footprint since its launch and has now been licensed to 68 countries, including MENA, Sub-Saharan Africa, Albania, Romania and Kazakhstan,” said Müge Akar, Group Head of Sales & Distribution at ATV Distribution. Now, ‘Land of the Sun’, fresh from a strong debut; ‘Different Lives’, one of ATV’s strongest-performing new dramas; and ‘Villa Coral’, which premiered locally on September 5, are looking to build on ‘A.B.I.’s success, with Mipcom 2026 providing a key platform for their international rollout.

From a distribution perspective, ‘Different Lives’ offers a compelling combination of universally relatable themes, strong character development and an engaging storyline that appeals to a broad audience. Its mix of family drama, friendship, ambition, romance and justice creates multiple entry points for viewers, while its Istanbul setting adds a fresh and dynamic backdrop. Buyers have particularly responded to the series’ emotional depth, accessible storytelling and strong audience engagement. We believe ‘Different Lives’ has all the ingredients of a highly adaptable international title and are confident it will resonate with broadcasters and platforms looking for premium character-driven drama with broad audience appeal. Villa Coral Drama

“‘Different Lives’ offers a compelling combination of universally relatable themes, strong character development and an engaging storyline that appeals to a broad audience”

A.B.I.: A Broken Inheritance Drama

As has become a tradition, ATV Distribution is ready to impress at Cannes: “For us, Mipcom is not only about presenting new content, but also about strengthening longterm partnerships and creating new opportunities for our titles in the international market,” shares the executive. How important has ‘A.B.I.: A Broken Inheritance’ become for ATV Distribution? The series has become an important title in our international slate, with its strong cast, compelling family drama and high production values helping it travel across a diverse range of territories. Its international reach reflects the strong potential of Turkish drama to connect with audiences across different regions, while the series’ simultaneous broadcast strategy has also helped build awareness and engagement around the title globally. We see ‘A.B.I.: A Broken Inheritance’ as an important part of our current portfolio.

Different Lives Drama

“‘A.B.I.: A Broken Inheritance’ has continued to expand its international footprint since its launch and has now been licensed to 68 countries”

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‘Different Lives’ delivered one of the strongest launches of the summer season and is now part of ATV Distribution’s international slate. What kind of response are you seeing from buyers? We have seen a very positive response from international buyers since the launch of ‘Different Lives’. The series quickly distinguished itself as one of the strongest performers of the summer season in Türkiye, reinforcing buyer confidence in its international potential.

Q&A ATV Distribution “‘Land of the Sun’ combines a sweeping love story, powerful family dynamics and a visually rich setting that moves between Berlin and Adana” ATV Distribution traditionally uses Mipcom to unveil its newest titles and bring talent to Cannes. What are you preparing for this year’s market? As we do every year, we will use Mipcom as an opportunity to give our international partners an exclusive first look at ATV’s new season content. This year, we will be presenting our latest lineup, including ‘Land of the Sun’, ‘Different Lives’ and ‘A.B.I.: A Broken Inheritance’, while continuing to highlight our established catalog. We will also host an exclusive ATV dinner in Cannes, bringing together our clients and key industry partners for a more personal introduction to our new titles and the stories behind them. Alongside the dinner, our team will be holding meetings throughout the market with existing clients, broadcasters, platforms and poten-

tial new partners to discuss our latest productions and explore opportunities across different territories.

lineup, with a clear focus on identifying the right partners and securing new licensing opportunities.

Following such a strong season in Turkey, what are your main commercial priorities for Mipcom 2026, and which territories are currently showing the strongest demand for ATV’s dramas? Our main commercial priority for Mipcom 2026 is to drive new sales for our latest titles while expanding ATV Distribution’s reach across both established and emerging territories. We will be actively presenting our new season

At the same time, we will be looking to further expand the international footprint of our established catalog and build on the momentum of titles that are already performing well in different markets. We continue to see demand across MENA, Central and Eastern Europe and Latin America, while Mipcom will also be an important opportunity to develop new business in territories where we see further potential for Turkish drama.

the Sun’ made a strong debut, ranking as the highest-rated Turkish prime-time drama among AB and ABC1 audiences on the night of its premiere. “For us, this strong local performance is an encouraging indicator of its international potential,” added the executive. “Turkish dramas that blend

universal emotions with authentic cultural storytelling continue to resonate worldwide, and ‘Land of the Sun’ is a great example of this. We are confident the series will attract broadcasters and audiences across multiple regions and become a valuable addition to our international lineup.”

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TIMSBI PRODUCTIONS LAND OF THE SUN JOINS THE CATALOG

ATV Distribution is taking care of the international distribution of ‘Land of the Sun’ (‘Güneşin Doğduğu Yer’), the highly anticipated new drama that premiered on atv on September 17. Produced by TİMSBİ Productions, formerly known as TIMS&B, the drama is set between Berlin and Adana, and tells the story of Kenan, the charismatic heir to the powerful Kozan family, whose life takes an unexpected turn when he falls in love with Leyla, a young woman raised in Germany. As family loyalties, hidden agendas and long-buried secrets collide, their love is tested by betrayal, separation and a relentless struggle for justice. Years later, Leyla’s return threatens to unravel the carefully protected secrets of two influential families, setting the stage for an emotional confrontation that spans generations. “The series combines a sweeping love story, powerful family dynamics and a visually rich setting that moves between Berlin and Adana,” shares Akar. ‘Land of

TV Azteca La Granja VIP: Season Two Format

Dra. Lucía Series

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

A clear identity and universal themes are key characteristics of TV Azteca Internacional’s content catalog, led by titles such as ‘La Granja VIP: Season Two’, ‘Dra. Lucía’ and ‘Lotería del Crimen’.

CONTENT WITH A DISTINCT IDENTITY

ccording to Adrián Ortega, Head of Content at TV Azteca, 2026 has been a year of “consolidation” and “evolution” for the Mexican media giant, driven by a stronger content offering capable of connecting with audiences across different platforms and territories, while building on the company’s free-to-air expertise and an increasingly strong focus on digital distribution and international markets. The executive shared that the market is demanding content built around “simple yet powerful” premises, relatable characters and formats capable of generating conversation beyond the screen.

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“It is not just about producing more content, but about producing content with the potential to travel,” Ortega said. “We listen to the market, understand the needs of each territory and seek to develop projects that retain TV Azteca’s essence while also responding to new viewing habits.”

In Cannes, TV Azteca Internacional will present a catalog featuring established, multi-season titles such as ‘Dra. Lucía’ and ‘Lotería del Crimen’, as well as formats including Exatlón, Survivor and the upcoming second season of ‘La Granja VIP’.

fundamental elements”: a very clear identity and universal themes. “We have the capacity to produce content consistently and at the standards demanded by today’s international industry. This allows us not only to take our titles to new screens, but also to explore new windows, territories and distribution models for a catalog that continues to grow,” the executive said. This has translated into content that generates impact, strong audience loyalty and conversation on social media in the local market—qualities that also carry over when TV Azteca productions travel internationally. “That is precisely where their potential lies: they are titles with a distinct identity, but with universal elements that allow them to travel, generate new distribution opportuni-

Adrián Ortega, Head of Content at TV Azteca “They are titles with a distinct identity, but with universal elements that allow them to travel, generate new distribution opportunities and continue winning over audiences” ties and continue winning over audiences,” Ortega said. “We are going through a very interesting moment at TV Azteca: we have the experience, the talent and a very strong catalog, but we also have the ability to keep evolving,” said TV Azteca’s Head of Content.

“This is a format we are particularly excited about because of everything it brings together around cohabitation, competition and entertainment,” he said.

“Our strategy is clear: to create content that connects with audiences, has the potential to grow across different platforms and can take the TV Azteca brand into new markets. The challenge is significant, but so is the opportunity.”

Ortega says TV Azteca’s content has enormous potential because it combines “two

Lotería del Crimen Series

Telefilms Group

THE ULTIMATE UNDERDOG By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

With ‘I Play Rocky’ among its main upcoming releases, Telefilms arrives in Cannes after a strong year for its US film business, while continuing to expand its production activity in Brazil and develop new projects based on the Chespirito IP.

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Tomás Darcyl, Co-Chairman of Telefilms “‘I Play Rocky’ is an ode not only to Hollywood, but to someone who follows an impossible dream and becomes one of the most important figures in Hollywood history”

22 I Play Rocky Biopic

n its 2026 slate, few embody the company’s traditional connection with Hollywood as clearly as ‘I Play Rocky’, Peter Farrelly’s upcoming biographical drama about Sylvester Stallone’s unlikely path to creating and starring in ‘Rocky’. Starring Anthony Ippolito as Stallone, alongside AnnaSophia Robb and Matt Dillon, the film follows a struggling actor who writes the ultimate underdog story and then has to fight for the chance to play Rocky Balboa himself. “We have already seen the completed film and it is wonderful,” shared Tomás Darcyl, Co-Chairman of Telefilms. “It is an ode not only to Hollywood, but to someone who starts with nothing, follows an impossible dream and, through hard work, becomes one of the most important figures in Hollywood history.”

“We bought [the project] long before Amazon picked it up for the United States and other territories. We acquired it as soon as the script came out. It is a work of art,” said Darcyl, who also was particularly enthusiastic about Ippolito’s performance: “It is absolutely impressive. It is not only that he plays Stallone and looks like Stallone; the performance itself is wonderful.”

‘I Play Rocky’ arrives as part of what has been a particularly strong year for Telefilms’ US movie business. Earlier this year, the company described its 2026 slate as one of its strongest to date, with between 22 and 24 films presented to buyers. Darcyl believes the company’s performance has coincided with encouraging signs for theatrical exhibition as a whole. “I think this is the first truly post-pandemic year in which we are seeing theatrical growth that is not driven solely by which films happen to be released,” he said. According to the executive, one of the most relevant developments has been the return of younger moviegoers: “Contrary to all the predictions, Generation Z is coming back to theaters. Of course, they are choosing particular films, but that is extremely important because it shows theatrical is not a dying window.” “There are a huge number of young people choosing specific films and turning them into major box-office hits. And that is very good for cinema in general.” Alongside ‘I Play Rocky’, the distributor’s lineup includes ‘The Invite’, the comedy drama directed by Olivia Wilde and starring Wilde, Seth Rogen, Penélope Cruz and Edward Norton, about a couple whose already

“This is the first truly post-pandemic year in which we are seeing theatrical growth that is not driven solely by which films happen to be released”

FLEX FIGHT SERIES OPENS A NEW BUSINESS FRONT Telefilms is also testing new ground outside traditional film and television through its involvement with Flex Fight Series, the New York-based MMA promotion. “It is a new experience for us and a new area we are investing in,” Darcyl said. “It works extremely well for this particular product, and we believe it is a little gem with a lot of

room to grow. It is also an opportunity for us to understand how this side of the sports business works. We have a lot of confidence in Flex Fight and in how it is developing.” The promotion reached an important milestone on September 26 with ‘Flex Fight Series 62: American Muscle’, its debut at the Infosys Theater at Madison Square

Garden in New York. MSG describes it as the biggest event in Flex Fight Series history, with 22 professional and amateur MMA and kickboxing bouts. Telefilms sees the partnership as an opportunity to explore a different type of live-content business while applying its distribution experience to a property aimed at younger audiences.

That development sits within an increasingly steady production pipeline in the country. “We are producing in Brazil, five or six films a year,” Darcyl explained. Telefilms itself describes audiovisual production in Brazil, Mexico and Argentina as a growing part of its business alongside its longstanding position as an independent distributor of film content in Latin America. In Brazil, +Galeria’s current slate also includes projects such as ‘Assalto à Brasileira’ and ‘O Futuro da Humanidade’.

Fjord Drama

The Invite Dramedy

fragile relationship is pushed even further during a disastrous dinner with their upstairs neighbors.

The slate also features ‘By Any Means’, directed by Elegance Bratton and starring Yahya Abdul-Mateen II, Mark Wahlberg and Nicole Beharie. Based on a true story, the film follows a young Black FBI agent investigating the murders of civil rights leaders in 1960s Mississippi who is forced to work alongside Mafia hitman Greg Scarpa.

Also on offer is ‘Runner’, directed by Scott Waugh and starring Alan Ritchson, Owen Wilson and Kate Box. The action film follows a courier transporting a life-saving organ who becomes the target of a ruthless crime boss.

Beyond distribution, Telefilms continues to strengthen its production activity, with Brazil emerging as one of the main pillars of that strategy. One of its next major local releases is ‘Pecadora’, directed by Dainara Toffoli and starring Rayssa Bratillieri and José Loreto. The film is produced by +Galeria and is currently scheduled to open in Brazilian cinemas on November 5.

“ ‘Fjord’ is very good,” Darcyl said. “It is about a father fighting to get his children back after the State takes custody of them. The film turned out extremely well, and I think it is going to earn nominations.”

“‘Pecadora’ is ours and it is going to be released this year,” Darcyl said. “It is a Brazilian film produced by us, and it will also be the first in a saga of several films we already have planned.”

“We are working together with Warner on the Don Ramón series,” Darcyl said. “And we are doing another season of the animated ‘El Chapulín y Los Colorado’.” The Don Ramón project is currently in development as a comedy focused on the character before his arrival at the vecindad, while Darcyl revealed that work is already underway on a third season of ‘Los Colorado’. For Telefilms, those projects reflect a broader transformation: the group remains closely identified with Hollywood film distribution, but is increasingly combining that business with production and the development of major Latin American IP. “We are increasingly at the heart of Hollywood,” Darcyl said. “And we are doing very well.”

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Another major title is ‘Fjord’, Cristian Mungiu’s drama starring Renate Reinsve and Sebastian Stan. Inspired by true events, it follows a Romanian-Norwegian family whose life falls apart after child welfare authorities remove their children from the home, triggering a conflict between the family’s values and the Scandinavian social welfare system.

Production also continues to grow around another of the group’s major assets: the IP created by Roberto Gómez Bolaños. Following the launch of ‘Los Colorado’, the animated series based on El Chapulín Colorado, THR3 Media and Warner Bros. Discovery are moving forward with a broader expansion of the Chespirito universe. The current pipeline includes a new season of ‘Los Colorado’, a live-action comedy centered on Don Ramón, a live-action origin story of El Chapulín Colorado and a new animated take on ‘El Chavo del 8’.

Q&A Kanal D International

A GREAT START TO THE

NEW SEASON By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

With ‘Dignity’ off to a solid start, ‘Sins & Roses’ returning strongly for its second season and ‘Torn Apart’ continuing its successful international rollout, Kanal D International arrives at Mipcom with a combination of fresh titles, established hits and a deep evergreen content library.

anal D International is heading into Mipcom with positive momentum from its latest Turkish dramas, combining strong local performances with an expanding international business around both new and established IP.

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New drama ‘Dignity’ (‘Haysiyet’) has shown early growth since its September debut on Kanal D, while ‘Sins & Roses’ has returned for its second season with a strong start, top-

ping the Total ranking on its premiere night and climbing to first place across Total, AB and ABC1 in its second week. They join summer breakout ‘Torn Apart’, which built a strong domestic track record and is now expanding internationally.

“We arrive at Mipcom with a strong new season, but also with a very solid library behind it,” points out Elif Tatoğlu, Sales and Distribution Strategy Director, Kanal D International. “I think having both is one of KDI’s biggest strengths.” ‘Dignity’ is one of Kanal D’s major new dramas for the new season. What makes the series stand out, and what potential do you see for it in the international market? ‘Dignity’ is very important for us because it has all the elements we believe international audiences look for in a Turkish drama: a strong love story, family, class differences and characters who are constantly torn between their feelings and their responsibilities. At the centre of the story we have a young man from a working-class family who falls in love with the daughter of a wealthy and powerful family. So there are two very different worlds coming together, and the idea of dignity is really at the heart of the story. We believe it has very good international potential. It feels like a classic Turkish drama in terms of emotion, but the characters, the pace and the world are very fresh. We are already seeing strong interest from our clients.

Elif Tatoğlu, Sales and Distribution Strategy Director, Kanal D International “‘Dignity’ is very important for us because it has all the elements we believe international audiences look for in a Turkish drama”

‘Sins & Roses’ returned for its second season after a very successful first run. How important is this strong local performance for the next stage of its international journey? Of course, local performance is always important, especially when a series comes back for a second season. But ‘Sins & Roses’ is now at a different stage because it has already proved itself both in Turkey and internationally. The first season travelled very quickly and performed strongly in very different markets, from MENA and CIS to Latin America and Europe. We have also seen that the story connects with audiences across very different cultures, which is probably the best indication you can have of a title’s international potential.

Dignity Drama

So naturally we are looking forward to seeing the second season perform well in Turkey, but internationally there is already a very strong base. For us, S2 is more about continuing that journey, expanding into new territories and building on the success we already have. ‘Torn Apart’ emerged as one of the breakout dramas of the summer season. What is the latest news for the title? ‘Torn Apart’ has been a very nice surprise, although we believed in the title from the beginning. It started strongly and then kept growing, becoming one of the biggest drama successes of the summer. This immediately created international interest as well. We have already closed sales in MENA, CIS and CEE and we are in discussions for a number of other major territories, including deals in Europe that we hope to announce soon. What is interesting about ‘Torn Apart’ internationally is that it is not only a young drama. It has a young cast and a very strong love story, but underneath that you have family secrets, revenge, mystery and all the emotional elements of a traditional Turkish drama. I think this combination is one of the reasons buyers responded to it so quickly.

has already travelled to more than 150 countries, has been watched by millions of people and has also been adapted in different markets. And today, audiences are still discovering it for the first time. And it is not only ‘Fatmagül’. We see the same thing with other iconic titles in our catalog Torn Apart Drama

‘Fatmagül’ recently joined Netflix across Latin America more than a decade after its original launch. What does this new window say about the international value and longevity of KDI’s evergreen library? I think ‘Fatmagül’ is probably one of the best examples of what we mean when we talk about evergreen content. More than a decade after its original international launch, it can still find a new home on a global platform like Netflix, and soon on HBO, reaching another generation of viewers.

such as ‘Forbidden Love’, ‘Kuzey Güney’ and ‘Time Goes By’. These series continue to travel and find new audiences many years after their original broadcasts. Streaming has created a completely new life cycle for strong library content. Buyers are not necessarily looking only for what is new; they are also looking for proven stories that can still connect with audiences today. I think this gives our evergreen catalog a lot of value and also shows how timeless some of these Turkish dramas have become. Which other titles will be your main priorities at Mipcom 2026? Alongside ‘Haysiyet’, ‘Sins & Roses’ and ‘Torn Apart’, we have a very large catalog, so Mipcom is never just about the newest titles for us. We continue to see strong demand for our established dramas such as ‘Three Sisters’, ‘The Family Burden’, ‘Farewell Letter’, ‘For My Son’ and ‘Price of Passion’, as well as the evergreen titles I mentioned earlier. At the same time, digital platforms are creating new opportunities for our library, while scripted adaptations are giving some of these stories a completely new life in different markets.

For me, this is also proof that a strong story doesn’t really have an expiry date. Fatmagül

SCRIPTED FORMATS OPEN NEW OPPORTUNITIES across markets including MENA (‘War of the Roses’), Portugal (‘Ruthless City’), Kazakhstan (‘Three Sisters’) and Ukraine (‘Price of Passion’). Tatoğlu also pointed to Mexico

as an important market for KDI’s formats, mentioning ‘Gümüş’ alongside potential adaptations of ‘L.O.V.E.’, ‘My Mom’ and ‘A Night in June’. For the executive, one of the most attractive aspects of the model is that the relationship can continue beyond the original format sale. Local adaptations can become part of KDI’s portfolio, creating new finished versions of established IP that can then be offered internationally. “Scripted formats work in both directions: they extend the life and international reach of our original IP, while at the same time creating new finished content and further diversifying our catalog,” she said. “That is definitely an area we want to continue developing.”

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As buyers look beyond finished series and show growing interest in adapting Turkish IP for their own markets, scripted formats are becoming an increasingly important part of KDI’s business. “One of the most exciting developments for us right now is ‘Sins & Roses’, which has been licensed for local adaptations in both Greece and Portugal,” said Elif Tatoğlu. “It is a strong step forward for the title and also reflects the growing international interest we are seeing in our IP.” The company already has a significant track record in the field. ‘Fatmagül’ was adapted in Spain as ‘Alba’ and also in India, while ‘Forbidden Love’ has generated versions in India and the US. Other KDI stories have been adapted

Mediterráneo Mediaset Group

OLIVIA SET TO MOVE AUDIENCES Mediterráneo’s family dramedy, which premiered on Disney+ in July, leads the distributor’s Mipcom catalog.

Olivia Dramedy

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

media scandal forces a famous TV weatherman to seek refuge at his father’s home, despite the fact that the two have not spoken to each other in three decades. Caught in the middle is his daughter, Olivia, who must try to bridge the gap between her father and grandfather. This is the starting point of ‘Olivia’, the Studio60 and Womack Studios production that premiered on Disney+ in July and has drawn praise for its measured pace, its exploration of relationships across generations and the beauty of its Jaén landscapes. “It is a feel-good family drama that tells a moving story of reconnection and second chances across three generations of the same family,” said Rocío Cachero, Head of International Sales and Distribution at Mediterráneo Mediaset Group. “It is a very emotional series, set in a truly distinctive environment. We believe it has strong potential both as a finished product and as a format for local adaptation.” Alongside ‘Olivia’, Mediterráneo is presenting a catalog featuring other major titles such as ‘Marusía: Naval Academy’, “a drama

set at the Spanish Navy’s Naval Academy, recently presented at FesTVal in Vitoria and set to premiere soon on Mediaset España’s channels”; as well as ‘The Marquess 1985’ and ‘Pure-bred’, which has already secured deals covering 29 territories. “They are very different propositions, but all of them feature stories with a strong ability to attract audiences,” Cachero said. With both in-house and third-party titles, Mediterráneo has adapted to the changes

reshaping the industry. “One of the most interesting trends we are seeing is the shift in platforms’ acquisition strategies,” the executive explained. “Whereas global rights were more commonly requested in the past, we are increasingly seeing deals focused exclusively on the title’s territory of origin. This makes it possible to build a broader territorial exploitation strategy and tailor the commercialization of each title to the characteristics of individual markets, identifying the right windows and partners to maximize a series’ long-term potential.”

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DIVERSITY ACROSS GENRES AND AUDIENCES

With titles such as ‘Point Nemo’, from Ficción Producciones, ‘Vanished’, from iZen, and the aforementioned ‘Olivia’, Mediterráneo is bringing a “broad and diverse” catalog to the market. “Distributing third-party content allows us to incorporate different voices, production companies and production models, while also responding to a market reality: the gradual decline in the volume of fiction produced for free-to-air channels makes it particularly valuable to complement our catalog with projects from independent producers and other partners,” Cachero said. “We do all of this very naturally, seeking to work with trusted partners that have interesting projects with very high production values, stories that can appeal to international buyers and genuine potential to travel.”

Rocío Cachero, Head of International Sales and Distribution at Mediterráneo Mediaset Group “‘Olivia’ has strong potential both as a finished product and as a format for local adaptation”

Globo

GLOBO LAUNCHES TO LOVE IS TO CARE AT MIPCOM The story created by Walcyr Carrasco and Claudia Souto combines production technology, classic melodrama, and audience engagement.

To Love is To Care Telenovela

n Cannes, Globo is presenting ‘To Love is To Care’ to the international market, its newest “Super Drama” that has been winning over audiences in Brazilian primetime through a narrative combining passion, revenge, and overcoming adversity.

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Alongside hits such as ‘Racing Heart’ and ‘Three Graces’, the title reinforces Globo’s strategy of investing in large-scale emotional stories capable of generating engagement beyond the screen and connecting with diverse audiences.

“Super dramas represent the best of the Brazilian telenovela tradition combined with Globo’s production excellence,” explains Angela Colla, Head of International Business at Globo. “They are stories that touch hearts, spark conversations across different generations, and create deep connections with the audience, far beyond each episode. ‘To Love is To Care’ brings together all these elements: a strong female lead, a great love story, a mystery that grips the audience, and universal themes that cross borders. It is exactly the kind of narrative with the potential to engage viewers anywhere in the world.” Created and written by Walcyr Carrasco (International Emmy winner for ‘Hidden Truths’)

and Claudia Souto, with artistic direction by Amora Mautner, ‘To Love is To Care’ is a “Super Drama” that follows the transformation of Adriana (Leticia Colin), a woman who, faced with irreplaceable losses, discovers the strength to start over, driven by a deep thirst for justice. The story features an urban, contemporary plot that dialogues directly with classic melodrama, betting on heightened emotions, twists, and turns. “Adriana is not a fragile heroine, but an empowered woman, capable of standing up for herself and her loved ones. The telenovela features a great love story between Adriana and Pedro, and a major mystery, as we will have a ‘whodunit’,” highlights Walcyr Carrasco. “She is a woman of the people, who fought hard for everything she achieved. She has healing in her hands, not only because of her profession, but because she truly cares, embraces, welcomes, and is always offering comfort to someone. And a great injustice shatters this woman’s life, as, beyond taking away her freedom, it separates her from her great love, Pedro,” adds Claudia Souto. The starting point that triggers a major turning point in the protagonist’s life is a dev-

astating flood right in the first episode. To bring this crucial moment of the narrative to life, Estúdios Globo executed a large-scale operation during the filming of the scene. The production, which mobilized around 270 professionals, combined special effects (FX), digital visual effects (VFX), and virtual production using high-resolution LED panels. Filming involved distinct stages across location shoots in São Paulo and Rio de Janeiro, including the studio lot at Estúdios Globo and the use of a 13,000-square-meter artificial lake. The strength of ‘To Love is To Care’ can already be observed in its performance in Brazil. In its first 12 weeks, the broadcast of ‘To Love is To Care’ reached over 119 million Brazilians. Digital engagement mirrored this success: the hashtag #QuemAmaCuida spent over 13 hours among Worldwide Trending Topics and 97 hours in Brazil’s Trending Topics, while interest in the storyline generated more than 139,000 Google searches since its premiere. In addition to ‘To Love is To Care’, Globo is also taking the “Super Dramas” ‘Racing Heart’ and ‘Three Graces’ to Mipcom, titles that reached 138 and 146 million Brazilians, respectively.

“Super dramas represent the best of the Brazilian telenovela tradition combined with Globo’s production excellence”

Global Agency

A MYSTERIOUS NEW FORMAT HEADS TO CANNES By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

Global Agency is preparing the world premiere of a new music-driven relationship format in an exclusive closed-door screening for just 80 buyers, while also pushing the international expansion of ‘Dynasty of Love’, ‘One Love’, ‘Vendetta’ and other key titles.

“This year, we are coming to Cannes with a format that we believe has the potential to become a very strong international franchise,” said Izzet Pinto, founder and CEO of Global Agency. “It has a unique concept that explores relationships through music.” The Olympia screening adds another high-profile Cannes launch to Global Agency’s recent Mipcom activity.

On the drama side, ‘Dynasty of Love’ arrives at Mipcom after recent sales to Romania and Albania, while Pinto says the Turkish series has also performed particularly well in the Middle East and the CIS, with Latin America as the next step. ‘One Love’, meanwhile, remains Global Agency’s best-selling drama of the past three years and has now reached more than 100 countries.

scoring what Pinto sees as the long-term value of Turkish romantic comedy. Also in the formats space, ‘The Mashup’— which Global Agency premiered earlier this year in the US and later presented in Europe—is now in advanced talks in Spain for a potential local production. But in Cannes, attention will first turn to the title Global Agency is not yet naming. “We wanted to create a special launch around the format,” Pinto said. “We are very excited to introduce it to the international market in such a special setting.”

