World Screen MIPCOM 2025 by World Screen

Boston Blue ’s

Donnie Wahlberg & Sonequa

YELLOWSTONE TO YOSEMITE

BOLD ANIMATION

SHE GOES

THERE

YELLOWSTONE TO YOSEMITE

DEPARTMENTS

WORLD VIEW

By Mansha Daswani.

UPFRONTS

New content and services.

TECH TRENDS

Bedrock’s Jonas Engwall.

MILESTONES

Rainbow’s Iginio Straffi.

IN FOCUS

CJ ENM’s Jangho Seo.

SPECIAL REPORT

Bavaria Media’s Helge Köhnen & Tanja Grinscher.

TV LISTINGS

Listings for some 80 IP owners attending MIPCOM.

PLATFORM VIEW

Pluto TV’s Olivier Jollet.

TRENDING ON

STAR POWER

DONNIE WAHLBERG & SONEQUA MARTIN-GREEN

The stars of Boston Blue, a spin-off of Blue Bloods, discuss what drew them to the upcoming series, which is set for a world premiere screening this MIPCOM.

SPOTLIGHT

NBCUNIVERSAL’S MICHAEL BONNER

The president of NBCUniversal Global TV Distribution on the sustained need for procedurals, AVOD opportunities and collaborating with clients.

MARKET TRENDS

LIONSGATE’S JIM PACKER

The indie studio’s president of worldwide television distribution is driving innovation in AVOD and FAST deals.

IN THE NEWS

FOX ENTERTAINMENT GLOBAL’S PRENTISS FRASER

The president of the FOX Entertainment commercial division shares what attracted her to the opportunity and how she is building on the unit’s gains.

INDUSTRY SHIFTS

FACING THE FUTURE

From FAST services to YouTube channels, we hear from several IP owners about their direct-to-consumer initiatives.

ONE-ON-ONE

RTL GROUP’S THOMAS RABE

On the heels of his transformative Sky Deutschland deal, the CEO of RTL Group talks scale, AI and more.

ON THE RECORD

ZDF’S NORBERT HIMMLER

In his third year at the helm of the German public broadcaster, ZDF’s directorgeneral showcases how it is maintaining its relevance and positioning itself for the future.

TVDRAMA

TVKIDS

Publisher

Ricardo Seguin Guise

Editor-in-Chief

Mansha Daswani

Managing Editor Jamie Stalcup

Associate Editor Kloudia Sakowski

Editor, Spanish-Language Publications

Elizabeth Bowen-Tombari

Associate Editor, Spanish-Language Publications

Rafael Blanco

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

Mansha Daswani

Associate Publisher & VP, Strategic Development

BY MANSHA DASWANI

Generational Shift

For the first time in more than a year, WARC had a reason to upgrade its advertising revenue forecasts; citing a “social media windfall,” the research company said it now expects 2025 ad revenues to rise by 7.4 percent to $1.17 trillion.

“Global ad spend is growing rapidly, with digitalﬁrst platforms capturing almost all the new money,” said James McDonald, director of data, intelligence and forecasting at WARC and author of the report.

“Despite economic headwinds, including disruption to global trade and reduced purchasing power among consumers, brands are doubling down on Meta, Alphabet and Amazon, while emerging players like TikTok are growing fast but from smaller bases.”

Advertisers are going where the audiences are, so “traditional” content companies—whatever that means today—have to do so as well. That was a recurring theme in all of the conversations I had with senior media executives for this edition. From pursuing alliances with the creator economy to developing vertical shorts to making sense of how best to use AI and analytics, everyone is in some state of restructuring or rebuilding.

“The international media industry is in the middle of a fundamental transformation, with big opportunities for those prepared to shape the future,” says RTL Group CEO Thomas Rabe in my interview with him in this edition. The European media giant is driving its transformation via the acquisition of Sky Deutschland, exploring all the beneﬁts of AI, scaling its streaming operations and investing in its content engine, Fremantle.

“The transformation of the media industry demands and opens up new paths,” Norbert Himmler, director-general of ZDF, says in my Q&A with him in this edition that addresses how the public broadcaster is keeping itself relevant to local audiences.

that launched in the U.S. this summer. “We do the premium licensing ﬁrst, and when there’s an opportunity to maximize a shorter window, we do that.”

Discussing the studio’s approach to YouTube, AVOD and FAST, Packer referenced the importance of responding to the data, another theme that cropped up in so many of my conversations for this edition. Pivot, adjust, listen to your audience and what the market is telling you might be a white space. And be prepared to move quickly; being slow to react doesn’t suit a media economy increasingly driven by rapidly produced, bitesized entertainment.

Not that long-form, premium production is going anywhere. It’s not. The same young adults who spend most of their media time daily on social video turned up in droves to the theaters to see KPop Demon Hunters after driving that film to the top of Netflix’s ratings charts worldwide. We are in the attention economy, though, so if you’re living only in one space—linear, social, SVOD or FAST— discovery is an uphill battle; and it’s only going to get harder once AI video floods the market.

We are in the attention economy, so if you’re living only in one space— linear, social, SVOD or FAST—discovery is an uphill battle.

“The media landscape is dynamic and constantly evolving, and I feel it’s important that we not only acknowledge its ever-changing nature but also proactively adapt to it and explore ways to turn disruption into a catalyst for opportunity,” is how NBCUniversal’s Michael Bonner describes the current landscape. He weighs in on AVOD, FAST, windowing and more in this edition as he marks his ﬁrst MIPCOM leading the powerhouse’s global distribution operations.

“You have to be comfortable with the massive changes taking place around you,” Lionsgate’s Jim Packer told me during our conversation about how the indie studio came to be one of Roku’s ﬂagship content partners in Howdy, the new low-cost SVOD service

AI came up in many of my conversations, but I don’t think there was a single chat that did not involve YouTube: Where it sits in your overall monetization strategy and how to optimize your business to make the most sense of it. As it marks its 20th anniversary, YouTube will have its ﬁrst major presence at MIP COM, occupying a branded area inside the Palais and staging workshops centered on areas like audience growth and monetization. “Their ongoing goal is nurturing new partnerships across the TV industry,” RX France’s Lucy Smith told me ahead of the market. The transformation of the media business brought about by the creator economy is resulting in the “biggest shift in a generation for MIPCOM,” Smith added. “The creator economy is shaping the future of the industry. Our goal is to bring together the creator economy with mainstream media to help ﬁnd new ways of working together. As the industry’s biggest global gathering, we can help bridge that gap.” And, of course, collaboration is the other trend shaping the business, from the New8 alliance, made up of European pubcasters, to the game-changing streamer and broadcaster alliances that have made headlines over the last few months.

All3Media International

Trespasses / The Inheritance / American Prince: JFK Jr.

Set in 1970s Belfast, All3Media International’s Trespasses tells the story of Cushla, who meets and dives into an affair with a married Protestant barrister. The Inheritance is a reality game of wit, willpower, persuasion and betrayal where a group of strangers are lured by one irresistible opportunity: to inherit a chunk of a vast fortune. “Set in a vivid, glamorous setting, this reality competition format has the power to attract A-list talent, with Elizabeth Hurley fronting the recently launched U.K. version,” says Jennifer Askin, executive VP for the Americas. American Prince: JFK Jr. is a three-part series about John F. Kennedy, Jr. EverWonder Studio’s documentary provides unprecedented archive footage and access to his life and legacy. “It’s a fascinating story about a long-lost prince,” adds Askin.

“[American Prince: JFK Jr.] will appeal to those looking for both a glamorous and escapist watch—the series transports audiences back to the halcyon days of 1990s New York.”

—Jennifer Askin

Amazon MGM Studios Distribution

Daisy Jones & the Six / The Summer I Turned Pretty / Project Hail Mary

The Amazon MGM Studios Distribution offering includes Daisy Jones & the Six and The Summer I Turned Pretty, hit book adaptations that have both “created viral sensations and cultural moments in the U.S. and internationally,” says Chris Ottinger, head of worldwide distribution. “In addition, the two series have demonstrated strong staying power beyond their initial launches, with music, fashion and fan engagement continuing to drive cultural relevance and international reach.” Project Hail Mary, adapted from Andy Weir’s book of the same name, is also on the slate, as are Crime 101, Masters of the Universe and Three Bags Full: A Sheep Detective Movie “At MIPCOM, we’re focused on expanding the reach of our ﬁlms and series by partnering with international buyers who want content that entertains and resonates,” Ottinger says.

ARD Plus

naked / David and Goliath / Helix

Among the titles ARD Plus is presenting at MIPCOM, the drama naked “offers a modern, bold format that clearly sets itself apart from classic love stories,” says Malgorzata Obes, senior sales manager for international distribution. Starring Svenja Jung, it tells a story of toxic love, sex addiction and emotional dependence. The hospital drama David and Goliath addresses the topic of mental health in the workplace as it follows a psychotherapist working in a clinical practice. Helix, based on Marc Elsberg’s best-selling book, “combines a highly topical issue—genetic research and its ethical limits— with an exciting thriller plot,” Obes explains. It is “ideal for platforms looking for socially relevant content with suspense and depth.” The title tells the story of a BKA bodyguard who becomes enmeshed in a global conspiracy.

David and Goliath

“Our goal is simple: deliver stories that spark engagement, create long-term value and connect with audiences worldwide.”

—Chris Ottinger

“We look forward to connecting with partners from all over the world, discovering new opportunities for collaboration and sharing the strength of German storytelling.”

—Malgorzata Obes

The Summer I Turned Pretty

American Prince: JFK Jr.

Artist View Entertainment

Fortress

Love on

Tap

/ A Murder Between Friends

At MIPCOM, Artist View Entertainment will showcase Fortress, a war docuseries exploring some of Europe’s unique forts and castles. Alongside it is Love on Tap, a romantic comedy starring Alex Moffat and Kennedy McMann. “For mystery lovers, A Murder Between Friends delivers a tightly woven thriller in the tradition of Agatha Christie and Knives Out, featuring an ensemble cast including Joan Collins, Jacob Young, TobyAlexander Smith, Nadia Bjorlin, Simon Cotton, India Thain, Hana Vagnerová, Jim Borstelmann and Espen Hatleskog,” says Scott J. Jones, president. Other titles include Six Days in Evergreen, 25 Miles to Normal, The Ghost Trap, The Legend of Van Dorn and A Chrismystery. Jones adds, “At MIPCOM, our focus is always on strengthening the valued relationships we’ve built while continuing to form new ones.”

Asia TV Forum (ATF)

December 2-5, Marina Bay Sands

ATF is returning to Singapore’s Marina Bay Sands, putting the spotlight on the fast-developing media business across the region. A key focus this year is a look at micro-dramas. “ATF 2025 will reﬂect the level of serious commitment to this subgenre boom—activities will include a keynote session, an elevated panel discussion with key players in micro-drama, a masterclass, a showcase and distinct companies who intend to buy this genre,” says Hui Leng Yeow, group project director at RX Global, which organizes the annual show. On the market ﬂoor, Italy, Macau, South Korea and the Philippines will be presenting new pavilions, and Thailand will have a strong presence. “The ATF has matured in tandem with the rise of Asia on the global entertainment content stage,” Yeow says.

“Our slate is carefully curated to appeal to a wide range of audiences, offering something for everyone.”

—Scott J. Jones

“With attendees from 60 countries and regions, ATF is the most international event in Asia, where the industry congregates to celebrate the best talents and storytelling.”

—Hui Leng Yeow

Calinos Entertainment

Lies After Lies / Chasing the Sun / For My Children

Calinos Entertainment’s Lies After Lies, adapted from the Korean drama Lie After Lie, “brings a fresh emotional intimacy and a distinctly Turkish storytelling tone,” says Onur Sözener, head of sales. “It’s a powerful tale of memory, motherhood and one woman’s relentless ﬁght to be heard in a world that refuses to believe her.” Chasing the Sun tells the story of two wounded people who cross paths when they least expect it. For My Children is an Arabic-language adaptation of the Turkish drama Kadın. “While this version reﬂects the cultural texture of the Arabic-speaking world, the emotional core of the story is universal,” Sözener says. He adds, “There’s a shared DNA across all three [titles]: well-developed main characters, high emotional stakes and themes like identity, resilience and personal transformation.”

“Today, we stand as a truly global distributor, representing a diverse slate that includes not only Turkish dramas but also a growing portfolio of international series.”

Chasing the Sun

Asia TV Forum

Love on Tap

Date My Friend

CJ ENM

Dear X / Date My Friend / Inﬁnite Loop

CJ ENM is presenting Dear X, a drama that follows an unconventional romance led by a dangerously charming sociopathic woman. “It redeﬁnes the romantic genre through a complex female antihero and emotionally layered narrative,” says Sebastian Kim, VP of the international content business department. Date My Friend sees celebrities introduce their friends to people who they believe are genuinely good, Kim says. “The friendship-driven matchmaking angle sets it apart from typical romance formats.” In the survival game-show format Inﬁnite Loop, six contestants are trapped in a hexagonal maze of identical rooms and must try to outwit each other to win unlimited prize money. “At CJ ENM, we strive to deliver original stories and never-before-seen formats that push the boundaries of entertainment,” Kim says.

Dori Media Group

La Subasta (The Auction) / AMIA / Power Couple

Dori Media Group is bringing to MIPCOM La Subasta (The Auction), a game-show format in which contestants take part in a competition that combines intuition, humor, adrenaline, courage and luck. “It’s easy for audiences to play along at home, making it perfect for family viewing,” says Carolina Sabbag, VP of sales for Western Europe, the U.S. and Canada. The political action drama AMIA follows Diego, a Mossad agent whose sister was killed in an Argentinean terrorist attack, as he teams up with a local journalist to track down those responsible. The Power Couple format, following as eight couples are tested on how well they know each other, “stands out as an exceptionally versatile format, equally effective as weekly or daily programming,” Sabbag notes. The horror comedy Soul Sucker is also on offer.

Escapade Media

“Our

mission is to lead global content trends by introducing diverse Korean content that resonates with audiences in many countries.”

—Sebastian Kim

A Season with Isabella Rossellini / Wedding Dancers / Food Diary

Escapade Media’s A Season with Isabella Rossellini provides a portrait of the Oscar-nominated icon, reﬂecting on her life as the daughter of famous ﬁlmmaking parents Ingrid Bergman and Roberto Rossellini. It “unveils the unique charm and playfulness of Isabella and follows her diverse pursuits,” says Natalie Lawley, managing director. Marian Lacombe directs the one-hour documentary. Wedding Dancers follows couples across the U.K. in the six months leading up to their big day. “It is the ultimate feel-good series where we learn as much about ourselves as we do about the couples,” Lawley says. The Colin Fassnidge-led travelogue Food Diary “is a visceral journey through countries that rarely top tourist lists, where food, politics, history and humanity collide in ways that feel both jarringly foreign and deeply familiar,” she explains.

“We ﬁrmly believe that bringing global stories to the market and refreshing exceptional formats with timely and relevant narratives is the key to achieving remarkable success.”

—Carolina Sabbag

Wedding Dancers

“A number of our completed titles have been fully funded privately so we can offer the rare opportunity of worldwide rights for the right client.”

—Natalie Lawley

AMIA

Filmax

Not for Sale (Ravalear) / Mouths of Sky / Dating in Barcelona

On offer from Filmax, Not for Sale (Ravalear) tells the story of a family-owned restaurant in Barcelona’s Raval under threat from an investment fund. Directed by Pol Rodríguez and Isaki Lacuesta, it “is a fast-paced, stylish and modern thriller, grounded in a reality that resonates far beyond Barcelona and is instantly recognizable to audiences in cities around the world,” says Iván Díaz, head of international. Mouths of Sky serves as a four-part follow-up to Mouths of Sand, following a Basque police officer. The second season of Dating in Barcelona “captures the vibrant essence of Barcelona— blending heartfelt storytelling with humor and the charm of everyday life,” Díaz says. It “offers an authentic portrait of modern relationships, rich with complexity, diversity and emotional honesty.” A third season is in preproduction.

FOX Entertainment Global

Best Medicine / Extracted / Breaking Bear

Among the slate of titles FOX Entertainment Global is presenting at MIPCOM, the medical procedural Best Medicine sees a city surgeon adjust to small-town life. In Extracted, untrained competitors are sent out into the wilderness while their family members watch from afar and control their access to vital resources. “With scalable production, ﬂexible locations and built-in relatability, Extracted is positioned as both a highimpact series and a repeatable global format,” says Prentiss Fraser, president of FOX Entertainment Global. The adult animated comedy Breaking Bear stars Brendan Fraser, Sarah Michelle Gellar, Annie Murphy, Elizabeth Hurley and Josh Gad. Each of these three titles “is designed to fully entertain its audience, giving our partners compelling, programmable and promotable content for their services,” Fraser says.

“We believe these projects will generate signiﬁcant buzz in the market, and our top priority is to secure strong sales both with broadcasters and platforms.”

—Iván Díaz

“We are thrilled to bring such a distinctive and dynamic trio of titles to MIPCOM this year.”

Fuji Television Network

I Doubt it! / The Forbidden Duel / Rich Man, Poor Woman

The studio-based game show I Doubt it! leads the offering from Fuji Television Network. “This format is the ultimate psychological battle to discern truth from lies, as well as an entertainment show that offers a glimpse into the true personalities of celebrities,” explains Ryuji Komiya, head of international distribution for unscripted formats. In The Forbidden Duel, professionals from different industries compete to demonstrate their expertise. The slate also features scripted formats such as Rich Man, Poor Woman, a romantic drama about the unlikely relationship between a genius CEO and an ordinary young woman. In addition to its latest formats, Fuji Television Network is also presenting “formats that have garnered signiﬁcant attention in the past, including Iron Chef and Hole in the Wall,” Komiya says.

“With an extensive catalog of titles, we look forward to engaging with buyers who are interested in Asian content.”

—Ryuji Komiya

—Prentiss Fraser

Rich Man, Poor Woman

Mouths of Sky

Best Medicine

GMA Network

Her Name Was Carolina / Hearts on the Badge / Sang’gre

From GMA Network comes Her Name Was Carolina , a drama about love, betrayal and a woman’s ﬁght to clear her name after being accused of murder. Hearts on the Badge tells the story of a police officer who crosses paths with an undercover cop seeking revenge. Together, they uncover a deadly conspiracy involving two rival action stars. In Sang’gre, a young woman discovers she is the last princess of Encantadia, and, with her newfound powers, she must defend both realms from an evil queen and embrace her true destiny. “All three titles feature strong female leads at the heart of the story and deliver universal themes such as betrayal, justice, love, revenge and destiny, all resonating across cultures,” says Rochella Ann Salvador, assistant VP of the Worldwide Division.

