World Screen December ATF 2025 Edition

December/ATF 2025 Edition

WWW.WORLDSCREEN.COM

THE MAGAZINE OF INTERNATIONAL MEDIA

Asian Innovation / CJ ENM’s Sebastian Kim / ITV’s Ayesha Surty All3Media International’s Sabrina Duguet

contents

DECEMBER 2025 WORLD VIEW By Anna Carugati.

UPFRONTS Spotlighting new content on the market.

ASIAN INNOVATION A range of distributors active in the Asia-Pacific region discuss how originality and innovation are at the heart of the Asian market.

CJ ENM’S SEBASTIAN KIM The VP of international content distribution on how strategic partnerships are helping the company bolster its distribution activity.

ALL3MEDIA INTERNATIONAL’S SABRINA DUGUET The executive VP for the Asia-Pacific region on what is fueling demand for local adaptations across Asia.

ITV STUDIOS’ AYESHA SURTY The head of brand partnerships for Asia and India explores what has made The Voice so popular across the region.

TRENDING ON The most-viewed clips on our video portals for the last 30 days.

PROGRAM LISTINGS Highlights from several distributors.

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Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati Executive Editor Jamie Stalcup Managing Editor Rafael Blanco Associate Editor Kloudia Sakowski Editor, Spanish-Language Publications Elizabeth Bowen-Tombari Production & Design Director David Diehl Online Director Simon Weaver Sales & Marketing Director Dana Mattison Sales & Marketing Manager Genovick Acevedo Bookkeeper Ute Schwemmer

Ricardo Seguin Guise President Anna Carugati Executive VP

world view

BY ANNA CARUGATI

The Shows That Bind Us For most of the past year, I’ve taken time off from work to help my sisters in Italy care for our ailing mother—a heart-wrenching responsibility. Back at home, I tried to alleviate my sadness by attempting a long-avoided task: decluttering the junk my son and daughter left behind when they moved out—an agonizing endeavor of another sort, rummaging through boxes of beloved stuffed animals, drawings, favorite books. I also found every laptop, smartphone, handheld video game and console they ever owned.

Contemplating what to do with all these memorabilia, I remembered something I had read before a trip to Japan last year. For several post-WWII decades, numerous Asian countries specialized in exporting essential products for everyday life: appliances, cars, computers, smartphones. In Japan’s case, as its economic boom waned, it transitioned to making a slew of must-have non-essentials for vast swaths of people: anime, manga, video games. South Korea followed suit, bolstering its entertainment industry with K-pop and K-dramas—both enormous hits around the globe.

In this issue, I look at Asian distribution and broadcast companies selling content worldwide. I speak to CJ ENM’s Sebastian Kim about Korean programs with international appeal. As All3Media International’s Sabrina Duguet explains, numerous Western formats are being adapted in Asia. ITV Studios’ Ayesha Surty talks about the international success of The Voice. In my feature, I heard from several companies about the innovation at the heart of the Asian market.

What a relief it has been to jump back into work. Learning about the universal themes in hit shows is a reminder of how much unites us, and of the invaluable comfort of escapist programming.

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upfronts

CNA Originals

The Mark of Empire—Kingdoms of the Sea / China’s Night Boom / Besties CNA Originals’ The Mark of Empire—Kingdoms of the Sea delves into the legends of Asia’s forgotten kingdoms. China’s Night Boom explores the economy of China at night, during which over 60 percent of urban consumption happens. Besties takes a deep dive into AI companions. “As Asia dominates international headlines, CNA Originals goes further, delving beneath the surface to uncover the human narratives, cultural forces and historical threads shaping the region’s destiny,” says Raju Jayakumar, deputy chief editor for current affairs and content commissioning and planning.

The Mark of Empire—Kingdoms of the Sea

“CNA Originals is the only global English-language documentary brand devoted exclusively to telling the stories of Asia, the most dynamic and fast-changing region in the world.”

—Raju Jayakumar

GMA Network

Her Name Was Carolina / My Father’s Wife GMA Network’s Her Name Was Carolina follows Lorena, a woman who seemed to have it all, until her true identity as Carolina is revealed.

My Father’s Wife follows Gina, who marries her My Father’s Wife best friend’s boyfriend to help him secure a green card. A night of passion between them leads to an “At ATF this December, our mission is to showcase unexpected pregnancy. In retaliation, Betsy marGMA’s content to the world, ries Gina’s father. “The stories explore universal revive the presence of themes such as betrayal, justice and forbidden Filipino dramas in Southeast love, which cut across cultures and resonate with Asian markets, strengthen existing audiences everywhere,” says Rochella Ann Salvador, partnerships and secure deals for 2026.”