The Mashup Format

Meanwhile, daily drama ‘Vendetta’ has passed the 70-country sales mark, helping consolidate the genre as an increasingly important part of Global Agency’s business.

Izzet Pinto, Founder and CEO of Global Agency

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“We are coming to Cannes with a format that has a unique concept that explores relationships through music”

lobal Agency is heading to Cannes with one of its biggest launches still under wraps. On Sunday, October 11, the eve of Mipcom, the distributor will gather a select group of just 80 buyers at Cannes’ Cinema Olympia for the world premiere of a new format whose name and full concept are being kept confidential until the screening. Guests have been told they will be among the first to discover what Global Agency describes as “the next evolution in music competition.”

The company is also continuing to generate new business from established library titles. Romantic comedy ‘Daydreamer’ launched in France on M6 Group’s 6ter in September, years after its original Turkish run, underDynasty of Love Drama Vendetta Daily drama

SIC International Distribution

PORTUGUESE FICTION WITH GLOBAL APPEAL With ‘Vitória’, ‘Chapters of Life’, ‘Broken Promise’ and the newly launched ‘A Greater Destiny’, SIC International Distribution continues to expand a fiction slate built around successful local productions, international adaptations and growing sales abroad. The title continues to perform strongly on SIC, OPTO and Disney+.

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

Another key title is ‘Chapters of Life’, based on TV Globo’s ‘Pages of Life’. The telenovela premiered simultaneously on SIC, OPTO and Prime Video and has become one of SIC’s strongest recent audience performers. Chapters of Life Drama

Carlota Vieira, Content Sales Deputy Director at SIC International Distribution “We’re very happy that ‘Chapters of Life’ has quickly established itself as one of SIC’s biggest audience successes”

ne of the freshest titles in the market, ‘A Greater Destiny’, joins ‘Vitória’, ‘Chapters of Life’ and ‘Broken Promise’ at the heart of SIC International Distribution’s current fiction strategy, combining strong local performances, successful adaptations and growing international sales.

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‘A Greater Destiny’ is an adaptation of the Turkish format ‘Hicran’, which premiered across SIC, OPTO and Disney+. “This is another important milestone in our collaboration with Disney+,” said Carlota Vieira, Content Sales Deputy Director at SIC International Distribution. “These partnerships play a key role in strengthening the international positioning of our productions.”

The strategy follows the strong performance of ‘Vitória’, which is now being presented internationally in a newly curated version divided into three seasons of 77, 39 and 24 episodes. “We are now presenting it in a new format that responds to current international market demands,” Vieira explained. Vitória Drama

“We’re very happy that it has quickly established itself as one of SIC’s biggest audience successes,” Vieira said, adding that it “continues to lead Portuguese audiences in its time slot.” According to SIC, the title also ranks regularly among Prime Video’s top ten most-watched programs in Portugal, although the company does not have official viewing figures. ‘Broken Promise’ is also building momentum abroad. The adaptation of Kanal D’s ‘Ruthless City’ is airing in Hungary and Canada, with another deal expected to be announced soon. “We know that it is working incredibly well in Hungary,” Vieira said. “Beyond that, the novela is currently on air in Canada, and we’re also preparing to announce another international deal in the near future.” The pipeline continues with ‘Avenida Portugal’, a Portuguese adaptation of TV Globo’s ‘Avenida Brasil’, currently in preproduction, while another new series is due to premiere at Tribeca Lisbon in December. SIC is also finding opportunities for shorter-form fiction. ‘Azul’ has secured sales to Macao and Mongolia, reinforcing what Vieira sees as “growing demand for premium, shorter-format series that can fit into different programming strategies and viewing habits.”

MULTIPLATFORM ANIMOTION MEDIA GROUP EXPANDS THE FIXIES UNIVERSE WITH FIXIE DITTIES Animotion Media Group is expanding ‘The Fixies’ universe with the global launch of ‘Fixie Ditties’, a new English-language studio album that broadens the franchise’s content strategy into music and multiplatform experiences. The album features 11 original songs aimed at children and is now available on platforms including Spotify, Apple Music and YouTube Music. The tracklist includes a new version of Ticky Tock, one of the franchise’s classic songs, alongside tracks inspired by science fiction and time travel concepts such as Time Machine, Teleporter and Chatbot. The new release adds to the music catalog developed around ‘The Fixies’, which previously included titles such as ‘Sing with the Fixies’ and ‘Fixie Beats’, further supporting Animotion’s strategy of extending the IP beyond its audiovisual content.

DISTRIBUTION

FAUNA ENTERTAINMENT’S BEN’S WORLD REACHES TV WITH GULLI PRODUCTION

DANDELOOO LAUNCHES NEW TEEN AND YOUNG ADULT ANIMATION DIVISION Emmy Award-winning French animation production and distribution company Dandelooo is expanding into the teen and young adult market with the launch of a dedicated division focused on audiences aged 12 and over. The new division will develop and represent creator-led projects built around distinctive storytelling, fresh comedy and strong narratives, expanding Dandelooo’s portfolio beyond its established preschool and children’s business. The division launches with two original animated comedies, ‘Apocalypse Mojito’ and ‘Armageddon Pizza’, both offering irreverent takes on themes including climate anxiety, technology, social collapse and survival. Dandelooo will present both titles to international buyers at Mipcom 2026.

SCREENINGS

Fauna Entertainment’s original musical series ‘Ben’s World’ is making its move to linear television following a new broadcast deal with Gulli Africa. ‘Ben’s World’ follows Ben, a five-year-old African American boy, as he navigates the everyday challenges and joys of growing up in the USA alongside his spirited little sister Aya and their parents. Set to the vibrant sounds of Afrobeat and R&B, the series explores friendship, family, emotions and identity through relatable musical storytelling, celebrating cultural identity, empathy and understanding while reflecting experiences that are both universal to childhood and specific to growing up as a young Black boy in America. Under the agreement, 50 x 2-minute episodes of ‘Ben’s World’ will begin airing soon across 45 countries in Africa, significantly expanding the international footprint of Fauna Entertainment’s digital-first property.

MIGALI TO MAKE WORLD PREMIERE AT MIPJUNIOR 2026 Easy Peasy Entertainment and Bardaf! Production will host the world premiere screening of ‘Migali’ at MIP Junior, inviting international buyers and children’s content executives to be among the first to discover the new 2D animated comedy series, distributed by Moon-Keys International Content. The screening will take place on Saturday, October 10, at 16:30 in the Debussy Theatre, with delegates getting an exclusive first look at a full episode of the 52×11’ series. A sparkling comedy bursting with humor,

energy and a thoroughly modern heroine, ‘Migali’ is aimed at kids aged 5–8 and is adapted from the best-selling comic series published by Auzou Éditions, which comprises nine volumes and has sold more than 150,000 copies. The series transports audiences to the joyful, colorful world of the Royal Academy, a prestigious school where princes and princesses from across the kingdoms come together. At the heart of it all is Migali, a young Spider Princess with one ambition: one day, she will be queen.

Kids&Teens Kids Report

WHO WILL PAY FOR THE NEXT KIDS’ HIT?

Children’s content continues to draw large audiences, but streaming commissions are shrinking. As public broadcasters take on a greater share of new projects and YouTube captures more viewing time, MipJunior 2026 will examine how the industry can finance its next generation of stories.

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sions. Public broadcasters are shouldering much more of that work, even as young viewers spend an increasing amount of their time on YouTube. Each development affects the others, from the partners needed to finance a series to the platforms on which it might build an audience.

In 2025, subscription streaming services accounted for just 13% of global scripted Children & Family commissions, according to Ampere Analysis; public broadcasters accounted for 47%. At Netflix, the genre’s share of all commissions fell from 9% in 2022–2023 to 4% in 2024–2025. The figures refer to new commissions, rather than total spending or the size of existing catalogs, but they leave little doubt about who is currently ordering much of the new scripted content in this category.

Bluey Animation

Kids content delivers substantial viewing, but streamers accounted for only 13% of scripted commissions in 2025

he question running through MipJunior’s conference program this year is a familiar one for children’s producers: where will the money come from? Demand for Kids & Family programming remains considerable, yet subscription streamers account for a relatively small share of new commis-

At first glance, that retreat is difficult to reconcile with the viewing figures: Ampere estimates that Kids & Family generated 4.4 billion views on Netflix in the second half of 2025, making it the service’s second most-viewed genre after Crime & Thriller. The research firm also found that 35% of households with children consider shows and films their children want to watch an important reason to subscribe.

Nielsen’s US measurements provide a striking example of how long a children’s title can hold an audience: ‘Bluey’ accumulated 22.8 billion viewing minutes in the first half of 2026, ranking second among all streaming titles. Its performance cannot establish what a buyer would pay for an untested property, but it helps explain why Kids remains valuable in a catalog long after a show’s premiere. One reason for the disconnect, as Ampere points out, might be the growing importance of advertising-supported subscription tiers, where monetizing children’s content is complicated. Another is competition from YouTube. These factors help explain an industry-wide shift without necessarily accounting for every platform’s individual decisions. What producers encounter is a financing landscape in which a single streaming commission is less likely to provide the foundation for a new series. MipJunior has made that financing problem a prominent part of its 2026 program. Its “Funding the Next Generation of IP” strand will consider co-production, distribution, public support, broadcasters, brands, platforms and new investment models. The session “Who Pays for the Next Generation of Kids’ IP?” will examine financing and monetisation across several of those sources. Behind the program language lies a practical question: how does an industry with a demonstrably engaged audience assemble the money to create new content for it?

At Cannes, more than 20 public broadcasters will meet behind closed doors to discuss the future of children’s animation and opportunities to work together. Initiated by VRT and Yle, the October 11 gathering will include representatives from the BBC, ZDF, RTP, NRK, RTS, RTBF and RÚV, among others. Selected local animation projects still in

KPop: Demon Hunters Animation

development will be shared with the group, giving the conversation a possible route towards partnerships rather than limiting it to a discussion of common difficulties.

For a children’s property, YouTube can provide access to viewers across territories, evidence of what engages them and a source of digital revenue. None of those benefits guarantees that the platform will cover the costs that a broadcaster or streamer might traditionally have committed to production. Audience growth and production finance remain distinct challenges, linked by questions about rights, advertising income, distribution partners and the time required to build a following.

Elsewhere in the MipJunior program, roundtables on co-production and financing will address public funds, broadcaster initiatives, rights, distribution and international partnerships. Those are the details on which a shared commitment to support animation ultimately depends. A broadcaster’s contribution can begin well before it acquires a finished program: involvement in development, an initial financial commitment and access to a local audience can all help an original property move forward. Yet the growing number of producers seeking such partners may put pressure on institutions with limited resources. WHERE THE AUDIENCE HAS GONE. Any financing discussion must also account for YouTube’s place in children’s viewing. In the United Kingdom, children aged 4–15 watched an average of seven hours and seven minutes of YouTube per week in 2025, according to Ofcom, an 8% increase on the previous year. Their viewing across video-sharing platforms, including TikTok and Twitch, reached eight hours and 45 minutes weekly and represented the largest share of video consumption at home. Average viewing of live broadcast television among the same age group fell to two hours and 32 minutes a week. The figures pertain only to the UK, but show the scale of the change in one closely measured market.

At MipJunior, YouTube will headline “Beyond Preschool: Making Great Content for the Gen Z & Teen Audience,” examining how digital-native phenomena and established brands reach older young audiences. “What Comes After TV?” will turn to creator-led properties, gaming worlds and forms of entertainment shaped by how young people discover and participate in content. Both sessions suggest a wider remit for a market historically associated with television: projects may now arrive with an audience built elsewhere, or with a plan to find one across several platforms. The connections between funding and viewing are becoming harder to separate. A series backed by several public broadcasters still needs to reach children whose habits extend well beyond those channels. A property that first attracts an audience on YouTube, meanwhile, may need outside investment to develop into a larger production. Neither path provides a universal model: the balance of finance, rights, distribution and risk will differ from project to project.

More than 20 public broadcasters will meet at MipJunior to explore how they can support new children’s animation

ttv Magazine / Kids&Teens

THE WEIGHT ON PUBLIC BROADCASTERS. Public broadcasters’ 47% share of scripted Children & Family commissions makes their role particularly consequential when global streamers order less. It also brings their constraints into focus. Public channels have mandates and audiences to serve in their own markets; their budgets cannot necessarily absorb every project seeking a replacement for streaming finance. For international producers, the issue is how those commitments can be combined across territories without compromising a project’s creative or commercial prospects.

CoComelon: The Movie Animation

Kids&Teens PowerKids Entertainment Akira & Mowgli – The Jungle Book Adventures Animation series

Little Mowgli Animation series

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

With new projects expanding The Jungle Book universe and a slate built around international co-production, PowerKids Entertainment brings to the market stories that can travel across territories, platforms and consumer products.

MOWGLI’S WORLD KEEPS GROWING

owerKids Entertainment is strengthening its international slate with a mix of established brands and new properties designed from the outset to travel globally, while leaning on co-production partnerships and franchise-building opportunities.

One of its key projects is ‘Akira & Mowgli – The Jungle Book Adventures’, which introduces a new female lead into the familiar Jungle Book universe. According to Manoj Mishra, CEO & Managing Director of PowerKids Entertainment, ‘Akira & Mowgli’ brings “a fearless, curious and contemporary energy to Mowgli’s story,” creating a new dynamic within the jungle.

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The series is being developed through an international collaboration that includes beIN Media Group, DeAPlaneta Entertainment, Telegael, Twelve P Animation, 22D Music and Wall Peep Animation. “Our ambition is to make the series a globally travelling kids’ adventure,” Mishra said.

PowerKids is also extending the brand toward younger viewers with ‘Little Mowgli’, a preschool prequel centred on the character at three years old. The project is intended to broaden the franchise across age groups while capitalising on Mowgli’s intergenerational recognition. Beyond The Jungle Book, the company is developing ‘Young Achievers – Raider’s Quest’ with Sony Pictures Networks India, with Telegael and Nexus TV as co-producers. While artificial intelligence provides a contemporary backdrop for the adventure, Mishra stressed that the creative priority re-

mains elsewhere. “For us, AI is the backdrop, not the lesson. The story has to come first,” he said.

Another established property in the slate is ‘Dragonero – Tales of Paladins’, developed with Sergio Bonelli Editore and RAI Kids. With its second season now out, PowerKids sees potential beyond audiences already familiar with the original comic, relying on fantasy, adventure, humour and friendship as accessible entry points for new viewers. The company is also working to build ‘The Blue Boy Chronicles’ as a broader global franchise. Developed with creator Swati Bhisé and Cayenne Pepper Productions, the

Manoj Mishra, CEO & Managing Director of PowerKids Entertainment “Our ambition is to make ‘Akira & Mowgli – The Jungle Book Adventures’ a globally travelling kids’ adventure” project has PowerKids as co-producer and global distribution and licensing partner. The strategy spans television, streaming, licensing and consumer products, while retaining the story’s Indian identity. At the centre is Krishna, presented as a young hero dealing with friendship, identity, responsibility and adventure, with the series conceived as the storytelling foundation for future extensions. “Our strategy is to build the property for global audiences without taking away what makes the story distinctly Indian,” Mishra explained. Rather than softening those cultural elements, the company wants them to become part of the project’s international appeal. Mishra said the company is increasingly focused on IP that can move “across screens, territories and consumer touchpoints,” supported by international co-production, strategic partnerships and stories with enough depth to evolve beyond a single series. Young Achievers – Raider’s Quest Animation series

Kids&Teens Spiritum Entertainment

FIFTEEN YEARS OF BIG CONNECTIONS WITH LITTLE VIEWERS By Carolina Mussio cmussio@todotv.tv @carolinamussio

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Characters, songs and stories in kids’ content can become part of their everyday lives and stay with them as they grow, something Spiritum Entertainment places at the heart of its creative philosophy, as it celebrates fifteen years of ‘Plim Plim’ connecting with families worldwide, and introduces new exciting properties like ‘Bumpy, the Bear’.

Damián Soriano, VP of Content at Spiritum Entertainment “There is something very special about creating for children. What we make can become a song a child sings every day, or a memory they carry throughout their life” Plim Plim Preschool Animation

ore than entertainment, shows and characters are something kids form special connections with and turn to as they grow. Thus, kids’ content creators have a special mission within the industry, one that must be taken on with responsibility and passion.

“There is something very special about creating for children,” summarized Damián Soriano, VP of Content at Spiritum Entertainment. “What we make can become a song a child sings every day, or a memory they carry throughout their life. It can help families nurture positive values and habits that last a lifetime. For those of us who develop content, that possibility is both a tremendous motivation and a tremendous responsibility.” A HERO OF KINDNESS. The star of Spiritum’s catalog, ‘Plim Plim’ has been a part of families’ daily lives for fifteen years, now standing as an established global brand, with more than 47.9 million subscribers, and content available in ten languages across 17 countries.

“’Plim Plim’ offers something very valuable: content that children enjoy and families can trust,” the executive explained. “Music, humour and the characters introduce themes such as friendship, empathy and everyday habits in a very natural way. These are experiences any child can relate to, wherever they grow up.” And ‘Plim Plim’s presence extends well beyond the TV screen, making its potential for growth and new connections with young viewers truly endless. “We see considerable potential in building on the relationship families already have with Plim Plim through new experiences,” Soriano noted. “When a character becomes part of a child’s everyday life, there are opportunities to extend that relationship through toys, books, games, interactive experiences and live shows. Each category offers a different way to connect with ‘Plim Plim’s world.” “The challenge is to develop products and experiences that feel authentic within that world. A book can start a family conversation; a toy can inspire play; a show can turn a familiar song into a shared memory,” he added.

Bumpy, the Bear Preschool Animation

guese, a structure that serves two complementary purposes: “The music videos give us room to develop the songs and the situations that introduce the characters, while the shorter versions offer briefer encounters with the same world. Having both formats allows us to bring consistency and variety to the release schedule, which matters when a property is beginning to build its audience.” “The three languages reflect our international ambitions from the start,” shared Soriano. “For a music-led property, adaptation means paying close attention to meaning, metre, sound, humour and performance. A song needs to feel natural to the child listening to it, whichever version they hear. For us, the identity lies in the characters’ personalities, their relationships, the tone, and the visual and musical approach. Those elements must remain recognisable, while

“’Bumpy, the Bear’ takes a digital-first approach, designed from the outset around how new generations discover, engage with and enjoy content” Heading into Mipcom, Spiritum is looking for partners “who share that long-term vision and can help us build the brand locally.” “Our aim is not simply to enter more territories, but to develop thriving ecosystems around Plim Plim, where content, products and experiences reinforce one another and nurture the relationship families already have with the characters.” “We continue to expand ‘Plim Plim’s world globally, releasing three new animated episodes and songs each week, extending our channels into more languages, now ten — Spanish, Portuguese, English, French, Italian, German, Russian, Indonesian, Hindi and Turkish—, and progressing with production of the series. That breadth allows us to develop offerings for different platforms and programming needs,” he added.

‘Bumpy, the Bear’ takes a digital-first approach, designed from the outset around how new generations discover, engage with and enjoy content. It combines music, humour and storytelling through a group

“Music plays a central role as a universal language and one of the main gateways into Bumpy’s world. Short-form content allows us to introduce characters, songs and stories in an engaging way, encourage repeat viewing and build a relationship with the audience that can later extend into longer narrative formats,” he explained. “But digital-first means more than a distribution strategy. Bumpy was conceived as a brand that could grow across different platforms and points of contact with children and their families. The project has international ambitions from the outset, with an ecosystem encompassing digital content and television, followed in time by licensing, consumer products and live experiences.” “Our aim is for each platform to strengthen the others and for Bumpy to build a global community from the very beginning, always keeping one simple idea at its heart: children have the right to play, learn and have fun as they discover the world,” he added. ‘Bumpy, the Bear’s’ initial production comprises 52 music videos and 52 short-form versions in Spanish, English and Portu-

the language is adapted sensitively for each audience.” THE ROAD AHEAD. Today, more than 90% of Spiritum’s business comes from outside Argentina. That growth extends across an ecosystem encompassing content, music, live shows, licensing, apps and books. “I believe this success is rooted in a distinctive combination of experiences that connect with children and support them as they grow, alongside positive values that build trust with families. That connection allows us to transcend languages, cultures and screens,” the executive said. With this mindset, the future is full of opportunities for the Argentine group. “Spiritum is keen to keep exploring the relationship between content and participation: how a story or song can encourage children to play, move, learn or share a moment away from the screen. This is a particularly exciting area for Spiritum. In that spirit, our theatre tour will visit the United States for the first time in October, with 16 performances across 11 cities, and we are already planning our first steps into Europe in 2027.” “For the remainder of the year, our priorities are to support Bumpy’s international rollout, broaden Plim Plim’s distribution opportunities and develop partnerships that support the continued growth of both properties. We want every agreement to help build audiences and long-term value,” he concluded.

ttv Magazine / Kids&Teens

BUMPY JOINS THE FAMILY. This year, Spiritum has expanded its portfolio with new launches such as ‘Bumpy, the Bear’, a preschool property developed with Krakatoa and with the participation of RTVE. “This marks an important step for Spiritum: drawing on our experience to create new brands with their own distinctive identities and international ambitions from the outset,” the executive said.

of characters with very different personalities, who learn through play, curiosity and their own experiences. That combination allows Spiritum to explore values and learning in a very natural way, always through entertainment.

Kids&Teens Triskelion Productions

TRISKELION ENTERS A NEW CYCLE OF GROWTH

The group is stepping up its global expansion strategy, strengthening its Cycle Kids platform through new acquisitions, partnerships and co-productions, while exploring new opportunities in animation and narrative content. also in negotiations with two other distributors,” Ric Acevedo, president and executive producer of Triskelion Productions, revealed to ttv. “In total we are looking at about 20 new shows.”

By Carolina Mussio cmussio@todotv.tv @carolinamussio

These partnerships and deals are something Triskelion actively seeks, remaining open to all types of opportunities that would allow it to join forces with other players and grow, both its distribution and production businesses.

Ric Acevedo, President and Executive Producer of Triskelion Productions “We look for partners interested in co-productions, as well as sharing content with our platform”

ttv Magazine / Kids&Teens

s an increasingly important player in the kids’ content industry, Triskelion Productions has continued to bolster its offering through original productions and co-productions, as well as strategic alliances to expand the presence of its platform, Cycle Kids.

Most recently, the group has announced partnerships with companies such as The Jim Henson Company and DeAPlaneta, through which it has added evergreen content like ‘David the Gnome’ or ‘Willy Fog’, as well as the acquisition of popular titles such as ‘Turbozaurs’, from Tale Wind Animation; or ‘Monchhichi’, ‘Baby Einstein’ and ‘Tullipop’, from Kaito Entertainment. Far from resting on its laurels, Triskelion continues to pursue further alliances, with new deals already on the horizon. “We are getting ready to sign with MPE and we are Tullipop Animated Series

“We look for partners interested in co-productions, as well as sharing content with our platform,” the executive said. “We are currently working on a script for a feature-length animated film. In addition, we are looking to move more prominently into the narrative space.” Despite its ups and downs, the executive believes the kids’ entertainment industry is still alive and well: “I think the kids’ space is as good as ever. I do see a trend toward the 11-minute shows as opposed to the 24-minute shows. I guess habits just change with the times. 24-minute shows are still a big part of the equation but there’s more room and a

stronger trend for shorter content given the popularity and market share of what we see on platforms like YouTube,” he explained. As for the remainder of 2026, the executive said his main goals for the company are “to continue to grow and expand”, focusing on markets like Mipcom, “and hoping to expand to markets in Croatia, London, Canada and Asia, among others. International markets are a major source of top-quality content,” he concluded.

Kids&Teens DeAPlaneta Entertainment

BRANDS BUILT TO GROW

Milo Preschool Series

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

With ‘Milo’ as a clear example of its strategy to turn content into long-term franchises, DeAPlaneta Entertainment brings new seasons, new IPs and a reinforced focus on expanding its properties internationally.

Carlos Biern, Content & Media Sales Director at DeAPlaneta Entertainment

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“[With ‘Milo’] we have managed to take a single book, turn it into a preschool series and build it into an internationally recognized property present in more than 170 countries”

eAPlaneta Entertainment is entering a new stage of growth, with international expansion and the development of long-term franchises at the center of its strategy. “We are at a particularly important moment for the company, with an increasingly clear commitment to the creation, co-production and long-term development of properties with genuine international potential,” said Carlos Biern, Content & Media Sales Director at DeAPlaneta Entertainment. “Our goal is no longer simply to produce and distribute quality content, but to build brands capable of growing across different

territories, platforms and windows,” he added. “One of our priorities is to expand the international presence of our IPs, strengthening relationships with broadcasters and platforms and looking for partners that share a long-term vision.” ‘Milo’ is perhaps the clearest example of that strategy. The preschool property is already present in more than 170 countries, while a third season of 52 new episodes is currently in production. “In a very short time, we have managed to take a single book, turn it into a preschool series and build it into an internationally recognized property present in more than 170 countries and supported by leading broadcasters and partners in numerous markets,” Biern said. “It is a dream start that allows us to say we have a new franchise.” The new season will introduce new professions, a stronger musical component, more visual humor and Twilo, Milo’s little sister. DeAPlaneta currently has 78 eleven-minute episodes available. The expansion of ‘Milo’ also goes far beyond television. “Today, a kids’ franchise cannot depend solely on a TV series,” Biern said. “Audiovisual content remains at the heart of many of our properties, but from there we look to create an ecosystem of complementary content and experiences: audio, music, digital content, publishing, gaming, toys and live experiences, among others.”

“It is not simply about being present on more platforms, but about finding formats that make sense for each IP and genuinely strengthen the relationship between audiences and the characters,” he explained. At Mipcom, another major focus will be ‘Magic Lilly’, a new CGI animated series inspired by the ‘Hexe Lilli’ book franchise created by Knister. The 26 x 22-minute production is set to premiere in late 2027 and already has Super RTL, RAI Kids, RTVE, 3Cat and VRT on board as partners. The company’s new generation of IPs also includes ‘Karters’, combining racing, adventure, humor and teamwork; ‘Underdog’, a reimagining of the classic canine superhero property; and ‘Cloudy & Stormy’, a preschool comedy currently in production with 52 seven-minute episodes. For Biern, the kids’ content market is becoming increasingly challenging. “It is a much more fragmented and competitive market than it was a few years ago,” he said. “Simply having a good series is no longer enough. Having a living, dynamic brand that can endure over time is the main goal.” “Milo is proving that this journey is possible,” Biern concluded, “and our ambition is to apply that same vision to the new generation of properties we are developing.”

Kids&Teens The Wiggles

WIGGLY FUN ON MULTIPLE PLATFORMS By Carolina Mussio cmussio@todotv.tv @carolinamussio

From songs and live shows, to TV series, animation, digital content, and more, The Wiggles continue to expand the ways kids can experience their world, and are now headed to Mipcom to showcase their latest productions, including the new season of ‘Ready, Steady, Wiggle!’, and the return of ‘Dorothy the Dinosaur’ in a new live-action series, ahead of her animated debut in 2028.

ttv Magazine / Kids&Teens

or over thirty years, since the band was formed in 1991, The Wiggles have toured the world, entertaining children through wonderful songs and engaging live performances. And over the years, they’ve extended their connection to kids through unique content and experiences.