Inter Medya

Eshref Ruya / Valley of Hearts / Heartstrings

Çağatay Ulusoy and Demet Özdemir star in the lead roles of Eshref Ruya, a drama on offer from Inter Medya. It centers on a high-ranking member of a maﬁa syndicate, whose long-lost childhood love ends up entangled in his world while working as an informant for the police. Love, betrayal and power collide. In Valley of Hearts , twins Nuh and Melek seek revenge on their mother, who abandoned them as newborns and went on to marry a wealthy man. Heartstrings follows the lives of two women whose daughters were switched at birth. When Mahinur struggles to care for her sick daughter, Bade, she turns to Aras for help, and they discover the truth of their daughters’ identities through DNA tests, sparking new conﬂicts. They join forces to save Bade.

“We

aim to expand the reach of Filipino content, ensure it gains visibility worldwide and turn new opportunities into lasting partnerships.”

Just For Laughs Distribution

Just For Laughs Gags / Just For Laughs LOL / About Antoine

Just For Laughs Distribution’s MIPCOM offering features new seasons of Just For Laughs Gags, a hidden-camera comedy show, and Just For Laughs LOL, a scripted sketch show performed by comedians. The two titles “present universal themes and travel very well in all parts of the world,” says Alex Avon, chief marketing and strategy officer. The slate also includes stand-up comedy specials from the Just For Laughs Festivals in Montreal and Toronto this summer. In addition, Just For Laughs Distribution is premiering the Englishlanguage-dubbed version of the dramedy About Antoine, “about a family facing everyday challenges to which families all over the world can relate,” Avon notes. “We are coming strong to MIPCOM with both distribution and development executives and are pleased to debut a new, larger stand.”

“Our mission is to ‘keep the world feeling good’ with top comedy and feel-good programming, and we are ready to deliver at this year’s event.”

—Alex Avon

—Rochella Ann Salvador

Just For Laughs Gags

Her Name Was Carolina

Heartstrings

Lionsgate

Robin Hood / Spartacus: House of Ashur / The Rainmaker

Lionsgate’s MIPCOM highlights include Robin Hood, Spartacus: House of Ashur and The Rainmaker, which all “feature strong casts and powerful characters, bringing familiar narratives to life in fresh and modern ways,” says Agapy Kapouranis, president of international television and digital distribution. Additional titles on the slate include Breaking Bread, hosted by Tony Shalhoub, and the procedurals The Rookie and Private Eyes. “Our titles combine the appeal of proven formats with the energy of fresh, original storytelling,” Kapouranis notes. “In a market where buyers are cautious about taking risks, these series stand out for their great talent, creative narratives and relevance for today’s audiences.” The company’s extensive library also features the series The Chosen and Amandaland

Movistar Plus+ International

The Center / The Nameless / The Anatomy of a Moment

Highlighting Movistar Plus+ International’s upcoming plans and projects, Rebeca Aguilar Domínguez, distribution manager, says, “Over the coming months, Movistar seeks to continue consolidating its position as one of the most important players at the European level.” She continues, “This fall’s premieres reinforce the message of content that is relevant in Spain and resonates abroad.” For MIPCOM, Movistar Plus+ International is showcasing the espionage thriller The Center, providing a look at the challenges faced by members of the National Intelligence Center. The Nameless tells the story of Claudia, a woman who loses her daughter Ángela in a traumatic event, only to discover years later that her daughter may still be alive. Also joining the lineup is the original series The Anatomy of a Moment

“Our mission will always be to provide buyers with a premium selection of content from a range of genres that resonate with audiences globally and deliver long-term value.”

—Agapy Kapouranis

“We are strongly committed to continuing to offer our clients content that delivers value and stands out.”

NBCUniversal Global TV Distribution

PONIES / The ’Burbs / Under Salt Marsh

Set in Moscow, NBCUniversal Global TV Distribution’s PONIES follows two U.S. Embassy secretaries who become CIA operatives after their husbands are mysteriously killed in the USSR. The cast includes Emilia Clarke and Haley Lu Richardson. Set in a fictional Welsh town, Under Salt Marsh begins when a former detective finds the body of one of her students and must reconcile with her estranged policing partner as the murder reopens a cold case that tore them apart. When a mysterious new neighbor moves in next door in The ’Burbs, it completely upends a couple’s life as old secrets are brought to light and new deadly threats shatter the illusion of their quiet neighborhood. “We’re extremely proud to present our upcoming film and TV lineup, which spans a diverse range of genres and formats,” says Michael Bonner, president.

“We

are looking forward to reuniting with our clients at MIPCOM; the value of having that in-person interaction with them is immeasurable.”

—Michael Bonner

—Rebeca Aguilar Domínguez

The ’Burbs

Spartacus: House of Ashur

The Center

OGM UNIVERSE

Reborn / The Fall of the King / 6 of Us

On the heels of its strong launch in Turkey on Star TV, the drama Reborn makes its debut at MIPCOM via OGM UNIVERSE. Kerem Bürsin and Lizge Cömert lead the cast of the production, produced by Onur Güvenatam, directed by Burcu Alptekin and written by Deniz Dargı, Cem Görgeç and Mevsim Yenice. The company is also showcasing a slate of returning hits, among them The Fall of the King with Halit Ergenç; 6 of Us , about six siblings who struggle to cope after the murder of their parents; and Shahrazad: Tears of Istanbul , billed as a cinematic series set against the lush backdrop of Istanbul. Rounding out the company’s slate are additional highlights such as Dilemma ; The Tailor , with three seasons available; and Lost in Love

Paramount Global Content Distribution

Boston Blue / DMV / Sheriff Country

Boston Blue , a spin-off of Blue Bloods on offer from Paramount Global Content Distribution, sees Donnie Wahlberg reprise his role as Danny Reagan. DMV “is a procedural with a twist—each episode is anchored by a case or storyline tied to the people who come through the Department of Motor Vehicles,” says Lisa Kramer, president of international content licensing. Sheriff Country expands the universe of Fire Country. The catalog also includes the upcoming titles M.I.A., from MRC and Ozark co-creator Bill Dubuque, and CIA, an expansion of Dick Wolf’s FBI. “This is the ﬁrst MIPCOM as the new Paramount under Skydance, and we want to introduce our clients to the new strategy to invest in the most premium ﬁlm and television content than ever before,” Kramer says.

“Our

goal is to make Paramount the leading studio and share this with the clients.”

—Lisa Kramer

Pinnacle Peak Pictures/Panoramic Pictures

The Last Supper / Little Angels / County Rescue

The Last Supper , available from Pinnacle Peak Pictures/Panoramic Pictures, centers on the days leading to Judas’s betrayal of Jesus and the unraveling of a gathering of disciples. “It opened at number six in the U.S. box office and has currently grossed more than $6.5 million worldwide,” says Ron Gell, VP of international sales and distribution. Little Angels centers on a Division I football coach who makes misogynistic comments about female athletes and is forced to coach a 12-year-old girls’ soccer team for the rest of the season. The second season of County Rescue continues to tell the stories of paramedics. “County Rescue season two and Little Angels both continue the spirit of our unique focus on family-friendly content for all media and all audiences across the world,” Gell says.

“As always, we are striving to provide the highest quality ﬁlms and series for all our clients around the world, whether they be theatrical, broadcast or digital.”

—Ron Gell

Boston Blue

Little Angels

Reborn

Radial Entertainment

Golden Princess ﬁlms / Medici / Forensic Files

With the combined libraries of FilmRise and Shout! Studios, Radial Entertainment has a diverse catalog on offer. John Woo classics such as Hard Boiled and The Killer are included, as well as the rest of the acquired Golden Princess film library. “Hard Boiled emerged as one of the most influential action films of all time among film aficionados,” notes Julie Dansker, co-head of sales, distribution and strategy and executive VP of global licensing for TVOD and international distribution. She adds, “We are excited to distribute and hold the international rights to Hong Kong cinema’s most prestigious catalog and genre-defining films.” The historical series Medici stars Dustin Hoffman and Richard Madden, among others. Radial also has on offer the rights to Forensic Files in additional territories and in languages such as Castilian Spanish.

Rewind Networks

HITS / HITS MOVIES / HITS NOW

Savvy scheduling and acquisitions have helped Rewind Networks drive gains across its entire channel portfolio, says founder and CEO Avi Himatsinghani. “We launched our HITS and HITS MOVIES channels on Now TV in Hong Kong earlier in the year. On HITS NOW, our live event strategy has paid off with increased viewership for marquee titles such as the Golden Globes, the Emmys and other major award shows. We’ve also seen great traction with our ‘Movie of the Month’ strategy. Collectively, these initiatives have strengthened our channels’ performance and reinforced our position as a destination for iconic television and movie entertainment.” Highlights for the end of the year include star-driven features on HITS MOVIES, classics such as Roots on HITS and the latest dramas and reality competitions from the U.S. on HITS NOW.

SES

FlexMove LEO

Broadcast operations are increasingly becoming dependent on complex applications that require high-performing, reliable and cost-effective network access, says Jon M. Sonsteby, VP of North America sales at SES. “Current connectivity options like cellular and terrestrial networks are often unreliable and lack the bandwidth required for video applications. Satellite networks have always provided broadcasters with ideal connectivity due to their reliability, wide coverage and immunity to events and damage that can occur to ground equipment. Today, broadcasters still require that same reliability, but want it in a more accessible way.” As a result, SES has developed a LEO satellite solution to meet the needs of video applications. “FlexMove LEO is designed for ﬂexibility and performance.”

“Our

goal is to expand our international footprint as we acquire more international rights to both series and feature ﬁlms.”

—Julie Dansker

“Over the past year, our portfolio has seen strong momentum across all three channels.” —Avi Himatsinghani

operations

“Broadcasters no longer need to choose between quality and mobility—they get both. The new era of media connectivity is here.”

—Jon M. Sonsteby

Matlock on HITS NOW

The Mediapro Studio

Yakarta / Raza Brava / El Resto Bien (So Far So Good)

The Mediapro Studio is attending MIPCOM with a lineup of scripted and unscripted titles. Created by Diego San José, Yakarta centers on a young badminton player and her coach, a former Olympic player. Raza Brava “uses the passion for Chile’s Colo-Colo football club as a starting point to explore deeper themes such as social identity, loyalty and human contradictions,” says Javier Esteban, director of international. El Resto Bien (So Far So Good), created by Daniel Burman, portrays a man’s crisis as he turns 50. The format El Conquistador is on the slate as well. Esteban notes, “The Mediapro Studio productions stand out for their genre diversity, creative talent both behind and in front of the camera and a level of technical and narrative quality that positions the studio as a global benchmark.”

“While many of our stories originate from local contexts, they are all designed with a universal reach.”

The Television Syndication Company

It’s a Beautiful World / Eating Inn / Women Rising

The Television Syndication Company is presenting a slate of factual, lifestyle and documentary content and heads to the market with a view to “strengthening partnerships with broadcasters and exploring fresh opportunities across both traditional outlets and emerging platforms,” says Cassie M. Yde, president. The slate of titles includes It’s a Beautiful World, taking viewers on a journey across the globe, and Eating Inn, delving into ﬁve-star venues across Asia and Australasia. Also on offer is Women Rising “Each series not only entertains but also celebrates cultural diversity, offering a window into traditions, ﬂavors and perspectives that bring people closer together,” Yde explains. “At their core, these programs resonate globally because they highlight the richness of human experience and the universal connections that unite us all.”

“Our mission remains to deliver high-quality, engaging programming from visionary producers to audiences across the globe.”

Viaplay Content Distribution

Vanguard / A Life’s Worth / Sport vs. Money

Vanguard, on offer from Viaplay Content Distribution, tells the story of a media mogul who broke state monopolies and reshaped the media landscape in ways that stretched beyond Sweden. “With cinematic scope and high-end production value, it’s a compelling choice for audiences drawn to stories of power, legacy and disruption,” says Vanda Rapti, executive VP of Viaplay Select and content distribution. A Life’s Worth follows young Swedish soldiers on their first UN mission in Bosnia, where a peacekeeping assignment turns into a brutal conﬂict. Its cast includes Young Royals star Edvin Ryding. The four-part docuseries Sport vs. Money takes a deep dive into how football became a billion-dollar business, hosted by Simon Jordan, the Premier League’s youngest-ever club owner.

“Our mission in Cannes is to reaff irm Viaplay as the home of premium Nordic and European scripted and non-scripted.”

—Vanda Rapti

—Cassie M. Yde

Sport vs. Money

—Javier Esteban

Yakarta

Women Rising

Wonderphil Entertainment

My Heart Remembers / When Cats Fly / Alien Invasion: Rise of the Phoenix

The romantic family film My Heart Remembers headlines Wonderphil Entertainment’s catalog. Set in 1903, the film tells the story of a young woman whose life is upended when her adoptive brother reveals she is not biologically part of the family either. In When Cats Fly, a gang of kids works to save a cat shelter that lost its funding. Alien Invasion: Rise of the Phoenix follows as an asteroid shower lands in the Grand Canyon and begins to spread mysterious pods. “These three show the diversity of our content—a Jane Austen-type love story, a children’s feel-good movie and a sci-fi/action popcorn flick,” says Phil Gorn, CEO of Wonderphil Entertainment. “Each story has a universal theme—something many people can relate to, regardless of country or language.”

ZDF Studios

Ku’damm 77 / Into the Universe / The Lady Grace Mysteries

ZDF Studios is “bringing bold, emotionally resonant dramas with international appeal, fresh and imaginative junior programming that inspires and entertains and unscripted titles that push boundaries” to MIPCOM this year, says Dr. Markus Schäfer, president and CEO. The drama offering is led by Ku’damm 77, a continuation of the Ku’damm franchise, taking place in the ’70s. “The series offers strong, female-led storytelling with emotional depth and universal themes,” Schäfer says. Into the Universe, delving into astronomical enigmas, leads the unscripted slate. The kids’ catalog features The Lady Grace Mysteries, based on the children’s detective novels. “Set in a unique historical world, it blends mystery, humor and adventure in a way that’s both entertaining and educational,” notes Schäfer.

“We have always had a diverse lineup of various genres from around the world.”

“MIPCOM

is a key moment to drive growth, spark collaboration and reinforce our commitment to premium storytelling.”

—Dr. Markus Schäfer

—Phil Gorn When Cats Fly

The Lady Grace Mysteries

Ahe ad of its launch on CBS in the U.S. in October, Boston Blue is set for a world premiere screening at MIPCOM. From CBS Studios and Jerry Bruckheimer Television and on off er from Paramount Global Content Distribution, the series is a spin-off of the successful CBS procedural Blue Bloods, which ran for a whopping 14 seasons. The new series takes Donnie Wahlberg’s Blue Bloods character, Danny Reagan, from New York to Boston, where he joins the local force and is partnered with Sonequa Martin-Green’s Lena Silver, who also hails from a prominent law enforcement family. Wahlberg and Martin-Green, who are heading to Cannes for the international launch, talk to World Screen about what drew them to the highly anticipated new procedural. By Mansha Daswani

WS: Donnie, when did you first become involved in the spin-off? Was it being set in your hometown of Boston always part of the plan?

WAHLBERG: For years, I walked with this duality. I had the thought that Blue Bloods would never end, and also the thought that when it does, it would be fun to play Danny Reagan as a fish out of water somewhere. Of course, I was thinking of places like Texas, L.A. or Vegas, somewhere like that. When the show ended, I was very passionate about trying to keep Blue Bloods on the air. The fans wanted it to keep going. The cast wanted it to keep going. I thought for a minute that someone was going to call and say, “Hey, bring it over to our network,” or, “Let’s do it on Netflix.” That didn’t happen. I got a call from [CBS] about the idea of doing the fish-out-of-water exploration. And they said, What do you think about Boston? They hooked me like a fish! Not only because I’m from Boston, but because being from Boston and being a New Yorker for 14 years, I learned this dynamic of the way New Yorkers tease Bostonians and the whole competitive dynamic that happens. I thought it would be fun to explore. It’s challenging to go to Boston and act like I don’t like the city when I like it so much! It started with a great script. It started with two great writers who listened to my thoughts and ideas and were very understanding, welcoming and inviting. Everything made it feel more right. Meeting Sonequa for the first time, I knew she got it in a way that informs us as the producers. She’s informing us on this character in ways that we couldn’t even have thought of.

WS: Sonequa, you’ve had quite the eclectic career over the last few years, from zombies to the ﬁnal frontier! What appealed to you about the show?

MARTIN-GREEN: God has really blessed me. It’s shocking to me when I look at the path that I’ve been on. I did not think that I would land in another huge franchise! Similar to what Donnie was saying, there were just those big moments of “yes.” When I first saw the script, I could immediately feel the heart of it. I could feel the richness. Here you have a familyoriented story that carries those themes from Blue Bloods as Donnie has said, faith, family and tradition. It was screaming from the page. And then seeing this family put faith first, and seeing a multi-faith family. It just spoke to me. Also, knowing what Blue Bloods did, what it accomplished. We’re talking about pure storytelling. That is my passion. Those things got me. Danny and Lena see each other. There’s a bridge created between the two of them. There was such a kinship that developed between Donnie and me on the first Zoom we all had. It’s also on the page. And I appreciated that because what you usually see is the conflict. You see the bickering. The fight, fight, fight, fight until we bond. These two come from the same place, even though they couldn’t be more different. You have this white man and this Black woman, but they both come from these law enforcement families, and they understand each other in an intangible way. We all felt like family on that Zoom call.

WS: How does the dynamic between these two characters evolve over the course of the season?

CBS’s upcoming Boston Blue, distributed by Paramount Global Content Distribution, will have its world premiere screening at MIPCOM.

WAHLBERG: It’s evolving every day. In [our ﬁrst scene together] in the episode, Anthony Hemingway, the director, kept coming over and saying, You guys are getting along too much! You’re in an alley, climbing a fence and she’s trying to stop you; you can’t act like you’re already friends! We couldn’t be at that point in the partnership yet, but there could be a knowing, a sense. Danny’s in a new world, and he’s a guy who keeps his cards close to the vest. But he’s curious. He sees something in Lena that, for whatever reason, inspires him to ask questions. And it’s not in a romantic way. It’s in a friendship way, a partnership way. If you talk to cops, they will tell you their partners become the closest people in their lives. They will build that bond over time. It comes in the evolution of who we know Danny as. He’s starting to change. He is in a new world. He’s not just treating the new world like New York. As a New Yorker, he may not have the most respect for Boston, but as a cop and as a human being, he has a lot of respect for this family, these cops and this world. It’s putting me as an actor in a unique position. As characters, it puts Danny and Lena in a unique position. She plays her cards close to the vest, too, but something about this guy is able to ask questions in a way that maybe nobody has. And it creates a dynamic that I think is fascinating, allowing us to learn about Danny in a new way and understand Lena from the inside out.

WS: I was moved by that dinner scene in the opening episode; two very different yet similar families sharing their opposing opinions with respect. How important is it, in polarized times, for audiences to see people engaging with each other in that way?