—Rochella Ann Salvador assistant VP of the Worldwide Division.

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Inter Medya

Halef / Eshref Ruya / Boardroom to Bedroom Inter Medya is bringing to ATF Halef, which follows Serhat. Shortly after secretly marrying the woman he loves, he is forced to return to his hometown, a place he has long avoided. In Eshref Ruya, Eshref is a top member of a mafia syndicate in Istanbul. He does not realize that the woman he is falling in love with is the same one he has searched for since childhood. Boardroom to Bedroom follows Murat, who returns to Istanbul to take over his family’s company, only to find Azra already sitting in the CEO’s chair.

Halef

Just a bit Espers

TV Asahi Corporation

Just a bit Espers / Masked Ninja Akakage / Akane-banashi On offer from TV Asahi Corporation, the new sci-fi comedy Just a bit Espers centers on a divorced man who gets a job where he must live in companyprovided housing and live as the husband of a stranger. Masked Ninja Akakage serves as a liveaction adaptation of a manga. Akane-banashi follows a woman pursuing her dream through rakugo storytelling and is “sure to become an inspiring series that captivates audiences worldwide,” says Takamitsu Tagami, who works in live action, variety shows and sports sales in TV Asahi’s international business department.

“Just a bit Espers, written by hitmaker Akiko Nogi and starring popular actor Yo Oizumi, is distributed globally on Netflix and consistently ranks among the top domestic dramas in Japan.”

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—Takamitsu Tagami

Asian Innovation

GMA Network’s Her Name Was Carolina.

Anna Carugati hears from a range of distributors active in the Asia-Pacific region on how originality and innovation are at the center of the Asian market.

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sk the average consumer in the West what products they associate with Japan and South Korea, and the answer will likely include smartphones, computers, cars and video games.

Innovation and skill have been at the core of Asian electronics companies. Similarly, creativity, originality and a willingness to experiment are the heart and soul of these countries’ entertainment industries.

For decades, anime has garnered legions of fans worldwide. “The genre that generates the highest international sales for TV Asahi is finished tapes of anime programs,” says Makiko Inaba, director of the company’s international business department. “Among them, Doraemon, a long-running and nationally beloved anime still airing in Japan, is the best-selling title.”

Game shows have also traveled well, as viewers often identify with contestants, enjoy the vicarious thrill of gameplay and the universal appeal of competition.

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Fuji TV boasts several long-running game-show formats. “One of Fuji TV’s most recognized formats, Hole in the Wall, distributed by Fremantle, has been adapted in 45 countries,” notes Tomoaki Hashizume, the head of global distribution and business development.

“Another notable title is Iron Chef, which first aired in 1993 and has since been adapted into 12 different versions, including American, Mexican and Brazilian editions on Netflix in 2022,” continues Hashizume. Featuring sports-style commentary and a distinctive “Kitchen Stadium” set, Iron Chef introduced an innovative approach to televised cooking competitions, making the viewing experience comparable to that of watching a sporting event. Other game shows with global reach include Total Blackout and The Noise.

“In recent years, Run for Money, a large-scale tag game, has been formatted for audiences in China and Vietnam and is currently under option in the U.K. and U.S. markets,” Hashizume adds. “Our latest format, VS School–The Ultimate HIDE and SEEK, has been optioned in Denmark.”

“Our high-energy game shows with straightforward concepts, zany traps and instantly memorable moments like Red Carpet Survival and Silent Library continue to gain traction worldwide, especially as producers look for content that works well on linear and digital platforms,” explains Yuriko Nakamura, who works in global sales and licensing at Nippon TV. Whether an unscripted format will run on a linear channel or an SVOD service helps distributors determine which genre to offer.

“Certain genres have a greater demand on streaming platforms, while others are better suited to linear television,” says Jin Woo Hwang, president and founder of the Korean company Something Special. “Therefore, it is very important to consider how a specific format should be packaged for the buyers.” The company’s sales include reality competitions like Iron Squad and Still Alive; factual entertainment such as Unforgettable Duet; comedy, including Hit and Miss Tour; and studio entertainment, with Make Me Glow and Martial Arts: The Show.

EMOTIONAL INVOLVEMENT The universal themes prominent in drama series have helped the scripted genre travel worldwide, with K-drama as an extraordinary example. Much of Asian drama’s international exposure comes thanks to global streaming services.