And now, after a successful and extensive tour across the UK, North America, and Australia & New Zealand, The Wiggles are headed to France for a new edition of Mipcom, to showcase what’s next in the content space. “This year alone we have released twenty studio albums, four content specials, as well as debuted the latest ‘Ready, Steady, Wiggle!’ series,” said Luke Field, General Manager of Commercial for The Wiggles. “We’re looking forward to continuing conversations with our international partners around the broader Wiggles content slate, our music and our live business, and looking at new opportunities to bring The Wiggles

to even more families around the world,” he added. The new ‘Ready, Steady, Wiggle!’ series opens the group’s catalog for the market, which also features a new, exciting project: “One of our biggest priorities this year is introducing buyers to our brand-new ‘Dorothy the Dinosaur’ live-action series, our first live-action Dorothy series since 2010”, the executive revealed. “Dorothy is such a beloved character, and we’re thrilled to be bringing her back in a brand-new format and opening up her world to audiences in a fresh way.” The series follows Dorothy in her own world and introduces audiences to new characters Pedal & Poppy, while also featuring familiar favorites such as Wags the Dog, Henry the Octopus and Shirley Shawn the Unicorn. “It’s a 30 x 5-minute series and provides a great launching pad for our upcoming ‘Dorothy the Dinosaur’ animated series, which is planned for 2028”, he explained, and added: “I’ve been at The Wiggles for more than 18 years, and I can honestly say I’ve never been more excited about a Wiggles project!” The animated series is being developed with Sinking Ship Entertainment “and the work we’ve seen so far is incredibly exciting”, he Ready, Steady, Wiggle! Live-Action Series

Luke Field, General Manager of Commercial for The Wiggles “One of our biggest priorities this year is introducing buyers to our brand-new ‘Dorothy the Dinosaur’ live-action series, our first live-action Dorothy series since 2010” noted. “I’ve seen some of the early Dorothy designs and they are fantastic. The Sinking Ship team have done an incredible job of capturing everything audiences love about the live-action Dorothy while transforming her beautifully into an animated world.” Anthony Field, the original Blue Wiggle, has written multiple songs for the animation. “I’m really excited to see this Dorothy animation introduce her to audiences who may be discovering The Wiggles for the first time. It’s a format with enormous international potential, and we see it as an important part of The Wiggles’ future,” he anticipated. These new productions are great examples of how the brand continues to grow, evolve, and adapt to kids’ new demands and consumption habits. “The new ‘Dorothy the Dinosaur’ live-action series has 5-minute episodes, which are short, focused and easy to discover. But collectively the series allows us to build Dorothy’s world and introduce audiences to her characters and stories”, he explained. “We’re creating content that works in shorter formats and can deliver something engaging very quickly, but we’re also very conscious that there is still a place for longer-form viewing and deeper storytelling like our TV series. We also think about how a piece of content can work beyond the episode itself through music, YouTube, social content, live performance and other digital experiences.” “Ultimately, the way children consume content continues to evolve, so we need to evolve with them. But the fundamentals of The Wiggles haven’t changed: great songs, engaging characters, storytelling, movement and content that families can enjoy together,” he concluded.

Kids&Teens El Reino Infantil

TURNING DIGITAL SCALE INTO A 360° IP BUSINESS By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

ttv Magazine / Kids&Teens

Fifteen years after its launch, El Reino Infantil is entering a new phase of expansion, leveraging its massive YouTube reach across Connected TV, gaming, education, licensing, live entertainment and an increasingly ambitious presence in the physical world.

Felipe De Stefani, CEO of El Reino Infantil

Ylka Tapia, Partnership Manager & Executive Producer

l Reino Infantil recently celebrated its 15th anniversary with numbers that illustrate the scale reached by a company born on YouTube in 2011: more than 240 million subscribers across its network, 180 billion historical views and over 9 billion views during the first half of 2026 alone. Its content is currently available in 11 languages, while the company has expanded beyond digital video into FAST, CTV, streaming, live entertainment and consumer products.

“What El Reino Infantil has done with properties such as ‘La Granja de Zenón’ is admirable, because it represents 15 years of leadership,” said Felipe De Stefani, CEO of El Reino Infantil. “Today we are in an era where it is more important than ever to be naturally recognized and valued. When there is so much supply, achieving that is extremely difficult. We say we are living in the era of the outliers of the outliers. And we have that.” That recognition is now allowing the company to extend its business in the opposite direction to much of the media industry: after building massive digital reach, El Reino Infantil is increasingly moving into the physical world. “We are developing businesses related to monetization, distribution and the physical world as well: live shows, consumer products, FAST channels and even cable channels,” De Stefani explained. “Digital is increasingly the showcase where everything is exposed, while the physical world is where the interaction with the IP takes place. That is where we are expanding.” For Ylka Tapia, Partnership Manager & Executive Producer at El Reino Infantil, that evolution has also changed the way the traditional entertainment industry sees the company. “At first, at the more traditional entertainment and animation industry events, our presence was a little surprising,” she recalled. “We kept showing our results, our projects, what we do and how we do it. Partners that initially wondered, ‘Who are

these people?’ now come to us saying, ‘Let’s talk, tell me more, I’d like to participate.’” Part of that shift is linked to one of El Reino Infantil’s strongest assets: the ability to validate content digitally before asking platforms or broadcasters to commit to it. “Today it is almost impossible to achieve a sale without previous digital validation,” De Stefani said. “A platform buying something wants to know that it is going to work and where it came from.” That validation is becoming part of the value the company can bring not only to its own properties, but also to projects developed with third parties. “Being good is not enough,” De Stefani said. “First you have to get distribution, and then everything else.”

Pili Pilota Kids Animation

Bartolito Kids Animation

“Digital is increasingly the showcase where everything is exposed, while the physical world is where the interaction with the IP takes place” “YouTube has taken the centre of the home,” he said, linking that shift to the company’s broader positioning around entertainment, learning and development. For El Reino Infantil, that logic works in two directions. On the one hand, the company is extending some of its strongest existing brands into standalone properties. ‘Bartolito’, one of the best-known characters from ‘La Granja de Zenón’, has already been developed as an independent IP. On the other hand, the same digital scale is becoming a distribution asset for third-party IP. El Reino Infantil has been expanding this side of the business through its multi-channel network, managing YouTube channels and integrating external properties into its ecosystem to help them reach wider family audiences. One of the most recent examples is ‘The Little Prince and Friends’, produced by Mediawan Kids & Family. Under an agreement

announced at Annecy, the series joined El Reino Infantil’s network for the US and Latin America, excluding Brazil, in both Spanish and English. “A property can have all the potential in the world, but without distribution it cannot become a hit,” De Stefani said. “What we have is an established distribution network on platforms like YouTube, and building that kind of scale from scratch is practically impossible.” CTV, EDUCATION AND GAMING. El Reino Infantil is also seeing its digital audience increasingly migrate to the television screen. According to De Stefani, around 65% of its content consumption currently comes through Connected TV, particularly relevant for a preschool audience whose parents often prefer TVs to mobile devices.

The company works with psychologists and educational specialists during content development and is advancing educational initiatives linked to schools in Miami and Latin America, while also exploring a greater role in toy production and interactive experiences. “The child sees it as entertainment, but we see it as a service to parents,” De Stefani explained. Gaming is another growing area, ranging from educational experiences within its own apps to an expanding strategy on Roblox. “We no longer believe in a single-platform or single-IP proposition,” De Stefani said. “Our scale is not only audience scale. It is also scale in the number of businesses, the diversity of IP, targets and activities: shows, toys, immersive experiences, music, FAST and cable channels. That is the play.”

“With ‘Wadoo’ we combine all the expertise we have in digital narratives, formats and understanding audiences with Mediawan’s expertise as a franchise creator”

NEW IPS WITH GLOBAL PARTNERS franchise creator.” Tapia said the partnership is designed to bring together “a more classical, conventional world with a digital one,” with

both companies contributing closely to the development process. The company is also developing ‘Pili Pilota’ with Cake Entertainment. The preschool property follows Pili, a girl who dreams of becoming a pilot like her mother. “We are creating a very global product for a mass audience,” Tapia said. “It’s very educational, very aligned with our values and very toyetic.” For Tapia, both projects reflect a broader strategy of combining El Reino Infantil’s digital expertise with the experience of established international partners to create IP designed from the outset to travel.

ttv Magazine / Kids&Teens

El Reino Infantil is also expanding its development slate through alliances with established international companies. One of the most advanced projects is ‘Wadoo’, developed with Mediawan Kids & Family. According to Tapia, the project combines El Reino Infantil’s experience in digital storytelling and audience behaviour with Mediawan’s track record in animation and franchise building. “What we’ve done is create a kind of hybrid product,” Tapia explained. “We combine all the expertise we have in digital narratives, formats and understanding audiences —knowing how to read their language and speak it— with Mediawan’s expertise as a

Kids&Teens Motion Pictures The Black Diamond Race Animation

By Carolina Mussio cmussio@todotv.tv @carolinamussio

Tony Albert, CEO of Motion Pictures, highlights the importance of creating titles that connect with audiences, and reviews the recent evolution of the Spanish production company, which has adapted its strategy to maximize its content’s reach by combining production, distribution, localization, and new alliances.

Tony Albert, CEO of Motion Pictures “The way forward involves creating content with a very clear identity, recognizable characters, and the ability to travel across different platforms and territories”

A WIDER VIEW WITH A FOCUS ON GOOD STORIES

ttv Magazine / Kids&Teens

ombining production and international distribution across a broad animation portfolio, Motion Pictures’ current slate includes Tale Wind Animation’s ‘Turbozaurs’, which it distributes internationally, alongside ‘The Black Diamond Race’, a recent co-production with Gruppo Alcuni for RTVE and RAI.

“The first half of the year has been positive. We are following a similar trend to last year,” said Tony Albert, CEO of Motion Pictures. “Over the last 20 years, we have produced around 15 animated series with diverse concepts that can coexist on any channel or platform worldwide.” Currently, the Spanish production company is developing a highly innovative and distinctive project titled ‘Electron Boy’, featuring a protagonist with ADHD. “We aren’t aware of any other animated series that tackles this subject matter from this perspective, and we believe it could be particularly interesting for European public broadcasters,” the executive explained. “With ‘Electron Boy’, we want to offer a positive, inclusive outlook that allows children with ADHD to feel represented while helping other viewers better understand and appreciate this reality.”

BEYOND PRODUCTION. In addition to its work as a production company, Motion Pictures carries out other activities in Spain, all related to the audiovisual sector. “For instance, we have our own dubbing studio —run with other partners— and we provide services to a large number of clients,” the CEO noted. “We also have a film and television distribution arm in Spain, with a catalog of over 300 titles that we distribute to Spanish TV channels and platforms,” he added. “And late last year, we launched another business line with a German partner, creating a new company dedicated exclusively to distributing anime content across Europe. You could say we manage a portfolio of businesses that keeps us very busy,” he summarized. NEW TRENDS, NEW PATHS. This dual role as both producers and distributors gives Motion Pictures a unique perspective for maximizing the potential of every piece of content.

“The way forward involves creating content with a very clear identity, recognizable characters, and the ability to travel across different platforms and territories,” the executive stated. “The content needs to be appealing enough for children, yet also offer produc-

tion values and elements that inspire trust among parents.” “As producers and distributors, we try not to think solely about selling a series to a broadcaster, but rather about how to maximize the lifespan and reach of each piece of content. From the very beginning, we analyze the potential audience, the platforms where it might succeed, the territories involved, and the exploitation models that make sense in each market,” he explained. “We are also committed to combining our experience in television and traditional distribution with new windows and exploitation models,” the CEO said, adding: “And another fundamental element, in my opinion, is localization. High-quality dubbing, a territory-specific strategy, and a deep understanding of local operators can make a big difference.” “Therefore, our strategy isn’t about trying to be everywhere at once; it’s about finding the right audience for each project and building the best possible path for every title,” the executive stated. “Our goal is to remain an independent, flexible company capable of adapting to a constantly changing market, without ever losing sight of what matters most: telling good stories,” he concluded.

Listings Mipcom 2026

Kids&Teens

Milo

Bartolito

The Gruffalo

The Black Diamond Race

DEAPLANETA ENTERTAINMENT

EL REINO INFANTIL

MAGIC LIGHT PICTURES

MOTION PICTURES

Av. Diagonal, 662-664 08034 Barcelona, Spain +34 93 492 88 73 info@deaplaneta.com www.deaplanetaentertainment.com Stand: R7.D19

San José 1277 Buenos Aires, Argentina partners.elreinoinfantil.com

TOP EXECUTIVE Ylka Tapia, Head of Growth Partnerships and Producer

TOP EXECUTIVE

41-42 Foley Street, 4th Floor London, W1W 7TS, United Kingdom +44 (0)20 7631 1800 office@magiclightpictures.com www.magiclightpictures.com

EXECUTIVE

Hannah Jones, Senior Distribution Manager

MAGIC LILLY (Animation, 26 x 22’) Inspired by KNISTER’s beloved Hexe Lilli book franchise, Magic Lilly follows Lilly as she balances high school life with epic magical battles. With the help of Hector, her loyal little dragon, and Yori, a Japanese exchange student who knows her secret, Lilly must defeat the powerful Miles and rescue her mentor Odella.

ttv Magazine / Kids&Teens

CLOUDY & STORMY (Preschool Comedy, 52 x 7’)

A warm and playful preschool comedy about two very different sisters. Optimistic Cloudy rushes into every adventure with a smile and no plan, while protective Stormy is always ready to keep her safe. Through their funny and heartfelt adventures, children discover the value of curiosity, resilience and sisterly support.

Toni Albert, Sales Director Paloma Taborda, Sales Executive and Producer

TOP EXECUTIVE Oscar Albert, CEO

Muriel Thomas, International Distribution Director

BARTOLITO (Kids Animation)

Milo returns with even more energy, imagination and fun. Together with Lofty, Lark and new arrival Twilo, Milo explores a different profession in each adventure, inspiring children’s curiosity and desire to play. Catchy songs, visual gags and a faster pace make the stories even more surprising and relatable for preschool audiences.

EXECUTIVES

TOP EXECUTIVE

Carlos Biern, Content and Media Sales Director

MILO (Preschool Animation, 78 x 11’)

Reina Victòria, 8 08021 Barcelona, Spain +34 932 002 500 www.motionpic.com Stand: R7.H9A

Bartolito begins his first year at ‘Granjacademia’, a school where music and video games come together. Along the way, he discovers hidden talents, makes lifelong friends and learns that the greatest adventure of all is growing up. WADOO (3D Animation, Music) Wadoo is a warm and colorful preschool series built around curiosity, friendship and teamwork. Through playful adventures and music, its characters discover the world around them while learning how to face everyday challenges together. ZENON’S FARM (Preschool) Set in the countryside, ‘Zenon’s Farm’ celebrates rural life, animals and care for the environment through music, stories and familiar characters. The property combines music videos, series and edutainment content designed for preschool audiences and families. BOOGIE BUGS (Preschool) A cheerful musical property in which a group of lively little bugs invites children to sing, dance and take part in playful activities. Its songs and choreography encourage movement, coordination and active participation.

THE GRUFFALO (Kids & Family, 1 x 26’)

THE BLACK DIAMOND RACE (9 x 45’)

Based on the classic picture book by Julia Donaldson and Axel Scheffler, the story follows a clever little mouse who must outwit a fox, an owl and a snake by inventing a terrifying monster called the Gruffalo.

India, 1929. Seventeen-year-old Rani Singh dreams of becoming a racing driver when she is drawn into a mysterious competition involving four diamonds with magical powers. Racing alongside an international group of contenders, she must reach the finish line before criminal mastermind Mister K can use the diamonds to rule the world.

THE BADDIES (Kids & Family, 1 x 30’) A troll, a ghost and a witch pride themselves on being the worst baddies around, until a little girl proves more than a match for their nasty tricks. A mischievous adventure about courage, kindness and standing up to bullies. ROOM ON THE BROOM (Kids & Family, 1 x 25’) A kind witch welcomes an unlikely group of animals onto her broom. When they ultimately save her from a fearsome dragon, she rewards them with a magnificent new broom with room for everyone. THE SCARECROWS’ WEDDING (Kids & Family, 1 x 30’) Betty O’Barley and Harry O’Hay are planning the perfect wedding, but their plans go awry when Harry leaves the farm and smoothtalking Reginald Rake steps in. A warm story about love, loyalty and what truly matters.

TURBOZAURS (156 x 7’) Peter and Katie have six transforming dinosaurs as pets, opening the door to a world of unexpected adventures. Whether retrieving a ball, searching for treasure or exploring the forest from above, the Turbozaurs always have the perfect skill or machine for the job. MYA GO (156 x 5’30”) Adventurous preschooler Mya approaches every experience with endless enthusiasm and a positive attitude. Together with her family and her dog, she explores the world around her and discovers that even difficult situations can become opportunities for fun, learning and adventure.

3.486.843 total average annual reach across all our digital media platforms

Adventures Of Akira & Mowgli

Plim Plim: The Kindness Hero

Chill Out, Zeus!

Ready, Steady, Wiggle!

POWERKIDS ENTERTAINMENT

SPIRITUM ENTERTAINMENT

STUDIO 100 INTERNATIONAL

THE WIGGLES

350 Orchard Road, #21-08/10 Shaw House Singapore 238868 +91 73967 74066 info@powerkidsentertainment.com www.powerkids.net

Cerrito 1070, 2nd Floor, Office 48 C1010AAV, Buenos Aires, Argentina info@spiritum.tv spiritum.tv

Neumarkter Str. 18-20 81673 Munich, Germany +49 89 960855-0 distribution@studio100int.com www.studio100international.com Stand: R7.K17

EXECUTIVES

Swastik Sekar Patra, Head of Global Operations and Licensing & Distribution Desmond Aram, Director of Licensing and Gaming

TOP EXECUTIVE Manoj Mishra, CEO & MD

EXECUTIVES

Cindy Fernández, International Licensing & Consumer Products Manager, Krakatoa Damián Soriano, VP of Content, Spiritum Entertainment

TOP EXECUTIVE

Víctor M. López, Chief Commercial Officer, Spiritum Entertainment & CEO, Krakatoa

EXECUTIVES

Fabrice Laventure-Darival, Sales Manager, Studio 100 International Tanja Aichberger-Schaetzle, Senior Sales Executive, Studio 100 International Richard Rowe, Executive Producer, Studio 100 International Laura Langhammer, Head of Studio Isar Animation

TOP EXECUTIVE Martin Krieger, CEO

PLIM PLIM: THE KINDNESS HERO ADVENTURES OF AKIRA & MOWGLI (Action, 52 x 11’) The timeless world of ‘The Jungle Book’ expands with Akira, a girl from a nearby village who accidentally enters the Seonee jungle and crosses paths with Mowgli. After they escape Shere Khan together, the tiger becomes determined to hunt both man-cubs, bringing double trouble to Baloo, Bagheera and their friends. LITTLE MOWGLI (Fun, 52 x 7.5’) A prequel to ‘The Jungle Book’ following threeyear-old Mowgli as he discovers the Seonee jungle for the first time. Curious, optimistic and endlessly adventurous, little Mowgli approaches every new experience with enthusiasm, often creating chaos for himself and the classic jungle characters around him. YOUNG ACHIEVERS ACADEMY (Action, 26 x 22’)

BUMPY, THE BEAR (2D Animation, 52 x 3’ + 52 x 1’ edits) A digital-first, music-led preschool property co-produced by Krakatoa and Spiritum Entertainment, with the participation of RTVE. Bumpy and his friends put what they learn at school into practice through play, exploration and discovery, in a multiplatform brand designed for children ages 1–4.

TOP EXECUTIVE

Luke Field, General Manager of Commercial

READY, STEADY, WIGGLE! (Educational, 156+ x 11’) The Wiggles bring together music, dance, storytelling and playful problem-solving in a preschool series featuring Anthony, Simon, Lachy, Tsehay, John, Lucia, Caterina and Evie alongside beloved characters including Dorothy the Dinosaur, Wags the Dog, Henry the Octopus and Captain Feathersword. Each episode encourages children to sing, move, learn and explore through songs, games and lively adventures.

CHILL OUT, ZEUS! (CGI, 52 x 12’)

DOROTHY THE DINOSAUR (Live Action, in production, 30 x 5’)

When Zeus, ruler of Mount Olympus, falls into one of his legendary bad moods, chaos shakes the heavens and sometimes Earth itself. Luckily, his quick-witted teenage children Aphrodite, Athena, Heracles and Hermes know how to distract him with adventures, mythological tales and plenty of divine mischief.

Dorothy steps into her own world in a new live-action series introducing Pedal and Poppy alongside familiar Wiggly friends including Wags the Dog, Henry the Octopus and Shirley Shawn the Unicorn. Through music, friendship and playful adventures, Dorothy invites young audiences to discover a colorful world built around familiar characters and new faces.

LOUCA (CGI, Comedy, 26 x 24’) Clumsy teenager Louca’s life changes when he meets Nathan, a confident and athletic ghost only he can see. Nathan secretly coaches him on the football field and beyond, helping Louca discover courage, confidence and the determination to play his own game. LIVING WILD (2D Comedy, 52 x 11’) Three pampered city pets with absolutely no survival skills find themselves stranded in the wilderness. Tiny Head, Ird and Chopper must rely on trial and error, ridiculous ideas and their growing friendship as they try to find their way home.

60.956 average monthly reach in LinkedIn

ttv Magazine / Kids&Teens

As rogue AI technologies threaten the world, the Young Achievers Academy trains a new generation of highly skilled youngsters to join RAIDERS, an international emergency-response force. The students must master cutting-edge technology and prepare to confront dangers conventional authorities may not be equipped to handle.

Plim Plim is a heartwarming 2D animated series for toddlers and preschoolers blending adventure, music and valuable life lessons. Through magical journeys with his friends, Plim Plim encourages kindness, confidence, empathy and emotional development while helping children discover their inner strength.

PO Box 7873 Baulkham Hills NSW 2153, Australia info@thewiggles.com.au www.thewiggles.com

COMMISSIONS FRANCE TÉLÉVISIONS ORDERS SEASON 2 OF TROTRO & ZAZA French pubcaster France Télévisions has ordered a second season of animated short-form preschool series ‘Trotro & Zaza’. Launched in April, ‘Trotro & Zaza’ quickly established itself as a major success across both digital and linear, gathering more than 13 million views and becoming a record-breaking launch on Okoo. The first season of ‘Trotro & Zaza’ is a 2D animated series for preschoolers, directed by Celine Papazian, produced by Ellipse Animation and Studio Campedelli, both part of the MédiaParticipations group. The series is based on the work of Bénédicte Guettier, published by Gallimard Jeunesse. Distribution is handled by Mediatoon Distribution, also part of Média-Participations group.

DISTRIBUTION

XILAM LANDS INTERNATIONAL PRESALES FOR ANIMATED CATALOG

FORMATS

STILL STANDING KIDS DEBUTS NEW SEASON IN CHILE

ttv Magazine / Kids&Teens

Chile’s TVN continues to boost family entertainment with the return of ‘Ahora Caigo Kids’ to its Friday afternoon lineup. Hosted by Daniel Fuenzalida, the local edition of ‘Still Standing’ sees children putting their knowledge, mental agility, and nerves of steel to the test in trivia duels where a timely answer can save them from taking the plunge. The children’s version of the show features contestants aged 10 to 13 competing in a contest where the prize isn’t money. Just like in the first season, participants can accumulate prizes and experiences tailored to them through these duels. However, the contestant who conquers the final game stands to win not only their accumulated prizes but also a grand prize: an iPhone 17. Even if they reach that stage but fail to answer all ten questions, they won’t leave empty-handed, as they will receive a laptop as a participation prize.

Academy Award-nominated French animation studio Xilam Animation has inked a wave of presales for the latest content from its line-up of iconic comedy franchises. The landmark ninth season of ‘Oggy and the Cockroaches’ has been presold to Warner Bros. Discovery EMEA and APAC; the upcoming fifth and sixth seasons of ‘Zig & Sharko’ to JioStar India Private Limited and Warner Bros. Discovery Italy; and ‘Chickies’, the new spin-off to the hit series ‘Where’s Chicky?’, is heading to Radio Canada and SVT Sweden. Xilam will be attending Mipcom with the first two completed episodes of the Chickies series, which will complete delivery in 2027.

DISTRIBUTION

WINSING BRINGS LATEST ANIMATION LINEUP TO MIPCOM

Chinese kids and family entertainment company Winsing Animation will showcase its latest animation lineup at Mipcom, presenting new feature films, television series and original IP developments as the company continues to explore international distribution and strategic partnership opportunities. Winsing will present

Annecy-selected ‘Into the Mortal World’, non-dialogue slapstick ‘Mongo’, new ‘GG Bond Racing’ film and series, flagship preschool IP ‘Gogobus: Mars Trip’ series, newly launched AIGC animation project ‘GG Bond: Lost Era’, and other global-ready original IPs. The lineup reflects Winsing’s continued expansion across multiple formats, including theatrical animation,

television series, short-form content, preschool entertainment and emerging production technologies.

NEWS APPOINTMENT Juan Andrés Granados Head of Fiction at Estudios RCN

Carla Gómez Head of Development and Executive Producer at Secuoya Studios

PRODUCTION

JUAN ANDRÉS GRANADOS NAMED HEAD OF FICTION AT ESTUDIOS RCN Juan Andrés Granados has assumed the role of Head of Fiction at Estudios RCN, a position from which he will lead content development for Canal RCN and streaming platforms. With a career in television writing spanning more than 33 years, Granados has worked on five Canal RCN productions since 2019, including the first season of ‘Pa’ Quererte’. Most recently, he served as a content advisor for the company. In his new role, Granados will work within a development model that incorporates various sources of creation: proposals from the channel’s writers, external projects, literary adaptations, internal ideation processes, as well as remakes and continuations of previously released productions.

SECUOYA STUDIOS APPOINTS CARLA GÓMEZ AS HEAD OF DEVELOPMENT FOR LATAM Secuoya Studios has appointed Carla Gómez as Head of Development and Executive Producer. Her arrival strengthens the company’s creative and production structure in Latin America and solidifies the growth strategy initiated in the region. In her new role, Gómez will lead the content strategy for the region, participating in the identification, evaluation, and development of original projects, while also overseeing their creative evolution and execution. Additionally, Gómez brings with her the extensive catalog of IP and projects she spearheaded at Cielito Studio, her boutique development studio. Her appointment will bolster the studio’s ability to discover new stories and local talent, creating a content slate that resonates with Latin American audiences while possessing international appeal.