WAHLBERG: In Blue Bloods, [the characters] were all related; they all came from the same family, but everyone had a unique perspective at the table. Some people at the table leaned more to the right, while others leaned more to the left. Some people leaned into their faith; some people did not. Everyone would argue and debate many topics. The thing was, a lot of times, everyone at that table looked the same. With this show, everyone doesn’t look the same. But they’re having similar conversations. Families talk about issues. Families can sit at a table and not agree on every single thing. Everyone has a unique perspective, and there’s a place for everyone to give voice to their thoughts, knowing that they can do so and it’s going to be OK. We can disagree, but we can still love and care for each other. That meant a

lot to many people on Blue Bloods, and I think it will mean a lot to people on this show as well. Danny and Lena, as much as they get each other right out of the gate, don’t always agree at the table. They come right back to their friendship.

MARTIN-GREEN: [Television] affects how we think. It challenges our paradigms. That’s what stories do. We’re wired for stories because they change us and they impact us.

WS: Donnie, tell us about your EP hat and being at the top of the call sheet. What sort of environment did you want to foster with your other cast members?

WAHLBERG: To me, number ten on the call sheet is just as important as number one, and the caterer and the craft service people—it all counts. We’re all getting to have this amazing opportunity. Every role is critical to the success of any endeavor. We’re all there, showing up to work. I understand what it means. I’ve seen other actors respect whatever that position is. I’ve seen other actors not respect it. For the New Kids On The Block, I’m the creative director. I do a lot of the planning and strategizing for the band, as well as what we do long-term. Creatively, I’m there for six months building the show, but I long for the moment when I can just be a New Kid. I can’t worry about which light didn’t come on. I can’t worry about the timing not being perfect with the special effects. I’ll make a note, but I want to be a New Kid now. I want to have fun. I want to connect with the audience. I try to be mindful of the two hats. Sometimes, they converge in a moment. But generally speaking, I want to show up and be an actor. I try to pick my spots of when to be a producer and when to chime in. To me, a good producer, director or leader trusts people to do their job. It’s not my job to start policing everybody and looking over their shoulder. Yes, we can lend thoughts and ideas, but at some point, you have to let people do their work and trust that they’re going to do their best. And if they do, then I’ve done my best.

Sonequa’s done it. It helps me to have her there. She’s capable of doing everything that I’m doing, and she’s also being a leader in her own right by supporting me when I need it and stepping up when we need it. This opportunity is a real blessing. I want to make the most of it, not only as an actor and someone in this industry, but also as a human being. Hopefully, I’m just respecting my coworkers and supporting all of them. We all feel like we’re putting our best foot forward. The rest is up to the audience.

Michael Bonner NBCUniversal

By Mansha Daswani

ichael Bonner succeeded Belinda Menendez at the helm of NBCU niversal Global TV Distribution earlier this year, tasked with maximizing the company’s vast slate—encompassing more than 170,000 episodes and 6,500 feature films—with a network of more than 1,800 clients across 200 territories. A veteran of Uni versal Pictures Home Entertainment, Bonner is wellversed in the intricacies of exploiting titles across multiple windows. Ahead of his first MIPCOM as president of NBCU niversal Global TV Distribution, Bonner talks to World Screen about the sustained need for procedurals, the AVOD and FAST opportunity and collaborating with clients during these transformative times.

WS: You took on oversight of NBCUniversal’s global TV distribution operations amid a time of significant upheaval in the media business. What’s been your topline strategy for your teams around the world against the backdrop of these global shifts?

BONNER: The media landscape is dynamic and constantly evolving, and I feel it’s important that we not only acknowledge its ever-changing nature but also proactively adapt to it and explore ways to turn disruption into a catalyst for opportunity. With that, our strategy remains simple: bring NBCU’s amazing TV and film content to audiences around the world through creative and targeted distribution partnerships, while embracing new platforms, business models and shifting consumer behaviors. It’s actually a really exciting time where we get to help shape the future of distribution and ensure a resilient and thriving media business.

WS: The market for U.S. content has changed over the years as international markets have scaled their own output. What’s driving demand? What’s cutting through for your clients today?

BONNER: Procedural series continue to be in high demand and perform exceptionally well for us, across both linear and streaming platforms worldwide. And this may come as no surprise, but premium content with bold, original storytelling and high production values increasingly breaks through the crowded landscape for our distribution partners and their audiences. We have several series— The Day of the Jackal , All Her Fault , The Paper and Amadeus —that currently exemplify this, and viewers can expect more to come. Additionally, Hollywood films remain in constant global demand. NBCU’s diverse portfolio includes several blockbuster franchises— Fast & Furious, Jurassic Park , The Super Mario Bros ., Wicked and more—that continue to resonate with audiences around the world.

WS: How important are productions from outside of the U.S. to your global distribution operations?

BONNER: We are fortunate to have several renowned international production powerhouses within the Comcast NBCUniversal ecosystem creating content for us to distribute. For example, Universal International Studios (UIS) is home to multiple in-house production companies, including Carnival Films ( Downton Abbey , The Day of the Jackal , Lockerbie: A Search for Truth ); Working Title Films ( We Are Lady Parts ); Heyday Television ( The Capture , Apples Nev er Fall); Matchbox Pictures (House of Gods, Bad Behaviour ) and Universal Television Alternative Studio UK ( Made in Chelsea , The Real Housewives of Cheshire ). UIS is also a minority stakeholder in Canada’s Lark Productions ( Law & Order Toronto: Criminal Intent , Allegiance ) with a first-look distribution deal. Further, Sky Studios produces prestige U.K. series like The Day of the Jackal , Atomic , Amadeus , Under Salt Marsh and more.

These international productions are a valuable part of our overall content portfolio and a reflection of NBCU’s passion for bringing audiences the best in entertainment from around the world.

WS: We’ve seen lots of changes in terms of windowing in the feature ﬁlm distribution segment. What’s been your approach to maximizing these releases after the theatrical window?

BONNER: The theatrical release of our feature films remains the cornerstone of our business, and NBCU tailors each film’s rollout to maximize its global audience. After the theatrical release, we follow with transactional release and then move into the more traditional pay- and free-TV windows. Every title is evaluated individually, with a strategic, global windowing approach designed to maximize reach and long-term value.

WS: What role do output deals play for you? Are clients looking for large slates to deploy across their multiple platforms, or are they more interested in cherry-picking individual titles today?

BONNER: It really depends on the territory, the client and whether we’re talking about film or TV. That said, output deals remain more common on the film side, particularly in the premium pay window, where they’ve long been a key part of the business.

WS: NBCU has a significant portfolio of FAST channels in the U.S. How is your division approaching the FAST and AVOD sectors internationally as it relates to capitalizing on your deep film and TV library?

BONNER: Yes, we have a large portfolio of very successful FAST channels in the U.S. and began expanding internationally in 2023, when we launched several FAST channels in the U.K. and Germany. That global rollout continues as we include more channels and territories around the world and across a variety of FAST platforms. We see FAST and AVOD as exciting business opportunities to introduce our beloved content to both

new and returning audiences. At the same time, we take a thoughtful and strategic approach to ensure that these models can coexist with and complement our existing distribution partnerships.

WS: You’ve been engaging with your international clients throughout this challenging year; what most excites you about how broadcasters and platforms worldwide are approaching the transformations in the business?

BONNER: We are as invested in our clients’ success as they are in ours, and we view every challenge as a chance to innovate and develop creative solutions that drive our business forward. It’s exciting to see how our partners around the world are embracing new ways of connecting with audiences amid shifting content consumption habits. At the same time, the appetite for highquality, diverse programming continues to grow, and that’s where we really shine. NBCU’s expansive content portfolio spans all genres and formats, enabling us to cater to a wide range of tastes and viewing behaviors. This versatility allows us to not only meet the evolving demands of the global market but also reinforces our role as a trusted partner for our clients seeking compelling content that resonates worldwide.

WS: What are your goals for the division as we head into MIPCOM and the 12 to 18 months ahead?

BONNER: Our goal is to keep doing what we’re doing—to continue building on the strong foundation we’ve established. We have a world-class distribution team and longstanding partnerships across the globe, and I’m incredibly proud of the work we’re doing. I’m looking forward to returning to MIPCOM, connecting with clients, listening to their content needs and showcasing the exciting films and TV series that we have coming up and in development. As the markets continue to evolve, our focus remains on getting ahead of change and collaborating with partners in ways that create value for everyone involv ed.

From Universal Television for Peacock, PONIES is a new period thriller that NBCUniversal Global TV Distribution is bringing to MIPCOM.

Jim Packer Lionsgate

By Mansha Daswani

This summer, Roku entered the SVOD business with the lau nch of Howdy, priced at just $2.99 a month and delivering some 10,000 hours from launch partners Lionsgate, Warner Bros. Discovery and FilmRise. Jim Packer, president of worldwide television distribution at Lionsgate, has long been on the hunt for innovative ways to monetize the indie studio’s extensive film and television library. He talks to World Screen about the AVOD and FAST spaces, opportunities on YouTube and meeting the needs of buyers.

WS: How did the deal to supply content to Roku’s new Howdy SVOD service come about?

PACKER: I’ve been working closely with Roku since 2017, when we did our first AVOD rev-share deal with them. We had finally gotten to the point where we had a critical mass of films and TV to do rev-share. Licensing will always be

our primary goal, but when we have a one-month gap for a particular movie, there’s no reason for us not to monetize it. I view [the opportunity] like open hotel rooms. We do the premium licensing ﬁrst, and when there’s an opportunity to maximize a shorter window, we do that. We also took a chance when we decided to make Roku our exclusive launch partner for our 50 Cent Action channel, rather than going the non-exclusive route. And since launching on the platform, the channel has amassed 45 million hours viewed. I’m comfortable with Roku and the way they operate. They came to us and said, “We’re thinking of launching this lower-cost subscription service, but structuring it more in line with how we do rev-share on AVOD and FAST.” I liked [the concept]. If I look at our content library, I don’t think everything should be on AVOD all the time. Some titles beneﬁt from a break—monetizing with fewer eyeballs can actually give content time to breathe. This felt like a smart way to do that. So, we’re one of the three launch partners [on Howdy], and Roku has been very collaborative.

WS: What have been some of the lessons learned on this AVOD licensing journey?

PACKER: You have to be comfortable with the massive changes taking place around you. You also have to accept that you may have some pressure on your ad revenue. That means you have to get smarter about how you program. We’ve been using AI to help us program more effectively. If you have 750 pieces of content live on Roku, you had better make sure they’re the right 750 pieces of content. There’s less room for error when ad sales are under pressure. As a result, we’ve become more tactical and analytical in how we program to address the degradation in some of the ad sales CPMs.

WS: Does broad distribution across AVOD or FAST devalue content in the eyes of traditional licensing buyers?

PACKER: That might be true for unscripted shows with thousands of episodes that have been on FAST for years. But just because something is really successful on FAST doesn’t mean SVOD licensing might not also happen. Take The Conners—it performs really well both on FAST and on Netflix. People live in their existing ecosystems. Nobody comes home on a Friday night and says, “I want to try four new AVODs and download those apps and do some new sign-ins!” They find a couple that they like. These ecosystems complement each other. [FAST] has not developed as quickly internationally as it has domestically, and it’s going to take longer for those markets to catch up. We’re monitoring the landscape, and I have seen some interesting trends emerging in specific territories. In those regions, we’re leaning into YouTube more because of its strong monetization and large audience. In some situations, we may launch a channel on YouTube before FAST, flipping the usual paradigm. In the U.S., we started with a lot of FAST networks, then expanded into YouTube channels.

WS: What has been your overall approach to YouTube?

PACKER: We’ve always been a leader on YouTube when it comes to our TVOD and EST businesses. We’re a very big player in their AVOD rev-share business, and we’re expanding on the channel side—we currently have 10 to 15 proprietary channels, but we’re increasing that number

significantly. For example, we partnered with our friends at Disney when Wicked Tuna was canceled. Since we control global rights to the entire franchise, rather than just starting a FAST network, we started a [Wicked Tuna] YouTube channel from scratch. We’re also creating some original content that we’re going to be putting on the channel. And the algorithms have done their job. We started with no subscribers, and now we have 35,000, with that number growing every week. We also have our [Wicked Tuna] FAST channel on YouTube. Rather than launching the FAST channel first, we flipped [the typical model] a bit. Instead, we launched the YouTube channel first and then added a FAST channel on YouTube. It’s a different way to think about things. [You benefit from] the analytic back end. If the show is performing well in a territory like South Africa, then my team can go in and try to license it. We can take the data and say to a client, “You don’t have to sit here and believe my sales pitch, just analyze my data.” Pitching becomes much more compelling and effective when you can leverage data to act as a smart distributor for your partners.

WS: What are you hearing from your partners about their needs currently?

PACKER: I’m starting to see a lot more green shoots from international [partners]. Big streaming platforms realize they can’t just rely on their own content. There was a period when licensing activity might have been impacted by [the major streamers] focusing on proﬁtability. Many streamers made adjustments to the amount of content they kept live. However, the reality is that consumers still need new, fresh and intriguing content. We’ve done more business with Disney recently than we have in the past. With HBO, also. We’ve always had great business with Amazon and Netﬂix, but now more platforms understand they can’t just rely on their own libraries—they need to supplement. For example, our two big non-exclusive partners dramatically expanded their footprints on The Rookie. On a show that strong, it’s a sign [that streamers] need to compete in every country. That, to me, is encouraging.

WS: How are you keeping on top of all the new opportunities that come up, especially around pop-up channels in FAST?

PACKER: We try not to walk away from smart ideas, even in creating channels. We’re up to over 25 channels in the FAST space, and yet we just did a proprietary channel deal with DIRECTV. We wanted to tap into DIRECTV’s very high CPMs, since they excel at ad sales. That’s an opportunity that nobody else took advantage of, but we pursued it. Of course, you have to set your team up to execute effectively and, fortunately, we have the resources to do so. And if we can use AI to help us sift through thousands of movies

and TV shows to make [the process] more efficient, so much the better.

WS: You had a great night at the Emmys with The Studio What’s guiding the thinking behind your slate for MIPCOM?

PACKER: I’m excited by the diversity that we’re able to bring to MIPCOM. We have Spartacus: House of Ashur , which is deep IP, and Robin Hood, a compelling reimagining of the classic story. We also have The Rainmaker , based on a best-selling John Grisham novel—which is also a great movie. We now control Heartland , which premiered its 19th season [on CBC]. The 18th season, which debuted on Netﬂix, even made the top ten. People still love that show. So, if you want family, we’ve got it. If you want high-end, premium library, we’ve got Mad Men , Weeds and Nurse Jackie . If you want down-the-middle procedurals, we’ve got The Rookie. One thing that makes our company unique is that we’re only 25 years old. We have a contemporary, relevant library that we can tailor to the needs of any client.

WS: What other industry trends are you keeping an eye on?

PACKER: I don’t think there is a single one of the big six streaming platforms that’s not leveraging studios’ deep libraries. Take Twilight, for example—a nearly 20-year-old movie that still reached the top ten when we released it on Netﬂix this year, competing against brand-new releases. In 2024, we had 56 movies that hit the top ten on the big six platforms. So far this year [as of September], we’re already at 60—and I expect to hit the 70s by year-end. Some titles will repeat, but many of them will be different. I think [this trend] bodes well for us. Audiences want fresh content, but they also appreciate familiarity at times. That’s especially true in FAST, where recognizable titles perform strongly. We’re in a great position at Lionsgate after the Entertainment One acquisition. We’ve gotten to a point where we have so much content that we can put it to work in many smart ways.

Lionsgate’s lineup of series includes USA Network’s hit The Rainmaker, based on the John Grisham IP.

Jonas Engwall Bedrock

By Mansha Daswani

After partnering with M6 last year on the launch of M6+, Bedrock is now firmly focused on migrating RTL+ in Germany to its tech stack in 2026. Part of the wider Bertelsmann family, Bedrock has been working closely with RTL Group on its streaming operations and applying those lessons to its other clients as it rolls out its portfolio of streaming solutions. Jonas Engwall, CEO of Bedrock, talks to World Screen about working with broadcasters to amp up their on-demand and live streaming capabilities and tracking digital innovation around the world.

WS: YouTube’s dominance on the living room television has been one of the headline themes of this year. Do you think that’s been a wake-up call of sorts for broadcasters that perhaps haven’t fully embraced their own digital transitions?

ENGWALL: There are a few different ways to look at YouTube. We see it as one of several global streaming giants, like Prime Video, Netﬂix or Spotify. They’ve built impressive technology and have become a powerful way to reach audiences, especially younger ones. YouTube just keeps getting stronger. There’s more premium content on the platform now, better recommendations and a growing presence on the big screen. In that sense, it’s part of the benchmark we’re all working against.

As a media company, you can’t ignore YouTube. You have to treat it as a kind of frenemy. It can help you reach certain segments, but it shouldn’t replace your own service. Some broadcasters in the U.K. are using YouTube to connect with younger viewers, and it’s working for them, especially expanding their distribution to other English-speaking audiences outside the U.K. It’s not necessarily taking away from their core audience. But getting those viewers to come back to your own platform is a much harder challenge. So no, I don’t think the right move is to just put everything on YouTube. That’s not a sustainable direction for the industry. The real question is how you use a platform like that to reach people, while still giving them a reason to return to your own destination. I think a lot of broadcasters in Europe are still working out how to do that well.

WS: How are you positioning your suite of services to broadcasters struggling with this transition?

ENGWALL: If you’re a leading media company or a traditional broadcaster, having your own streaming service today isn’t optional; it’s just a must. You can absolutely use YouTube as part of your distribution strategy, but you still need your own destination.

That’s what Bedrock is built for. We’re specialized in building and operating large-scale streaming platforms. We’re actually a joint venture between M6 in France and RTL Group, which gives us a really solid foundation in both media and technology. It also means we understand the business challenges our partners face, not just the tech side.

As a European player, you need to play at the same level as the global giants. And to do that, you need scale. That’s where Bedrock serves an important role. We already operate platforms in multiple countries, and that scale lets us keep investing in innovation and spread the cost across markets. It means our partners get access to a state-of-theart platform at a very reasonable cost.

We’ve proven that this model works. Our partners can focus on their content, their brand and their audience while knowing the product experience is world-class. That combination (scale, efficiency and local control) is how we help them stay competitive in today’s market.

WS: You’re inching closer and closer to the RTL+ transition. How have the lessons learned from the M6+ transition informed your journey in Germany?

ENGWALL: We are knee-deep in this migration, and as always, it’s tricky and time-consuming. But we’ve done this many times now. It’s difficult, but absolutely doable. We aim to complete it in the first half of 2026. Every migration is a learning process. Each time, we improve, refine and optimize our methods. Everything we learned from the M6+ launch is being applied to Germany.

This is also a fantastic next chapter for us. RTL+ is expanding into a broader catalog (live, on-demand, podcasts and sports), and we’re now able to offer a better platform at a lower cost because of the scale we’ve achieved. There’s also news about RTL’s planned acquisition of Sky Deutschland, which is still under approval. If that goes through, it would, of course, be an exciting evolution for us to support even more scale in Germany with the addition of the WOW service.

WS: How do you see the connected TV opportunity as linear ad giants like RTL make the transition to streaming and ondemand with their clients?