For the Korean entertainment group CJ ENM, “the romantic comedy genre, combined with fantasy elements, has been a ‘steady seller’ until now, with its 12/25 WORLD SCREEN 19

Doraemon is among TV Asahi Corporation’s best-selling anime programs. comprehensible narrative development and heartwarming chemistry between the cast,” says Sebastian Kim, the company’s VP of international content distribution.

“Our recent titles, such as Bon Appétit, Your Majesty; Head Over Heels; and My Dearest Nemesis, have demonstrated how this genre can captivate international viewers’ attention with record-breaking results.”

GMA Network also distributes scripted series. “Our dramas remain the strongest performers internationally, driven by relatable stories and emotional depth,” says Rochella Ann Salvador, assistant VP of the company’s Worldwide Division. “The family drama genre consistently resonates with global audiences, reflecting the universal appeal of Filipino storytelling.”

“GMA produces programs with ‘glocal’ appeal—stories that resonate not only with Filipino audiences but also with viewers worldwide,” continues Salvador.

“Our content often explores themes like family, love, betrayal, justice and revenge— narratives that cut across cultures. Series such as Her Name Was Carolina and My Father’s Wife showcase romance and family drama, featuring strong, relatable characters whose journeys of resilience and overcoming obstacles appeal to local and global audiences.”

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Nippon TV is seeing similar success with its scripted titles. “Dramas featuring strong female leads and universal themes of resilience and purpose are our strongest sellers,” says Nakamura. “In addition to Mother (11 adaptations as of today), recent hits like Rebooting and The Greatest Teacher are actively captivating worldwide audiences as finished series on global streaming platforms, with several international adaptations already in the pipeline.”

TELLING REAL-LIFE STORIES The Japanese public broadcaster, NHK, has long been selling high-quality factual programming across the globe. “NHK’s dramas enjoy strong popularity across Asia, while internationally, its documentaries covering diverse genres—science, wildlife and art—continue to attract broad audiences,” says Kazuko Taguchi, general manager of the content distribution department at NHK Enterprises.

EXTENDING DISTRIBUTION Given the success these companies have had selling finished shows and formats, they have been boosting their distribution efforts.

“Our mid-term management plan for fiscal year 2025-27 is explicitly titled ‘Gear Up, Go Global’,” says Nippon TV’s Nakamura. “This signals a major strategic shift: We no longer view global business as secondary to traditional linear ad revenue, but as a primary driver for future growth. Quantitatively, our goal is to triple our international content sales share to approximately 15 percent by 2033.”

“This isn’t just reacting to the industry-wide shift toward alternative platforms,” explains Nakamura. “It’s about proactively leveraging our diverse portfolio, which spans from unscripted and scripted formats to anime, film and other forms of IP to capture incredible new opportunities in the global marketplace.”

“We believe that Korean creativity has often remained undiscovered,” notes Something Special’s Hwang. “Therefore, the task for Korean players is straightforward: How can we work harder so that international buyers can discover Korean creativity more quickly, clearly and effectively? These are precisely the challenges Something Special is striving hardest to address.”

“To scale specifically in unscripted, we are moving beyond just selling formats to actively co-creating for the global stage,” says Nippon TV’s Nakamura. “A key 12/25 WORLD SCREEN 21

Secret Little Assistant is a new social experiment format on offer from Nippon TV. first step was establishing Gyokuro Studio, led by hitmaker Ken Akiyama, the creator of Block Out, adapted in five countries, and Exit!, adapted in three countries. Its mission is to develop ten globally viable unscripted titles annually.”

BETTER TOGETHER Partnerships, whether in distribution or production, are yielding numerous advantages.

Fuji TV has worked with studios, OTT platforms and others to enable larger-scale content that meets global standards, says Hashizume. “Through co-productions with major overseas partners, we seek the opportunity to learn production methodologies aligned with global standards while expanding the scale of the content itself (with high budgets) and attempting global distribution. One good example is the live-action sci-fi drama series Heart Attack, which Fuji co-produced with Skybound Entertainment in the U.S. It garnered significant attention as an international co-production with the company behind such major franchises.

The other example of co-production is the Japanese remake of the global hit drama series Girl from Nowhere with GMM 25 in Thailand. The project was launched in 2024, and production is underway.”