TELEMUNDO BEGINS FILMING ITS ORIGINAL SERIES, EMERGENCIAS: UNIDAD DE VIDA Telemundo has begun production on its new original series, ‘Emergencias: Unidad de Vida’, which is currently filming at the state-of-the-art Telemundo Studios facilities in Miami, Florida. The medical drama features an exceptional cast of renowned actors led by Ana Brenda Contreras and Erick Elías, alongside Geraldine Bazán, Ana Belena, Rodolfo Salas, Elizabeth Gutiérrez, Laura Flores, Mónica Dionne, and David Palacio, with Luis Ernesto Franco also starring and a special appearance by Arturo Peniche. Set in the fast-paced world of a hospital, ‘Emergencias: Unidad de Vida’ is a highimpact drama filled with unexpected twists, forbidden passions, and ethical dilemmas, where the challenge of saving lives intertwines with love, family, and personal convictions. A Telemundo Studios production, ‘Emergencias: Unidad de Vida’ is written by Carlos Eloy Castro and directed by Nicolas Di Blasi and Luis Sierra, with Javier Pons, Jacky Castro, and Martha Godoy serving as executive producers.

STREAMING

NETFLIX ANNOUNCES NEW BRAZILIAN ORIGINAL, RAULS

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Netflix has unveiled the cast and released the first images for ‘Rauls’, a new Brazilian original fiction series developed by KondZilla and LB Entertainment and produced by Manas Filmes, which explores the world of digital scams from the outskirts of São Paulo. Starring Samuel Naor in his acting debut, the series also features Giovanna Cremonezi, Traplaudo, MC Chaverin, MC Dricka, MC GP, Nath Fischer and MC Nilo. The cast plays a group of highly connected young people who see digital scams as a shortcut to changing their lives, but ultimately face the consequences of their choices. The series combines thriller and comedy elements with a portrayal of São Paulo’s peripheral communities, addressing themes including ambition, survival and aspirations for social mobility.

Acunmedya Group

FROM FORMATS TO GLOBAL FRANCHISES

With ‘Exatlon’ expanding across markets, Sport1 growing its entertainment slate in Germany and the ACM Production Hub supporting more than 5,000 hours of prime-time content a year, Acunmedya is using Mipcom to push deeper production partnerships and new international franchises.

Exatlon Format

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From the ACM Production Hub in the Dominican Republic, the group produces more than 5,000 hours of prime-time content annually, using the facility to develop, test and produce shows for multiple territories without rebuilding the production operation market by market. “It’s the engine behind everything we do internationally,” Tahrancı said. “We are not limited to developing formats on paper. We can create, produce tests, learn and improve, all within our own ecosystem.”

Darts Party Format

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

the format beyond individual local editions by connecting territories through international competitions and bringing together contestants from different countries.

“‘Exatlon’ is more than a reality format. It’s creating a new category where sport and entertainment come together,” Tahrancı said. “We believe it can evolve from a successful television format into a truly global sports entertainment franchise.”

“Ten seasons in, we are incredibly grateful to see that ‘Exatlon México’ continues to have such a loyal and passionate audience,” said Ebru Atasav Tahrancı, CEO of Acunmedya Group. “This simulcast with Disney+ gives ‘Exatlon’ something extremely valuable: reach, longevity and relevance across different generations and viewing habits.”

Germany is also playing a larger role in that strategy. Since Acunmedya entered Sport1 as a 50% shareholder in 2024, the broadcaster has expanded its entertainment offer with ‘Exatlon’, ‘Survivor’, ‘My Style Rocks’ and ‘Darts Party’, while maintaining sport at the center of its identity. “Our long-term vision for Sport1 is to build a new generation of sports and entertainment television in Germany,” Tahrancı explained. “Our strategy is not to move away from sport, but to build a bigger entertainment universe around sport.”

With productions in Germany, Greece and Serbia, the company now sees room to take

‘Darts Party’ grew out of that same approach, using Sport1’s established darts

cunmedya’s international expansion is being driven by a mix of established franchises, local production and a growing presence in key European markets. One of the clearest examples is ‘Exatlon’, which recently launched its tenth season in Mexico on Azteca Uno, with Disney+ adding a streaming window to the franchise.

audience and the culture around the sport —music, costumes, celebration and live atmosphere— as the basis for a new entertainment format that Acunmedya hopes can eventually travel to other markets.

My Style Rocks Format

Ebru Atasav Tahrancı, CEO of Acunmedya Group “Our long-term vision for Sport1 is to build a new generation of sports and entertainment television in Germany” At Mipcom, that production model will be central to the company’s pitch to potential partners. “Our model is increasingly about becoming a production and content partner, bringing our creative capabilities, production hub, operational know-how and formats together,” Tahrancı concluded.

Movistar Plus

GROWING THROUGH CONTENT

Movistar Plus has unveiled a new roadmap combining original production, co-productions and rights acquisitions, as it looks to strengthen its position as one of the leading partners of Spain’s audiovisual industry. MORE SPANISH PRODUCTION. In scripted content, the company remains committed to the goal announced in July of reaching 26 Spanish series per year, equivalent to an average of two premieres per month, through a combination of Originals, international co-productions and rights acquisitions. Titles planned for 2027 include ‘Ardora’, ‘Veredicto’, ‘Todo lo necesario’ and ‘Iruña 97’, alongside second seasons of ‘Se tiene que morir mucha gente’ (‘Many People Need to Die’), ‘El Centro’ and ‘El otro mundo’ (‘El otro lado’).

The Castle Police Drama

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ovistar Plus unveiled its new content strategy during the San Sebastián International Film Festival, outlining a roadmap that expands its commitment to Spanish audiovisual production with new projects across film, scripted, non-fiction and entertainment.

The company, which currently reaches 3.9 million customers, up 7.3% year-on-year, is building this new phase around a combination of original production, co-productions and rights acquisitions, together with the integration of some of the world’s leading international platforms into its offering. “We want Movistar Plus to be the most relevant platform both for customers and for the Spanish audiovisual industry. Our ambition Alfonso Gómez Palacio, CEO of Movistar Plus, and Juan Andrés García Ropero, Content Director at Movistar Plus, during the presentation in San Sebastián. Photo credit: Manu Lozano / José A. López.

is to grow through content, supporting talent and promoting new Spanish-language stories with a unique point of view,” said Alfonso Gómez Palacio, CEO of Movistar Plus.

The company has also announced new projects that will deepen its collaboration with Spanish producers and creators. Among them are ‘La náufraga’, by Fernando León de Aranoa; a new comedy from Cristóbal Garrido and Adolfo Valor, starring David Verdaguer and Paula Malia; and a new scripted project from Moriarti with Carles Porta, starring Anna Castillo, Pol López and Eduard Fernández. Film will be another key pillar of the strategy. Movistar Plus will increase its commitment to Spanish cinema by combining original

production, rights acquisitions and new collaboration models with the industry, with the goal of offering one Spanish film per week on the platform. As part of that strategy, the company announced ‘Una visita familiar’, directed by Sandra Romero and produced by Mammut, Icónica Producciones and Bteam Prods; ‘250 metros’, directed by Daniel Monzón and starring Luis Tosar, in collaboration with Ikiru Films and Basoilarraren; as well as an upcoming feature project from Paco León.

“THE COMPANY IS AT AN EXCITING STAGE” new title, the deal shows that highquality original content can continue to gain international traction over time. ‘I Always Sometimes’ and ‘Many People Need to Die’ received strong international exposure at CanneSeries this year. What kind of interest are these titles generating? We are currently in several negotiations for both finished-tape sales and remakes. For us, participating in major international festivals is very important. The impact of events such as Series Mania and CanneSeries is unmatched.

Movistar Plus will also bring back ‘Proyecto Corto’, an initiative designed to support emerging talent, which will become part of its broader Spanish film strategy under María Rubín, Head of Original Film. A STRONGER NON-FICTION PUSH. The strategy also includes a greater focus on documentary production. Upcoming titles include ‘El otro Chiquito’, ‘El gordo de Villamanín’ and ‘Call me Bibi’. The platform is also developing two new non-fiction projects executive-produced by J. A. Bayona, further expanding its collaboration with one of Spain’s most internationally recognised filmmakers and producers. In entertainment, Movistar Plus is preparing a special produced by Globomedia that will mark Ángel Martín’s return to television in a stand-up comedy format, scheduled for later this year. The new strategy is rounded out by a model designed to differentiate Movistar Plus from other operators: bringing together Spanish Originals, film, series, entertainment, sports, linear television and access to international platforms within a single ecosystem.

Killing a Bear Thriller

Rebeca Aguilar, Head of International Distribution at Movistar Plus International Movistar Plus has announced plans to significantly increase its Spanish fiction output. What opportunities does this growth create for Movistar Plus International? The company is at an exciting stage, and this growth is creating many new opportunities for us internationally. This new phase is very positive, and we hope our clients respond to the content with the same enthusiasm they have shown towards the productions we have been delivering for years under our quality seal.

What role do documentaries and original non-fiction series currently play within the distributor’s catalog? At Movistar Plus we create high-quality original non-fiction content. Although fiction series remain at the core of our international distribution business, we also distribute these productions and our goal is to give them a renewed push at upcoming markets. Is it fair to say that multi-territory platform deals and international co-productions are becoming increasingly important within your distribution strategy? They are important financing pillars, but they do not replace traditional sales. The importance of co-productions is undeniable: having partners working side by side with us adds significant value both to the productions and to the company, helping us tell relevant stories and make them better.

“Both ‘The Castle’ and ‘Killing a Bear’ are major priorities for the market”

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‘La Mesías’ recently secured a multi-territory deal with MUBI covering markets including the UK, Canada, Germany, Turkey and Australia. What does this agreement say about the longterm international value of Movistar Plus Originals? We are very excited to be working with MUBI. Even though this is not a

What are the main titles for Mipcom 2026? Both ‘The Castle’ and ‘Killing a Bear’ are major priorities for the market. Our clients will be able to discover stories that transcend borders and characters that surprise.

ORF-Enterprise

BLENDING FACT AND FICTION INTO ONE SLATE

With documentaries and factual programming standing strong at the core of its catalog, ORF-Enterprise is expanding its portfolio with a growing fiction slate, mixing its tried-and-true brands with appealing new content, to offer a more varied offer for the international market. The Forgetting Series

By Carolina Mussio cmussio@todotv.tv @carolinamussio

he international content sales division at ORF-Enterprise manages a catalog of the best productions from the Austrian group, with a special focus on documentaries and factual titles, for which it is globally known. And this year, the company has worked to further broaden its offering even more for the international market. “2026 has been a year of continued growth and deliberate evolution for ORF-Enterprise,” explained Armin Luttenberger, Head of International Content Sales at ORF-Enterprise. “We have further strengthened our position in premium factual while broadening our fiction portfolio considerably. For international buyers, that means the group is now offering a slate that combines the reliability of established ORF brands with new creative directions and a wider range of stories for different audiences and platforms.”

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The globally recognized ‘Universum Nature’ and ‘Universum History’ strands remain at the heart of the portfolio. “Their combination of cinematic storytelling, editorial credibility and subjects of global relevance continues to resonate strongly across very different markets,” the executive explained.

At the same time, fiction has become an increasingly important pillar of ORF’s international strategy. Titles such as ‘The Forgetting’, ‘School of Champions’, ‘Soko Linz’, ‘Lights Out’ and the Portuguese co-production ‘Jones’ reflect the breadth of that offer, from dependable returning brands to distinctive serialized drama with clear international potential. “The way we take that portfolio to market is evolving as well,” he explained. “Buyers are increasingly focused on titles that answer very specific programming and audience

needs, so international sales have become more targeted, more flexible and more closely connected to both digital communication and personal market relationships.” “In a market that is increasingly fragmented, direct conversations remain invaluable for understanding what buyers need, finding the right positioning and windowing for each title, and building partnerships that extend well beyond a single market cycle,” the executive noted. With this strategy in mind, ORF-Enterprise is now headed to the new edition of Mipcom Cannes, “an essential meeting point for conversations around acquisitions, co-productions, rights strategies and future partnerships across both scripted and factual programming.” And this year also marks a new chapter for ORF’s presence in Cannes: ORF-Enterprise will be hosting the Austria Pavilion together with ABA - Film in Austria. For international delegates, the pavilion brings Austrian content, production expertise, incentives and partnership opportunities together in one accessible setting. ORF-Enterprise’s Mipcom slate reflects both continuity and renewal: new fiction such as ‘The Forgetting’, returning ORF Originals including ‘Lights Out’, ‘SOKO Linz’ and ‘School of Champions’, the farewell ‘Tatort Vienna’ film, ‘Heroes at Last’, new ‘Backwoods Crimes’, alongside a strong range of Universum Nature and Universum History titles. ‘The Forgetting’ combines a compelling crime investigation with an intensely personal story: police officer Pia Kraus investigates the murder of her teenage niece while the early stages of Alzheimer’s disease begin to undermine her memory and her confidence in her own perception. That tension

gives the series both a strong genre engine and genuine emotional depth. Meanwhile, ‘Jones’ adds another international dimension to the slate. As the group’s first Portuguese co-production, it combines a premium murder mystery with a distinctive supernatural edge, premiering on RTP shortly before Mipcom. Alongside these event titles, returning ORF Originals remain important for buyers looking for continuity and long-term scheduling value, including season five of ‘Soko Linz’, season four of ‘School of Champions’, season two of ‘Lights Out’ and new ‘Backwoods Crimes’ films. In factual, current Universum Nature highlights include ‘Wild Connemara – Ireland’s Savage Beauty’, ‘Pamir – The Wild Heart of Asia’ and ‘Java and Bali – The Element of Surprise’. Universum History also brings distinctive perspectives with ‘Faces of War 1866: The Tragic Dawn of a Unified Germany’, ‘Lady Mitsuko – Rising Sun, Turning Tides’ and ‘From Paradise to Hell – Black People under the Nazi Regime’.

Armin Luttenberger, Head of International Content Sales at ORF-Enterprise “We have further strengthened our position in premium factual while broadening our fiction portfolio considerably”

Q&A Inter Medya

INTER MEDYA EXPANDS ON

TWO FRONTS By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

Inter Medya arrives at Mipcom with two clear areas of focus: the international launch of ‘Caged Love’ and the expansion of its microdrama business, which the company is positioning as a growing complement to its traditional longform slate.

t Mipcom, Inter Medya will officially launch ‘Caged Love’, its new co-production with Rise Studios and one of the key titles in its new-season slate. The series has already generated strong buyer interest, with multi-territory negotiations well advanced ahead of its international debut.

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The company is also placing increasing emphasis on short-form content following the launch of ‘Boardroom to Bedroom’, which became its first major step into vertical drama. According to Beatriz Cea Okan, VP and Director of Sales and Acquisitions at Inter Medya, the experience confirmed both the production demands of the format and the

international appetite for mobile-first Turkish drama.

That strategy will take center stage in Cannes through Inter Medya’s “Keep it Vertical” initiative, alongside a broader slate that reflects the company’s evolution beyond traditional distribution into co-production and digital-first originals. ‘Caged Love’ will make its official international debut at Mipcom, where Inter Medya will also host a special reception around its new-season slate. What are your expectations for the launch, and what can you already share about the territories where the series has been sold? ‘Caged Love’ is a very special project for us, and debuting it at Mipcom alongside our new-season reception feels like the natural home for it. This is a story that brings together the emotional depth and gripping narrative structure that global audiences love about Turkish drama, elevated by exceptional production values. Our goal in Cannes is not just to introduce the series, but to fully immerse buyers in its world. The response has been remarkable even before the official premiere. We are already well-advanced on multi-territory sales across key international regions, and we look forward to announcing several major deals soon. What have you learned from this co-production model and are you already developing additional projects together? This partnership has been an incredible journey. What we’ve learned most is that combining Inter Medya’s distribution network with Rise Studios’ capabilities creates a seamless engine for global storytelling. We share a common vision for

Beatriz Cea Okan, VP and Director of Sales and Acquisitions at Inter Medya “Our goal in Cannes is not just to introduce ‘Caged Love’, but to fully immerse buyers in its world”

quality, which allowed us to maintain total creative integrity while shaping the series for cross-border appeal from day one. ‘Boardroom to Bedroom’ has now launched across multiple platforms. What have you learned from its performance about how vertical dramas should be produced, packaged and distributed internationally? Our entry into short-form content has moved at a fantastic pace. The initial response from international platforms has confirmed that the market is open for bite-sized, high-engagement storytelling. At Mipcom, we are putting a major spotlight on our growing microdrama catalog. We’re also hosting a special cocktail event at our stand (C16.C) to showcase these new titles, celebrate our momen-

ESHREF RUYA ACQUIRED BY MEDIASET ITALY Last month, Inter Medya announced a major new agreement for its hit drama series, ‘Eshref Ruya’, successfully licensing the title to Italy. Produced by TIMSBI Productions and starring renowned Turkish actors Çağatay Ulusoy and Demet Özdemir, the series continues its unstoppable global momentum. Since its launch, ‘Eshref Ruya’ has dominated domestic primetime viewing and captured the attention of international buyers. The newly secured Italian deal marks another milestone in the series’ international expansion, bringing its gripping story to European audiences on Mediaset Italy. The series has already been licensed to a wide array of key global territories, including Albania, Romania, and several Central and Eastern European (CEE) countries. Its cross-continental reach further extends into Latin America, highlighted by strategic sales including TVN in Panama, alongside ongoing multi-territory contracts across the region. In the MENA region, ‘Eshref Ruya’ has achieved exceptional multi-platform success, streaming via Amazon Prime Video and MBC/Shahid, where it maintains powerful viewer engagement and high-ranking performance.

tum, and share our “Keep it Vertical” vision with our partners. The cocktail reception will take place on Monday, October 12, at 17:30 with attendance of successful names from microdramas. ‘Boardroom to Bedroom’ was a fantastic learning curve for us as our first major step into the microdrama space. It taught us that shortform content requires a completely different discipline—the narrative hook has to be instant, the emotional stakes must escalate rapidly, and the visual framing has to be optimized entirely for mobile consumption. InterHalef Drama

nationally, platforms aren’t just buying content; they are looking for turnkey localization and rapid pacing. ‘Boardroom to Bedroom’ proved that global viewers are also ready for quick, high-quality Turkish drama hits on their phones, which gave us the confidence to aggressively expand this division. Turkish content is powerful in every genre! ‘Halef’ returned with a second season after expanding its footprint across Europe. What are the latest international developments for the title? ‘Halef’ continues to be a phenomenal success story for Caged Love Drama

us. After expanding across major European markets, returning for a second season with this level of momentum is thrilling. For international buyers, domestic success in Turkey remains the ultimate litmus test. When a series performs strongly at home, it proves its cultural authenticity and emotional resonance. ‘Halef’ strikes that delicate balance between modern struggles and deeply rooted traditions, which is exactly why its local strength translates so powerfully abroad.

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Inter Medya is steadily expanding from distribution into production, co-production and short-form originals. How do you see the balance between these businesses evolving, and what new production initiatives should we expect next? Inter Medya has evolved far beyond a traditional distribution company. While traditional long-form drama remains our heartbeat, our identity today is rooted in creative production, strategic co-productions, and digital-first originals. We see these pillars complementing each other perfectly. Traditional dramas anchor our legacy, co-productions allow us to scale our production footprint, and short-form originals future-proof our catalog for changing viewing habits. Moving forward, you can expect us to deepen these production partnerships and continue discovering new ways to bring premium Turkish storytelling to global screens.

Mistco

GLOBAL SALES WITH LOCAL INSIGHT Rumi Historical drama

Zeynep Kayrak, Manager, Marketing Communications at Mistco “[Today] we build a consistent global identity —key art, trailers, tone— before a series even reaches a new market” works in Latin America doesn’t always work the same way in the Balkans or the Middle East,” Kayrak said. “Local teams know their audiences best, so we give them real flexibility there.”

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

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As Turkish drama enters a more competitive global stage, Mistco is putting market intelligence, brand building and local flexibility at the centre of its distribution strategy.

or Mistco, international distribution is increasingly about much more than placing titles with broadcasters. As Turkish drama matures as a global business, the distributor is building its value proposition around market knowledge, audience behaviour and the ability to create a consistent international identity around content. “We used to hand a series off to the local broadcaster and let them handle promotion,” said Zeynep Kayrak, Manager, Mar-

keting Communications at Mistco. “Now we build a consistent global identity —key art, trailers, tone— before a series even reaches a new market.” That change has been accelerated by social media, where audiences often discover Turkish dramas before they have an official local home. “Fans discover shows through clips on YouTube, Instagram and, especially, TikTok before any official premiere, so our job is to feed that momentum, not wait for a broadcast slot,” Kayrak explained. For Mistco, that means combining a strong global identity with enough flexibility to adapt to each territory. Certain elements remain non-negotiable: “The one thing that never changes is the Turkish content itself: the poster, the tone, the production quality and the core emotional promise of the story. That consistency is what makes a series feel like a premium brand, wherever it’s watched.” At the same time, the company places considerable value on local expertise. “What

Digital communities are also becoming a source of intelligence for the sales process itself. “If you know how to use it, fandom is basically free market research and free marketing at the same time,” she said. Mistco tracks where fan communities are growing organically to identify territories with stronger potential, “sometimes before we’ve even had a single sales meeting.” That expertise is becoming increasingly relevant as competition intensifies. Kayrak argues that familiar formulas alone will no longer be enough for Turkish series to stand out internationally. “Productions that stand out must not simply be a repetition of a familiar formula,” she said, pointing to growing demand in Turkey for “new faces and truly original stories.” And with international viewers now comparing Turkish drama not only with other Turkish titles but also with top productions from around the world, “we cannot give up on production quality.” In that environment, Mistco’s proposition is less about the size of a library than about knowing how to read markets, identify momentum and help content travel with the right positioning in each territory.

Estudios RCN By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

With new projects, co-productions and production services, the Colombian company is looking to expand its international presence while continuing to develop some of the best-known brands in its valuable catalog.

NEW CHAPTERS FOR GREAT STORIES its relevance on Prime Video while continuing to expand the brand beyond the series itself.

Alexander Marín, VP of Distribution at Estudios RCN “Our goal is to continue expanding the Estudios RCN brand and opening new markets for the different pillars of our business”

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studios RCN is entering a strong period of growth, driven by a strategy that combines production services, co-productions and the development of its own intellectual property. “Our goal is to continue expanding the Estudios RCN brand and opening new markets for the different pillars of our business,” said Alexander Marín, VP of Distribution at Estudios RCN. According to the executive, the company is seeing growth across production services, tailor-made content development and co-productions with a range of partners. One of the key pillars of that strategy continues to be ‘Betty la fea’. Following the franchise’s return with ‘Betty la fea, la historia continúa’, RCN is already working on its third season, with the goal of maintaining

Marín particularly highlighted the reach achieved this year when characters from ‘Betty’ were featured in a Verizon campaign during the World Cup in the United States. “The brand expanded in a spectacular way, and I think that contributed to the success of the series in the US.” The company is also preparing new titles, including ‘Debo y luego existo’, a telenovela slated for early next year and written by the same author as ‘Rigo’, César Augusto Betancourt. Marín described it as a lighter romantic dramedy and revealed that the project already has a streaming partner in Latin America.

Las de siempre Telenovela

Another example of RCN’s IP expansion strategy is ‘Pa’ seguirte queriendo’, the continuation of ‘Pa’ quererte’, which premiered on Canal RCN on July 21. The production has remained among the channel’s top-performing titles, posting audience shares above 20% on several broadcast days. “For us, it represents another step in the adaptation and expansion of the different IPs in RCN’s extremely valuable catalog,” Marín said. “We obviously produced the remake of ‘Coffee with Scent of a Woman’; ‘Los manes’, an adaptation of ‘Hombres’; the remake of ‘Till Money Do Us Part’; and the continuation ‘Betty la fea’. So this is simply another element in the way we are leveraging our catalog.” At the same time, Estudios RCN continues to develop projects with external partners. These include a production with W Studios and 11:11 Films based on the story of Colombian skater Luz Mery Tristán, who was killed by her partner in 2023. The international exploitation of its catalog remains another major area of business. Marín highlighted the continued strength of ‘Vampire Girl’, as well as the international reach of titles such as ‘Darío Gómez’, ‘Leandro Díaz’, ‘Simply Ana’ and ‘Las de siempre’. The core of the strategy, he added, remains unchanged: continuing to bring the Estudios RCN catalog to new territories, platforms and audiences around the world.

Darío Gómez Biographical Series

Q&A TVN

A NEW WINDOW FOR CHILEAN FICTION By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

The strong digital performance of its first vertical productions has led Chilean broadcaster TVN to expand its pipeline. The network plans to release ten vertical productions in 2026, which will spearhead its distribution catalog at this year’s Mipcom Cannes.

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even vertical-format projects have marked the year for Televisión Nacional de Chile (TVN), a strategy that has delivered strong local results while opening up significant potential for international distribution. The strategy has also led to the launch of TVN Vertical, a dedicated app that centralises the broadcaster’s expanding vertical-fiction catalog and gives the format its own distribution window.

Originals such as ‘Auditoría de Amor’, ‘Mi marido me robó la memoria’, ‘Acelera mi corazón’, ‘Amor sin culpas’, ‘Los sabores del amor’ and ‘El límite del deseo’, together with a vertical adaptation of TVN’s classic telenovela ‘Vuelve temprano’, will be followed by three more productions yet to premiere. “Vertical content has one particularly attractive characteristic from an international perspective: it is born in a digital ecosystem with fewer borders,” said Javier Goldschmied, Programming Director at TVN. “A good story can travel quickly and, in addition, the costs and production structures allow us to consider forms of distribution that are different from traditional TV. That is where we believe there is an opportunity for TVN.” What have been the main lessons from these first experiences with vertical content? The main lesson is that the vertical format is not simply about making shorter content or adapting a traditional production for the mobile. It has its own language, a different narrative pace and a very particular way of building characters, conflicts and turning points. We have also confirmed that there is an audience willing to consume Chilean fiction this way, often including people who are not necessarily regular free-to-air television viewers. That is very relevant for TVN because it allows us to broaden our relationship with audiences and reach them on the platforms and devices where they consume content today.

Javier Goldschmied, Programming Director at TVN “[Vertical content] has its own language, a different narrative pace and a very particular way of building characters, conflicts and turning points”

We have learned how the production and distribution logic of this format works. We know which stories work, how to produce them, how and where to showcase them, and how to think about monetisation and distribution. For us, this first year has been about learning and, based on those results, building a larger-scale strategy. How is that strategy progressing, and what new titles or genres are you preparing for the coming months? The strategy is progressing very well. At the beginning of

Amor sin culpas Vertical fiction

Mi marido me robó la memoria Vertical fiction

Auditoría de amor Vertical fiction

“TVN has built one of Chile’s most important audiovisual libraries, and we believe it should be rediscovered by new generations” the year, we set out to develop a permanent vertical-fiction offering rather than stopping after one or two isolated experiments. The intention has been to create continuity, build a lineup and turn TVN Vertical into a recognisable destination for audiences. That is what we have done with ‘Auditoría de Amor’, ‘Mi marido me robó la memoria’, ‘Acelera mi corazón’, ‘Amor sin culpas’, ‘Los sabores del amor’ and ‘El límite del deseo’, with several more original titles still to come. We are now entering a second stage in which we want to expand our slate by looking at our library of major hits, starting with the adaptation of ‘Vuelve temprano’. TVN is now adapting ‘Vuelve temprano’, one of its flagship titles, into vertical format. What opportunities do you see in adapting the channel’s catalog to this new format? Over its 57-year history, TVN has built one of Chile’s most important audiovisual libraries, and we believe it should not only be preserved, but also rediscovered by new generations. ‘Vuelve temprano’ is particularly interesting because it has elements that work very well in vertical storytelling: mystery, suspense, family secrets, multiple twists and a dramatic arc that constantly makes you want to know what happens next.