ENGWALL: When streaming started, everyone was focused on SVOD as the shiny new model. SVOD is great and adds a new revenue stream, but in the end, you need hybrid models. Advertising is critical, and the whole industry recognizes that now.

We’ve been working in connected TV for a long time, and it’s ﬁnally gaining serious momentum. Pre-rolls and midrolls are here to stay, but the exciting part is the new opportunities. Contextual ads, overlays, dynamic formats— there’s a lot happening in this space. The technology has advanced, and we work with all the big connected TV brands across Europe to make sure broadcasters can take full advantage of that.

WS: How are you using your streaming walls to track what platforms around the world are doing?

ENGWALL: We actually have two streaming walls with a range of TVs and devices, granting teams access to the most relevant streaming platforms globally. It’s a way for us to keep track of what’s happening in the industry and spot new ideas. Not everything translates directly to Europe, but you can be inspired.

It’s also a unique tool for our teams. Product managers can test things, compare experiences and benchmark against global leaders. It helps us stay close to innovation worldwide and make sure our own platform is moving in the right direction.

WS: Tell us about how you are scaling your European footprint. Are you looking to expand to Asia, the U.S. or other international markets?

ENGWALL: In Europe, we’re expanding into Germany with RTL+ and opening a new office in Cologne. We also have our Lisbon hub, and we’re growing from around 400 to 500 people. That scale matters because it lets us move faster and build better.

Right now, our main focus is on Germany, but we are also having interesting conversations outside Europe. More and more media companies are discovering Bedrock, and once

we’ve delivered on RTL+, we’ll be in a strong position to support new partners.

WS: What’s been your approach to AI?

ENGWALL: There are different levels to how we’re using AI. Behind the scenes, our platform already uses a lot of AI to monitor stability, detect problems and scale resources efficiently. We’re also using it in development itself, which is a powerful tool for our engineers.

Now, we’re entering the next phase with agentic AI. You deﬁne what you want and let the agent do the work. That’s where I think we’ll see a real revolution in efficiency.

And then, of course, there’s the user experience. Personalization is the holy grail of streaming, and AI will play an even bigger role in making sure the right content ﬁnds the right audience at the right time.

WS: What KPIs are you focusing on amid this uncertain climate?

ENGWALL: One of the things we’ve been looking at is how to measure operational excellence in a way that’s meaningful. That’s led us to a new benchmark we call the Streaming Platform Ratio. It measures the percentage of streaming platform technology and development costs (including hosting/CDN) compared to streaming revenues. For context, it’s no surprise that Netﬂix is leading this KPI at around 8 percent. Our ambition is to enable all of our partners to operate at 10 percent (some of our partners are already at this level), which, to our knowledge, is really best in class in Europe.

Thanks to our shared operating model and economies of scale, we can unlock this level of cost efficiency without compromising on innovation, quality or pace. It’s a very tangible KPI, and it shows how platform financial performance itself can become a real competitive advantage.

But, of course, our number one KPI right now is to fully migrate RTL+ in Germany!

On a broader level, RTL Group is targeting profitability in streaming by 2026, and Bedrock will be fully profitable in 2026 as well. For us, that means constantly making the platform more efficient: increasing our speed, optimizing resources and making sure every improvement delivers significant value for all our clients. We’ve now reached the scale to do this continuously and to deliver a platform that is competitive with the very best in the global streaming market.

Bedrock is off ering up its suite of streaming solutions to broadcasters across Europe.

Iginio Straffi Rainbow @ 30

WS: Tell us about Rainbow’s positioning today as you mark your 30th anniversary.

STRAFFI: For kids’ and family animation, we have created a few IPs with worldwide success, and we are wellknown as an independent studio. Even with the current challenging market conditions, we are managing to survive. Many of our friends and competitors are no longer in business, a consequence of a loss of attention toward kids and families from streamers, lower budgets for public broadcasters, and commercial broadcasters losing audiences and, therefore, advertising revenues. Times are not easy, but we are recognized as a producer with a good track record of international content, especially for kids. The group has undergone signiﬁcant evolution. For about ten years, we have also been producing liveaction content, both directly as Rainbow and through our other companies, such as Colorado Film, which we acquired eight years ago. Animation and licensing remain as core businesses for our company. The success of KPop Demon Hunters on Netﬂix is further evidence that animation is well-received by kids, families and young adults. Nevertheless, there has been a lack of investment from major platforms and broadcasters.

WS: What did the acquisition of Colorado Film mean for your live-action ambitions, and how are you approaching this space?

STRAFFI: We do look at every genre, with a speciﬁc eye on YA. This aligns with our expertise; productions like Fate: The Winx Saga on Netﬂix or, more recently, the movie The Tearsmith. We have a particular focus in our editorial strategy on young women and girls. There is still much to discover in the female world that can be told in an original way. We’ve acquired a few strong titles in the YA genre. We are working on adapting A Game of Gods. We also have other series based on bestsellers. We have a title for an older target, still within the romantic comedy genre. We have developed one directed by Francesco Carrozzini starring Michele Morrone together with a famous American actress who I cannot disclose yet. We will continue to develop further in the coming years. At the same time, we have successfully explored action movies like My Name Is Vendetta. We believe a lot in IPs. We are working on adapting Corto Maltese, a well-known graphic novel character in Italy, France, Spain and Latin America. Many, many strong IPs to become hopefully successful TV series and movies.

WS: Speaking of strong IPs, we have to talk about Winx Club. Tell us about the new season and how you’ve kept that franchise so successful year after year.

By Mansha Daswani

This has been a milestone year for Rainbow Group. The Italian-headquartered company, founded by animator Iginio Straffi, is marking its 30th anniversary of serving the kids’, family and YA segments worldwide; its bestselling Winx Club franchise is back with a new animated reboot as well as a Roblox game; and its live-action activities, boosted by the 2017 acquisition of Colorado Film, are seeing lucrative results at the box office and on streaming platforms. In this wide-ranging interview, Straffi talks to World Screen about navigating the challenges of the kids’ sector, the enduring legacy of Winx Club and his goals for Rainbow in the year ahead.

STRAFFI: We have been very active with Winx since the phenomenon exploded about 21 years ago. Winx has been the primary focus of the company for the last 20 years: new stories, seasons, toys, style guides and marketing efforts. We created musicals and other forms of entertainment to keep the audience engaged. We have a very strong fan base, now in their 20s and early 30s. This audience is a nostalgia target that we are catering to with our events, activities and Fate: The Winx Saga, the YA live-action adaptation on Netﬂix. We are now trying to ﬁnd a new audience with the reboot. It’s been six years since the last season.

We thought it was time to produce another show that could engage new generations. It took a long time to conceive and develop, moving in a more contemporary direction while trying to keep the DNA intact. To write the story took almost two years. We are using CGI, not 2D. The Alfea College for Fairies has been renovated to be more grand and in line with today’s world. The story itself has the kind of pace, storytelling and twists that could be more appealing to a new generation. At the same time, we don’t want to disappoint our young adult fan base. I try to explain to them that I didn’t conceive a new season only for them. The whole series needs to be appreciated and understood by the audience from 6 to 12. When you have to create a new season, you can’t think only about your 20-plus audience! “Winx Club forever!” is the favorite slogan of the fan base. It debuted in September on CBBC and in October on Netﬂix, Rai, TF1 and other free TV channels. This is an exciting moment. The young adults are our primary target now for licensees, but hopefully, toys, back-to-school and other categories will be revitalized by the reboot and the new audience we are targeting.

WS: How are you approaching YouTube and social media to build brands?

STRAFFI: We are very proud of our channels, which have reached millions of subscribers and billions of views. We recognize that we need to work more closely with social media, and YouTube in particular, for our kids’ audience. We are producing a lot of content. We have a team that only produces content for YouTube and other social media. With the reboot of Winx, as well as for other IPs, we are continuing to maintain very strong engagement through special content on social media linked to the TV show, while also exploring other aspects and providing additional information. There will be a lot happening in the social media space over the next few weeks and months. We know we need to be there to ﬁnd our audience.

WS: And you’ve also expanded into the metaverse with a Roblox game for Winx Club.

STRAFFI: We invested in creating a Roblox game to launch with the series. Our goal is to introduce Winx to a new audience.

WS: What are your goals for Rainbow in the next 12 to 18 months?

STRAFFI: For animation, of course, we have Winx and are looking at other big IPs, like we are doing in live action, acquiring books to turn into series or movies. We believe in the power of IPs and the emotional connection that an already established IP can bring to the audience. We continue to be a company that focuses on IP, with only two or three per year in the animation space. There is no space to bring ten shows to the market.

There are fewer competitors, but other companies also need to sell their shows. You can’t believe that you can ﬂood the market with so many new IPs. We must focus on creating quality to continue with Winx , Mermaid Magic and new IPs we have the rights to develop.

For Colorado, we acquired the rights to major IPs in Europe. We want to turn them into successful movies and TV series. We have at least four or ﬁve projects in the pipeline, with some already scheduled for production at the end of this year and the beginning of next year. Some others are in the developing stages to go into production in the second half of next year and deliver within the next 24 months. We have live action and animation, and we still believe in licensing, which has been our successful strategy from the beginning. If we can continue to be successful in our licensing, this will give us the chance to buy other rights, other companies, and keep being on the market far beyond the 30 years we are celebrating.

The acquisition of Colorado Film allowed Rainbow to dramatically expand its live-action slate with off erings like the YA movie The Tearsmith.

The Winx Club franchise returned this year with the new series Winx Club: The Magic is Back

WS: What factors have contributed to the success of CJ ENM’s scripted titles?

SEO: The recent wave of Korean drama successes, especially with Jeongnyeon: The Star is Born , Marry My Husband and LTNS, underscores the power of CJ ENM’s commitment to well-crafted and original storytelling. It comes as no surprise that Jeongnyeon: The Star is Born was nominated for best scripted limited series at the 2025 Banff Rockie Awards and won a Gold Award for best drama series at the 2025 ContentAsia Awards. Similarly, Marry My Husband secured the series production category at the 2025 Asia-Paciﬁc Broadcasting+ Awards, while LTNS was nominat ed for best comedy series: non-English-language at the 2025 Banff Rockie Awards. Ultimately, all these successes stem from CJ ENM’s

Jangho Seo CJ ENM

By Mansha Daswani

Riding the wave of interest in Korean programming, CJ ENM has been steadily scaling its international operations over the last few years, unveiling a new content business division, led by Jangho Seo as executive VP, at the end of 2024. Seo talks to World Screen about the strategy for the year ahead.

WS: What’s been driving your overall global strategy amid this boom time for Korean content internationally?

SEO: K-content has now ﬁrmly established itself as a premium category in the global media landscape. It’s no longer perceived as niche or regional; Korean dramas, ﬁlms and unscripted formats have become an integral part of the global content market. The recent success of our series and the rising demand for variety formats highlight how Korean storytelling, rich in emotional depth and genre innovation, truly resonates worldwide. Importantly, this momentum is not just driven by traditional Hallyu fandoms. We’re seeing mainstream adoption in North America, Europe, Southeast Asia and Latin America, where Korean content is increasingly viewed as aspirational and trend-setting. That shift signals a deeper, more sustainable global demand.

The challenge now is sustaining this growth. That means continuously evolving our formats, storytelling and production values to not only meet but exceed global expectations. At CJ ENM, we are committed to that evolution.

One example is our ﬁrst-ever Global Partners Day, held this summer in Korea, where we welcomed leading executives from across the international media and entertainment sector. The feedback was clear: K-content is shaping the industry’s future, and CJ ENM is seen as a central driver of that change.

Looking ahead, our global strategy is centered on building diverse partnerships with broadcasters, streamers and creative talent worldwide that allow K-content to expand and evolve across every platform. By combining our storytelling expertise with global collaboration, we believe Korean content will continue to inspire, innovate and set new standards for the industry worldwide.

unwavering dedication to originality, cultural authenticity and innovation. We continue to push creative boundaries, ensuring that Korean content not only leads in quality but also deeply connects with audiences worldwide.

WS: What gains have you seen in non-scripted?

SEO: CJ ENM has been a pioneer in non-scripted entertainment, with formats that resonate far beyond Korea. CJ ENM’s variety shows have built strong global fandoms, often going viral online and creating big buzz during their broadcast. Their success comes from clear formats, fresh ideas and high-quality production. Our programs feature stylish sets, creative ﬁlming and fun storytelling that make them stand out. The energy and charm of our celebrity cast members also play a big role in winning audiences worldwide.

These elements combined are why CJ ENM’s variety programs continue to receive high praise from global fans and the global entertainment industry and awards. They prove that Korean non-scripted content can spark global conversations and set new benchmarks for the genre.

WS: What are your goals for CJ ENM’s international business in the next 12 months?

SEO: This year, CJ ENM content has been recognized with strong results at several prestigious awards, which we see as an encouraging sign of how global audiences and the industry value our work. Looking ahead, our goal is to continue delivering high-quality dramas and unscripted formats that entertain and satisfy fans around the world, while also ensuring that these titles are recognized by leading international awards. At the same time, we want to broaden our reach by actively entering new global markets where CJ ENM content has not yet had as much exposure. Expanding into these emerging territories will be key to introducing our stories to even more audiences. Finally, we aim to strengthen our international business by building partnerships with new global players.

Helge Köhnen & Tanja Grinscher Bavaria Media

By Mansha Daswani

European broadcasters are increasingly collaborating to offer prestige dramas with locally resonant themes for their audiences. ARD, WDR, SWR and ORF are among those backing Story House Pictures’ new period drama Mozart Mozart, which promises to tell the untold story of Wolfgang Amadeus Mozart’s sister, Maria Anna, centering the narrative on her attempts to live a life of her choosing, despite the restrictions of the time. As Bavaria Media International prepares to launch the show in Cannes, Helge Köhnen, head of content sales, and Tanja Grinscher, deputy head of content sales, talk to World Screen about their lineup of European projects and share how they are navigating the complexities of the distribution market.

WS: It has been a challenging year for the industry. What’s been driving your business over the last few months?

KÖHNEN: The audience’s appetite for great stories remains undiminished even as headlines focus on cost pressure and uncertainty. Especially in times of crisis, content with a clear message and high production value cuts through and creates orientation. Two dynamics have been particularly supportive of our business: sustained demand for long-running series and ﬁlm cycles with reliable cadence, and a tailwind for acquisitions in markets where local commissioning has temporarily slowed, as is the case in several European countries right now. Both factors beneﬁt distributors with a broad, consistently refreshed pipeline. Additionally, we can bundle titles at competitive prices—from premium highlights to long-running brands that give broadcasters and platforms planning security. That is made possible through a constant stream of fresh content produced within Bavaria Film Group, our framework agreements with several TV broadcasters and our large network of national and international producers.

WS: What’s your sense of what buyers need, and how has that informed the slate you’ve curated for MIPCOM?

GRINSCHER: We’re seeing a pronounced “barbell” demand: on one end, true tentpoles with high visibility and strong IP; on the other, programs with broad audience appeal and clear scheduling utility. There’s still plenty of solid “middle of the road” [titles], but market pressure rewards stories that stand out—a signal ﬁre in an ocean of content. Our slate reﬂects that. Leading the lineup is the ambitious prestige series Mozart Mozart, a modern, surprising take on one of the most famous names in music history. In parallel, we serve rising demand for ongoing cycles with new installments of Cold Valleys, Modern Murder, Inspector Wannabe and more. And we celebrate the 20th on-air anniversary of Storm of Love, one of Europe’s most successful drama series, sold into more than 50 countries and thriving with nonlinear audiences as well. We’re also proud to present curated gems such as Where We Come From , twice awarded with the Deutscher Fernsehpreis, and Josefa’s Return, selected for the New York Film Festival. Together, they demonstrate how relevance, artistry and resonance can go hand in hand.

WS: Tell us about Mozart Mozart and what your distribution plans are for this new prestige production.

KÖHNEN: Mozart Mozart, from Story House Pictures for ARD and ORF, captivates us for two reasons: perspective and execution. It is explicitly not a conventional historical drama but a bold “what if” narrative. What if Maria Anna Mozart—Amadeus’ highly talented sister—had been given the chance to nurture her skills and show her full potential? That lens reframes a familiar success story in a fresh, unique way. Formally, the series employs a distinctive music concept with acoustic and visual layers that clearly differentiate the Mozart siblings in their approach and impact, catching audiences pleasantly off guard throughout.

GRINSCHER: It’s produced for ARD and ORF, so you’ll recognize hallmarks of classic public-service storytelling— and it’s also wild, colorful, contemporary and, crucially, a lot of fun to watch. On the distribution side, we are

teaming up with Beta Film for worldwide sales. The goal is clear: position Mozart Mozart with global visibility and bring it to markets where strong characters, lavish production and a universal, empowering theme truly resonate.

WS: How do you see the scripted business amid this reduction in commissions worldwide?

KÖHNEN: We’re in a period of consolidation—but not of creative fatigue. Cost-cutting has limits; the need for outstanding stories remains. Historically, when local commissions decline, demand for high-quality acquisitions rises. That dynamic favors suppliers who deliver reliably and at breadth. For us, the implications are straightforward: Double down on differentiated scripted content (strong IP, high production value), and secure volume in parallel: cycles and series that enable planning and regular refreshes. That mix is what makes a catalog competitive: providing both highlights and the dependable day-today programming that schedulers need.

WS: How important is known IP in the drama business?

KÖHNEN: Increasingly important. It’s a catalyst for visibility. Strong IP and high production values help titles break through in a hyper-competitive market. That can mean an established brand like Storm of Love , which continues to perform internationally and nonlinearly in its 20th year. It can also mean personalities with global recognition: Souls Without Walls with Olympic ﬁgure skater Katarina Witt; Call Me Levi, about denim legend Levi Strauss; and the untold story of Maria Anna in Mozart Mozart. Names like these travel across territories, provided the storytelling is distinctive and relevant.

WS: How do you see AI impacting your business?

GRINSCHER: AI is already productive—often away from the spotlight. While consumers notice the rapid visual progress, the most immediate use cases for us as a distributor are pragmatic: AI use in research and administration, as well as for the generation and enrichment of metadata, is already a daily business.

KÖHNEN: Additionally, we see an increase in efficiency gains in subtitling, dubbing workﬂows and the creation of marketing assets. AI-generated key visuals and trailers are within reach. The human component won’t vanish, but roles will evolve.

WS: We’re hearing a lot about AVOD and FAST in North America. What opportunities are you pursuing to further monetize your library, especially your back catalog?

GRINSCHER: Longevity and volume are key for AVOD and FAST. Long-running series allow regular channel refreshes, deepen engagement and extend life cycles. Our back catalog encompasses more than 30,000 hours, from highquality feature classics to long-runners like medical series Friends For Life and its sister series Young Doctors. Thematic and genre channels open new routes to reintroduce evergreens; we were early to “unlock the vault” and revive titles such as the lighthearted animal dramedy Zoo Doctor and the family series Circle of Life. Owning distribution pathways is equally important. Our YouTube channel Fernsehschätze (TV Gems) is creating fresh

awareness and reach for classics. On Amazon Prime Video Direct, we’ve published ten seasons of Vienna Crime Squad Beyond incremental revenue, we gain direct audience data—a strategic advantage that informs future rights acquisition and packaging with real-world signals.