“We regularly engage in international co-development projects each year, partnering with Korea’s top creative directors, including those behind internationally acclaimed shows like Physical: 100, Single’s Inferno, Running Man and many more,” explains Something Special’s Hwang. “We let them collaborate with prestigious international companies such as Fremantle Netherlands, Japan’s TBS, 22 WORLD SCREEN 12/25

ITV Studios, Armoza Formats, Critical Content, etc. Together, we co-create new unscripted IPs that resonate globally.”

TV Asahi also has experience co-producing with multiple countries.

“The advantages of co-production are numerous—not only on the busiNHK Enterprises’ Kamikaze: An Untold History ness side, but also in gaining valureflects on the World War II kamikaze attacks. able know-how from local production companies,” explains Inaba. “It enables us to expand the scope of our IP and production methods through perspectives and ideas that we might not have conceived domestically. Effective use of resources—human, knowledge, technology and expertise—along with developing IPs that can evolve from local to global and finding the right partnerships for that process are areas we intend to explore more actively in the future.”

NHK is very involved in international co-productions, and as Yuko Fukuyama, senior producer of international co-productions, explains, “The greatest benefit is that we are able to bring together budgets, talents and resources to create impactful programs. This is becoming ever more important in an age when public media companies around the world are facing budget constraints due to changes in the media landscape. Viewer expectation for grand-scale programming remains high, and NHK is always looking for new styles of storytelling and event programs with new discovery/big impact on a global scale.”

EXPORTING UNIQUE CREATIVITY These companies are using new technologies to continually improve their shows.

“Social media and global video platforms have dismantled traditional borders, allowing overseas viewers to discover unique Japanese shows organically,” says Nippon TV’s Nakamura. “A recent example is our new show, where we leveraged AI to revitalize vintage footage from a famous quiz show with newly shot voices and imagery; we immediately received international inquiries based purely on buzz, even though we weren’t actively selling the format.”

“Our role as an international sales team is getting increasingly important, as we act as cultural translators for this organic interest,” continues Nakamura. “We work to identify why a native Japanese format is viewed as innovative or topically relevant [internationally] and then reframe it to meet current global trends.”

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rom Oscar-winning films to K-pop, K-dramas to musicals, CJ ENM has been at the forefront of Korean entertainment and popular culture. Its commitment to finding original stories and voices has allowed the company to sell movies, TV series and formats not only across Asia but also to the rest of the world.

Sebastian Kim, the VP of international content distribution, talks to World Screen about how strategic partnerships are helping CJ ENM bolster its distribution and sell its dramas as formats and finished tape.

Sebastian Kim CJ ENM

By Anna Carugati

WS: What is CJ ENM’s strategy for increasing the worldwide distribution of its programming?

KIM: First, we strengthen our presence through local broadcasters and OTT partnerships across key regions. We maintain an active pipeline with Netflix and Prime Video, supported by several recent top ten global performances.

In Asia and Southeast Asia, markets where our shows already enjoy strong popularity, we continue to expand long-term distribution while also entering new territories.

For example, in India, CJ ENM partnered with MX Player, 28 WORLD SCREEN 12/25

an Amazon-owned platform, to release a dubbed K-drama package in multiple local languages.

Second, we pursue strategic platform alliances that provide branded shelf space and broader regional visibility. A multiyear partnership with Warner Bros. Discovery will bring a dedicated TVING hub to HBO Max across 17 Asia-Pacific markets in 2026. Together, these tracks enable CJ ENM to combine global reach with deep local engagement, positioning our content at the center of the global K-content wave.

“CJ ENM [combines] global reach with deep local engagement, positioning our content at the center of the global K-content wave.”

WS: Do you sell your dramas as they originally air in Korea, or do you offer them as remakes or formats?

KIM: We distribute dramas that are on air, as well as remakes and formats that are feasible to be adapted in other countries. Besides some of the well-acclaimed finished titles available on several streaming platforms, we have some of the most successful formats that have already been remade in multiple countries.

Representatively speaking, I Can See Your Voice, a global hit music game-show format, which celebrates its tenth anniversary, has been commissioned in 30 countries. We also have some scripted titles that are remade in different countries.

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Sabrina Duguet All3Media International

By Anna Carugati

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ll3Media International has a treasure trove of programming to offer audiences worldwide. As Sabrina Duguet, the executive VP for the Asia-Pacific region, explains, numerous scripted and non-scripted shows are being picked up in various Asian countries.

WS: What factors have been fueling demand for local adaptations of your shows?