And that is where a major opportunity emerges. There are people who watched ‘Vuelve temprano’ when it originally pre-

I want to be clear: this is not simply about cutting up a telenovela. The idea is to repurpose great content, give it a new narrative and significantly extend the life of our library. If this experience works as we expect, it will naturally open up a very interesting path for other flagship TVN titles. What role does original fiction currently play in the channel’s strategy? Original fiction continues to play a very important role in our strategy. The model may be different today from the period when TVN internally produced large volumes of telenovelas, but our intention remains for TVN to be an important home for Chilean fiction. Co-productions allow us to partner with production companies, funds and initiatives that make it possible to develop high-standard projects and steadily rebuild the channel’s historic relationship with national fiction. There is vertical fiction, but there are also series on our screens produced with different partners, such as ‘El peligro de quererte’ and ‘Me rompiste el corazón’, with many more to come, including ‘Patagonia, lo que esconde el paraíso’, starring Itziar Ituño; ‘La pérgola de las flores’; ‘Kalkutún, juicio a los brujos’; and ‘Hangar Rojo’, the film that will represent Chile at the Goya Awards, which we co-produced. Whatever the format, fiction at TVN combines local identity with universal conflicts. That is what we look for in projects so they can travel beyond Chile.

How would you describe TVN’s progress over the past year, and what are your main priorities heading into 2027? We are pleased with the evolution we are seeing. It is the result of the work of many people at the channel, and that work continues because we are very aware that this is a process that never ends and that we have to keep pushing forward. In recent months, we have seen consistent signs of growth and days when TVN has once again ranked among Chile’s three most-watched channels. That shows that the programming decisions we have been making are connecting with audiences. We have strengthened our digital offering with diverse content, while on television we have reinforced different dayparts, brought fiction back, invested in entertainment, events, family content, sports and major formats such as ‘MasterChef’. Heading into 2027, our priority is to deepen that strategy. We want —and believe in— a much more competitive TVN, but also one that remains distinctive. Programming a channel today no longer means simply building a free-to-air schedule. It means managing a content ecosystem and deciding which story works best on broadcast television, which can have a second life in streaming, which can be transformed into vertical content and which can reach audiences who are not necessarily sitting in front of a television. That is probably the most interesting challenge ahead: growing TVN without losing what distinguishes us —our ability to represent the country, serve as a meeting point for households and create content capable of bringing together very diverse audiences.

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The challenge has been to take the telenovela and rebuild it according to the logic of vertical storytelling, selecting the essential characters, conflicts and moments to tell that story in a completely different way.

miered and can now rediscover it, but there is also a generation that was ten years old or even younger when it aired and can discover it for the first time on a phone.

Caracol Televisión

BUILDING STORIES BEYOND BORDERS

With ‘A Day Like No Other’ leading its slate, Caracol Televisión is strengthening its international strategy through premium fiction, entertainment formats and franchises designed to grow beyond the screen. By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

Lisette Osorio, Vice President of International Business at Caracol Televisión “Spain and Europe have become strategic territories for Caracol’s international expansion”

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aracol Televisión is arriving in Cannes with a slate that reflects the different pillars of its international expansion: premium fiction, entertainment formats, co-productions and properties capable of extending into music, live events and digital experiences. At the center of that strategy is ‘A Day Like No Other’ (‘Aquel’), the official Raphael biopic, produced by Caracol Televisión and DLO Producciones for Netflix.

The eight-part series traces the Spanish singer’s journey from his beginnings in postwar Spain to international stardom, with a story spanning Madrid, Las Vegas, Moscow, Paris and Acapulco. The project was developed over more than three years with Raphael himself involved in shaping the story. “Spain and Europe have become strategic territories for Caracol’s international expansion,” explained Lisette Osorio, Vice President of International Business at Caracol Televisión. “Spain serves as a creative, production and commercial bridge for our Spanish-language content and has allowed

us to develop alliances with major international partners.” That European strategy is also being driven by ‘The Challenge’ (‘Desafío’), one of Caracol’s longest-running original formats. In Romania, PRO TV’s adaptation ‘Desafío: Aventura’ premiered as the leader in its time slot with a 22.6% share, while the format continues to build on adaptations across territories including Bulgaria and Greece. Caracol says it is currently in talks for further versions in Central and Eastern Europe as well as Western European markets. Fiction remains another key driver. ‘La mujer prohibida’, a 61-episode melodrama combining power, music and forbidden love, entered Netflix’s Top 10 in 13 countries, reinforcing Caracol’s view that locally rooted stories can travel when built around universal conflicts.

its Colombian run as the country’s #1 primetime program, with a 37.2% share, while the property has expanded into a global concert tour across Europe and Latin America. “With ‘The Queen of Flow’, we took the story from fiction into real life,” Osorio said. “The characters and music that audiences discovered on screen have reached major stages in Spain and Latin America.” The company plans to continue taking the live show to new territories while developing further experiences, content and products around the franchise. Caracol’s Mipcom offering also includes a new edition of original music competition ‘On Another Level’, whose fourth season premiered in Colombia earlier this year with a 47.3% share, as well as fact-based drama ‘María, la caprichosa’.

Meanwhile, ‘The Queen of Flow’ continues to evolve from a hit series into a broader entertainment franchise. Its third season ended

Together, the slate underlines a strategy increasingly focused not only on exporting finished content, but on creating IP with multiple routes for international growth.

A Day Like No Other Biopic

Desafío Format

Warner Bros. Discovery

A STEADY SHIP IN RESTLESS WATERS By Carolina Mussio cmussio@todotv.tv @carolinamussio

As viewing habits, technology and business models continue to reshape the audiovisual industry, Warner Bros. Discovery is embracing a flexible approach to content sales, combining new licensing models with tailored strategies for individual clients, and a vast portfolio of global and local content.

iding the waves of an industry that’s in constant evolution, with tides of new technologies, consumption habits, content trends, and economic shifts, it’s mandatory to be flexible and able to adapt to changing realities. Through decades of experience and a catalog of internationally recognized brands, Warner Bros. Discovery (WBD) stands as one of those players with the ability to stay afloat in choppy waters. “In times of rapid change and evolving content viewing habits, solidifying our existing business and sustaining growth requires finding new business models,” explained Patricia Jasin, SVP, Content Sales Latam &

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The End of Oak Street Thriller

Country Manager Colombia at Warner Bros. Discovery. “These models must not only provide access to new customers, but also allow us to keep pace with the evolution of our long-standing commercial partners.” “This year, we have identified a highly effective mix of licensing models that ensures both loyalty and growth, such as broadcast TV agreements with options to extend into digital rights, or hybrid arrangements that include revenue-sharing components,” she added. This dynamic strategy has allowed WBD to always find new ways to monetize content, while exploring business models and industry trends. “The most important thing is to keep learning and stay fully abreast of what is happening. At WBD, training and access to information are highly prioritized. We have access to excellent training, information, and tools that allow us to evolve alongside the business.” And while keeping a broad perspective of general industry demands, it’s also important to focus on each client’s specific needs. “Each client is a unique universe requiring a business plan specifically tailored to them. WBD’s catalog is very robust, and the potential synergies with the company’s many other business units create a wealth of opportunities,” she explained.

Patricia Jasin, SVP, Content Sales Latam & Country Manager Colombia at Warner Bros. Discovery “This year, we have identified a highly effective mix of licensing models that ensures both loyalty and growth” experiences and opportunities involving the franchises. Each client has a specially designed plan at their disposal,” she added. The WBD universe is vast and varied, combining international hits with local productions. “WBD’s international footprint is significant. That is why we fully understand the value of local content to the business. Every territory appreciates having this selection of locally relevant productions alongside the foreign offerings. Some content travels well while other material doesn’t, but that is perfectly fine, as the goal was local relevance. Once again, striking the right balance is what makes the catalog successful,” the executive noted.

“We provide access to the WBD universe, the ability to align releases with theatrical premieres and marketing strategies with other business areas, and the chance to tap into

The international selection features global hits, such as ‘Harry Potter’, ‘Hanna Barbera’, ‘Rick & Morty’, or ‘The Conjuring’, as well as new releases, including ‘Superman’, ‘Supergirl’, ‘Minecraft’, or ‘Sinners’, all of which will be presented at the upcoming edition of Mipcom, along with the group’s large library.

Wuthering Heights Romantic Drama

Mortal Kombat II Action/Adventure

Events

INTERNATIONAL EMMY AWARDS UNVEIL 2026 NOMINEES A total of 64 nominees from 22 countries will compete across 16 categories at the 54th International Emmy Awards, to be held on November 23 in New York.

The International Academy of Television Arts & Sciences announced the nominees for the 2026 International Emmy Awards, with 64 programs and performances from 22 countries competing across 16 categories. The nominees will gather in New York for the International Emmy World Television Festival, taking place from November 20 to 22, ahead of the awards gala on Monday, November 23. “The International Emmy Awards are as competitive as ever, with an outstanding

range of entries from around the world vying for a coveted Nomination,” said International Academy President & CEO Bruce L. Paisner. “We look forward to bringing the global television community together to celebrate these exceptional programs and performances.” Ibero-America once again has a significant presence in the competition, with nominees from Argentina, Brazil, Chile, Mexico, Portugal and Spain. Together, the six countries account for 22 of the 64 nomination slots, spanning drama,

comedy, documentaries, kids’ programming, news, shortform series, sports documentaries, telenovelas and individual performances. Brazil leads the region with nine nominations, including Globo titles such as ‘Garota do Momento’, ‘Terceirão’, ‘Fantástico: Isolated in the Amazon’ and ‘Jornada da Vida: Rio Mekong’. Spain follows with five, including Javier Cámara for ‘Yakarta’, ‘Old Dog, New Tricks’, ‘Temps Mort’, ‘Valle Salvaje’ and ‘Anatomía de un Instante’. Argentina has three nominations, including Ricardo Darín

2026 INTERNATIONAL EMMY AWARDS NOMINEES Arts Programming

Copy + Paste + Steal The Moving Visuals Co. Singapore

Mona Mina Leon / Holy Sh!t Fobic Films / Streamz Belgium

Der Talentierte Mr. F Neue Flimmer GmbH on behalf of MDR / BR / ARD Kultur / RBB / HR Germany

Bárbara Mori / Lucca’s World Woo Films / Netflix Mexico

Live Aid at 40: When Rock ‘N’ Roll Took on the World Brook Lapping, a Zinc Media label United Kingdom Passinho Foda – O Corre por Trás da Dança Red Bull Media House / Capuri Brazil

Best Performance By An Actor

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Javier Cámara / Yakarta Buendia Studios Canarias / Mediapro Canarias SLU / Movistar Plus+ Spain

Best Performance By An Actress

Ricardo Darín / The Eternaut K&S Films / Netflix Argentina Ian Roberts / A Kind of Madnes Wolflight South Africa Bobby Schofield / Unforgivable LA Productions United Kingdom

Park Ji-hyun / You and Everything Else Kakao Entertainment / Netflix South Korea Sheridan Smith / I Fought the Law Hera Pictures / ITV1 United Kingdom

Comedy División Palermo – Season 2 K&S Films / Netflix Argentina Man vs Baby Housesitter Productions / Netflix United Kingdom Old Dog, New Tricks Alea / Netflix Spain Vir Das: Fool Volume Zazu Production Inc / Netflix India

Current Affairs

Drama Series

Al Jazeera Investigates: Hasina: 36 Days in July Al Jazeera English Qatar

A Thousand Blows The Story Collective / Matriarch Productions / Water & Power Productions / Disney+ United Kingdom

Arte Reportage: My Father’s Hair Keyi Productions / Arte G.E.I.E. France

Carême VVZ / Shine Fiction / Apple TV France

Exposure: Breaking Ranks: Inside Israel’s War Zandland / ITV1 United Kingdom

Menem Claxson / Amazon MGM Studios Argentina

Profissão Repórter: Feminice Globo Brazil

Documentary

Real Kashmir Football Club Sony LIV / Jaya Entertainment / Oshun Entertainment India

Kids: Animation

Louis Theroux: The Settlers Mindhouse Productions United Kingdom

Irmão do Jorel – Season 5 Copa Studio / Cartoon Network Latin America Brazil

Marcial Maciel: El Lobo de Dios Warner Bros. Discovery / Anima Films Mexico

Lenas Hof Studio Film Bilder GmbH / Minya Film & Animation / ZDF Germany

One “Orphan” Every Hour Mediacorp Pte Ltd Singapore

My Melody & Kuromi Toruku from Wit Studio / Netflix Japan

Opioïdes, Business & Addiction Premières Lignes / France Télévisions France

The Scarecrows’ Wedding Magic Light Pictures United Kingdom

Garota do Momento Globo (Brazil)

for ‘The Eternaut’, ‘División Palermo’ and ‘Menem’, while Mexico also has three, Chile one and Portugal one. Winners will be announced at the 54th International Emmy Awards Gala in New York City, on Monday, November 23, 2026.

This year’s Gala partners are Ay Yapim, CJ ENM, Dubai Studios, Ernst & Young, Globo, Mediafellows, MIP, Plural, Sofitel New York, and Variety. International Emmy World Television Festival partners are Amazon MGM Studios, ARRI,

Yakarta Buendia Studios Canarias / Mediapro Canarias SLU / Movistar Plus (Spain)

Kids: Factual & Entertainment

NEWS

Ay Yapim, Broadview TV, CJ ENM, Dubai Studios, Ernst & Young, Film and Media NRW, Frankfurt Kurnit, Globo, Mediafellows, MIP, ORF-Enterprise, Plural, S4C, Sofitel New York, The Walt Disney Company Latin America, Unindustria, and Ziegler Film. Uzak Sehir Ay Yapim (Turkey)

Short-Form Series

Telenovela

Horrible Science Lion Television United Kingdom

Fantástico: Isolated in the Amazon Globo Brazil

De Klas van 2000 De Mensen / DPG Media Belgium

Garota do Momento Globo Brazil

Mitateru-Phose: Let’s Change Perspectives! NHK / NHK Educational Corporation Japan

Lembra-te de Mim TVI Portugal

Jornada da Vida: Rio Mekong Globo Brazil

Leyla Ay Yapim Turkey

Missing in Gaza Al Jazeera Arabic Channel Qatar

PeopleWatching – Season 3 Lapaire Productions / Cutting Class Media / Lakeside Animation Canada

Uzak Sehir [Far Away] Ay Yapim Turkey

Nysgjerrige Noah Fabeleaktiv Norway Terceirão Globo Brazil

Kids: Live-Action 31 Minutos: Calurosa Navidad Amazon MGM Studios / Aplaplac Chile

Dexter Procter the Ten Year Old Doctor Various Artists Limited / Terrible Productions United Kingdom Love at First Spike ABS-CBN Studios / iWant Philippines

Non-Scripted Entertainment Ed Stafford’s Rite of Passage Bilibili / Warner Bros. Discovery / Arrow Media / Beach House Pictures China Educating Yorkshire – Season 2 Twofour United Kingdom La Peor Vuelta al Mundo Non Stop México / Disney+ Mexico Loups-Garous – Season 2 Jaad Productions / Presque Prod France

Tatsuki Fujimoto 17-26 Avex Pictures Japan

Sports Documentary Baila, Vini Conspiração / Netflix Brazil Temps Mort 3Cat (TV3) / El Terrat (The Mediapro Studio) Spain The Philipstown Wirecar Grand Prix Giant Films South Africa Tom Daley: 1.6 Seconds Olympic Channel / Warner Bros. Discovery / Western Edge Pictures United Kingdom

Valle Salvaje – Season 2 Studio Canal Spain

TV Movie/Mini-Series Anatomía de un Instante Movistar Plus+ / DLO Producciones Spain Hyper Knife The Walt Disney Company Korea / CJ ENM Studios / Blaad South Korea Máscaras de Oxigênio Não Cairão Automaticamente Morena Filmes / Warner Bros. Discovery Brazil Prisoner 951 Dancing Ledge Productions Ltd for the BBC United Kingdom

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De Achterblijvers Dark Alley Pictures / BNN Vara / Black Bee Productions Netherlands

The World: 24 Hours in the Kill Zone Sky News United Kingdom

OGM Universe

DEEP IN LOVE IS BACK FOR MORE The biggest hit of the previous Turkish TV season is both back on the local screen and leading OGM Universe’s content offering for Cannes, alongside an upcoming title, ‘Ferda’.

The Forgetting Series

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

tribution & Partnership Director. “Its appeal extended well beyond the television broadcast, and the series has attracted strong interest from international buyers, securing sales across numerous territories.”

Ekin Koyuncu Karaman, Global Distribution & Partnership Director at OGM Universe “The first season of ‘Deep in Love’ built an extraordinary connection with audiences in Türkiye, ranking number one for 31 consecutive weeks”

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n October 2nd, ‘Deep in Love’ came back for its second season on TRT1. The drama, one of the standout titles of last season, led the Turkish TV prime time ratings with an average rating of 13.55 in 20+ ABC1 (source: TR Haberleri), so expectations are very high for what the OGM Pictures production can accomplish on its return. “The first season built an extraordinary connection with audiences in Türkiye, ranking number one for 31 consecutive weeks,” shared Ekin Koyuncu Karaman, Global Dis-

“The second season begins after Adil, Esme and their family have finally found their way back to one another,” she added. “Their reunion does not end the conflict: old rivalries and new threats will test the happiness they fought to achieve.” ‘Deep in Love’ is already travelling the world, with sales in Latin America —where it is having a dominant run in Panama—, Russia, CEE and the Middle East. “The second season gives us an exciting new chapter to present at Mipcom,” said Koyuncu. “We are continuing conversations in our established markets while introducing the series to buyers in territories where we see further potential.” A TITLE YET TO PREMIERE. The other title leading OGM Universe’s content offering for Mipcom is ‘Ferda’ (‘Karakuyu’), a drama with Onur Tuna and Özge Törer leading the cast. Produced by OGM Pictures and set to air on Kanal D, the series is currently in production, with no official premiere date announced yet. “‘Ferda’ follows a woman who was forced to flee her hometown as a teenager and built a new life under a different identity,” detailed Koyuncu. “Twelve years later, an unexpected inheritance brings her back to Karakuyu,

where everyone believes she is dead. The land she inherits threatens the power of the family she once escaped. When she discovers that her sisters remain trapped there, she decides to stay and fight. Her growing connection with Kahraman, a member of that same family, adds a complex romance to a story about freedom, justice and confronting the past.” OGM Universe will also be presenting other highlights from its catalog like ‘Six of Us’, ‘The Fall of the King’, ‘Lost in Love’, ‘Reborn’ and ‘Broken Destiny’. “Our catalog continues to travel widely, with OGM content now licensed in more than 110 countries,” said the executive. “There is no single title or territory that tells the whole story of our recent activity. Buyers are responding to different parts of the catalog, according to their audiences and programming needs, from established titles such as ‘Six of Us’ and ‘Lost in Love’ to the strong interest in ‘Deep in Love’.” That catalog, Koyuncu shares, might be ready to grow with titles from other producers besides parent company OGM Pictures: “OGM Pictures will naturally remain at the heart of our catalog and our identity,” said the executive. “At the same time, we are open to representing selected third-party productions. We would be very selective: we are looking for projects that fit our editorial vision, have strong international potential and meet the quality standards associated with OGM Universe.”

Imagina Sales

EXPANDING THE REACH OF A

GLOBAL CATALOG

With new international productions, returning hits, third-party acquisitions and a growing footprint in Latin America, Imagina Sales arrives at Mipcom with a broader portfolio and new opportunities across fiction, film, non-fiction and formats. rez, María Vázquez and Isak Férriz, the limited series is inspired by the investigation into the 2018 murder of Llanes councillor Javier Ardines and is scheduled for 2027.

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

Nouh highlighted the series’ approach to the true-crime genre, with the story told from the perspective of the police investigation. “This approach, handled with great care and sensitivity, allows the audience to immerse themselves in the work of the investigators,” she said. The fiction slate is further strengthened by the return of two established titles. ‘Celeste’, the Movistar Plus original co-produced by 100 Balas, is returning for a second six-episode season, which will have its world premiere at Barcelona’s Serielizados festival on October 26. Its first season built an international profile through launches in territories including France and Argentina. The End of It Sci-Fi Thriller

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magina Sales has put together a catalog that reflects the increasingly international scope of its business, combining new premium fiction, returning series, feature films, entertainment formats and third-party productions. Among its main priorities is ‘Forever Home’, an international series co-produced with FilmNation Entertainment for UK broadcaster 5, which premiered on September 14. Based on Graham Norton’s novel, the sixpart production blends comedy and thriller and stars Amy Nuttall, Douglas Henshall and Kevin Whately.

“‘Forever Home’ is a new international series that we co-produced with FilmNation Entertainment,” explained Béatrice Nouh, Head of Distribution & Co-Productions at Imagina Sales. “It is a very high-quality production, in line with FilmNation Entertainment productions such as ‘Anora’, ‘Conclave’ or the television adaptation of ‘The House of the Spirits’.” The company is also bringing ‘Death in Llanes’ (‘Muerte en Llanes’), a six-part SkyShowtime Original produced by K 2000 in collaboration with 100 Balas. Directed by Gerardo Olivares and starring Javier Gutiér-

‘Hope’s Corner’ (‘Barrio Esperanza’), meanwhile, is also part of the company’s returning slate. Produced by Globomedia in association with RTVE, the comedy became one of Spain’s strongest fiction launches of the year: its debut drew an average of 1.6 million viewers and a 15.3% share on La 1, while the series later reached a cumulative audience of 7 million viewers across its first four episodes, including time-shifted viewing. “Quality and diversity are undoubtedly the main hallmarks of our content,” Nouh explained. “Added to that are the professionalism and prestige of the creators and teams behind each production, as well as the international recognition of companies such as Cimarrón, Globomedia, El Terrat, 100 Balas

“Quality and diversity are undoubtedly the main hallmarks of our content”

and Big Bang Media. This combination allows us to offer a solid and competitive catalog that is attractive to audiences around the world.” A DIVERSE SLATE. The lineup also extends well beyond scripted series. In film, Imagina Sales is presenting ‘The End of It’, the feature debut of Spanish director Miriam Martínez Bayona. Starring Gael García Bernal and Rebecca Hall, the futuristic thriller was presented in Cannes Première at this year’s Cannes Film Festival. Another title highlighted by Nouh is ‘Atrápelo como pueda’, a co-production with Telemundo, while the company is also expanding its representation of independently produced content. One example is Portuguese period drama ‘The Marquise’, produced by Ukbar Filmes and Tornasol Films. The six-part series adapts Maria João Lopo de Carvalho’s bestselling novel about Leonor de Almeida Portugal and has joined Imagina Sales’ international slate. RTP also lists the title among its 2026 historical fiction offering. The company also handles international distribution for ‘Mourinho’, Ventureland’s docuseries on the career of the current Real Madrid coach. On the formats side, Nouh singled out ‘Atrápame si puedes’, produced by Globomedia, as one of the company’s most enduring and adaptable brands. The quiz has versions on numerous regional broadcasters in Spain and expanded into Portugal this year through public broadcaster RTP. “‘Atrápame si puedes’ is a format that adapts easily to different broadcasters and markets,” she said. “Its success demonstrates its ability to connect with all kinds of audiences.”

FROM GRUP MEDIAPRO TO IMAGINA Grup Mediapro will officially become Imagina on January 1, 2027, marking a new stage for the Spanish audiovisual group following a broad corporate reorganisation. The company says the new identity will bring its businesses together under four main areas: audiovisual production services, content creation, sports rights management and Brands&Xperiences. The change is already becoming visible before the formal switch. Recent projects such as Marcel Barrena’s film ‘Lo Vent’ are being announced as Imagina productions, with the company explicitly noting that the name replaces Grup Mediapro from January. International

sales for the film are being handled by Imagina Sales, the banner that is also being used for the group’s distribution activities heading into Mipcom. The transition comes as the group, led by Executive Chairman Sergio Oslé and CEO Carlos Núñez, projects EBITDA growth of between 50% and 60% in 2026 compared with 2025, alongside positive cash flow. Rather than signalling a move away from its traditional audiovisual activities, the Imagina identity is designed to provide a broader umbrella for production, content, rights, technology and physical experiences as the group enters its next phase of international growth.

Revuelta’ on RTVE and Big Bang Media’s daily show ‘Malas lenguas’. LATAM AND NEW FORMATS. Latin America represents another key area of expansion. Earlier this year, Cimarrón took the lead of the group’s operations in the region, bringing together teams in Uruguay, Argentina, Mexico and Colombia while also opening a new office in Brazil. “With the incorporation of Cimarrón, we have not only strengthened our presence in the region, but also expanded our reach into new markets such as Brazil,” Nouh said. “Together with the teams we already had in Latin America, now integrated under Cimarrón’s structure, we have created a particularly strong organisation that reinforces our regional presence and provides an extraordinary creative and strategic boost.”

Imagina Sales’ non-fiction and entertainment offering also draws on long-running Spanish brands including ‘El Intermedio’, now marking 20 years on laSexta, ‘Zapeando’, ‘La

That expansion is already extending into emerging content models. Cimarrón is producing vertical microdramas, including a Brazilian project for DramaBox shot in São Paulo and scheduled to launch during the

The Marquise Period Drama

Mourinho Documentary Series

Béatrice Nouh, Head of Distribution & Co-Productions at Imagina Sales “‘Forever Home’ is a very highquality production, in line with FilmNation Entertainment productions such as ‘Anora’ or ‘Conclave’” final quarter of the year. The move comes as DramaBox itself accelerates local production throughout Latin America, with projects underway across Brazil, Mexico and Colombia. “We are paying close attention to all the innovations taking place in the audiovisual sector and are open to exploring new paths together with our clients,” Nouh said. “Vertical series are still a relatively recent phenomenon, but they are growing very quickly.”

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For Imagina Sales, Mipcom will therefore be as much about presenting individual titles as about reinforcing the breadth of a business that now spans finished content, formats, third-party distribution, international co-productions and new production models. Nouh summed up the company’s goals for Cannes simply: “To take the pulse of the market, present our latest titles and reconnect with clients and strategic partners in order to continue creating new business opportunities.”

RTVE

WHEN WORDS BECOME CLUES

RTVE, while production on the new season began in August.

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

Led by ‘Rojo sobre blanco’, RTVE is strengthening its international fiction slate with new productions, returning series and alternative formats designed to travel across territories and platforms.

police procedural built around forensic linguistics is leading RTVE’s latest fiction offering. Created by Daniel Écija and produced by Good Mood Productions, ‘Rojo sobre blanco’ stars Hugo Silva and María Hervás in an eight-part thriller that combines crime, comedy and human relationships. The series follows Mario Sandoval, a police inspector who returns to Madrid hoping to rebuild his family life, and Daniela Pedreira, a brilliant forensic linguist whose ability to uncover hidden clues through language leads her to collaborate with the police on complex investigations. “‘Rojo sobre blanco’ is one of RTVE’s major new fiction projects, and its international distribution will be handled exclusively by our international team,” said Rosalía Alcubilla Alonso, Head of Global Clients at RTVE. “Created by Daniel Écija, it brings a police thriller with touches of comedy back to our catalog.”

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The production recently had its first public presentation at FesTVal in Vitoria. Filmed between Madrid and Tenerife, the series is directed by Jesús Rodrigo, María Pulido and David Molina Encinas, with Écija serving as executive producer. RTVE is positioning it as one of the key fiction launches of its 20262027 season.