WS: What are your goals for Bavaria Media in the 12 months ahead?

KÖHNEN: First, Mozart Mozart will cue the music as we launch the series globally with Beta Film at this year’s MIPCOM. In the year ahead, our compass remains steady: strong IP, high production values and clear distinctiveness, complemented by sufficient volume to give platforms and broadcasters programming reliability. Bolstering our lineup with new acquisitions and installments, we simultaneously plan to expand our self-publishing activities. There is still untapped potential on that front, and certain gems in our vast back catalog will gain new visibility once made available via our own channels. Just like Maria Anna, some hidden talents will captivate audiences once they are allowed into the spotlight. Now is the time for that.

Mozart Mozart, a historical drama for ARD and ORF, leads Bavaria Media International’s slate for MIPCOM.

Strong female characters headline several Bavaria Media productions, including the true-story-based Souls Without Walls, made for ZDF.

Prentiss Fraser

FOX Entertainment Global

By Mansha Daswani

Repositioning FOX Entertainment in the spring of last year, CEO Rob Wade unveiled a new structure built around three pillars: the FOX Television Network, led by Michael Thorn; FOX Entertainment Studios, under Fernando Szew; and FOX Entertainment Global (FEG), its multi-genre global distribution arm, now under the remit of Prentiss Fraser. The experienced distribution executive exited Fifth Season to take on the role of president of FEG earlier this year. She talks to World Screen about what drew her to the opportunity and her strategy for scaling FEG’s global business.

WS: What attracted you to the opportunity at FEG?

FRASER: FOX is an incredibly entrepreneurial, well-funded and dynamic business. That, combined with the legacy, the lot and the brand, felt like an opportunity to build something powerful for the future. FOX has several direct-to-consumer propositions, as well as a talented roster of creative brands to fuel both domestic and international needs. I love building businesses in media, and I knew I could add value here and help shape this next chapter for the company.

WS: What’s the overarching strategy you’ve put in place to build upon FEG’s strengths?

FRASER: Give the audience what they want. This has always worked for FOX, and we’re doubling down on what makes

FOX unique: big, broad entertainment that travels. We are hiring to localize our sales efforts in several different countries and we’re building out a content and acquisitions team to focus on in-house and third-party acquisitions. Our growing slate is designed to work across borders, whether that is through formats that can be localized, script ed series that have global resonance or unscripted shows with truly universal appeal. We want to have a bootson-the-ground approach, be forward-looking and focus on content with global appeal that is highly entertaining.

WS: How are you working with FOX Entertainment Studios and the FOX Television Network?

FRASER: Our job is to understand, support and monetize the content that is being created or commissioned by the business. The studio and network work hand-in-hand with the sales and acquisitions team in FEG to ensure all opportunities for the business are identiﬁed and we continue to focus on collaboration, synergy and growth.

WS: Rob Wade stressed the importance of partnerships speaking at MIPCOM back in 2022. How much more important is that mantra today?

FRASER: Partnerships are more critical than ever. The landscape has become more complex and more competitive, so ﬁnding ways to share risk, pool resources and leverage each other’s strengths is essential. While many studios are reorganizing and restructuring, the actual industry is projected to increase over time. Our focus is to ﬁnd sustainable ways to monetize in this new landscape. That could mean co-productions, formats, talent collaborations or even strategic alliances with platforms. For us, it is about being open-minded and creative in how we get great content made and seen.

WS: What most excites you about the opportunities in global content today?

FRASER: What excites me most is that there is no one-sizeﬁts-all approach. I love the idea of being able to create bespoke content exploitation strategies in each country and in each content vertical as well. It’s highly surgical right now, and I ﬁnd that challenge enjoyable.

WS: How are you approaching the creator economy?

FRASER: We’re looking at the creator economy not as a separate category, but as an extension of what we already do, which is connecting audiences with great content and giving the audience what they want. That means exploring opportunities to work with digital-native talent, looking at short-form IP that can be scaled into long-form and ﬁnding ways to integrate creator-driven projects into the broader FOX ecosystem. The boundaries between traditional and creator-led content are blurring, and we want to be right in that sweet spot.

WS: What are your goals for FEG in the year ahead?

FRASER: Our goals are ambitious but clear: grow our slate with distinctive, globally resonant IP, expand our partnerships across all genres and platforms and leverage the full power of the FOX brand to deliver value for our partners. If we do those things right, we will continue to position FOX as a go-to destination for buyers and creators alike.

Facing the Future

FAST may have slowed, but distributors are not abandoning their efforts to build direct pipelines to audiences as they look to boost monetization and get a deeper understanding of what viewers want.

By Mansha Daswani

The media and entertainment business is expected to reach revenues of $1.07 trillion this year, according to Omdia, with a signiﬁcant portion of that coming from video. But those rushing to tap into the connected TV gold rush are eyeing a much bigger pie: online consumer expenditure. That number is expected to be about $4.4 trillion this year, “four times what we spend in media and entertainment,” Maria Rua Aguete, leader of the media and entertainment team at Omdia, said at World Screen’s CTV Festival earlier this year. Omdia projects that online consumer spending will reach $6.6 trillion by 2029, with media and entertainment spend expect ed to reach $1.3 trillion.

The rise of YouTube on the home television set, evolving opportunities in branded entertainment and the still vital role of FAST—even though that sector isn’t quite as buzzy as it was two or three years ago—has translated into a paradigm shift for many content owners.

SCALE MATTERS

“Thank god for the AVOD business—it allowed companies like ours that have deep libraries to be able to monetize them with so many outlets,” says Garson Foos, CEO of Radial Entertainment. Funds managed by Oaktree Capital Management acquired FilmRise and merged it with Shout! Studios to create Radial Entertainment this summer. The outfit is now home to a combined library of 70,000 movies and episodes.

“FilmRise is the leader in the FAST and performance-based business in the U.S. and growing considerably internationally,” Foos says. “Shout! has a good business in those categories, but we also have a strong content-licensing business to broadcasters and SVOD, a good transactional business and a good physical business, which was the legacy of the company. Now, we can have all the bases covered in the biggest and best way. There aren’t many companies out there with libraries like ours that emphasize the streaming business as we do. That gives us quite a strategic advantage.”

ZDF Studios created a B2C division, led by Linette Zaulich, to oversee all of its relationships “with those platforms that have a direct rela tionship to the consumer,” says Zaulich. “Through data and the direct feedback we get from the consumers, we can inﬂuence our success. It’s a whole different business. You actually have to do what the consumer wants, not the broadcaster.”

ZDF Studios has been scaling its FAST channel journey, aligning with the likes of Pluto TV, Samsung TV Plus and more.

“The FAST channel universe is fulfilling an additional need of the consumer,” Zaulich says. “If they don’t find anything to watch, they’ll find the single IP they know and they like. And no matter the episode that’s actually running, they’ll watch. This is a whole new way of distributing the content. We have so many long-running and successful series that we can put in a FAST channel and reach more people with them.”

ZDF Studios announced a deal with Samsung TV Plus in 2023 to launch up to 20 channels in Europe, with that process ongoing. “When it comes to Germany, our brands are known and will be successful because of ZDF. When it comes to European activities, ZDF might be known, but it is not as popular as in German-speaking countries, so we need to rely on the partnership we have [with Samsung TV Plus] so that it’s a win-win for everyone. Also, with other partners, we ﬁnd ways to give them the best of our content. FAST is a symptom of devices taking over content. Which means you need to understand where the user is coming into the devices and offer what they want to watch.”

All3Media International has launched a portfolio of FAST channels, alongside a range of other digital services. The company began looking

at the FAST space in 2019, says Gary Woolf, executive VP of strategic development, with So Real… landing on U.S. FAST platforms in June 2020 as a way to drive extra revenue from the company’s broad slate, which stands at more than 35,000 hours.

“Having our own FAST services, rather than just focusing on licensing content to third parties, allows us to manage our content, how it’s presented and when it’s presented,” Woolf says. “We can build new opportunities speciﬁc to the curation of our library.”

The slate runs across single-IP services like Midsomer Murders—which streams over 1 bil lion minutes every quarter, Woolf says—as well as brands built around wellknown personalities, such as Monty Don. There are also genre-speciﬁc digital brands, such as Demand Drama.

“Operating these genre channels allows us to build a FAST home for shows that are specific to our library. It allows us to create opportunities for shows in our library that don’t have enough hours for a single-IP channel but are still amazing viewing. As those channels grow, we can also seed them to build them into single-IPs over time. It also gives us flexibility in when we launch content. When we have short windows between licenses, we can put that on our channels. When we license to a third-party channel or an aggregator, we license it for a reasonably long period. Flexibility always drives more revenue for filmmakers.”

“The mandate is to follow the audience wherever they are,” says Kasia Jablonska, director of digital and on-demand for EMEA at BBC Studios. “Is it CTV platforms? Is it OTT platforms? We’re very much moving in that free space, which FAST is a part of.”

The suite of services Jablonska oversees includes FAST channels and “affiliate players in emerging markets” in the form of BBC-branded

SVOD services. These B2B2C propositions are offered on affiliate platforms as add-on services and include a service in Germany with Ama zon, as well as a platform in Spain. The slate covers seven brands across 42 countries in EMEA, with 18 channels live in the U.S.

“We take a unique position looking at the underlying advertising opportunities rather than just a pure content partnership on a revshare basis,” Jablonska says.

For example, BBC Earth landed exclusively on Samsung TV Plus across EMEA, “and within two months, that brand was already delivering 2.5 million hours of viewing just on the Sam sung platform,” Jablonska says. “It was a very strong sign that there is still interest in the FAST proposition, especially if it’s a premium, strong brand that has recognition globally.”

FAST FORWARD

The number of FAST channels available globally rose by 14 percent in Q1 to almost 1,850, according to data from Gracenote, delivering a total of 197,000 TV shows, movies and sports programs. Cutting through that is no easy feat.

“We’re seeing competition come from the big U.S. studios,” says All3Media International’s Woolf on the pressure points in FAST currently. “They don’t come in with just one or two chan nels—they’re coming in with 10, 20, 30 channels. On the other end of this, you have the [digital] creators; they are now also bringing their audiences to FAST.”

Woolf also referenced the “checkerboard of which FAST channels are available on which device in the market. That can’t be conducive to the advertising space and proper media planning beyond programmatic. It’s about striking a balance of making your channels ubiquitous where it makes sense. On some smaller platforms, you could lose money; certainly, if it’s a headend connection, your costs

are ﬁxed regardless of how many people watch it. The challenge for us is that balancing act.”

Monetization in FAST alone is also a challenge, leading many to explore different routes to the market.

”Margins can be quite tight on FAST channels,” says Amanda Stevens, senior VP of global digital partnerships at All3Media International. Stevens leads the digital publishing team at the company, covering EST, SVOD, AVOD and FAST. On the FAST front, the slate has been targeted at English-language markets, as well as places such as the Netherlands and the Nordics, with approximately 60 percent of the channels being single-IP brands.

“We have traditionally worked on a revenue-share basis with all of our platforms, so they represent 100 percent of the inventory and revenue share back to us. We’ve started to work with Little Dot, our sister company, to try to sell any unsold inventory. We are open to experimenting a bit. We reduced the ad load on some of our channels from 10 or 12 minutes to 6 minutes. The idea being that if you have less ad time but better ﬁll, that might increase viewership.”

DIGITAL SPIN

Building the AVOD footprint beyond FAST has been a key priority this year, Stevens adds. “We’re expanding those channel brands to become more digital brands in the YouTube space. If you have a mixed-IP genre-based brand, it’s not going to be as immediately familiar to the audience as a show that’s been out on the BBC or one of the bigger TV channels. That is a way of building those channel brands.”

The company has also been expanding its suite of subscription services, Stevens says, “publishing our wider library on platforms like Amazon Prime Video Direct, but also SVOD ‘channels,’ if you like.” The FAST channel Inside Outside, for example, started life as an SVOD channel on Roku and Amazon. “We are working to roll that out further this year.”

In FAST, Radial is looking to capitalize on the combination of FilmRise’s extensive TV slate, including a wealth of factual shows, and Shout!’s valuable ﬁlm and scripted library. “It allows us to combine these libraries for increased channel possibilities,” Foos says. “It improves the offering in terms of existing channels. It also helps us on the international side. Now, we have a large library of international rights and are going to be able to launch a lot more channels internationally.” AVOD will remain the priority when monetizing the slate, Foos adds. “FilmRise didn’t really window—it was AVOD and FAST ﬁrst. I

Radial Entertainment, formed from the merger of independent distributors FilmRise and Shout! Studios, is driving AVOD and FAST exploitation of its slate, which includes the Millennium Films collection, home to Angel Has Fallen

love the simplicity of that business. With the majority of what we do, that will continue to be the case. Shout!, with its top-tier films and new film business, allows for more windowing and strategically benefits from it. We have the Golden Princess library, the early John Woo films. We’re giving those a two-month transactional window, and then we’ll be expanding to AVOD and FAST. That will continue, but the vast majority of the business is still going to be streaming in FAST and will not require windowing.”

STRATEGIC DEPLOYMENT

Getting the most out of our content requires strategic planning to ensure you’re not doing anything that will devalue that IP.

“We heard in the past that some of the content buyers may not want to buy an IP because they fear all the seasons are on FAST and that is cheapening the value,” BBC Studios’ Jablonska says. “We are always very mindful of that. So, whoever we partner with, first and foremost, we ensure that they have a clear advertising strategy in place and can monetize our content to the extent that we can say we receive a proper return for the value of the content. With a new partner, we are looking for minimum guarantees to ensure that they trust in the value of what they are getting from us, and they feel comfortable that they can recoup that value. We are very careful who we work with. We always look at the underlying advertising strategy to ensure that we are not spreading ourselves too thin and that our inventory continues to be valuable and premium.”

Addressing what All3Media International considers when deciding who to partner with, Woolf notes, “We want to understand the consumer journey. How do you reach that service? I switch my TV on and then what? Is there an app that I need to download? How are you going to get me to download that app? Is it something that is automatically there on startup or on the remote control as a click-through? The ability for an audience to get to a service is really important. And how that’s messaged. [Having a] sensible marketing budget to do that out of the gate. If it’s a new device, where has it been shipped? With TVs, it’s very much about what models you’re available in, so what’s the backward compatibility? Those are the things we’d consider.”

Once you have your service up and running, constant reﬁnement—and a close relationship with platforms—is paramount.

All3Media International’s Stevens references the curation strategy for Demand Drama, noting, “It’s better to have fewer brands in the schedule at any one time, but chunky blocks of schedule and similar types of content at the

same time every day. The messaging is easily communicated and understood. The viewer can jump in and know what they’re going to get.”

She also highlights the importance of stunts and “moments” in channel schedules. That includes using recognizable talent, “and pitching for promotion on a platform, whether that’s banner promotion on the home screen or if there’s some kind of featured channel slot that’s available on the EPG,” she says. “We have also experimented with giving rights to platforms for our shows for use on their O&O channels. We’re not looking to get revenue share on that exploitation, but we would hope that if someone watches a Gordon Ramsay show on a platform’s owned-andoperated FAST channel and there’s messaging saying, ‘Go and watch this on So Real…’ that we’ll see the uptick there.”

BBC Studios’ Jablonska agrees, noting, “Even with a single-IP, we create invitations to view, stunts, marathons, just to make sure we keep re-engaging audiences.”

Scheduling tweaks in response to audience behavior are crucial. “Data is extremely important to us,” Jablonska says. “We are not able to scale our digital proposition unless it is datadriven. Working for a legacy business, it’s not particularly easy to create your data strategy, but the BBC has been brilliant in doing this. We launched our own data platform, which brings together all the third-party data we have access to. We are sifting through, trying to ﬁgure out what is the most relevant and how we can use it. That’s been a major exercise. We now have dashboards. We’ve agreed on the key KPIs. We have benchmarks for our performance. We can react quickly if we see any dips in performance, respond to it in real time, readjust scheduling strategy and ensure the performance remains at a certain level.”

Data is used to “inform our content valuation,” Radial’s Foos says on the importance of understanding the analytics. “When we’re evaluating new deals, we’re going to have that much more data to inform our projections. We feel like it’s going to increase our accuracy as far as estimating what performance will be and in targeting content to the platforms.”

Pocket.watch, which emerged from the YouTube economy and now distributes its content across the ecosystem, from SVOD to FAST, relies on its proprietary analysis tools to optimize its content slate.

“We have a great curation process where we sift through a library and use some recently formulated AI tools to help us do that—our Channelyzer—to come up with themes,” says Albie Hecht, chief content officer at t he leading creator economy company for kids’ and family fare. “We package them into half-hour programs. We add original content, which is the curation of interstitial and branded pieces that go between them. It looks and feels like a hit television show.”

Hecht continues, “These creators have won what we like to call the Hunger Games of YouTube. We have found that popularity does translate into off-YouTube platforms like FAST.”

FRIENDLY COMPETITION

YouTube is increasingly being viewed as a partner rather than a foe, given its ranking at the top of viewing share numbers in key markets worldwide.

“All of our genre-based channels now have YouTube channels as well,” Woolf says. “We’re also investigating looped linear feeds, almost mini FAST channels within those environments. We’re talking to some people about doing that in the Twitch space. We’d quite like to look at that further in the YouTube space.

Seven.One Studios International’s Married at First Sight has spawned its own FAST channel.

R.L. Stine’s Pumpkinhead , a YA horror movie, is headed to Tubi this October as part of the AVOD platform's expanding originals slate.

That builds some brand familiarity. Of course, there’s money to be made there. YouTube is such a huge platform. For our producers, it’s important that we’re driving that revenue. Having social channels beyond YouTube—such as Facebook and Instagram—means you can engage with the platforms to co-promote and co-post content. There’s also an opportunity from these social spaces to promote other experiences outside of the FAST space. It’s part promotion, part familiarity, part further monetization of content. And then we have regular meetings with the platforms.”

New opportunities are emerging with broadcasters, too, Woolf says, referencing recent traction in Australia, which included the launch of The Yorkshire Vet FAST channel with Seven Network’s 7plus streaming platform.

“That model can unlock live brands that are still on the traditional linear TV broadcast without impacting those main broadcast deals,” Woolf says. “It unlocks those rights so that everybody beneﬁts. The broadcasters are beneﬁting from FAST. Of course, we’re getting that return that we can pay off to the producers. And in those situations, we’re agnostic in terms of who runs and schedules those channels, because it’s important that we’re giving the broadcasters the comfort of having some control over which [seasons] they are airing compared to what they’re putting out on the main channels.”

MINING THE DATA

YouTube is especially valuable when it comes to data and analytics.