DUGUET: Over the past few years, local content production has increased significantly in volume and quality, leading to a huge demand for new scripted series in Asia. But production companies and writers couldn’t fulfill it, so demand was high, while supply was low. Secondly, a slightly different skill set was needed. Writers were creating long-running series, since there is a tradition in Asia for telenovela-style dramas, and they were writing a lot of movies, but not the six-, eight- or ten-part series 30 WORLD SCREEN 12/25

that were suddenly in high demand, specifically from the VOD platforms. Scripted formats fulfilled that void. The last point is the ability to fast-track the process. Everybody wants a quick turnaround, and scripted formats make that possible.

WS: What support do you offer the channels, platforms or production companies that are adapting your shows?

“Our duty is not just to bring a good idea, but to support [producers] through the [adaptation] process.”

DUGUET: I’ve always said to my team: How can we bring more value to the client at a time when everybody—producers, broadcasters, platforms—is facing challenges? Our duty is not just to bring a good idea, but to support them through the [adaptation] process with knowledge about the type of marketing, funding, sponsors and collaborations that have taken place in other countries.

We also help during production. Take The Traitors and the 35plus versions we’ve worked on; that comes with a huge amount of knowledge: the execution of the production, the editing, the marketing and the licensing. We don’t just bring a show; we bring a brand. For The Traitors, we’ve seen how successful everything outside the show has been: the companion shows, the clothes that you can sell. It’s a good way to generate extra revenue, and it’s a fantastic way to engage with the audience in a different way.

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or 15 years, the singing competition The Voice has been entertaining audiences around the world. As Ayesha Surty, the head of brand partnerships for Asia and India at ITV Studios, explains, part of the show’s enduring appeal is that it’s family programming with universal themes.

Ayesha Surty ITV Studios

By Anna Carugati

WS: What elements have made The Voice so popular across countries and cultures?

SURTY: It resonates globally because it taps into a universal theme, which is the power of music. That connects people across languages and cultures. In Southeast and South Asian countries, while we have The Voice in Thailand, the Philippines, Indonesia, Vietnam, Mongolia, Nepal and Sri Lanka, sometimes people sing in languages that [the viewers] are not familiar with. Sometimes they sing in English.

That’s where we see the universal power of music that connects people across language and cultural barriers.

If you dive down into the format itself, we have three unique elements—first, the blind auditions, which were one of the show’s big USPs from the start. You don’t see the contestant. You don’t see what they look like. It’s 100 percent 32 WORLD SCREEN 12/25

blind, so the contestant is being judged purely based on their voice. Another key element is our coaches. If you notice, we call them coaches, not judges, because they are there to coach and to mentor. They are A-list people in the music industry— top singers, producers. That is another USP. So is the mentorship angle, as well as the camaraderie and the chemistry

“[The Voice] resonates globally because it taps into a universal theme, which is the power of music.”

among the coaches.

The third thing is our involvement. We get involved before we even make a sale. We don’t hold back on making sure the client knows we first understand their needs and that they understand what the show entails. A very robust part of our business is the creative network and production consultancy.

WS: In Asia, is The Voice always produced the same as the original versions in the Netherlands and the U.S., or has it changed?

SURTY: It’s always the same. The DNA of the show never changes. We always have the blind auditions, the battles, the knockouts, the semi-finale and the finale. Of course, there are cultural nuances, and depending on what the client wants, we change things around. But otherwise, if you see The Voice in Thailand, the U.S., the Netherlands or the U.K., the look and feel, the structure and the DNA are consistent.

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Trending On The most-viewed clips on our video portals in the last month.

Weiss & Morales Mismatched investigators solve gripping crimes in the Canary Islands, blending cultural tension, personal secrets and evolving trust in a character-driven detective drama. (ZDF Studios)

Heist: Robbing the Bank of England Tells the definitive story of the 1990 Bank of England heist, the largest street robbery in the world. (BossaNova Media)

Dino Ranch: Island Explorers The spin-off of the smash-hit preschool series Dino Ranch propels the Cassidy family into all-new, high-octane adventures on the mysterious and exotic Dino Island. (Boat Rocker Studios)

Pharaohs at War Step into ancient Egypt’s epic battle—brought to life with CGI, expert insights and thrilling stories of pharaohs, strategy and power that shaped history. (ZDF Studios)

Pablo: Next Level Pablo has joined a new school and it’s strange, wild and definitely complicated, but with a little “help” from his book animal friends, he’s working it out one drama at a time. (CAKE) 34 WORLD SCREEN 12/25