The broadcaster’s international slate also includes ‘Barrio Esperanza’, which has already been renewed for a second season after becoming one of RTVE’s strongest fiction launches of the past season. More than 10 million viewers connected with the series across La 1, RTVE Play and Clan, according to Barrio Esperanza Comedy Series

“The renewal confirms the interest the series has generated and allows us to continue working on its international journey with a new season,” Alcubilla said. The new installment will introduce new characters and storylines while continuing to explore the challenges of public education through humor and emotion. Another major fiction project is ‘Rocío’, a four-part biographical drama inspired by the life of Spanish music icon Rocío Jurado. Starring Carmen Raigón and Susana CórRojo sobre blanco Series

Rosalía Alcubilla Alonso, Head of Global Clients at RTVE “‘Rojo sobre blanco’ combines a police procedural with touches of comedy and gives us a strong new title for the international market” doba at different stages of the singer’s life, the series will cover her rise from Chipiona to international fame, while also exploring her personal life, relationships and role as a mother. A VERTICAL SLATE. RTVE is also exploring new consumption models through ‘Estúpido Cupido’, its first vertical microdrama project for Playz. The production includes more than 80 vertical episodes, alongside ten horizontal installments for RTVE Play, and forms part of a broader strategy around mobile-first storytelling. “We see international opportunities both in distributing the content already produced and in possible co-production models, as well as adaptations of the existing ideas,” Alcubilla explained. “We believe ‘Estúpido Cupido’ could work in Latin America and in the Asian market, where China appears to be the main driver of vertical microdrama, alongside Mexico.”

Audiovisual From Spain

SPAIN PLANTS ITS FLAG IN CANNES ttv Magazine

Audiovisual From Spain is bringing together a broad cross-section of Spain’s audiovisual industry to Mipcom Cannes, highlighting the country’s growing international presence and its drive to build new partnerships, co-productions and distribution opportunities worldwide.

By Carolina Mussio cmussio@todotv.tv @carolinamussio

udiovisual From Spain, the umbrella brand created and backed by ICEX Spain Trade and Investment, is once again bringing together some of the most important Spanish companies from the audiovisual content sector —spanning film, television, animation, documentaries and video games— to a new edition of Mipcom Cannes.

With a standout presence spread across two sectors —stand 7.J11 at the Riviera and the Creative Hub— the companies will showcase the latest additions to their content catalogs, while seeking new opportunities for collaboration and alliances with international players. In collaboration with Audiovisual From Spain, ttv presents a preview of some of the Spanish titles and projects being showcased in Cannes.

ÁRTICO DISTRIBUTION

CARLOS SEVILLANO CEO Leo XIV: The Man Behind the Pope

“Our primary goal for this edition of Mipcom is to strengthen our international distribution business and establish new relationships with television networks, platforms, and distributors. We also aim to build long-term partnerships with buyers and producers, understand their needs, and identify new opportunities for our catalog and future projects. A prime example of our current lineup is ‘Leo XIV: The Man Behind the Pope’. The documentary premiered amidst exceptional international interest in the new Pope and has demonstrated significant audience potential. After premiering on Amazon Prime Video in Spain, the documentary reached number one on the platform’s movie charts during the Pope’s visit to Spain in June 2026.”

CANARY ISLANDS FILM

NATACHA MORA YANES AUDIOVISUAL COORDINATOR Pluribus

“The Canary Islands are not merely a filming location; they are a hub of talent. At markets like Mipcom, we aim to foster connections between Canary Islands production companies and international projects to generate co-production opportunities, as well as to link service providers with international projects to attract audiovisual productions to the islands. Between 2024 and 2026, productions filmed in the Canary Islands have included the series ‘Pluribus’, shot on La Palma and Gran Canaria; the feature films ‘Just Play Dead’, starring Samuel L. Jackson, and ‘Black Tides’, starring John Travolta, both shot on Gran Canaria; and the feature film ‘Day Drinker’, starring Johnny Depp and Penélope Cruz, shot on Tenerife.”

EL REINO INFANTIL

YLKA TAPIA

HEAD OF GROWTH PARTNERSHIPS & PRODUCER Bartolito

“Our main objective for Mipcom is to further expand the international footprint of our intellectual properties through new agreements with broadcasters, streaming platforms, OTT operators, FAST channels, and strategic partners, thereby strengthening our presence across key global audiovisual consumption channels. We also aim to reinforce existing relationships, explore new business opportunities, and accelerate the growth of our brands in markets with significant expansion potential, particularly in Europe, the Middle East, and Asia. ‘La Granja de Zenón’ and ‘El Reino Infantil’ remain our flagship brands on the international stage.”

SECUOYA STUDIOS

ANDRÉS ZAMORA

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The Butterfly Labyrinth

DIRECTOR OF GLOBAL SALES & DISTRIBUTION

“Our main objective at Mipcom is to strengthen our international presence and expand our catalog’s reach into new territories. We are also looking to identify international co-production opportunities. We have an innovative model that allows us to add significant value to international productions facing a funding gap. In terms of content, we are fortunate to have had titles reach the number one spot on their respective platforms and channels, such as ‘Terra Alta’ on Movistar Plus, ‘La celda de los milagros’ on Netflix LatAm, and ‘Arcadia’ on SkyShowtime. Our latest release, ‘El homenaje’, even hit number one on both SkyShowtime and Prime Video. Before the end of the year, we will also launch the scripted series ‘Caldas: el último barco’ (Disney+) and ‘The Butterfly Labyrinth’.”

Audiovisual From Spain ONZA DISTRIBUTION

ERIKA GÓMEZ HEAD OF SALES

El desafío

“We believe we are bringing one of the best distribution portfolios to the table, and our goal is to capture the attention of all types of buyers. This year, we arrive with a highly diverse catalog that allows us to offer everything from hit scripted series like ‘Atasco’ -which already has four seasons- to documentaries such as ‘UCO: The Key Hours’, one of the most-watched titles on Prime Video Spain, and major entertainment formats like ‘El Hormiguero’ and ‘El Desafío’, from 7yacción, which are currently being adapted internationally. We also feature scripted series like ‘Sin Gluten’, which premiered with a 17% audience share and 1.2 million viewers, marking the best comedy premiere on La 1 in a decade.”

DEEP COM ROOTS

EMIR DUZEL

HEAD OF INTERNATIONAL SALES Sons of the Apocalypse

“Deep Com Roots is the domestic distribution and international sales arm of ISII Group. Our goal for Mipcom is to solidify the company’s market position, expand our network of buyers, and showcase a diverse, competitive slate of Spanish content. We also aim to gain deeper insight into the specific needs of each market and build strong relationships with broadcasters, platforms, and local distributors. We will present the docuseries ‘Sons of the Apocalypse’, which premiered on Movistar Plus on August 9, 2026. Additionally, we are introducing our selection of documentaries, docuseries, and short films to the international market for the first time.”

KRAKATOA

VÍCTOR M. LÓPEZ CEO

“Mipcom is a particularly important market for us this year because ‘Bumpy, The Bear’ is at a pivotal stage in its international development. With ‘Bumpy, The Bear,’ we aim to expand the conversation with broadcasters, platforms, distributors, and strategic partners who share our vision of building a new global preschool IP from Spain —combining television, digital and music— with a roadmap that also extends to licensing and experiences. Beyond one-off deals, we are looking for partners capable of supporting the brand’s longterm development.”

Bumpy, The Bear

FILMAX

IVÁN DÍAZ

ttv Magazine

HEAD OF INTERNATIONAL

Ravalear: Not For Sale

“We are arriving at Mipcom with a powerful lineup, led by our series ‘Ravalear: Not For Sale’, the new season of ‘Dating In Barcelona’, and an exciting new project about which we will reveal more details soon. These projects are generating significant market interest, and our top priority is to continue securing solid deals with both broadcasters and platforms. Another key focus is the ongoing negotiations regarding our catalog of series with high remake potential; notable titles include ‘The Red Band Society’, ‘I Know Who You Are’, and ‘Welcome To The Family’. Furthermore, we aim to showcase our increasingly extensive and attractive film catalog to the market.”

Other companies that will also be attending Mipcom under the Audiovisual From Spain umbrella include: Amuse, Anafilms Productions, Asymmetric Studios, Brands & Rights 360, B-Water Animation Studios, Canarias ZEC, Echo Post House, EGEDA, Event CONECTA, Hark Media, Honestree Studios, Huri TV, IMACO89, Lilicar Films, MODFIE, Morgana Studios, Plano a Plano, RCAudio, Squirrel Media, Vértigo Films, Video Mercury Films and Wild Stories Distribution.

Atresmedia International Sales

A GLOBAL SLATE BUILT TO TRAVEL

Adrift Series

By Carolina Mussio cmussio@todotv.tv @carolinamussio

The Spanish group arrives at Mipcom Cannes with a robust slate of drama series and formats, assembled after another year of sustained success, which came as the result of an international strategy focused on high-quality, universal stories and formats with global appeal.

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Miguel García Sánchez, Sales Director of Atresmedia International Sales

“We are delighted with the warm reception our productions have enjoyed for many years, both domestically and internationally”

market leader in Spain with a growing international presence, Atresmedia continues to enjoy a highly successful year thanks to an enviable catalog of original productions that have captivated domestic audiences and been brought to dozens of screens and platforms worldwide by Atresmedia International Sales. “We are delighted by the warm reception our productions have received for years, both at home and abroad, spanning not only drama series but also docuseries, true crime, and other programs,” said Miguel García Sánchez, the Spanish group’s Sales Director. “That said, we can certainly say that our drama output is currently in a particularly strong position,” he added. SPANISH DRAMA SHINES IN FRANCE. Following its showcase in Madrid, where the group presented its latest hit series during

its “Atresmedia Day,” held as part of Iberseries & Platino Industria, Atresmedia is crossing the border to present its drama catalog at Mipcom Cannes. The lineup opens with ‘Adrift’, a 10-part drama starring Paula Echevarría. The story centers on a shipwreck that rocks a small fishing village, forcing the local women, united by their shared loss, to rebuild their lives. Two years later, the unexpected return of five of the missing individuals reopens old wounds and unearths secrets, jeopardizing the freedom and new lives the women have managed to forge. The group is also presenting ‘Ágata & Lola’, an 8-episode police procedural that recently premiered. The series follows Lola, an impulsive and intuitive inspector, and Ágata, a brilliant researcher on the autism spectrum with an exceptional memory. Although they are very different, their skills complement each other, forming a unique duo capable of solving the most complex criminal cases.

And, of course, Atresmedia continues to promote its international hit ‘The Maid’s Daughters’, an eight-part, 50-minute drama adapted from the bestselling novel by Sonsoles Ónega, winner of the 2023 Planeta Prize. Set in early 20th-century Galicia, this sweeping family saga begins with the birth of two girls, Clara and Catalina, whose destinies become intertwined through an unexpected act of vengeance. Secrets, heartbreak, and power struggles shape their lives during an era when women still had to fight to control their own destinies. A major highlight is the group’s presentation of a brand-new, unreleased title: ‘Hidden Brushstrokes’. This six-part, 50-minute thriller stars Toni Acosta and Rodolfo Sancho and is coming soon. The plot centers on a lie that upends the protagonist’s seemingly perfect life, unraveling a web of secrets and falsehoods that put both her and her daughter in danger. “We will also be showcasing all the recent titles from our extensive catalog,” the executive explained, highlighting major hits like ‘Dreams of Freedom’, “which has embarked on a new season while maintaining its market-leading position.” Since its premiere, the show has established itself as Spain’s most-watched television series, achieving its best-ever season performance with an average audience share of 14.2% and over 1.2 million viewers. BEYOND FICTION. This year, Atresmedia has also ventured into new genres, such as vertical miniseries, producing content for Flooxer that has yielded excellent results. “At Atresmedia, we keep a close eye on emerging trends and shifting consumption habits,” the executive noted. “We have years of experience creating content and connecting with audiences, and we have successfully applied

The Maid’s Daughters Series

that expertise to new formats and storytelling styles.” “Our experience with Flooxer’s vertical series has been very positive,” the executive said, highlighting the company’s first foray into the format: the comedy ‘Xmas Girlfriend’. The story follows a young woman looking for a date to bring home for Christmas finds herself in a relationship that becomes far more complicated than anticipated; a sequel, ‘A Summer Girlfriend’, followed later. “The reception of both titles confirmed the format’s strong potential and long-term appeal, generating significant international interest. That is why we plan to continue investing in it, with new productions already underway for the remainder of this year and the next, details of which we hope to share very soon,” he shared. Another major strength for Atresmedia lies in its entertainment formats, encompassing both original productions and local adap-

tations of global hits. “Our entertainment lineup features very diverse formats, yet all share a highly recognizable identity,” summarized García Sánchez. “’El camino a casa,’ for instance —spanning two seasons and twelve episodes— is a deeply emotional series in which well-known figures retrace the route they once took from school to home; along the way, they revisit memories, places, and moments from their childhood.” “We also have ‘El capitán en…’, a format in which renowned former footballer Joaquín Sánchez and his family travel the world, discovering new countries and cultures with plenty of humor and their characteristic natural charm. The experience has been very successful with the first two seasons —’El capitán en América’ and ‘El capitán en Japón’— and we are already preparing a third.” “We are particularly excited to see these formats beginning to travel. ‘El camino a casa’ is getting an adaptation in Argentina, and a show as iconic for us as ‘El hormiguero’ will have versions in Romania and Argentina. We are delighted to have formats capable of traveling the globe; shows with a distinct personality that are nonetheless rooted in universal ideas,” the executive noted with enthusiasm. A UNIVERSAL PASSPORT. What elements make Atresmedia’s content such a magnet for audiences, not just in Spain, but across Ibero-America? According to the executive, “the key lies in telling universal, relatable, and deeply emotional stories, while also paying close attention to production quality.” “Europe and the United States are strategic markets for us, but we share an especially strong connection with Latin America. We share many cultural touchstones and, above all, a similar, personal way of understanding and enjoying stories,” he said. “Added to that is the great relationship we maintain with key players in the region, with whom we continue to close deals year after year. That blend of cultural affinity, great storytelling, and the quality associated with the ‘Series Atresmedia’ brand explains why our series and formats are gaining increasing traction outside Spain.”

Ágata & Lola Series

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Looking ahead, the goal is to sustain this growth and global expansion. “We’ve had several excellent years, and 2026 is confirming that trend, with our content receiving an increasingly warm reception internationally. In the coming months, we want to stay on this path: remaining close to our clients, opening up new opportunities, and ensuring our scripted series and formats continue to reach new markets and audiences,” he concluded.

Eccho Rights

A NEW PERIOD DRAMA TAKES SHAPE By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

Starring Pınar Deniz and Selahattin Paşalı, O3 Medya’s ‘The Hatmaker’ leads Eccho Rights’ new Turkish drama offering, as the distributor marks 15 years in the genre and looks to build on growing demand across Western Europe.

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Barbora Suster, Head of LATAM & Iberia at Eccho Rights

et against the social transformation of early 20th-century Turkey, ‘The Hatmaker’ places a woman’s fight for independence at the center of Eccho Rights’ latest premium Turkish drama. Produced by O3 Medya, the 60 x 45-minute series follows Ayşe, whose life is shattered after a traumatic assault and the collapse of her marriage. Forced to rebuild on her own, she finds a new path as a hatmaker, gaining independence while helping other women do the same, even as her estranged husband Rıza remains a threatening presence in her life.

“‘The Hatmaker’ stars two of Turkey’s highest-profile stars, Pınar Deniz and Selahattin Paşalı, in an epic period drama set in the early part of the 20th century,” said Barbora Suster, Head of LATAM & Iberia at Eccho Rights. The series is scheduled to premiere in Turkey in early 2027, but buyers in Cannes will be able to get an early look at the project during Mipcom. “We will offer buyers a sneak peek during Mipcom,” the executive added. The launch comes as Eccho Rights celebrates 15 years of Turkish drama sales, a period in which the genre has evolved from an emerging export trend into one of the pillars of the company’s international business.

“The signs from Spain, Italy and Portugal are that the expansion [of Turkish content] will continue steadily and positively”

“Turkish drama is no longer a curiosity; it is a mark of quality,” Suster said. “Programmers are confident that they can put a Turkish drama in a slot that used to be occupied by a local production and still get the same audience traction.”

The Hatmaker Drama

Behind the Veil Drama

That evolution has become particularly visible in Western Europe, where markets such as Spain, Italy and Portugal continue to open new opportunities for Turkish series. “In many cases, the international status of Turkish series and the love for the actors are actually far greater than we see from more ‘traditional’ drama exporters,” she added. “There is still plenty of room to grow, but the signs from Spain, Italy and Portugal are that the expansion will continue steadily and positively.” Spain, in particular, has become a key territory for the distributor. “Spain is really at the forefront of that progress in Western Europe, and as such is a very important market for us,” Suster said. “The fact that Spanish audiences have so readily accepted and adopted Turkish series signals to the rest of the world that our stories are worth having.”

Alongside ‘The Hatmaker’, Eccho Rights’ Mipcom offering also includes the return of ‘Behind the Veil’ for a fourth season, while its wider slate features titles such as Medyapim’s ‘Doors of Destiny’ and Karga Seven Pictures’ romantic crime thriller ‘Alikara’. For Suster, the company’s identity extends beyond any single genre. “Turkish drama has become the backbone of our work, but we have always been open to new opportunities,” she said. “We have built a reputation on identifying new and emerging opportunities, and we will never say no to the chance to work with great content.”

Q&A Banijay Rights

ORIGINAL DISTRIBUTION THAT SETS THE COURSE

Michelle Wasserman, SVP for LatAm, USH & Brazil at Banijay Rights

By Carolina Mussio cmussio@todotv.tv @carolinamussio

Pioneers when they first launched and just as popular decades later, Banijay Rights’ formats have successfully crossed borders, spanned generations, and evolved with new trends, making Banijay Entertainment’s distribution arm synonymous with global success. By blending flagship titles with fresh concepts, the distributor is now presenting a comprehensive, revitalized portfolio for the international market.

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ormats that have stood the test of time, adapting to viewing trends and winning over new audiences through hundreds of adaptations, seasons, and international versions, stand as proof of the undeniable success of Banijay-branded productions and the journey that has established the company as the “kings of entertainment.”

A prime example is ‘Big Brother’, the world’s most famous format and the pioneer of the social experiment reality genre. Most recently, it launched a further international edition in Uruguay, where it became an instant ratings hit, once again proving its inexhaustible ability to reinvent itself. ‘Big Brother’ is one of the flagship titles in Banijay Rights’ catalog, alongside others such as ‘MasterChef’, ‘Survivor’, ‘Star Academy’, and ‘Deal or No Deal’, as well as major new unscripted formats spanning cooking, tal-

“Since its debut, over 670 series of ‘Big Brother’ have aired around the world in 71 markets”

ent, art, and sports competitions, which the group will present at the upcoming edition of Mipcom Cannes. In the following interview with ttv, Michelle Wasserman, SVP for LatAm, USH & Brazil at Banijay Rights, talks about the company’s recent success stories in Latin America, shares her insights on the current state of the entertainment industry, and previews Banijay Rights’ content lineup for the event in France. 100 Knives Format

What does it mean for Banijay Rights to launch a massive format like ‘Big Brother’ in a small market like Uruguay? About eight years ago, we had the idea to launch another one of our formats, ‘MasterChef’, together with the team at Canal 10. At the time, it seemed like an unachievable dream. Yet today, there have been over ten seasons made in Uruguay. Who would have thought that a country of three and a half million people could produce something of such high quality? Banijay played a major role in helping Uruguay reach its current standing, collaborating on content and projects that were unthinkable just a few years ago. Now, we are making the leap from a major project like ‘MasterChef’ to a truly massive one with ‘Big Brother’. It’s been amazing, because even though we were encouraged by the success of the Argentine version, Uruguay has a unique culture of its own, and Canal 10 proved that the timing was right. I have no doubt that the local version will be a huge success. Why do you think the format remains so relevant more than 20 years after its launch, expanding into new territories and adding seasons internationally? One of the world’s most iconic and successful reality television franchises, ‘Big Brother’ first hit screens 27 years ago in the Netherlands in 1999. Since its debut, over 670 series of the show have aired around the world in 71 markets. The format continues to make a splash globally, with prime-time success in the UK, Australia, Germany and Brazil; long-running versions airing consistently in

“‘Big Brother’ has grown over time, evolving alongside its development in various countries and the changing world at large” Banijay possesses the expertise to localize them and tailor them to diverse cultures and budgets. Despite economic fluctuations, our formats remain robust. Broadcasters and brands trust Banijay and its brands, backed by years of proven success and a great support team behind them.

Date Knight Format

Million Dollar Ideal Format

the US and Italy since 2000; seven regional versions each year in India; and a new adaptation in Uruguay.

the production process, and, of course, oversee creative and commercial decisions. We are open to incorporating new ideas and, whenever possible, work flexibly to strike a balance between the adaptation’s needs and the possibilities offered by the format.

The show possesses a unique spirit, stemming from the fact that it was the first program based on the concept of people living together. ‘Big Brother’ was born with a core ethos that remains unchanged: the concept of confinement, isolation from the outside world, and strangers cohabiting under one roof. It has grown over time, evolving alongside its development in various countries and the changing world at large. The format remains the same as it was over two decades ago; its essence is constant. Yet, it incorporates innovation, demonstrating an ability to adapt to new technologies, cultural shifts, emerging trends, and the digital ecosystem. It knows how to connect with new audiences while remaining true to the traditional ones, in every case turning its followers into active protagonists and a fundamental part of the show itself. While many formats face limitations regarding adaptation, ‘Big Brother’ does not. Naturally, dozens of other formats centered on the concept of cohabitation have emerged worldwide. However, the foundation, the original idea came from ‘Big Brother,’ and it is undeniable that there is a distinct advantage to being the first to make your mark.

What is the secret to the success of Banijay Rights formats in LatAm? Latin America is the birthplace of love stories and the traditional telenovela. And it is difficult for canned programming to compete with local productions. However, at Banijay Entertainment, we are the kings of entertainment. We boast major formats —such as ‘Big Brother’, ‘MasterChef’, ‘Survivor’, ‘Star Academy’, and ‘Deal or No Deal’— that are well-established worldwide, and Latin America is no exception. These formats have successfully taken root in the region because they are adaptable, and they have been updated over time.

We are also presenting ‘Mission Unknown,’ which takes nine creators on an adventure across uncharted territory, featuring journeys and major challenges filmed firsthand. It is a format with great potential for streaming platforms. Another major show we are presenting is ‘Football Island,’ a pioneering format in its genre. A group of legendary former footballers is transported to a remote tropical location where they shed their stadium-star status, and survival becomes the ultimate challenge. The mix of sports rivalry, teamwork, and resilience promises drama with universal appeal. Then there is ‘Stop the Train,’ set entirely aboard a moving train. It is an exciting elimination game where contestants compete in challenges across themed carriages, aiming to reach the locomotive and halt the journey, all while the train keeps moving. Another new development is that we now hold the rights to ‘Ninja Warrior’, the hit format recognized worldwide, and we are also pushing the launch of ‘Fear Factor,’ which continues to conquer new territories. In the DIY space, we have ‘DecoMasters,’ where ten celebrity pairs compete in a fun contest to become true interior design professionals; and ‘Game of Wool’, in which ten knitting enthusiasts face a series of complex challenges for the chance to win a prize and become the first champion knitter. Finally, we are presenting ‘Who’s Guilty?’, a dynamic format that blends comedy and crime; and ‘The Dinner’, a studio show filled with intrigue and mystery.

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How actively does Banijay participate in the various international adaptations of this and other formats? We are very involved. We play a part in every adaptation worldwide. We must safeguard the “bible” and spirit for each format, taking the local stamp each country applies into consideration. We contribute our know-how and experience from previous versions, support

In addition to ‘Big Brother’, another major premiere in recent months was the return of ‘Popstars’ in Argentina… ‘Popstars’ is a show that’s been around for many years in the market. It originally aired in Argentina 25 years ago, and we relaunched it this year, in a world vastly different from the one two decades ago. Expectations are big, and it debuted as the most-watched program on Argentine television. It is also streaming on Disney+ as a complementary platform; in today’s landscape —dominated by a massive digital ecosystem and the immense scale of the music industry— this show holds, and will continue to hold, great significance. After all, the show’s essence is creating a band; just as it happened 25 years ago, when the show was important, but the band was even more so. We are confident that the show will be a success and that the band will become an even bigger sensation.

Alongside the classics, what formats will you be presenting at the upcoming edition of Mipcom Cannes? We have several new titles to present at the event, starting with ‘100 Knives,’ a Swedish culinary format centered on kitchen chaos. The show begins with 100 chefs, ranging from Michelin-starred professionals to influencers and home cooks, in a high-pressure arena where teamwork, speed, and precision determine who survives the heat of the competition.

Q&A Seriella Productions

BIG STORIES WITH GLOBAL REACH

family, power, ambition, forgiveness, faith, resilience and the decisions that transform people’s lives. These are themes that transcend culture, language and religion and remain relevant anywhere in the world.

By Carolina Mussio cmussio@todotv.tv @carolinamussio

Seriella Productions is entering a new stage of international expansion, with premium historical drama at the core of its strategy and ‘Ben-Hur’ leading a slate designed to reach audiences across markets and cultures.

ith more than 15 years of experience in business development, distribution, streaming and commercial expansion, Fernanda Namorado joined Seriella Productions this year as Commercial Director, with the goal of strengthening the Brazilian producer’s commercial strategy, expanding partnerships and opening new international business opportunities.

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At the center of that push is a growing catalog of premium historical productions, with biblical stories remaining a key part of Seriella’s identity. One of its biggest projects to date is ‘Ben-Hur’, a large-scale adaptation of Lew Wallace’s classic story, which will premiere on Univer Vídeo on October 9, shortly before Mipcom.

In the following interview, Namorado discusses Seriella’s international ambitions, the production values behind its historical dramas and the potential of ‘Ben-Hur’ to become one of the company’s flagship titles for the global market. What is your strategic vision for this new stage of the company? Seriella is today the largest historical drama production stu-

Our strategy is to continue developing productions on an international scale, with high cinematic standards, while strengthening alliances with global platforms and expanding our presence in new markets to bring these stories to increasingly diverse audiences. What would you say sets Seriella apart from other production companies? What sets Seriella apart is our ability to produce large-scale historical dramas with production quality comparable to major international productions. We create visually ambitious stories with monumental sets, period costumes, special effects and cinematic storytelling that meets the standards demanded by today’s global market.

Fernanda Namorado, Commercial Director at Seriella Productions “Seriella is today the largest historical drama production studio in Latin America” dio in Latin America, and our vision for this new stage is to consolidate our position as a global reference in premium content inspired by great stories that explore universal values. Our productions are set around some of the best-known stories in history, but what truly connects with audiences are the deeply human conflicts they portray: love, betrayal,

Although many of our productions are inspired by biblical stories, what sets us apart does not lie solely in that universe, but in the way we tell those stories. Our characters face deeply human conflicts: they struggle for power, experience great love stories, confront betrayal, family dilemmas, loss and ambition, and make decisions that change their lives. These are universal emotions that allow our productions to connect with viewers from any culture, regardless of their beliefs. Will you continue to focus exclusively on biblical productions? Biblical content will remain at the heart of Seriella. It is our identity, our specialty and the foundation on which we have built our trajectory as one of the leading producers in this genre worldwide. We believe biblical stories have extraordinary narrative richness because they bring together some of humanity’s most universal conflicts. They speak about love, family, power, betrayal, leadership, sacrifice, hope, redemption and the decisions that shape people’s destinies. These are timeless themes that transcend cultures, languages and generations.