“When it comes to YouTube, we have super interesting data,” ZDF Studios’ Zaulich says. “The metrics are known. When it comes to FAST, AVOD or SVOD, the metrics differ from platform to platform. No one knows what a

monthly active user is. There’s no deﬁnition. What is a view? The industry needs to align and strategize together to make the most of this huge universe. When it comes to the data we receive, we use it to question known KPIs. For example, how do you measure success for a YouTube channel? Usually, it’s a subscriber number. But if you look into the data, you might see a big surprise when it comes to who’s actually watching the content. How many views are you receiving through the actual subscribers and through non-sub scribers? Our most extreme case in that ﬁeld is our documentary channel Get.Factual. We found that within the past year, only 6 percent of our views came from subscribers. The rest are people coming from content recommended through the start page and the videos. Of course, it’s necessary to have a certain number of subscribers, but you need to look into the data to understand where the revenues are actually coming from. This is the kind of work I want to do around every platform: see what the KPIs are for every platform, go there and make our channels more successful with this kind of data.”

Data has also proven to Zaulich that cannibalization, when you’re sharing your content on YouTube, should not be a concern.

“We launched an SVOD channel for Terra X, which is the most popular documentary slot in Germany. In 2017, we created an Amazon SVOD channel. The content is curated for you. At the same time, the ZDF catch-up service is available on every device in Germany, so with one click on your remote, you can easily switch to the streaming service and watch the content that is available there. Terra X has been available for ten years for free. So, all of the shows we curated on Amazon as an addon subscription channel are available for free

with just one click on your remote. Still, it’s a very successful channel. People are paying monthly to watch it, even though they could easily watch it for free. There’s no cannibalization happening. If you like a platform, you like the environment you’re in, you’re eager to pay for more, for good-quality content, even though it could be somewhere else. I don’t believe in cannibalization. Of course, as a public broadcaster, I need to demonstrate that my beliefs are not hindering any broadcast strategy, especially when it comes to ZDF’s content strategy. We’re closely aligning our strategies there to make the most out of the whole digital universe for both sides.”

Having an integrated approach is paramount, All3Media International’s Woolf adds. “Up until the end of last year, we ran all of these digital activities within All3Media International as a self-contained incubator business. Now, we’ve plugged it into the main All3Media International machine, so we’re working much closer with marketing, which means that we have access to many more tools in terms of our social reach and content that we can support platforms with.”

MIXED ECONOMIES

The key is not being dependent on a single revenue model. “Ad revenues fly some years, they fall through the floor some years,” Woolf continues. “The subscription model, some years it’s great, some years it’s not. So, it’s just having that mixed ecosystem of opportunities so that we’re constantly bringing revenue back.”

Traditional content companies are also capitalizing on opportunities in the creator economy content space. “FilmRise is continuing to sign up creators, and we’re getting rights largely for off-YouTube channels and putting them together into longer-form programming blocks to put up on AVOD and FAST,” says Radial’s Foos. “It’s a fast-growing part of the business.”

Foos expects continued growth in the AVOD space, given the current economic climate. “People are going to be culling their subscriptions, and they’ll be watching more content on the ad-based channels. Also, the subscription channels are taking less and less library. So, consumers aren’t going to ﬁnd a lot of their favorite movies from ﬁve or ten years ago on the subscription channels. They’re going to be looking for them on AVOD and FAST.”

Development Slates / Distribution Shifts / Mattel’s Josh Silverman & Robbie Brenner

BBC Studios Kids & Family’s Cecilia Persson / Nickelodeon’s Ashley Kaplan / Disney Branded Television’s Gino Guzzardo Behind the Scenes of Hundred Acre Wood’s Winnie and Friends / Gumball Returns

FEATURES

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Jamie Stalcup Managing Editor

Kloudia Sakowski Associate Editor

David Diehl Production & Design Director

Simon Weaver Online Director

Dana Mattison Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

Ute Schwemmer Bookkeeper

Ricardo Seguin Guise President

Mansha Daswani Associate Publisher & VP, Strategic Development

TV Kids

401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A.

Phone: (212) 924-7620

Website: www.tvkids.com

Paradigm Shift CONTENTS

One word kept coming up over and over again at our TV Kids Summer Festival in June, now in its milestone fifth year: “pivot.”

The overarching message was that standing still—doing things the way you always used to do them—is not an option. Whether you’re a producer trying to complete the financing of a show, a distributor looking to maintain revenues from a challenged market or a trusted channel finding ways to make sense of being on YouTube, pivoting and adapting are paramount. And obviously, you have to be on YouTube, in one way or another. A recent Ofcom study indicated that for young ones in the U.K., YouTube is frequently their first stop for content.

Ed Leighton, Ofcom’s interim group director for strategy and research, noted: “Scheduled TV is increasingly alien to younger viewers, with YouTube the ﬁrst port of call for many when they pick up the TV remote. Public-service broadcasters are recognizing this shift—moving to meet audiences in the online spaces where they increasingly spend their time. But we need to see even more ambition in this respect to ensure that public-service media that audiences value survives long into the future.”

Indeed, with kids spending so much time on YouTube and other digital platforms, the landscape of “traditional” free-to-air linear channels is being entirely reshaped amid a wave of closures. Meanwhile, outside of Europe’s valuesdriven public-broadcasting ecosystem, commissions have taken a massive hit and everyone is pursuing new, innovative ways to get shows off the ground.

This edition explores how creatives are addressing the market’s challenges, surveying a range of development executives about how slates are being crafted amid the transformative changes in the business. We also hear from several leading distribution executives about ﬁnessing windowing strategies—and using YouTube—to maximize a piece of an IP over the long tail.

The other refrain that we’ve been hearing in the last few months is that we can’t abandon this demo. Leaving them to their own devices (literally) as we sit on the precipice of an AI content boom isn’t an option, so it’s time to dig deep and get creative. And people are doing just that, as you’ll see from this edition, which includes insightful Q&As with Mattel’s Josh Silverman and Robbie Brenner, BBC Studios’ Cecilia Persson, Nickelodeon’s Ashley Kaplan and Disney’s Gino Guzzardo on embracing change while keeping kids first. Mansha Daswani

GETTING CREATIVE

Exploring the art of crafting development slates for a market that seems to change daily.

TURN UP THE VOLUME

Producer-distributors of scale discuss how they are maximizing their valuable libraries.

GUMBALL IS BACK!

Ben Bocquelet and Erik Fountain discuss the making of The Wonderfully Weird World of Gumball

INTERVIEWS

Mattel’s Josh Silverman & Robbie Brenner

BBC Studios

Kids & Family’s Cecilia Persson

Nickelodeon’s Ashley Kaplan

Hundred Acre

Wood ’s Winnie and Friends’ Raphaëlle Mathieu

Disney Branded Television’s Gino Guzzardo

Ánima Kitchent

Cuquín / Tippi T-Rex / Howly & Wooly

Ánima Kitchent is bringing to MIPCOM a slate of programs “carefully designed to perform and thrive across a wide range of channels—broadcasts, streaming services, YouTube, apps, consumer products and more,” says Miguel Aldasoro, international sales and co-production director. This includes Cuquín, the company’s ﬂagship IP. The preschool series Tippi T-Rex follows a curious dinosaur girl who turns everyday life into imaginative adventures. Howly & Wooly tells the story of two unlikely best friends who solve daily problems together.

“Our IPs are developed with a true multiplatform vision from day one,” Aldasoro notes. “By leveraging in-depth analytics from platforms like YouTube and Tubular, we gain deep insights into global viewing habits, enabling us to adapt and optimize our content for different markets.”

“We’re dedicated to producing high-quality content that not only excels across platforms but also deeply resonates with audiences.”

—Miguel Aldasoro

Australian Children’s Television Foundation

Tales from Outer Suburbia / Knee High Spies / Windcatcher

The Australian Children’s Television Foundation has on offer Tales from Outer Suburbia, based on the best-selling book by Shaun Tan. When siblings Klara and Pim move to Outer Suburbia with their mother, the family goes on a roller-coaster ride of emotion, encountering weird and miraculous phenomena as they adapt to their new reality. The preschool series Knee High Spies is a mix of live-action and puppetry. “It brings high-energy thrills and the white-knuckle suspense of an espionage blockbuster to a young audience, reimagining exotic cinematic locations in a relatable domestic setting,” says Tim Hegarty, international sales manager. The family-friendly live-action ﬁlm Windcatcher sees 10-year-old Percy Boy Collins and his crew of friends outsmart a gang of bullies to triumph at their school’s athletics carnival.

BBC Studios Kids & Family

Crookhaven / My Friend Maisy / Raﬁ the Wishing Wizard

Leading BBC Studios Kids & Family’s MIPCOM catalog, Crookhaven, based on JJ Arcanjo’s books, takes place in the mysterious Crookhaven School, where young crooks are selected to hone their skills for good. The screen adaptation “is a compelling coming-of-age, action-packed adventure with wit, multilayered storytelling and emotional resonance,” says Katharina Pietzsch, VP of content sales. In the book-based preschool series My Friend Maisy, Maisy and her friends talk for the very ﬁrst time. Raﬁ the Wishing Wizard sees a young wizard navigate the responsibilities of magical powers with the help of her dads, friends and cat. “This dynamic lineup marks a major milestone, showcasing not only the strength of our current portfolio but also the creative ambition and production capability driving our future,” Pietzsch says.

“Kids of all backgrounds and nationalities have one thing in common: they love laughter, adventure and stories that enthrall and entertain.”

—Tim Hegarty

“We’re focused on high-quality content that connects with young audiences and raises the bar for children’s storytelling.”

—Katharina Pietzsch

My Friend Maisy

Windcatcher

Tippi T-Rex

Blue Ant Studios

Tralala / Old Enough! / All-Round Champion

The musical preschool series Tralala, created by Harry Sinclair, headlines the Blue Ant Studios slate for MIPCOM. “It’s a rare, special show; one of those projects you encounter maybe once or twice in a career,” says AJ Trauth, VP of development for kids, family, YA and animation. It “charms with music and original storytelling.” Old Enough!, the ﬁrst English-language adaptation of the Nippon TV format, sees young kids take on real-world tasks while their parents watch from afar. All-Round Champion is an adaptation of NRK’s sports competition Best i mest, which sees teens and tweens compete across different sports, coached by professional athletes. “Its universal themes of teamwork and sportsmanship, combined with an incredible cast, make it a winner across markets,” Trauth says.

Boat Rocker Studios

The Next Step / Dino Ranch: Island Explorers / Rocket Club

Boat Rocker Studios’ tween drama The Next Step follows students of The Next Step Dance Studio through drama, adventures and high-stakes competitions. Dino Ranch: Island Explorers follows the Cassidy family as they swap their cowboy hats for explorer gear and set off to the mysterious Dino Island—a place brimming with new dinosaur species, giant insects and prehistoric amphibians. Viewers join friends Callie, Jeenie, Ravi, Chip, Bunny and their robot buddy TAC in Rocket Club as they blast off aboard StarBird-1. “These three titles share universal qualities that connect with audiences around the globe—compelling characters on relatable journeys, gripping stories that drive proven engagement and the kind of franchise credibility that gives buyers long-term conﬁdence,” says Gia DeLaney, senior VP of global sales for kids and family.

CAKE

Pablo: Next Level / Armorsaurs / Bubblegem

Pablo: Next Level, from CAKE , follows the eponymous character after he starts at a new school that is wild and complicated. From rules that don’t make sense to chaotic corridors, Pablo navigates his new world with a little “help” from his book animal friends and imagination. In Armorsaurs, a team of teen pilots and their armored dinosaurs stand as humanity’s last line of defense against a sophisticated alien race. Bubblegem follows the magical adventures of Princess Purple, a curious young mermaid who secretly ventures into the human world. “Aimed at girls 6 to 9 years old, Bubblegem is a magical tale of friendship, courage and self-discovery and teaches children about friendship and how working as a team can help you succeed,” says Ed Galton, CEO.

“Each [show] combines strong storytelling, distinctive creative voices and global appeal.”

—AJ Trauth

“From

evergreen preschool storytelling that parents trust and kids love to the fresh discovery and expansion of a hit brand, each series delivers content that entertains today while building lasting value for tomorrow.”

—Gia DeLaney

“CAKE

continues its growth through key acquisitions, expanding its catalog of premium kids’ and family content while strengthening partnerships with key strategic brands.”

—Ed Galton

Pablo: Next Level

Dino Ranch: Island Explorers Old Enough!

Dandelooo

Hold on Gaston! / Pol the Pirate Mouse / Under the Sofa

Hold on Gaston!, available from Dandelooo and based on the Little Unicorn books by Aurélie Chien Chow Chine, centers on a young unicorn whose rainbow mane changes colors according to his emotions. Pol the Pirate Mouse teaches children about teamwork, friendship and tolerance. Under the Sofa sees stray objects live together in harmony under a couch. “Our preschool animation series are based on a child’s point of view, with universal emotions and desires,” says Emmanuèle Pétry, head of international and development. “These titles combine eye-opening storytelling with universal appeal that will charm global audiences. We focus on great writing, funny plots, endearing and relatable characters, good narrative rhythm, unique designs and visually stunning animation.”

El Reino Infantil

Bartolito / Boogie Bugs / La Granja de Zenón

Leading El Reino Infantil’s catalog for MIPCOM is Bartolito, a spin-off of the company’s ﬂagship IP, La Granja de Zenón, “which remains our star property and continues to be a valuable title in the international markets,” says Ylka Tapia, partnership manager and executive producer. Boogie Bugs, inspired by the characters of Bichikids but reimagined with a global narrative, is also on El Reino Infantil’s slate. “These IPs are a safe and valuable bet for international buyers, mainly because they come with an already massive audience of over 222 million subscribers across our network,” Tapia says, stressing that “they are highly recognizable properties thanks to their established digital success, and their reach extends far beyond YouTube.” She adds, “The shows balance education and entertainment, creating a strong bond with families.”

Guru Studio

“Our goal is to showcase ‘must-have’ animated content that will entertain and inspire.”

—Emmanuèle Pétry

“MIPCOM is the stage

where

we

showcase our vision to bring high-quality family entertainment with global reach and universal values.”

—Ylka Tapia

Bark Heads / True & You: Shorts from True and the Rainbow Kingdom / 123 Number Squad!

As Guru Studio celebrates its 25th anniversary, it is presenting a range of new and returning series at MIPCOM. Bark Heads, a comedy for older kids and families in late-stage development, “celebrates extreme personal agency and the loyalty of good friends who are bold and dogged enough to chase their dreams,” says Frank Falcone, president and executive creative director. The True and the Rainbow Kingdom franchise is growing, with Guru offering True & You, a collection of shorts designed for cross-platform viewership, “bringing the heart of the True universe to life in bite-sized adventures,” Falcone says. Also on the slate is a second season of 123 Number Squad! “The new season explores key social and emotional development themes such as sharing, resilience, teamwork and friendship,” he explains.

“We’re excited to partner with content creators, brand managers and audience engagement experts to develop animated stories that center on entertaining characters.”

—Frank Falcone

Bark Heads

Pol the Pirate Mouse

Bartolito

Hidden Pigeon Company

Edwina & Reggie

Hidden Pigeon Company is developing 11 series, features, specials and digital content based on the book catalog of the New York Times best-selling author and illustrator Mo Willems. Edwina & Reggie is based on the book Edwina, the Dinosaur Who Didn’t Know She Was Extinct. With its projects, Hidden Pigeon Company aims to “appeal to a global audience through universally relatable kids’ and family themes, distinctive animation styles and a diverse cast of characters that aim to emotionally resonate with viewers, no matter where in the world they live,” says Kristofer Updike, senior VP of creative. At MIPCOM, “we’re excited to connect with broadcasters, streamers, distributors and animation studios to continue to build awareness around our vast catalog of literary works,” Updike adds.

Kartoon Studios

Hundred Acre Wood’s Winnie and Friends

“MIPCOM marks a pivotal milestone for Kartoon Studios as we unveil Hundred Acre Wood’s Winnie and Friends to international buyers for the very ﬁrst time,” says Raphaëlle Mathieu, executive producer of the series. “As we approach the 100th anniversary of A.A. Milne’s original publication, there is immense global affection for these characters—yet they’ve never been reimagined quite like this,” she says. Writer Linda Woolverton (The Lion King, Beauty and the Beast) and designer John Rivoli were involved in crafting the new title. “The result is a world that feels soft, yarn-like and utterly unique,” Mathieu notes. With a global licensing and consumer products strategy already lined up, “our goal is to create not just a show, but a cultural moment—an ‘oasis of goodness’ that can become a global evergreen brand for years to come.”

Hidden Pigeon characters

“We’re excited to spend time with our global colleagues, introduce more people to Mo Willems’ extensive body of work and celebrate the incredible creative talent from around the world.”

—Kristofer Updike

Konami Cross Media NY

Yu-Gi-Oh! GO RUSH!! / Yu-Gi-Oh! SEVENS / Yu-Gi-Oh! Library

From Konami Cross Media NY comes Yu-Gi-Oh! GO RUSH!!, the latest Yu-Gi-Oh! series featuring new monsters and powerful spells. Yu-Gi-Oh! SEVENS provides the next evolution in dueling, introducing Rush Duels, which are faster and simpler but need new strategies. The rest of the Yu-Gi-Oh! library is available as well, with six titles in all, including the original series, Yu-Gi-Oh! Duel Monsters. “With a distribution history spanning more than two decades, Yu-Gi-Oh! has cultivated a dual audience of both dedicated legacy fans and a continuous inﬂux of new viewers,” says Mark Kirk, senior VP of distribution. He continues, “Anime’s global rise is undeniable, moving from a niche subculture to a mainstream entertainment powerhouse. At the heart of this phenomenon, Yu-Gi-Oh! stands as a testament to this evolution.”

“What makes Winnie and Friends truly exceptional is the rare combination of timeless brand equity and bold creative innovation.”

—Raphaëlle Mathieu

“Yu-Gi-Oh!’s proven, enduring global appeal offers a compelling opportunity for buyers, demonstrating a track record of success.”

—Mark Kirk

Yu-Gi-Oh! GO RUSH!!

Hundred Acre Wood’s Winnie and Friends

Lion Forge Entertainment

Iyanu / Bugtron / The Wingfeather Saga

Lion Forge Entertainment’s Yoruba mythology-based series Iyanu “has successfully launched in the U.S., U.K., Africa, the Middle East and Australia with incredible results,” says Kirsten Newlands, executive VP of production and content partnerships. “We’re looking to ﬁrm up broadcast partners in our remaining territories and move to a season three green light.” In Bugtron, a battle brews between factions of highly evolved bugs. The action-adventure fantasy series The Wingfeather Saga, for children ages 6 to 11, follows the journey of the Igiby family. “Spending time with global distribution partners is incredibly important to us, and MIPCOM remains a tremendous platform to connect in person, showcase our slate and discuss key developments, like the recent investment from HarbourView,” Newlands says.