Ben-Hur Series

“‘Ben-Hur’ is a universally recognized story, reinterpreted through a large-scale production with international standards” What sets us apart lies in how we bring these stories to the screen, with a contemporary vision, emotional storytelling and international-scale production inspired by the great historical dramas that captivate audiences around the world today. Rather than simply adapting biblical stories, our goal is to create premium productions capable of moving, entertaining and connecting with viewers in any market, while always preserving the essence of and respect for the stories that inspire our work. What makes ‘Ben-Hur’ an attractive proposition for international platforms and buyers? ‘Ben-Hur’ brings together many of the elements the international market is currently looking for. It is a universally recognized story, reinterpreted through a large-scale production with international standards. The series combines spectacular action sequences, meticulous period reconstruction and a deeply emotional narrative centered on friendship, betrayal, power, forgiveness, resilience and the search for meaning. The Queen of Persia Series

That balance between visual spectacle and emotional depth makes ‘Ben-Hur’ a very attractive proposition for platforms and buyers looking for content with strong international potential. What opportunities do you see internationally for this type of content? We are seeing growing demand for stories that not only entertain but also convey values and create an emotional connection with audiences. In that context, large-scale historical dramas have regained prominence because they offer epic narratives, memorable char-

acters and deeply human conflicts. Seriella’s stories deal with universal emotions: love, family, betrayal, leadership, hope, power and redemption. That is why we believe our content has significant international potential. Not simply because it is inspired by biblical stories, but because it explores human experiences that any viewer can understand and relate to. Our goal is to continue taking these stories to platforms and audiences around the world through productions whose visual and narrative quality meets major international standards. Pablo: The Apostle Series

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“What sets us apart does not lie solely in the biblical universe, but in the way we tell those stories”

Q&A Calinos Entertainment

CALINOS AIMS TO IMPRESS IN CANNES By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

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With ‘Salted Love’ and ‘Love in the Ashes’ leading its current slate, Calinos Entertainment is building on strong local performances, new international sales and an expanded catalog that now also includes selected titles from TIS Productions.

tions that further broaden our international catalog,” says Ismail Dursunov, Deputy General Manager at Calinos Entertainment. “We hold the distribution rights for selected territories and see strong commercial potential for these titles across the CIS, Asia, and MENA regions.” How valuable is a strong premiere like the one ‘Salted Love’ had as you introduce the title to international buyers? The series premiered in Turkey on September 1 and ranked No. 1 in all major audience categories with both its first and second episodes, so it has had a very strong start from the beginning. I think Turkish audiences had been missing this kind of series for a while. It has a witty, romantic tone, but at the same time it still carries the strong emotions, family dynamics and relationships that are at the heart of Turkish drama.

he successful premieres of ‘Salted Love’ and ‘Love in the Ashes’, plus the addition of Disney+ originals like ‘Between the World and Us’ and ‘The Choice’, give Calinos Entertainment’s catalog one of its strongest premium drama lineups in recent years.

The response has also gone well beyond television. The first episode surpassed 18 million views on YouTube within just a few days, which gives us a very tangible indication of how quickly the series has connected with audiences. The ensemble cast is another important part of that appeal. It brings together so many well-known and respected actors in one production, which we have not really seen on this scale for some time.

The company, which also recently added 12 series from TIS Productions to its offering, is set for a busy Mipcom Cannes 2026. “We are highlighting ‘Lynch’ and ‘Erre’, two distinctive Spanish-language series from TIS Produc-

What international potential do you see for ‘Love in the Ashes’, another series that had a great start to the season? ‘Love in the Ashes’ really brings together many of the elements Turkish drama does best: a powerful

Ismail Dursunov, Deputy General Manager at Calinos Entertainment

“‘Love in the Ashes’ combines many of the elements Turkish drama does best: a love story, family bonds, sacrifice and high emotional stakes”

love story, family bonds, separation, sacrifice and very high emotional stakes. We see particularly strong opportunities for the series in Europe, Latin America, MENA and Central and Eastern Europe, where there is already a very strong appetite for this kind of storytelling. Are you seeing growing demand for adaptations of the IPs in your library? Yes, we’re definitely seeing growing interest. Calinos has the largest scripted formats catalog in Turkey, and as the focus on producing strong local content across different

“‘Salted Love’ premiered in Turkey on September 1 and ranked No. 1 across all major audience categories with both its first and second episodes” regions continues to grow, we are seeing more markets look at our IPs for adaptation. It’s an area we are particularly excited about because our stories can be successfully localized while retaining their core appeal.

Love in the Ashes Drama

What other titles would you like to highlight? We also have a number of titles in our catalog that we’re particularly excited about. ‘Between the World and Us’, ‘The Choice’ and ‘Runaway’ are three very different productions that show the range of storytelling coming from Turkey. ‘Between the World and Us’ is a romantic drama exploring modern relationships, trust and the complexities of love in the digital age, while ‘The Choice’ takes us into much darker territory with a psychological crime story centered on revenge and confronting the past. ‘Runaway’, starring Engin Akyürek, is a high-stakes action drama following a group caught in an increasingly dangerous fight for survival. We are also highlighting ‘Lynch’ and ‘Erre’, two distinctive Spanish-language series from TIS Productions that further broaden our international catalog. ‘Lynch’ follows funeral-home owner Jerónimo Lynch, who agrees to fake his own death when faced with arrest. The plan soon turns into an unusual business, helping people in serious trouble stage their deaths, take on new identities and leave their old lives behind.

has only one month left to live. With nothing left to lose, he decides to stop following the rules and finally live life on his own terms.

Dark comedy ‘Erre’ centres on Franco, a man trapped in the same routine until he is told he

Which territories do you see as the main potential markets for these TIS titles? We hold the distribution rights for selected territories and see strong commercial potential for these titles across the CIS, Asia, and MENA regions. These markets have demonstrated a consistent appetite for high-quality international scripted content, particularly premium Spanish-language series with strong storytelling, recognizable talent, and

Salted Love Drama

Between the World and Us Mini-series

established platform credentials. The inclusion of Paramount+ Originals further enhances the titles’ positioning and provides a strong sales proposition to broadcasters and streaming platforms. What do you see as the potential of these titles to be adapted as formats? These stories are quite different from the formats we currently have in our portfolio. They bring a strong emotional and dramatic depth to the short-series space. Their relatable stories also give them strong potential to connect with audiences across different markets. Runaway Drama

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TELEMUNDO JC ACOSTA NAMED HEAD OF TELEMUNDO STUDIOS

In his new role, the executive will lead Telemundo Studios’ growth strategy, as well as the development and production of scripted content for linear and streaming platforms. “I am incredibly excited to join Telemundo Studios at such an important moment for our industry and for Spanish-language storytelling”

By todotvnews @todotvnews

elemundo announced in early September the appointment of Juan Carlos (JC) Acosta as Head of Telemundo Studios. Acosta will report directly to Javier Pons, Chief Content Officer of NBCUniversal Telemundo Enterprises. In his new role, Acosta will lead Telemundo Studios’ growth strategy, as well as the development and production of scripted content for linear and streaming platforms.

dio capabilities globally, scaling operations and driving revenue growth. Most recently, he served as Head of The Mediapro Studio for the US and Canada, where he launched and expanded the company’s North American operations, overseeing development, production, sales and strategic partnerships. In that role, Acosta accelerated the company’s global expansion by implementing innovative business models and establishing strategic partnerships with leading talent, producers and media companies including Paramount, Disney, CBS, Amazon, Netflix and Telemundo.

He will be responsible for developing, expanding and monetizing Telemundo Studios’ scripted content offering across both long- and short-form formats, including drama series, vertical content and feature films, among others.

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Acosta will also develop and oversee longterm business plans, annual operating models and the evaluation criteria and processes used to approve projects across all areas of the studio.

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Working in coordination with NBCUniversal’s studios, he will collaborate with different divisions across the company and pursue new business development opportunities, including strategic partnerships, co-productions, mergers and acquisitions (M&A), and international distribution models.

ally,” Pons said. “We are pleased to welcome him to our team at a key moment, as we continue evolving our studios into an innovative and dynamic operation that delivers scripted content for every platform, both locally and globally.”

“JC is an accomplished media executive with a unique background in studio finance and operations, both in the US and internation-

An award-winning media executive with more than two decades of experience, Acosta has built a track record in developing stu-

“I am incredibly excited to join Telemundo Studios at such an important moment for our industry and for Spanish-language storytelling,” Acosta said. “Telemundo has an extraordinary legacy of creating stories that deeply connect with Hispanic audiences, and I look forward to building on that strong foundation as we move into the next generation of content. It is an honor to have the opportunity to lead this exceptional team, and I am very grateful to Javier for giving me the opportunity to help shape the next chapter of Telemundo Studios.”

PRODUCTION

UIDÚ BETS ON INTEGRATING CREATIVITY, PRODUCTION AND ENTERTAINMENT

Founded by Santiago Domingo and Sebastián Ravbar, the Argentina-based company brings an end-to-end approach that integrates strategy, creative development, production and post-production, with a focus on brands, agencies, networks, platforms and new entertainment formats. suppliers. At Uidú, we work end to end: we develop the idea, produce it and take it through to its best possible version,” Domingo explained. Ravbar, meanwhile, said the new studio aims to bring into an independent structure part of the experience gained during his years at major international companies. The goal, Ravbar shared, is to combine that corporate experience with a more agile model: “We aim to combine that rigor and corporate experience with the agility, proximity and responsiveness that an independent structure can provide.” While the company will have a strong connection to branded content, its founders stress that its scope will be broader. “Our core business is creativity and audiovisual production for brands, agencies, networks and platforms. We develop campaigns, commercials and content, and can be involved from the initial idea through production and final delivery,” Domingo explained.

Santiago Domingo and Sebastián Ravbar, founders of Uidú

U ttv Magazine

idú has launched as a new creative and audiovisual production studio with an integrated approach designed to bring every stage of a project under one structure, from concept development and scripting through production, post-production and final delivery.

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Based in Argentina and with the capacity to work on regional and international projects, the company was founded by Santiago Domingo and Sebastián Ravbar, two executives with extensive experience in creativity,

marketing and audiovisual production at companies including FOX, Disney, Telefilms, Canal 9 and Greenpeace. Uidú —a phonetic Spanish rendering of “We do”— is built around the concept of an end-to-end creative & production studio, designed for a landscape in which the boundaries between advertising, content and entertainment are becoming increasingly blurred. “Today, clients need partners who understand the entire process, not fragmented

He added that branded content is a natural part of that proposition, but that Uidú is especially interested in the intersection between brands, content and entertainment. The studio’s offering also includes vertical series, short-form content and productions specifically designed for new forms of digital consumption, with the company already moving forward on concrete projects. “What we are seeing is a market that is growing very quickly internationally and beginning to create new production opportunities. At Uidú, we are already developing vertical fiction projects for international companies, and we want to continue moving forward in that space as the market grows,” Ravbar explained.

“Our core business is creativity and audiovisual production for brands, agencies, networks and platforms”

Listings Mipcom 2026

Exatlon

Agata & Lola

Land Of The Sun

Reputation

ACUNMEDYA

ATRESMEDIA SALES

ATV DISTRIBUTION

BANIJAY RIGHTS

Levent Mah. Hayat Sok. No:4 Beşiktaş, Istanbul, Türkiye info@acunmedya.com www.acunmedya.com Stand: C16F

Av. Isla Graciosa, 13 28703 San Sebastián de los Reyes, Madrid, Spain +34 91 623 05 00 sales@atresmediatv.com international-sales-atresmedia.com

Turkuvaz Medya Merkezi Güzeltepe Mahallesi, Mareşal Fevzi Çakmak Caddesi B Blok No:29/1/1, Eyüpsultan, Istanbul, Türkiye +90 212 354 30 00 www.atvdistribution.com Stand: R7.E75

Berkshire House 168-173 High Holborn London WC1V 7AA, United Kingdom +44 (0)20 7845 4377 www.banijayrights.com Banijay House: C20 Banijay Terrace: P3.C10

EXECUTIVES

Mirka Savic Pinhas, Head of Formats and Productions Abdullah Terzioglu, Format Acquisitions Manager

TOP EXECUTIVE

Ebru Atasav Tahranci, CEO

EXATLON A reality competition built around the human spirit, team dynamics and the will to win. Two teams embark on a physical and emotional journey, pushing their limits on Exatlon’s iconic high-octane parkours while living together in exclusive camps. Beyond weekly team victories, contestants pursue the ultimate individual goal: being crowned the Exatlon Champion. DARTS PARTY Darts is reinvented as a high-energy entertainment competition in which 24 players enter a futuristic arena combining precision, physical challenges and fast-paced eliminations. Each episode mixes competitive matches, unexpected obstacles, twists and unscripted moments, building toward a season finale where one player becomes the Darts Party Champion. MY STYLE ROCKS

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A fashion competition in which a group of stylish women compete to be crowned the most fashionable in the country. Contestants create looks based on weekly themes and budgets before facing a panel of three expert judges. Daily challenges, celebrity guests and weekly prime-time eliminations lead to a finale in which one contestant wins the cash prize and the title of the nation’s most stylish woman.

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EXECUTIVES

Jose Antonio Salso, Head of Acquisitions and Sales Ismael Ramiro, Sales Manager Rebeca Fernández, Sales Director for Europe

EXECUTIVES

Sena Kul, Content Sales Specialist, Europe & Asia Yaşar Anıl Cantepe, Content Sales, MENA Fabiola Flores Cortes, Content Sales, LATAM

TOP EXECUTIVE

Müge Akar, Group Head of Sales & Distribution

LAND OF THE SUN (Drama, 45’)

Lola is an extroverted, impulsive police inspector who rarely follows the rules. She crosses paths with Agata, a brilliant and meticulous researcher on the autism spectrum, whose exceptional memory and talent for analyzing criminal files complement Lola’s intuition, field experience and empathy. Despite their very different personalities, they form an effective partnership and friendship while solving complex criminal cases. HIDDEN BRUSHSTROKES (Drama, Thriller, 6 x 50’)

1989, Berlin. Leyla falls in love with Kenan, the charismatic son of Adana’s wealthy and powerful Kozan family. Despite his family’s opposition, they marry and have a son, but Kenan’s authoritarian mother sets a trap that tears them apart and leaves Leyla imprisoned for a crime she did not commit. Years later, she returns to Adana determined to reclaim her son, clear her name and expose the secrets that destroyed her family. DIFFERENT LIVES (Drama, 45’)

Inés is an art restorer living in Santa Cruz de Tenerife with her husband Miguel, a charismatic pilot, and their teenage daughter. Her seemingly perfect life begins to unravel when she spots Miguel in a nightlife area on the other side of the island, despite believing he was away on a trip. Determined to uncover the truth, Inés discovers a web of lies that may put both her and her daughter in danger.

Michelle Wasserman, SVP Latin America, US Hispanics & Brazil

TOP EXECUTIVE

Miguel García, Sales Director

AGATA & LOLA (Police Procedural, 8 x 50’)

TOP EXECUTIVE

Emir is a talented young footballer from a poor Istanbul neighborhood who dreams of lifting his family out of poverty. After his brother dies following a violent match, Emir joins the club of wealthy businessman Galip, unaware that Galip’s son Uzay is connected to the tragedy. As he enters a world of privilege, rivalry and romance, Emir must choose between his promising career and uncovering the truth about his brother’s death.

REPUTATION (Legal Drama, 6 x 60’) A formidable lawyer who has built her career defending free expression takes on the case of a global pop star accused of publicly exposing her ex-husband’s abusive behaviour. As the dispute becomes a high-stakes libel battle fought in court, the press and social media, both women discover how far they are willing to go to protect their reputations. Produced by The Forge Entertainment for BBC One and BBC iPlayer. MAYA (Thriller, 6 x 60’) Forced into witness protection, single mother Anna and her teenage daughter Maya leave London for a new life in rural Scotland. But as two hitmen close in, the women must decide how far they will go to protect themselves and the bond that holds them together. Produced by Two Brothers Pictures for Channel 4 and Starz. 100 KNIVES (Reality Competition) One hundred chefs enter a high-pressure culinary arena where teamwork, speed and leadership are constantly tested. Contestants compete in brigades that are repeatedly reshaped as chefs are eliminated, until only one winner remains. Developed by Mastiff Sweden, Bunim/Murray Productions and Smart Dog Media, the format has already secured its first international adaptation.

3.486.843 total average annual reach across all our digital media platforms

Love In The Ashes

Lakantane

A Day Like No Other

The Hatmaker

CALINOS ENTERTAINMENT

CANAL+ DISTRIBUTION

CARACOL TELEVISIÓN

ECCHO RIGHTS

Elbistan Çıkmazı Sok. No:6 Beykoz, Istanbul, Türkiye +90 216 999 4 999 www.calinosentertainment.com Stand: P-1.M51

101 NW 8th Street Suite 200, Miami FL 33136, USA www.canalplusdistribution.com

Miami Office: 150 Alhambra Circle, Suite #1250, Coral Gables, FL 33134, USA Headquarters: Calle 103 #69B-43, Bogotá, Colombia +1 305 960 2018 / +57 601 643 0430 losoriol@caracoltv.com.co www.caracolinternacional.com Stand: P0.B1

TOP EXECUTIVE

EXECUTIVE

Goryana Vasileva, Sales Manager, Europe & LATAM

Francheska M. León de la Barra, VP Marketing & Communications

TOP EXECUTIVE

İsmail Dursunov, Deputy General Manager

LOVE IN THE ASHES (Drama, on air) Leyla disappears just hours before marrying Mirza. Seven years later, while searching for his kidnapped nephew in Aleppo, Mirza discovers that Leyla is alive. Determined to bring her and six-year-old Hüma back to Cappadocia, he returns home to face secrets and conflict within his own family. SALTED LOVE (Family, Romance) Derin, the granddaughter of a wealthy Istanbul family, dreams of marriage and starting a family. Mehmet returns to Türkiye after years abroad, also under pressure to settle down. When another family wedding brings them together, old rivalries, expectations and secrets begin to reshape both of their lives. LYNCH (Drama, 30 x 60’ / 3 Seasons) Facing arrest, funeral-home owner Jerónimo Lynch accepts Isabel Reyes’ offer to fake his own death. Their plan soon becomes ‘Eternal Rest’, a business that helps desperate clients disappear by staging convincing deaths, arranging funerals and providing new identities abroad.

LAKANTANE (Eco-Thriller, 8 x 52’) Kader Youm, a young fisherman from Saint-Louis, leads a rebellion when corrupt investors threaten to destroy his coastal community. His fight becomes more complicated when he falls in love with the daughter of his greatest enemy, in a conflict between tradition, modernity and survival.

4 MINUTES (Romance, 8 x 45’) Great, a university student from a wealthy family, develops the supernatural ability to see four minutes into the future. When he meets Tyme, a resident surgeon, the two begin a relationship that is profoundly shaped by this unexpected gift.

TOP EXECUTIVE

Barbora Suster, Head of Latin America & Iberia

EXECUTIVES

Jesús Iriepar, International Sales Executive, Europe, Middle East & Asia Paloma García, Sales Director, Europe & Africa Felipe Rivas, Director of International Business Development Daniel Segredo, International Sales Director, Americas

TOP EXECUTIVE

Lisette Osorio, VP of International Business

THE HOUSE ON AUTUMN HILL (Thriller, 10 x 60’) Eight strangers wake up inside an isolated mansion watched over by a mysterious elderly woman. They soon discover they are trapped in a deadly game within an unknown dimension, where they must survive a series of lethal challenges if they hope to return to their former lives.

Grev Turegatan 30 114 38 Stockholm, Sweden www.ecchorights.com Stand: P3.B1

A DAY LIKE NO OTHER (Biopic, 8 x 60’) The official and authorized biographical series about Raphael, coproduced with DLO Producciones for Netflix. A Day Like No Other chronicles the artist’s rise from humble beginnings in postwar Spain to major international stages, from Madrid to Las Vegas, Moscow, Paris and Acapulco. Spanning five decades, the series reveals the man behind the legend. FORBIDDEN WOMAN (Melodrama, 61 x 60’) Karen Arbeláez, wife of a powerful politician with presidential ambitions, sees her life transformed when she falls in love with Víctor, a successful singer. A melodrama blending power, music and passion, the series reached Netflix’s Top 10 in 13 countries.

monthly reach in LinkedIn

After a traumatic assault shatters her life and marriage, Ayşe must learn to survive on her own for the first time. Rebuilding her life as a hatmaker, she fights for independence and empowers other women, while her estranged husband Rıza remains a looming presence. Set against a changing world of fashion, society and desire, The Hatmaker is a story of resilience, reinvention and love. DOORS OF DESTINY (20 x 45’) A pampered heir with a seemingly perfect life and a reclusive genius hiding from his past come from completely different worlds. But as they fall in love, they discover their lives were connected long before they met by a secret that could destroy everything they thought they knew. ALIKARA (10 x 45’) A homicide chief and a forensic psychologist hunt a killer who is always one step ahead, only to discover that the darkness they are chasing leads back into their own pasts. A romantic crime thriller about relationships that can either heal old wounds or reopen them.

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60.956 average

THE HATMAKER (60 x 45’)

105

Listings Mipcom 2026

Bartolito

Las de siempre

To Love Is To Care

Arafta

EL REINO INFANTIL

ESTUDIOS RCN

GLOBO

GOQUEST MEDIA

San José 1277 Buenos Aires, Argentina partners.elreinoinfantil.com

Av Americas # 65 – 82 Bogotá Colombia. 2100 Ponce de Leon Blvd. Coral Gables, 33131 USA +57 601 426 9292 www.estudiosrcn.com

Rua Lopes Quintas, 303 Jardim Botânico, Rio de Janeiro, RJ, Brazil sales@g.globo screening.globo.com

Office 002, Ground Floor, Satyadev Plaza Fun Republic Lane, Off Veera Desai Road Andheri West, Mumbai, Maharashtra 400053, India contact@goquestmedia.com www.goquestmedia.com

TOP EXECUTIVE

Ylka Tapia, Head of Growth Partnerships and Producer

BARTOLITO (Kids Animation) Bartolito begins his first year at ‘Granjacademia’, a school where music and video games come together. Along the way, he discovers hidden talents, makes lifelong friends and learns that the greatest adventure of all is growing up. WADOO (3D Animation, Music) Wadoo is a warm and colorful preschool series built around curiosity, friendship and teamwork. Through playful adventures and music, its characters discover the world around them while learning how to face everyday challenges together. ZENON’S FARM (Preschool) Set in the countryside, ‘Zenon’s Farm’ celebrates rural life, animals and care for the environment through music, stories and familiar characters. The property combines music videos, series and edutainment content designed for preschool audiences and families. BOOGIE BUGS (Preschool)

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A cheerful musical property in which a group of lively little bugs invites children to sing, dance and take part in playful activities. Its songs and choreography encourage movement, coordination and active participation.

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Alex Marín, VP of Distribution at Estudios RCN

LAS DE SIEMPRE

EXECUTIVES

Rodrigo Nascimento, Head of International Business Hub, EMEA Guilherme Jordão, Content Distribution & Partnerships, CIS & APAC Isadora Filpi, Content Distribution & Partnerships, Europe, Middle East & Africa Karen Pinho, Content Distribution & Partnerships, EMEA Tiago Campany, International Co-Productions Executive

Four women in their forties must pick up the pieces and rebuild their lives through solidarity and the strength of friendship, breaking down stereotypes as they discover who they are and who they truly want to become.

DARÍO GÓMEZ Marked by tragedy and a curse that condemns him to loneliness and suffering, Darío Gómez travels to Medellín hoping to transform his pain into music. Battling fate, adversity, enemies and the shadow of death over those he loves, he turns heartbreak into the force that will establish him forever as the incomparable King of Despecho. RIGO Inspired by the life and career of Rigoberto Urán, a warm-hearted and irrepressibly optimistic young man from Antioquia who fights for his three great loves: the father taken from him by violence, Michelle, the love of his life, and the bicycle that turns him into a global icon.

TOP EXECUTIVE

Jimmy George, Co-Founder

TOP EXECUTIVE

Pablo Ghiglione, Head of International Sales & Co-productions – Americas and APAC

LA HIJA DEL MARIACHI At the heart of the Plaza Garibaldi bar, a Colombian singer and a fugitive Mexican businessman find love and redemption through ranchera music.

EXECUTIVE

Bhavishya Rao, Head of Revenue

TO LOVE IS TO CARE (Drama, 215 x 60’) Adriana is Arthur Brandão’s physiotherapist. When Arthur proposes marriage so he can leave her his inheritance, he dies that very same day. Adriana is then convicted of a crime she did not commit. THREE GRACES (Drama, 70 x 60’) Gerluce, a woman from a humble background, does everything she can to prevent her teenage daughter from repeating the same fate experienced by both her and her mother, Lígia. But when Joélly becomes pregnant, Gerluce is driven to take a desperate step. BLOOD RED – UNDER THE MOONLIGHT (Supernatural, 10 x 30’) Set in Guarambá, sanctuary of the maned wolf, the series follows Luna, a mysterious wolf-girl whose path crosses with Flora, a human, under the watchful eyes of vampires Michel and Celina. As their worlds collide, they face personal dilemmas and discover unexpected similarities and differences.

ARAFTA (BOUND BY FATE) – S1 (Drama, 100 x 60’) Ateş returns to destroy the family responsible for the wounds of his childhood, using a 187-day marriage to Mercan, the daughter of his enemy, as his weapon. But the woman he intends to hurt becomes the one capable of undoing him, turning revenge into a dangerous love story. ARAFTA (BOUND BY FATE) – S2 (Drama, 100 x 60’) Ateş and Mercan’s hopes for peace collapse when Hazar arrives carrying an old blood feud and uses Eylül, the sister Ateş believed dead, as part of his revenge. With Mercan pregnant and the family rebuilding, new betrayals, financial scandal and buried family secrets pull them into an even deeper war. KUMA (THE OTHER WIFE) (Drama, 100 x 60’) Wrongly accused of murder, Ceylan becomes the second wife, or Kuma, of Karan, the man she loves and the brother of the deceased. Trapped inside a fractured family, she fights to prove her innocence and reclaim both her freedom and Karan’s love.

100.567 average monthly website visits

Listings Mipcom 2026

Forever Home

Sevdam Karadeniz

Dignity

The One I Love

IMAGINA SALES

INTER MEDYA

Ctra. Fuencarral a Alcobendas, 24 28049 Madrid, Spain

Istanbloom Offices Kore Şehitleri Caddesi 16/1 Zincirlikuyu, 34394 Istanbul, Türkiye +90 (212) 231 0102 info@intermedya.tv www.intermedya.tv Stand: C16.C

KANAL D INTERNATIONAL

MADD ENTERTAINMENT

Demirören Medya Center 100. Yıl Mah. 2264 Sok. No:1 34218 Bağcılar, Istanbul, Türkiye +90 212 413 51 11 kdisales@kanald.com.tr www.kanald.international Stand: R8.D2

Esentepe Mahallesi, Kore Şehitleri Caddesi, No. 5/3 Şişli, Istanbul 34394, Türkiye +90 212 273 24 34 info@madd.tv www.madd.tv Stand: P-1.J50

EXECUTIVES

Fernando Méndez, Content Distribution Manager Clara Menses, Sales Executive

TOP EXECUTIVE

Béatrice Nouh, Head of TV Distribution and Coproductions

FOREVER HOME (Thriller, 6 x 50’) Adapted from Graham Norton’s best-selling novel. When Carol Crottie discovers a longdead body hidden in the basement of her home, she realizes she may be living with a killer. The story that Robert’s first wife simply disappeared now looks like a lie, and one dark family secret is soon replaced by another.