Madgic Distribution

Jade Armor / High Hoops / Lana Longbeard

Madgic Distribution is making its MIPCOM debut with a mix of animated and live-action properties. Jade Armor, a finalist for the Unifrance TV Export Awards in 2024, is back with a second season, produced by TeamTO for France Télévisions and Super RTL. Madgic is also offering a second season of High Hoops. “Live-action comedy series continue to be a major hit with broadcasters and audiences across the world,” says Lionel Marty, managing director of Madgic Distribution. “High Hoops season two is making its much-anticipated international debut following the successful launch of season one on CBBC and first international releases on ABC Australia, TVO in Canada and NDR in Germany.” Lana Longbeard, Zephyr’s first production with Copernicus Studios, is also on the slate.

Mattel Studios

Hot Wheels Let’s Race / Pingu / Thomas & Friends

On offer from Mattel Studios, a third season of Hot Wheels Let’s Race continues to bring the beloved toy car brand to life. A new Pingu series, in development with Aardman, revives the iconic penguin character on-screen. Mattel Studios’ slate also features a host of content from the Thomas & Friends franchise. “These titles stand out because they combine purpose with longevity,” says Robbie Brenner, president of Mattel Studios and chief content officer. “Each has deep cultural recognition and built-in equity with audiences around the world. Hot Wheels, Pingu and Thomas & Friends all deliver storytelling that transcends borders and connects across generations. They are part of Mattel’s franchise ﬂywheel, where content drives engagement across toys, consumer products, digital platforms and beyond.”

“We believe our franchise-building blueprint is a unique differentiator and the additional capital allows us to further develop and invest in expanding our library.”

—Kirsten Newlands

“We have a great slate of both animated and live-action series that we hope to continue to sell to broadcast and platform partners.”

—Lionel Marty

“Our vision for Mattel Studios is to collaborate with leading creators to make standout-quality content based on Mattel’s iconic brands.”

—Robbie Brenner

Thomas & Friends

Iyanu

Lana Longbeard

Paramount Global Content Distribution

The Thundermans: Undercover / Tim Rex in Space / Wylde Pak

Paramount Global Content Distribution is bringing to MIPCOM

The Thundermans: Undercover, a spin-off of The Thundermans. It “delivers new adventures with beloved characters in a format that has traveled well,” says Lisa Kramer, president of international content licensing. Tim Rex in Space sees a dinosaur navigate life in an asteroid town. It “offers a unique lens on preschool life, combining two universally loved themes—dinosaurs and space—to create a globally resonant experience,” Kramer notes. Wylde Pak spotlights a blended Korean-American family, bringing “authentic representation to screens with its multi-generational, multicultural family dynamics,” Kramer says. “Its comedic tone and relatable themes, both trademarks of Nickelodeon animation, make it both entertaining and meaningful for global audiences.”

pocket.watch

Ryan’s Mystery Playdate / Love, Diana Musical Mysteries / Toys and Colors

The Emmy-nominated series Ryan’s Mystery Playdate leads pocket.watch’s MIPCOM offering. The show has ﬁve seasons available. Episodes of Love, Diana Musical Mysteries open with live-action Diana and Roma before they are transported to a magical 3D animated kingdom to solve a new mystery. A host of content featuring the YouTube supergroup Toys and Colors is on offer from pocket.watch as well, with Toys and Colors Club, the holiday-themed Toys and Colors Elf Academy and Toys and Colors Kaleidoscope City. “These are the shows that today’s kids most want to watch,” says David B. Williams, senior VP and general manager of channels. “When you put them up against other shows on the basis of cost per unit of watch time, they just about always come out on top, often by wide margins.”

Polydont Films

MechaNick / Mazukta & Shambabukli / Roman Pigeons

Polydont Films is delivering a 3D series titled MechaNick, which combines adventure, discovery and creative thinking while also teaching children about the importance of caring for their toys. Mazukta & Shambabukli is a comedy that tackles existential questions, emphasizing the idea that everyone is the creator of their own life path. Roman Pigeons features a new format of ultra-short webisodes for young adults, exploring relatable everyday themes such as relationships and work. “A key strength of Polydont is our diverse content lineup, which allows us to engage multiple target audiences across different age groups—preschoolers, teenagers and young adults,” says Elena Lyalina, CEO and producer. “This versatility enables us to tailor our projects to resonate deeply with each group’s unique interests and perspectives.”

“With

a rich portfolio of iconic franchises and a pipeline of innovative new titles, we’re committed to telling stories that resonate with young audiences everywhere.”

—Lisa Kramer

“Each of these shows represents a perfect union, marrying the intrinsic appeal of an established star creator with the ﬁne craftsmanship and enriching ingredients that come with a premium production.”

—David B. Williams

“Our main goal at MIPCOM is twofold: to secure broadcasters and distribution partners for our projects in production and to foster new collaborations for co-productions and the development of next seasons.”

—Elena Lyalina

Roman Pigeons

Ryan’s Mystery Playdate

Wylde Pak

Rainbow

Winx Club: The Magic is Back / Mermaid Magic / Gormiti—The New Era

The reboot Winx Club: The Magic is Back leads Rainbow’s MIPCOM offering. Its “vibrant new look and modern feel is designed to appeal to contemporary audiences, and reaction to the eagerly awaited series has been hugely positive,” says Andrea Graciotti, VP of sales and co-production. Mermaid Magic centers on the adventures of three mermaid friends as they battle an evil pirate. The episodes share messages about ocean conservation and respecting nature. Gormiti—The New Era, which reimagines the franchise with a blend of live action and CGI effects, sees four heroes from Earth called to save the fantasy realm of Gorm. “All three series showcase Rainbow’s unwavering commitment to quality, compelling storytelling and innovation, with high-quality production values and themes with wide universal appeal,” Graciotti says.

Sesame Workshop

“We aim to continue to expand our fabulous and diverse portfolio of content for the whole family.”

Tales from 123 / Mecha Builders / Sesame Street: The Nutcracker

Sesame Workshop’s Tales from 123 takes viewers inside the famous brownstone from Sesame Street Mecha Builders transforms Elmo, Cookie Monster and Abby Cadabby into robot heroes-in-training who use STEM powers to solve problems. Sesame Street: The Nutcracker reimagines the Christmas tale in the world of Sesame Street. “With beloved characters like Elmo, Cookie Monster, Big Bird and Oscar the Grouch, Sesame Street has become a standard bearer for early childhood storytelling through carefully researched educational content,” says Kay Wilson Stallings, executive VP and chief creative development and production officer. “We remain committed to partnering with innovative, missionaligned organizations, licensees and distributors who can amplify our message and ensure local relevance.”

“For over 50 years, Sesame Street has brought joy to kids and adults around the world.”

Spin Master Entertainment

Unicorn Academy / Vida the Vet / Sparkles Magical Market

A second season of Unicorn Academy headlines Spin Master Entertainment’s lineup. “Unicorn Academy offers a proven book-based franchise, a massive content pipeline, crossplatform shorts and a booming music footprint—all wrapped in a high-end look and feel that’s irresistible to its core demo,” says Caroline Tyre, VP of global content distribution. A second season of Vida the Vet is also on offer, “blending learning, empathy, music and teamwork into every story,” Tyre says. The Sparkles Magical Market IP—originally launched as a Roblox game—has expanded to include 30 5-minute shorts that give more insight into the world and its characters. “Each title embodies Spin Master’s signature strategy: premium storytelling plus robust, built-in global appeal,” Tyre says.

“Our mission is to create premium, story-rich universes that ignite imagination across every platform kids love, from streaming to social to gaming.”

—Caroline Tyre

Vida the Vet

Winx Club: The Magic is Back

Mecha Builders

—Kay Wilson Stallings

—Andrea Graciotti

Studio 100 International

Louca / Mortina / Gifted

Leading Studio 100 International’s MIPCOM lineup, Louca follows the friendship between the titular clumsy high schooler and a handsome soccer player who happens to be a ghost. “Louca goes far beyond sports, addressing themes such as self-conﬁdence, courage and personal growth,” says Dorian Buehr, head of global distribution. The character’s “clumsy antics, spontaneous actions, wild ideas and unpredictable behavior create a comedic tone that keeps the stories entertaining and memorable,” he adds. Mortina centers on the universal fear of not being accepted by telling the story of a 9-year-old zombie girl and her friends as they solve cases in the decaying Crumbling Manor. In Gifted, a diverse group of teenagers whose special powers are closely linked to their backgrounds are pursued by a shadowy organization.

The Wiggles

The Tree of Wisdom / Ready, Steady, Wiggle! / Wiggle Up, Giddy Up!

Topping the slate of content on offer from The Wiggles, The Tree of Wisdom is a brand-new series that expands the universe of the titular character. An eighth season of Ready, Steady, Wiggle! is available as well, as is the 75-minute country-themed special Wiggle Up, Giddy Up! “The Wiggles bring a rare combination that buyers can trust: decades of global brand recognition, a proven track record of entertaining and educating children and a style that families have loved for over 30 years,” says Luke Field, general manager for commercial. “To me, what really makes The Wiggles content stand out is the music. That power is front and center in all these titles we are showcasing at MIPCOM.” The Wiggles brand also features off-screen extensions such as live tours and music albums.

WildBrain

“Looking ahead to 2026, Studio 100 International plans to greenlight new development projects and is preparing to unveil fresh animated and distribution titles in the coming months.”

—Dorian Buehr

“The Tree of Wisdom carries the unmistakable Wiggles DNA while introducing incredible new music and comedy that broaden its reach.”

—Luke Field

The Snoopy Show / L’il Stompers / Zip and the Tiny Sprouts

In WildBrain’s The Snoopy Show, the beloved beagle, his best friend Woodstock and the rest of the Peanuts group go on brand-new adventures. “Our newly available Peanuts content, including The Snoopy Show, is timeless, funny and full of heart,” says Katie Wilson, VP of global sales and acquisitions. L’il Stompers centers on a group of dinosaur friends who love playing and exploring the world around them. With Zip and the Tiny Sprouts, “we have a beautifully crafted series that showcases a deep understanding of what helps young hearts and minds grow,” Wilson says. She adds, “The shows we’re bringing to market this fall represent everything that makes great kids’ and family content— engaging characters, vibrant visuals and compelling stories with universal themes that inspire, educate and entertain.”

“Across animation and live action, we’ve got something for every age and every platform.”

—Katie Wilson

The Snoopy Show

The Tree of Wisdom

Mortina

GETTING

Studio 100 International’s Vegesaurs

How do you craft development slates for a market that seems to change daily? Leading executives share their perspectives with Mansha Daswani .

There’s a rapid-ﬁre, frenetic pace to so much of the content that is resonating with kids on YouTube, the preferred platform for this generation of young audiences. Their favorite social stars are posting new content on a daily basis to feed this always-on demographic. The “traditional” kids’ media ecosystem, meanwhile, is dependent on much longer timelines, between the practicalities of producing highend animation and the layered decision-making of broadcast and streaming organizations that can slow down commissioning and production schedules. How does an industry made to serve the entertainment needs of these fast-moving audiences keep up? We surveyed a broad range of players to understand how development slates are being crafted that meet the needs of where kids are now and where they will be three years from now. It’s no easy feat.

“The starting point is always the market,” says Martin Krieger, CEO of Studio 100 International. “We carefully analyze which types of content are in demand and where gaps still exist. At the same time, every project must align with our core values: family-friendly entertainment, strong storytelling, cultural relevance and international appeal. It is also important to us to complement our existing portfolio rather than cannibalize it. Ultimately, we only pursue projects we truly believe in. Genuine passion translates into market success. What matters most are strong creative voices, partners who share our vision and brands with the potential to resonate across generations.”

At Magic Light Pictures, Martin Pope, joint CEO and cofounder, says it’s all about having complete faith in a property’s conceit.

“If it’s going to take us years to make this, then it needs to be something that we can all believe is very high quality, is going to enrich children’s imaginations, take them on a journey and is something we can be proud that we’ve done,” he says. “For years, we have been trying to develop only those things that we are definitely going to make rather than try out lots of things.”

Emmanuèle Pétry, head of international and development at Dandelooo, lists a range of factors the team at the French outfit considers when deciding which projects to invest resources in. “First, the concept needs to be unique and immediately understandable. Second, the design has to catch our eye and stand out from the typical colorful chewing gum palette. We want a look that feels fresh and authentic. The age target needs to be well defined, too. Most importantly, we want to work with truly talented and passionate creators. We ask ourselves, Can this project become a ‘must-have’ that stands out in a crowded market, connects emotionally and compels audiences to watch?”

At Lion Forge Entertainment, the guiding ethos is “diverse stories, authentically told,” says Koyalee Chanda, senior VP for animation. Properties need to fulﬁll that mission and “have a viable sales strategy,” she says. “In this current market, a path to sales is essential. Creatively, we look for IP that feels both unique and commercial. We believe there is value in broadly appealing content that stands out.”

Having some kind of brand awareness can certainly help a project get into a studio’s development slate.

“There’s no denying it—the appetite for known IP is huge today and stronger than ever,” says Dandelooo’s Pétry. “Our strategy is to acquire the rights to best-selling books that we genuinely love. We then focus on developing the adaptation into an animated series to reach many more eyeballs than the book fans, therefore creating the IPs of the future.”

KNOW ME?

Chanda at Lion Forge adds, “Known IP is great because it gives buyers a comfort level when committing to a project. Books are the classic source for this in the kids’ and family space. But we take a very broad view of what makes something ‘known IP.’ It can be a well-known book, but it can also be a global brand like Rebel Girls that brings awareness and audience to a new narrative project. Known IP could be a toy that has the potential to build a storytelling world around it. It could be a piece of music that supports a script. We love combining our creative ideas with these types of IP to create something global, commercial and with a built-in audience.”

Ánima Kitchent has been building out the Cuquín IP and is seeding properties on the platforms kids are spending the most time on. “We have been using strategic criteria based on testing vertical shorts and video games such as Roblox experiences,” says Rodrigo Pineda, strategy director and executive producer at the Spanish studio. “Children’s content and products are going through a turbulent time. This is due to the clash between the traditional mainstream model of ‘broadcast and toys’ and the radical emergence of platforms such as YouTube, SVOD services and Roblox dominating children’s screen time. This shift influences our criteria for development, pushing us to consider flexible platformoriented formats that align with how kids consume content today.”

While it is using short-form to explore the potential of IPs, Ánima Kitchent is developing content intended for all types of platforms.

“At the moment, our production slate spans from YouTube shorts through to our first family feature film,” Pineda says. “We also create digital educational videos, traditional comedy series and games and experiences in Roblox. Essentially, whatever format resonates best with kids—whether it’s episodes, games or interactive content—we provide it, adapting to their preferences, the needs of families and the demands of our clients.”

“Traditional” formats remain the bedrock at Studio 100, Krieger says, “but from the very beginning, we think about every brand in a cross-platform way. Vegesaurs, for example, not only lives as a TV series but also on its own YouTube channel featuring clips and sing-along videos. Together with FXFX Studio, we launched a Roblox experience for Maya the Bee . We are open to projects conceived from the outset as short-form or gaming, as long as they expand the brand in a meaningful way and reach new audiences.”

PLATFORM PERSPECTIVES

At Hidden Pigeon Company, founded to develop content based on Mo Willems’ works, “We work across all formats, styles and audiences,” says Kristofer Updike, senior VP of creative. “We’re developing traditional series formats in 11-, 7- and 5-minute lengths, as well as 90-minute features, 30- and 45-minute specials, and short-form digital content. Our goal is to stay flexible, adapting to the needs of each platform while tailoring the format to best serve the story and characters.”

It’s a similar perspective from Lion Forge’s Chanda: “We make a practice of looking at every property and saying, What is the best way to get audiences to fall in love? That could be a feature, a series, short-form or a combination. We take pride in our ability to produce at a variety of budget levels and in multiple formats.”

Pope says that Magic Light is exploring how to do digitalfirst content. “For independents to understand how we are going to be able to raise enough money to get it out there sufficiently in order to then monetize it is a conundrum we can’t claim to have cracked yet. But it’s one that

Ánima Kitchent is using data and analytics to constantly adapt its IPs, including Cuquín

we all have to. The audience has moved there. They will want to find it on that platform. That platform will probably want it to be there. So, how are we going to make that work? And that’s the challenge. Because if we are looking ahead, either AI is going to flood YouTube with just enormous amounts of low-grade animated material and there will be lots of richer kids watching things behind paywalls, or we’re going to have to find a different way of doing digital first so that we can deliver great quality to that audience in that space.”

Plus, Pope adds, “The challenge for us is that we need to think about the public-service broadcasting material we can make at that price point that can reach that audience on that platform. Those are the challenges that we need to face as a creative community.”

The creative community is also coming to grips with understanding the available insights on what’s moving young audiences.

“We are committed to creating universally memorable characters, centered firmly around our audience and not just the platforms themselves,” Ánima Kitchent’s Pineda says. “That is why we conduct weekly behavioral analysis using real-time data from our engineering and math team to understand how kids engage across platforms. Our relationship with broadcasters and streamers is a partnership: we jointly explore their niche needs and work together to deliver content that drives engagement. This ongoing data-driven strategy ensures we’re always aligned with both viewer preferences and client expectations.”

Chanda at Lion Forge says the team is keen to understand not just what kids are watching, but how they are watching. “We have invested in some key internal resources, including experts in the digital space (YouTube); in the international creative, distribution and sales spaces; and the franchise space.”

ART & SCIENCE

It is a delicate balancing act: being responsive to what the numbers are saying about what’s happening right now while still looking ahead and leaving open the potential to be surprised by something.

“We do not try to ‘stay current and trendy,’ as it is a constantly moving target,” Pétry says. “Instead, we trust our own judgment and try to understand and focus on what makes a project meaningful. We also ask ourselves, What does it bring to the table that’s new, distinctive and fresh in an overcrowded media landscape? Having said that, we need to keep in mind the needs of the broadcasters and platforms as well. We try to identify their blind spots by not developing an idea similar to a project they are already working on or areas where their slates might be missing something. It’s having a mix of intuition, creative passion and awareness.”

At Magic Light, similarly, “we’re not trend-led,” Pope says. “Amid the maelstrom of conflicting developments and excitements, we have a belief in the desire of audiences to watch and experience a story that is going to take them somewhere they have not been emotionally and imaginatively before.”

TAKING SHAPE

Once a project has made it through a studio’s rigorous ﬁltering process, the hard work begins of turning it from a great idea into a compelling show that kids will fall in love with.

At Dandelooo, Pétry and the studio’s head of development, Ségolène Avice, “work closely with the creator from the beginning,” Pétry says. “We collaborate on shaping the original concept, refining the characters and developing the stories in multiple drafts until we obtain a solid, convincing bible which we can use to pitch to the French main broadcasters. The characters need to feel real. Most of the time, we work on book adaptations because we are huge literature fans. You need to capture the charm and strength of what makes the book special, but find a mechanic to build multiple stories that work structurally and emotionally on-screen.”