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THE MARQUISE (Historical Drama, 6 x 50’)

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EXECUTIVES

Ahmet Ziyalar, COO Hasret Özcan, President Beatriz Cea Okan, VP and Head of Sales and Acquisitions Çağrı Hazar Oğuz, Vertical Drama Development & Production Executive Ezgi Gezer, Drama Coordinator

TOP EXECUTIVE Can Okan, Founder and CEO

EXECUTIVES

Selahattin Tosun, Head of Kanal D Drama, Digital Partnerships & Africa Duda Perman, Sales Manager for LATAM, North America, and Portuguese-Speaking Territories Önay Devrim, Sales Executive, CEE and The Baltics Mesut Özkeçeci, Sales Manager, Europe Nergiz Kamal, Sales Manager, CIS Yasemin Keskin, Sales Manager, MENA, APAC & Global Inflight Entertainment Distribution

EXECUTIVES

Özlem Özsümbül, Head of Sales Alaa Elabasy, Sales Director - CEE, MENA Salmi Gambarova, Sales Director - Asia, Africa, Baltics, CIS

TOP EXECUTIVE

Ateş İnce, Managing Director

TOP EXECUTIVE

Elif Tatoğlu, Distribution Strategy & Sales Director

SEVDAM KARADENIZ (Drama)

After years imprisoned in a Lisbon convent, the Marquise of Alorna, a fearless and brilliant poet, regains her freedom and is sent on a diplomatic mission to the Viennese court. Caught between love, power and the pursuit of freedom, she uses art, literature and diplomacy to challenge the established order and expand women’s role in society.

A forbidden love between two rival Black Sea families leaves behind a feud that echoes through generations. Years later, Kuzey and Zeyşan are drawn into this inherited hatred when an unexpected turn of events forces them into marriage. Surrounded by family secrets, forbidden love and vows of revenge, they must choose whether to continue their families’ legacy or risk everything to change their fate.

CONNECTED (Environmental Documentary)

CAGED LOVE (Romantic Drama, 125 x 45-50’)

A three-part documentary series following Brazilian scientists in Antarctica as they study the effects of climate change on the frozen continent. Narrated by Nina, a humpback whale that migrates annually from Brazil to Antarctic waters, the series combines science and adventure to explore the deep connection between Antarctica’s future, Brazil and the planet.

Trapped by a crime she did not commit, Deniz Yılmazlar assumes the identity of “Sevda Kara” following a dying mother’s final plea to protect her daughter Maya, heir to the powerful Demircihan family. She soon finds herself caught in a dangerous marriage of convenience with Baran Demircihan, where love begins to grow under the weight of lies, guilt and a past she never chose.

DIGNITY (Drama, 45’) When a young man from a close-knit working-class family falls in love with the daughter of a wealthy and prestigious household, their forbidden romance ignites a bitter clash between two families, forcing everyone to choose between love, loyalty and the price of protecting their dignity. TORN APART (Drama, 45’) After losing his family as a child, Aras comes to Bodrum searching for his missing brother. His life changes when he clashes with the powerful Akkaya family and falls for Leyla, the sister of his greatest enemy. As buried secrets surface, Aras discovers that finding his brother is only the beginning.

50,000 average

monthly reach in Instagram and Facebook

THE ONE I LOVE Erkan, heir to a powerful Istanbul family, impulsively marries village girl Dicle to save her life. What begins as an act of mercy turns into an impossible love that threatens his family, future and sense of duty. LOVE BEYOND ALL Zeynep has raised her niece Ege as her own daughter since birth. Eight years later, Ege’s father Ali returns to reclaim her, drawing Zeynep into a powerful Cappadocian family, buried secrets and an unexpected love triangle. VANITY Ambitious Hülya befriends wealthy, vulnerable Neslihan and sees her as a path to privilege. But when Hülya sets her sights on Neslihan’s longtime love, ambition, betrayal and desire threaten to destroy them both. LOVE PROBABLY Lawyer Defne takes charge of a high-stakes investment project involving two opposing men: traditional Kadir and manipulative Tolga. Corporate sabotage, family conflict and attraction soon pull her into a dangerous love triangle.

Olivia

The Castle

Line Of Fire

Deep In Love

MEDITERRÁNEO

MOVISTAR PLUS INTERNATIONAL

NBCUNIVERSAL GLOBAL TV DISTRIBUTION

OGM UNIVERSE

C. de Federico Mompou, 5 Fuencarral-El Pardo, 28050 Madrid, Spain +34 913 959 200 infosales@mediaset.es rcachero@mediaset.es sales.mediaset.es

Avda. de los Artesanos, 6 28760 Tres Cantos, Madrid, Spain www.movistarplus.es Stand: R7.N7

EXECUTIVE

EXECUTIVES

Rocío Cachero, International Sales Manager

TOP EXECUTIVE

Fabrizia Palazzo, Distribution Manager Nicolás Lecocq, Head of Operations Lorena Molloy, Head of International Marketing & Communications

Silvia Cotino Estornell, Sales and Business Development Deputy Director

TOP EXECUTIVE

Rebeca Aguilar, Head of International Distribution

100 Universal City Plaza Universal City, CA 91608, USA +1 818 777 1300 www.nbcuniversal.com Suite: P4.C4, Level 4

EXECUTIVES

Carolyn Stalins, EVP, Sales Liaison, International Bruce Casino, EVP, Sales & Distribution, U.S. Ron Suter, EVP & GM, Sales & Distribution, Canada Jay McNamara, EVP & Global Head, Distribution Strategy & Operations Rob Bell, EVP, Global Content Strategy & Digital Sales

MARUSIA: NAVAL ACADEMY (Drama, 8 x 65’) When Teresa Ibarra becomes the academy’s first female director, she faces tradition, pressure and the shadow of a cadet’s mysterious suicide. As an official investigation unfolds, a new generation of cadets struggles through discipline, hidden tensions, friendship, romance and shifting loyalties. THE MARQUESS 1985 (Drama, 6 x 45’) Madrid, 1985. Journalist Onofre, known as “the Marquis,” is approached by two women who claim their brother, El Nani, was killed during a police interrogation. His investigation leads him into Madrid’s Special Police Unit and the harsh quinqui underworld of 1980s Spain.

EXECUTIVES

Mikaela Perez, Sales Director Canan Koca, Sales Executive Mina Aslan, Sales Executive Siğla Ünal, Sales Executive Assistant

TOP EXECUTIVE

Ekin Koyuncu Karaman, Global Distribution & Partnership Director

TOP EXECUTIVE

OLIVIA (Comedy / Drama, 6 x 35’) Mario Rey, the country’s most famous TV weatherman, sees his life take an unexpected turn and is forced to seek refuge with his daughter Olivia in his father Tomás’s olive grove. After 30 years without speaking, the reluctant reunion reopens old wounds but also offers a chance for healing and new beginnings.

Tomtom Mah., İstiklal Cad. No:163 Mısır Apt., K:5 D:17-19 34433 Istanbul, Türkiye info@ogmuniverse.com www.ogmuniverse.com Booth: R8.C17

Michael Bonner, President, NBCUniversal Global TV Distribution

THE CASTLE (Police Drama, 6 x 50’) A cinematic, character-driven drama exposing the hidden mechanics of Europe’s sex-trafficking industry. From the writers of Riot Police. KILLING A BEAR (Thriller, 6 x 50’)

LINE OF FIRE (Drama Series, 13 x 60’)

Inspired by true events and co-produced by ARTE, the series follows the investigation into the mysterious death of bear Cachou during the pandemic lockdown, blending suspense, emotion and human conflict.

A family of law enforcement agents crosses personal and professional boundaries while tackling cases for the FBI, U.S. Marshals, Secret Service and Department of Justice. When a seemingly simple case becomes a deadly conspiracy, they must protect one another and bring the killer to justice, even if it means betraying their sworn code.

MANY PEOPLE NEED TO DIE (Comedy, 6 x 30’) Selected for the Official Competition at Canneseries, this comedy explores the contradictions of modern adulthood with sharp humor and unapologetic irony. I ALWAYS SOMETIMES (Drama, 6 x 30’) Produced by Suma Content, this bold generational drama explores unexpected motherhood, loneliness and the burden of unfulfilled expectations.

THE ROCKFORD FILES (Drama Series, 13 x 60’) A contemporary update of the classic series. Newly paroled after serving time for a crime he did not commit, James Rockford returns to private investigation in Los Angeles, using charm and wit to solve cases while navigating pressure from both local police and organized crime. SUNSET P.I. (Comedy Series, 10 x 30’)

DEEP IN LOVE (108 x 45’) On the Black Sea coast, two rival families remain divided by generations of hatred. Years after Adil and Esme’s forbidden love was torn apart, their long-lost daughter returns from Greece, unaware that she may be the key to healing an old feud and reuniting her parents. FERDA (Drama) Presumed dead after escaping an honor killing, Ferda returns to the Anatolian town she fled twelve years earlier. Determined to free her sisters and reclaim her life, she challenges the powerful family that once controlled her fate and forms an unexpected alliance that turns into a dangerous love story. THE GENTLEMAN (Drama, 21 x 45’) Yusuf, a young man from a modest Istanbul neighborhood, is pulled into a world of power, crime and class conflict that destroys his simple dreams. Years later, he returns under a new identity, torn between love, ambition and revenge.

3.486.843 total average annual reach across all our digital media platforms

ttv Magazine

A comedy that continues Los Angeles’ long tradition of private-eye stories, following a new generation of investigators with a distinctly irreverent twist. From ‘Brooklyn NineNine’ writers Dan Goor and Luke Del Tredici.

109

Listings Mipcom 2026

The Forgetting

Rojo sobre blanco

Paul The Apostle

Eden

ORF-ENTERPRISE

RTVE

Hugo-Portisch-Gasse 1 1136 Vienna, Austria +43 (0)1 87878-13030 contentsales@orf.at contentsales.orf.at Stand: P-1.L1

Avda. de Radio Televisión, 4 28223 Pozuelo de Alarcón, Madrid, Spain +34 91 581 70 00 www.rtve.es

SERIELLA PRODUCTIONS

SEVEN.ONE STUDIOS INTERNATIONAL

Est. dos Bandeirantes, No. 23505 Rio de Janeiro, RJ 22785-091, Brazil fernanda.namorado@seriella.com

Medienallee 7 85774 Unterföhring, Germany +49 89 95077312 info@sevenonestudios.com www.sevenonestudiosinternational.com Stand: P4.C18

TOP EXECUTIVE

EXECUTIVES

Franka Giesemann, Sales Manager VOD & Home Entertainment Rebecca Goss, Sales Manager TV Kaspar Kufus, Sales Manager TV Monika Kossits, Senior Sales Manager TV Mario Leonhardsberger, Digital Content Distribution Manager Valerie Schmitt, Sales Manager VOD

TOP EXECUTIVE

Armin Luttenberger, Head of Content Sales International

THE FORGETTING (Crime, 6 x 45’)

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ROJO SOBRE BLANCO (8 x 70’) Daniela, a forensic linguist living in Madrid, discovers an extraordinary ability to uncover clues others miss during a kidnapping case. Her talent leads her to work alongside police inspector Mario, combining criminal investigations, personal conflicts and a growing attraction between them. LA GRAN AVENTURA DE LA LENGUA ESPAÑOLA (8 x 50’)

LADY MITSUKO – RISING SUN, TURNING TIDES (Universum History, 25’ / 45’ / 52’)

In 1987, as France begins cooperating with Spain against ETA, a breakaway group secretly plans an attack in Paris. After intercepting a coded message, a young Guardia Civil captain races to uncover and stop the imminent operation.

At the heart of Eurasia, the Pamir is a remote mountain world shaped by climatic extremes, from monsoon storms and Arctic winds to desert heat. The series explores its dramatic landscapes, wildlife and cultures, from ice-covered summits to high-altitude lakes and surrounding deserts.

TOP EXECUTIVE

PAUL THE APOSTLE (Biblical, 50 x 45’)

An exploration of the remarkable global rise of Spanish, now firmly established among the world’s major languages and increasingly important as a language of international communication and exchange.

PAMIR – THE WILD HEART OF ASIA (Universum Nature, 1 x 45’ / 1 x 46’ / 2 x 52’)

Fernanda Namorado, Commercial Director

Zasha Robles, Executive Producer and Managing Director, Spiral International

Police officer Pia Kraus is determined to uncover what happened to her 17-year-old niece, Amelie, who disappeared six months earlier. When the girl’s body is found, Pia launches a relentless investigation while facing an increasingly devastating obstacle: early-onset Alzheimer’s is eroding her memory and making her question her own thoughts.

The extraordinary story of Mitsuko Aoyama, one of the first Japanese immigrants to Europe, who arrived in Austria-Hungary in the 1890s. Revered in Japan as a symbol of female emancipation, her life became a remarkable bridge between East and West.

TOP EXECUTIVE

Rosalía Alcubilla Alonso, Head of Global Clients

LA FRONTERA (5 x 60’)

BARRIO ESPERANZA (8 x 75’) After serving time for drug smuggling, Esperanza earns a teaching degree in prison and begins working at a public elementary school. She soon discovers that the lessons learned behind bars may prove just as valuable as her formal training.

Saul of Tarsus, a fervent Pharisee, sees his life transformed by an encounter that changes his destiny. As he becomes Paul, he faces persecution, conflict and trials that test his faith in a story of redemption, sacrifice and purpose. THE LORD AND THE HANDMAID (Biblical, 10 x 50’) A spin-off of ‘Paul the Apostle’ following Elisa, a young woman of unwavering faith who is taken to serve in the household of Caius, a Roman war hero haunted by his past. In Imperial Rome, she faces intrigue, persecution and choices that will test her faith and destiny. THE QUEEN OF PERSIA (Biblical, 30 x 60’) Hadassah, a young Jewish woman raised by her cousin Mordecai, adopts the name Esther to conceal her origins. After becoming Queen of Persia, she must find the courage to reveal her true identity and confront a threat against her people. THE LIFE OF JOB (Biblical, 20 x 55’) An upright man whose faith is put to the ultimate test after losing everything. Inspired by the biblical ‘Book of Job’, the series follows his struggle to hold on to faith through suffering, spiritual conflict and loss.

60.956 average monthly reach in LinkedIn

EDEN (Reality / Dating Format) Thirteen singles head to paradise in search of love and money, but honesty comes at a price. Regular lie detector tests reveal every deception, and each lie drains the prize pot, turning romance and sincerity into a highstakes game. CAPTCHA (Gameshow) Four contestants take on a series of ingenious challenges inspired by the familiar online verification ritual, proving they are human while building their cash pot and trying to survive the ultimate test. The format won the C21 Content London Global Entertainment Format Pitch 2025 and has already been produced in Spain. A VERY GOOD QUIZ (Entertainment / Quiz Format) A deliberately unpredictable quiz show that plays by its own rules, transforming almost any location into a battleground for a major cash prize. Already a hit across two seasons on ProSieben in Germany, the format is returning for a third season. THE LAST COP (Crime Drama, 8 x 45’) Rugged detective Mick Brisgau unexpectedly resurfaces eleven years after a plane crash and must fight to reclaim his life and career. The reboot revives SAT.1’s most successful crime series, a franchise that has already generated several international adaptations.

Listings Mipcom 2026

Vitória

I Play Rocky

La Granja VIP 2

Wuthering Heights

SIC INTERNATIONAL DISTRIBUTION

TELEFILMS

TV AZTECA

Av. del Libertador 1068 C1112 Buenos Aires, Argentina Tel: +54 11 5032 6000 telefilms@telefilms.com.ar telefilmsgroup.com Stand: P-1.K3

Periférico Sur 4121, Col. Fuentes del Pedregal C.P. 14141, Tlalpan, Mexico City, Mexico +52 55 1720 1313 contacto@tvazteca.com www.tvazteca.com Stand: R8.B8

WARNER BROS. DISCOVERY

EXECUTIVES

Estrada da Outurela, 119 2794-052 Carnaxide, Portugal +351 21 425 85 04 sales@sic.pt internationaldistribution.sic.pt

EXECUTIVE

André Santos Silva, Sales Executive

TOP EXECUTIVE

Ricardo Costianovsky, Co-Chairman Alejandro Carballo, Sales Manager Bruce Boren, CEO, Thr3 Media Group Gonzalo Claiman-Versini, CEO, Diamond Films Spain

Carlota Vieira, Content Sales Deputy Director

Karina Montoya, Director of Distribution and Strategic Alliances, TV Azteca Internacional Silvia Pérez, Sales Director, TV Azteca Internacional Paola Salinas, Sales Manager, TV Azteca Internacional

TOP EXECUTIVE

Karina Montoya, Director of Distribution and Strategic Alliances, TV Azteca Internacional

VITÓRIA (Telenovela, TBC 140 x 45’) I PLAY ROCKY (Biography, 2h 8’)

CHAPTERS OF LIFE (Telenovela, TBC 140 x 45’)

THE INVITE (Dramedy, 1h 47’)

After Nanda dies giving birth to twins, her mother rejects baby Clara because she has Down syndrome, while doctor Helena decides to adopt her. Years later, the children’s father discovers the truth and sets out to reclaim them, threatening to tear both families apart. Based on ‘Pages of Life’, created by Manoel Carlos and licensed by TV Globo.

Joe and Angela’s relationship is hanging by a thread, and tonight may be the night everything falls apart. Unfortunately, their upstairs neighbors are coming over for dinner, and everything that can go wrong gets even worse.

AZUL (Drama, 6 x 45’)

Courier Frank is tasked with transporting an organ that could save a young recipient’s life. The mission turns deadly when a ruthless crime boss becomes determined to seize it at any cost.

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A year after the last whale was seen anywhere on Earth, Olivia, a determined 18-year-old with Down syndrome and the daughter of a renowned biologist, joins environmental activists in the Azores on a mission to bring the whales back.

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LA GRANJA VIP 2 (Reality Show)

The inspiring true story behind ‘Rocky’. A struggling actor writes the ultimate underdog story and must fight for the chance to play the role of a lifetime: Rocky Balboa.

RUNNER (Action, 1h 37’)

FJORD (Drama, 2h 26’) Inspired by true events, a conservative Romanian father and his Norwegian wife move with their five children to a remote community in the Norwegian fjords. When their daughter arrives at school with visible bruises, an investigation by child welfare services and police exposes a deep clash between family beliefs and Scandinavia’s social welfare system.

TOP EXECUTIVE

Patricia Jasin, SVP, Content Sales Latam

TOP EXECUTIVE

Tomás Darcyl, Co-Chairman

Vitória fights to protect her family after discovering that her powerful father-in-law is a criminal willing to sacrifice anyone to preserve his empire. After losing custody of her children and spending two years in prison, she returns determined to win them back and expose the truth. Based on the Turkish drama ‘Gülperi’ from TIMS&B and Global Agency.

6505 Waterford District Dr., Suite 300 Miami, FL 33126, USA Patricia.Jasin@wbd.com www.wbitvp.com Stand: C-17

Celebrities leave glamour behind for an extreme countryside experience where they must live together, work and face demanding challenges. Alliances, conflicts and eliminations will determine who becomes the ultimate winner. MASTERCHEF 24/7 (Reality Show) The kitchen never stops, with talent, passion and competition unfolding around the clock. Recipes, challenges and high-stakes emotions turn every dish into a battle for culinary excellence. SURVIVOR LA RELIQUIA EN LLAMAS (Reality Show) The survivors face new challenges, alliances and betrayals in an extreme battle for victory. With the relic at stake, every decision could change the course of the competition.

WUTHERING HEIGHTS (Romantic Drama, 136’) A bold new interpretation of the classic love story, starring Margot Robbie as Cathy and Jacob Elordi as Heathcliff. Bound by an irresistible yet forbidden passion, their relationship evolves from sweeping romance into a devastating obsession shaped by desire, love and madness. MORTAL KOMBAT II (Action, 116’) The warriors return alongside legendary Johnny Cage for the franchise’s most brutal tournament yet. As Shao Kahn threatens the existence of Earthrealm, the champions must enter an epic battle where every fight could determine the fate of their world. THE END OF OAK STREET (Mystery, 100’) When a mysterious cosmic event tears an entire neighborhood from Earth and sends it into the unknown, an ordinary family faces the most extraordinary challenge of their lives. In a world that defies logic, survival will depend on unity, hope and courage.

EXATLÓN (Reality Show) Elite athletes face extreme tests of strength, speed and endurance. Only the best will overcome each demanding circuit and fight their way to victory.

3.486.843 total average annual reach across all our digital media platforms

NEWS ORIGINALS

EVENTS

Movistar Plus has revealed new images from the second season of ‘Celeste’, the hit original series created by Diego San José and starring Carmen Machi, which is set to premiere soon on the platform. Following the success of its first season -winner of national and international festival awards and recognized with honors such as the Ondas and Feroz awards for Best Comedy Series- the show will hold its world premiere at the Serielizados Festival in Barcelona on October 26. Carmen Machi, who received the National Cinematography Award this year, returns as Sara Santano, the tax inspector who, after facing off against a major Latin music star in the first season, now embarks on a new investigation centered on a famous soccer player. The actress once again leads the cast of the Movistar Plus Original series alongside Carlos Blanco, Pol López, Antonio Durán Morris, Aixa Villagrán, Lucas Velasco, Cumelén Sanz, and Carlos Lorenzo, among others. ‘Celeste’ is a Movistar Plus Original produced in partnership with 100 Balas.

Glance, a company specializing in TV and video market intelligence and audience measurement, will participate in MipJunior 2026 and Mipcom 2026 with two sessions focused on the key trends transforming audiovisual consumption worldwide. At MipJunior, Glance will present the keynote NextGen Viewing: Trends Shaping Children’s Content on Saturday, October 10, led by Romy Nicolas, International Research Manager at Glance. The session will examine changing consumption habits among younger audiences and the performance of different content and multiplatform strategies. The second presentation will take place during Mipcom 2026 on Monday, October 12, with the keynote Unlocking Audience & Content Dynamics: Who is Watching, What, How and Why?, presented by Frédéric Vaulpré, Senior Vice-President at Glance, and Candice Alessandra, Head of Research and Client Experience.

MOVISTAR PLUS AND 100 BALAS ANNOUNCE SECOND SEASON OF CELESTE

GLANCE TO BRING GLOBAL AUDIENCE INSIGHTS TO MIPJUNIOR AND MIPCOM 2026

PRODUCTION

MERZIGO RESTRUCTURES BUSINESS INTO FOUR UNITS AND RAISES CONTENT INVESTMENT Merzigo is entering a new phase of expansion with a restructuring of its business into four specialized units and an increase in its content investment commitment to US$200 million for 2027. The company, which specializes in content distribution and monetization across digital platforms, has introduced Merzigo Studios, Merzigo Platforms, Merzigo Ad Alliance and Merzigo Academy as the four pillars of its global business. The new structure expands Merzigo’s activities across content investment and production, technology, advertising and talent development. The new model is designed to support content owners and creators across a broader part of the value chain, from rights acquisition and project financing to production, international distribution and monetization.

AWARDS

NEM Awards 2026 will once again celebrate outstanding television projects and series through two established categories: Best Pre-Development TV Series in Europe and Best Finished TV Series in CEE, while this year’s edition introduces Pitch & Play Live! as a new third category, spotlighting original unscripted formats from the CEE region with international potential. The NEM Awards are returning as part of NEM Zagreb 2026, taking place on 7–8 December at the Esplanade Zagreb Hotel, bringing together television professionals from across Europe and the CEE region.

ttv Magazine

NEM AWARDS HIGHLIGHT BEST TV FROM EUROPE AND CEE, ADD NEW CATEGORY

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IN NUMBERS

64 million viewers tuned in to the grand finale of ‘MasterChef México’ on TV Azteca and Disney+

15 new Mexican productions will premiere on Netflix in the coming months, the platform announced

14,000 subscribers joined

pay TV services in Portugal in Q2 2026, reaching a total of 4.7 million, according to Anacom

EXECUTIVES

BBC STUDIOS BOLSTERS IBERIA OPERATIONS WITH NEW MADRIDBASED TEAM BBC Studios is set to strengthen its presence in Spain and Portugal by establishing a new Madrid-based team dedicated to driving its Channels & Streaming business in both markets. The new unit will be led by David Urgell Pérez, who assumes the role of Country Manager for Iberia. He will be joined by Cristina Miquel as Head of Marketing and Carlos Méndez as Head of Programming. Key objectives for the team include strengthening BBC Studios’ relationships with regional operators and platforms, as well as developing new opportunities for its channels and streaming services. The company stated that this new operation will provide a structure closer to the Iberian market, enabling a more direct response to evolving content consumption habits and growth opportunities in Spain and Portugal.

63% of US households

with internet access use AI tools, Parks Associates revealed

187.1 billion

euros is how much advertising spending in Europe totaled in 2025, according to a report by Confindustria Radio TV

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20 FAST channels will be

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launched by Stingray on LG Channels this October, reaching 13 European markets

STREAMING

APPOINTMENT María Bonaria Fois New Business Representative for Europe at Universal Cinergia Dubbing

UNIVERSAL CINERGIA DUBBING STRENGTHENS ITS EUROPEAN PRESENCE WITH MARÍA BONARIA FOIS Universal Cinergia Dubbing has announced the appointment of María Bonaria Fois as New Business Representative for Europe. Fois brings over 30 years of industry experience, having built her career in areas such as international distribution, production, sales, acquisitions, and business development. Throughout her career, she has held leadership positions at companies including PPM Multimedia, BRB International, and Mondo TV Spain / Mondo TV Iberoamérica. “Bringing a professional like María into our organization means much more than simply adding experience to our team. It means welcoming someone who combines deep knowledge of the audiovisual industry with exceptional personal qualities, a strong commercial vision, and decades of established industry relationships,” said Gema Lopez, COO of Universal Cinergia Dubbing. “Her joining Universal Cinergia Dubbing represents a natural evolution of our international growth strategy,” added Liliam Hernandez, the company’s CEO.

PRIME VIDEO ANNOUNCES THE PREMIERE OF A NEW SLATE OF INTERNATIONAL ORIGINALS At the “Obsessed Retreat: Class of ’26” event, Prime Video unveiled its largest young adult content lineup to date, led by a new wave of international originals from Spain, France, Germany, Italy, and India. The slate includes ‘Tommen’ (series, UK), ‘Love Me Love Me 2’ (film, Italy), ‘Culpa nuestra: Londres’ (film, UK), ‘Off Campus’ (series, USA), ‘Enfrentados: Marfil’ (film, Spain), ‘Tú+yo: Solos contra todos’ (film, France), ‘La hipótesis del amor’ (film, USA), and ‘Dímelo en secreto’ (film, Spain), among others.