Whether partnering with a production studio or a solo creator, the priority for Studio 100’s Krieger is always having a “clear creative center. In that role, we support and guide that creative voice while ensuring the project aligns with market needs. A major advantage for us is our own production studio, Studio Isar Animation. We benefit

Book IP remains key at Magic Light Pictures, which is rolling out

The Scarecrows’ Wedding, based on a book by Julia Donaldson and Axel Scheffler.

from short communication paths, a highly skilled team and the ability to react quickly and flexibly to new ideas. We also work closely with a number of international partners. Regular exchanges and in-person encounters, such as creative workshops or summits, help us shape a strong shared vision for the story and are especially valuable, as these often spark the best ideas.”

FAST-TRACKING

As at Studio 100, projects land at Lion Forge from a range of sources. “Sometimes it’s an outside pitch from a creator; sometimes it’s a book from the library of Oni Press, our sister company; sometimes it’s a germ of an idea that starts internally that we bring in writers to flesh out,” Chanda says. “We are producers and creatives, which gives us flexibility in how we work with projects and partners. Because we approach our projects with sales in mind, our job is to make sure we work with creators and writers in a way that stays true to their creative objective and strengthens [the show’s] viability in the market. So, we tend to be more hands-on creatively.”

The team at Hidden Pigeon works directly with Willems on adaptations of his beloved books. “Our process always begins with a ‘Mo Speaks’ session—a deep dive into the book or series we’re considering for development,” Updike says. “In these sessions, Mo shares the origins of the idea, why it was created and who it was created for. This gives our team invaluable insight into the meaning behind the work, from its story and design to its layout and themes. We then distill that conversation into a short deck that captures all the key touchpoints. That becomes our foundation as we explore how best to adapt the material, whether that’s into a series, feature, special or digital project.”

Those sessions deliver a signiﬁcant jumpstart to the development process, Updike says. “What might otherwise take weeks or months to align into a clear creative path becomes much more focused from the outset. On top of that, working with incredibly talented writers, production partners and designers allows us to iterate more efficiently and bring ideas to life with both speed and depth.”

Ánima is using its digital expertise to help speed up animation time frames, Pineda says. “Our creative engine is powered by three main pillars: continuous data analysis, rapid YouTube testing and integrating AI tools. These elements collectively reduce investment risk and shorten our time to market, especially for characters and content that prove successful. Of course, our production team remains the real cornerstone of our success, balancing top-tier quality with maximum efficiency and competitiveness. Without their effort, we could not deliver what kids truly want.”

CREATIVE TOOLS

Studio 100 is also enhancing its creative teams’ skill sets with technology, Krieger says.

“We use proven digital production tools such as previs, animatics and storyboards to make better creative decisions early and operate efficiently. In addition, we integrate AI-driven tools that automate repetitive tasks and enable smarter production planning—freeing our creative talent to focus on storytelling and artistry. At the same time, we remain intentional in early development: exploring ideas, gathering market insights and refining concepts. By combining our artists’ craft with the efficiency of new technologies, we deliver high-quality content that our partners and audiences expect, staying competitive in a rapidly changing industry.”

It’s a similar story for Lion Forge, Chanda says. “We are engaging artists, storytellers and seasoned animation professionals who use the available tools to iterate, explore and experiment in efficient ways. The same artistry, inspiration and critical eye that are inherent in all development processes have not changed, but we are leaning on the tech to be able to prove out those creative ideas faster.”

Dandelooo is also using tools that have sped up certain processes, “but we have not found, nor are we actively looking for, systems to shorten the development process,” Pétry says. “Story, concept and character development need natural creative maturation. As is often said, You cannot produce a baby in one month by getting nine women pregnant. Creativity takes time.”

Dandelooo has secured a commission from France Télévisions for a second season of Billy the Cowboy Hamster

TURN UP THE VOLUME

Amid the commissioning slowdown, producerdistributors of scale discuss how they are maximizing their valuable libraries. By Mansha Daswani

The news that Sky Kids would be axing its original commissioning budget was another blow for the U.K.’s animation sector this year. The Children’s Media Foundation called the move “depressing and short-sighted” and argued it would “leave U.K. children less well-served.” While gut-wrenching for the U.K. production companies facing a dwindling number of commissioners, Sky Kids’ move to an all-acquisitions model is an opportunity for some. Those IP owners with standout libraries are exploring all the avenues available to maximize the value of those slates as the commission crunch continues.

“We’re seeing broadcasters and streamers make more library acquisitions in response to the decline in original commissions,” says Kate Smith, executive VP of audience engagement at WildBrain. “We have seen more renewals of well-known series and globally known IP for both commissions and acquisitions. Series such as Teletubbies offer large volume, active franchise marketing and build on high awareness among parents.”

Platforms need to “continually acquire new content and renew existing titles to satisfy their audiences,” says Dominic Gardiner, managing director for distribution at CAKE. “That said, the economic climate has meant budgets are under pressure across the board. Compared with commissioning,

acquisitions have remained relatively steady, but it is still a highly competitive space for both producers and distributors.”

DEMANDING VIEWERS

Gardiner, too, stresses the importance of having volum e, especially as broadcasters scale their on-demand libraries.

“Multiple seasons are always desirable,” says Gardiner. “They provide volume, which increases time spent viewing on a platform, and they also serve as a marker of success. A show that runs beyond season one has already proven it can attract and retain an audience.”

Volume does help in the AVOD space, where your returns can be negligible if you’re not starting from a position of scale.

“Restrictions on advertising to children and COPPA compli ance make it much harder to monetize compared with adult-facing AVOD,” Gardiner says. “Having said that, we do license AVOD rights, and while the revenues are incremental rather than transformational, they are growing year on year.”

WildBrain has taken a multipronged AVOD approach, licensing to third parties as well as operating its own slate of FAST and digital channels.

“We’re seeing exciting momentum across various AVOD platforms,” Smith says. “Broadcasters are increasingly open to AVOD windows, which is encouraging for franchises looking to

WildBrain’s Strawberry Shortcake: Berry Bitty Adventures.

build their awareness and affinity with kids. The more places a show is available, the more engagement we see across different forms of content distribution. Strawberry Shortcake is a great example—we took the opportunity to widely distribute the library of series with multiple partners in the U.S., and the more we made it available, the higher the franchise engagement.”

“AVOD is a great way to monetize,” says Elianne Friend, VP for digital and distribution at 9 Story Media Group. “We are in the FAST channels space. It costs money to be on those platforms. Whereas on the AVODs, you deliver and you create artwork, and there are costs associated with it, but not monthly hosting costs. We have to be where the kids are.”

LEARNING TO SHARE

That need to be everywhere has meant changing the conversation about exclusivity, with everyone becoming more ﬂexible when it comes to ﬁguring out how to maximize the reach of an IP for the long tail.

“We’ve always believed that shared exclusivity and smart windowing within a territory are some of the best ways to build a brand,” CAKE’s Gardiner says. “Windowing isn’t new, but for a time, the market became overly territorial and windowing fell out of favor. With rising production costs and reduced appetite for risk, buyers are again looking at sharing rights, co-productions and ﬂexible windowing strategies.”

Asked about the changing nature of exclusivity, WildBrain’s Smith says it “still has a place, especially when it comes to major franchises, originals and brand-building. As more platforms look to build brand loyalty and differentiate in the market, exclusive content can help. That said, we’re seeing a shift. With commissioning down, many platforms are leaning into nonexclusive deals—they’re faster, more budget-friendly and can help ﬁll gaps in programming while maintaining engagement.”

To thrive in this landscape, beyond having a diverse slate, it also helps to be able to bundle ancillary materials for ondemand or social platforms.

“Platforms need to amplify new content not just on their own services, but across other channels, and social is a costeffective way to do that when marketing budgets are tight,” Gardiner says. “If distributors or producers can provide ready-made support assets alongside the content, it makes promotion faster, cheaper and more impactful for the buyer and the audience.”

Smith agrees, adding, “It’s become increasingly important to consider promotional materials that will be effective on social platforms and YouTube. We’ve evolved our support materials to include more short-form video content, which is often what these platforms are looking for to drive engagement.

In some cases, we’ve even put the ﬁrst episode ‘in front of the wall’ as a teaser to help build early buzz around a series and drive tune-in.”

MASTERING YOUTUBE

As Smith mentions, having a strategy for kids’ favorite content platform is essential. WildBrain has been on the platform for almost a decade, Smith says, “and it’s become a key part of how we connect with families around the world. We manage one of the largest networks of premium kids’ content on the platform, generating over 17 billion minutes watched per month and over 1.5 trillion lifetime minutes watched since launching in 2016. Our YouTube proposition is brand-safe, with a wealth of broadcast-quality entertainment for families worldwide. We manage and optimize channels for our own and partner brands to deliver COPPA- and CARU-compliant monetization opportunities. In an age where YouTube is a go-to platform for kids, well-run, active YouTube channels are essential as they provide useful data and insights and an additional stream of revenue.”

CAKE launched its own YouTube channel business a decade ago with Popcorn Digital, which “offers a service for producers and IP owners who want to build a YouTube presence,” Gardiner says. “When we acquire a series for distribution, we offer Popcorn Digital as an add-on, but the Popcorn team also works independently and can take on shows outside the CAKE catalog. They don’t just run channels—they also create original content for YouTube. Increasingly, YouTube is also a place where producers test and grow new ideas, and platforms are watching closely. For us, it’s both a development space for new IP and a valuable exploitation window for existing series.”

“With YouTube dominating 80 percent of the market, it’s something we just can’t ignore,” says Friend at 9 Story, which has been using YouTube to sustain interest in returning brands and build new ones, including Paris & Pups with Paris Hilton.

“Our digital-ﬁrst content slate has many products underway because we must be in charge of our own destiny and meet kids where they are,” Friend says. “We are ﬁrst rolling out [on YouTube] but also have in mind to put it on AVOD platforms.”

With discoverability being such a huge challenge, projects are being developed at 9 Story with the view to “breaking through the noise on YouTube,” Friend says. “We are trying to identify projects with certain differentiators or competitive advantages. Content with an existing fan base. Brandnew content with promotional muscle. Content that ﬁlls a white space and serves maybe another business line in your company. For us, it’s publishing, as part of the Scholastic family. Identifying legacy IP that can be strengthened as a franchise or reboot on a digital platform is something that a more traditional company can focus on if they have strong IP. It’s a combination of creating great content for kids on the platform, but realizing you’re creating it for a platform. You’ve got to lean into the data. If you are not looking at data, you are poorly misguided. So, it’s combining all the elements that I just mentioned and being able to pivot. It can’t be a two-year development process. Part of your distribution strategy [should be] dropping episodes with the idea that you can reﬁne later.”

CAKE aligned with MGA Entertainment to take on the distribution rights to Armorsaurs, a remake of a hit Korean series.

Josh Silverman Mattel

By Mansha Daswani

As executive VP and chief franchise officer at Mattel, Josh Silverman is ensuring that the company’s trove of beloved brands reaches fans wherever they are, from consumer products and publishing to location-based entertainment, digital gaming and more. Silverman is heading to Cannes to keynote at MIPCOM with Robbie Brenner, president of Mattel Studios and chief content officer, as Mattel marks its milestone 80th birthday. Silverman and Brenner talk to TV Kids about the company’s evolving content strategy, the importance of “newstalgia” and harnessing opportunities on YouTube.

TV KI DS: Eighty years is quite the milestone! What have been the keys to Mattel’s longevity?

SILVERMAN: Mattel’s longevity stems from our ability to continue to evolve while staying true to what makes our brands culturally relevant and emotionally resonant. For eight decades, we’ve kept pace with shifting consumer habits by continually innovating across play and storytelling, ensuring our franchises thrive across generations.

A deﬁning shift has been our focus on a brand- and franchise-driven model. We see our brands as interconnected ecosystems in what we call a “franchise ﬂywheel”— building experiences that span content, live events, digital platforms and products, which all feed into each other, creating a complete universe for fans to engage with.

That philosophy is what has enabled the Barbie ﬁlm to become not only a global box office phenomenon but also a multigenerational symbol of empowerment. It’s why Hot Wheels thrives in streaming and digital gaming, while remaining a top-selling toy brand. It’s about ensuring our properties live in culture, wherever kids and families choose to engage with them.

TV KIDS: What’s been your approach to YouTube and creator economy content more broadly?

SILVERMAN: YouTube and the creator economy are critical touchpoints for today’s fans. We see them as an opportunity to extend our brands in participatory and interactive ways. That’s why we’ve invested in YouTube programming, as

well as immersive digital experiences like Barbie DreamHouse Tycoon on Roblox, which held the top spot as the most-visited branded experience on the platform for over a year, and the Masters of the Universe: He-Man Heroes Fortnite island. We’re also excited to announce further integration into Roblox via their License Manager program, where Polly Pocket, Street Sharks, Rock ’Em Sock ’Em Robots and Matchbox will be available for creators to license on the platform.

TV KIDS: Tell us about the concept of “new-stalgia” and how that informs your development process across all of your business lines.

SILVERMAN: “New-stalgia” is at the heart of how we reimagine our brands. It’s about taking something beloved and timeless and reinventing it so it feels relevant and fresh for modern audiences. We’re seeing parents who grew up with our brands now introducing them to their kids, which creates a powerful cycle of shared experiences. By pairing iconic IP with bold creative voices and executing with the help of strategic partners, we activate on stages that range from toys to live and digital experiences. We reinforce and reignite fandom through extensions of beloved properties, striking the balance between familiarity and surprise.

TV KIDS: Mattel struck up a pact with OpenAI earlier this year. Tell us about that collaboration and how Mattel is approaching gen AI in the content production process.

SILVERMAN: The agreement unites Mattel’s and OpenAI’s respective expertise to design, develop and launch groundbreaking experiences for fans worldwide. By utilizing OpenAI’s technology, Mattel will bring the magic of AI to age-appropriate play experiences, with an emphasis on innovation, privacy and safety. This collaboration aims to enhance and complement traditional play, not replace it.

TV KIDS: What gains are you seeing in your digital gaming business, and what synergies are you driving between gaming and your television and ﬁlm output?

SILVERMAN: Digital games are a true growth engine for Mattel. We continue to see success with mobile titles like UNO! Mobile . Other titles like Barbie Horse Trails and Hot Wheels Let’s Race: Ultimate Speed are bringing our brands to every major digital and console gaming platform. In partnership with AirConsole, we’ve brought UNO Car Party! and Pictionary Car Party! to select BMW, Audi, Porsche, Volkswagen and MINI vehicles, showcasing how innovation can bring our franchises into unexpected arenas.

So far this year, we’ve developed over 20 digital gaming integrations across mobile, console, PC and even in-car platforms. The synergy lies in the storytelling: when audiences watch Hot Wheels on screen, they want to experience the thrill of racing those cars digitally. When fans reconnect with UNO or Phase 10 through mobile play, they’re reminded of the timeless fun of the card games offline. It’s a virtuous cycle; our digital and physical play reinforce each other, deepening brand loyalty and broadening our reach.

TV KIDS: The kids’ sector has been awash with some challenging news lately; what’s your message to your teams?

SILVERMAN: Our message is one of conﬁdence and resilience. While the market has had its challenges, demand for toys and family entertainment remains robust, and Mattel continues to perform exceedingly well with iconic franchises like Hot Wheels, UNO and Barbie fueling our growth.

The global toy industry itself has grown year-to-date through June, and Mattel’s position is strong. By focusing on innovation, operational excellence and fostering a culture of inclusion, we’re well-positioned to drive sustained, long-term growth.

TV KIDS: What are your goals for the business in the 12 to 18 months ahead?

SILVERMAN: To continue driving franchise value in partnership with all the great work our talented Mattel colleagues, Robbie and her team included, are leading. That means not only delivering value through our categoryleading brands, but also extending our franchise and entertainment offerings to fuel fandom far beyond the toy aisle.

We’re measuring success by how deeply we connect with fans wherever they play—whether that’s in theaters, on streaming and digital platforms or through traditional play.

In a landscape deﬁned by constant change, the priority is ensuring Mattel remains a consistent source of creativity and connection.

Robbie Brenner Mattel Studios

Th is summer, Mattel tapped Robbie Brenner , then at the helm of its film division, to lead a unified film and TV operation. She talks to TV Kids about what’s guiding her strategy.

TV KIDS: What motivated the move to combine the ﬁlm and television segments at Mattel, and what advantages does the new structure provide?

BRENNER: Bringing ﬁlm and television under one banner allows us to operate with a uniﬁed creative strategy across formats. Our vision for Mattel Studios is to collaborate with leading creators to make standout quality content based on Mattel’s iconic brands that will resonate in culture and appeal to global audiences.

The formation of Mattel Studios also gave us the opportunity to bring in dynamic new leadership. Jennifer Breslow, whose television career spans hits such as Fate: The Winx Saga on Netflix and Scandal and Grey’s Anatomy on ABC, now leads our television division, steering the strategic direction of our slate, content creation and distribution.

On the ﬁlm side, Darian Lanzetta, who brings years of agency leadership from CAA, where she forged key talent attachments and deals for Mattel’s ﬁlm projects; and Tom McNulty, who has led both 21 Laps Entertainment and Happy Madison Productions, hold parallel roles at Mattel. Together, they are spearheading the development and production of major motion pictures based on our iconic IP. When combined, this new structure ensures we’re building cohesive, cross-format franchises while driving both creative and commercial success with best-inclass partners.

TV KIDS: What’s guiding the television strategy amid the broader challenges the kids’ media ecosystem is dealing with?

BRENNER: Television is an important piece of Mattel’s strategy, and our focus is on delivering premium content that has global reach and enduring impact. Today, Mattel’s shows are available in more than 190 countries

and translated into over 30 languages, which speaks to both our scale and commitment to accessibility.

We’re striking a balance right now between nostalgia and shaping entirely new stories. For example, Hot Wheels Let’s Race has been a top per former on Netﬂix since its launch. In its ﬁrst season alone, Let’s Race was viewed more than 22 million times, reaching the top ten TV rankings in 69 countries. Subsequent seasons have continued to chart globally, showing the staying power of the Hot Wheels franchise. What sets Mattel apart is how we meet kids, fans and families wherever they are—whether that’s streaming, linear TV, YouTube or other digital platforms. We’re especially excited to reveal more about our upcoming premium, liveaction titles at MIPCOM.

TV KIDS: Barbie set such a high mark for your feature ﬁlm output; how are you approaching that sector?

BRENNER: Barbie was more than a movie; it was a cultural event. It validated our approach of taking risks and making great ﬁlms. We’re carrying Barbie’s momentum forward with an ambitious ﬁlm slate built on bold creative partnerships and designed to resonate across generations

First created in the 1980s, Pingu is returning with a brand-new stop-motion series via Mattel Studios and Aardman.

Cecilia Persson

BBC Studios Kids & Family

By Mansha Daswani

Every children’s media executive probably wishes that they, too, had a Bluey on their slate. Critically acclaimed, widely distributed, an L&M hit and absolutely beloved by preschoolers and their caregivers across the globe, Bluey is among the many crown jewels at BBC Studios Kids & Family. Cecilia Persson, who has led the division as managing director since its launch in 2022, talks to TV Kids about what’s guiding her strategy amid choppy times for the kids’ media segment.

TV KIDS: What has been your top-line strategy for the division amid the challenges the kids’ sector is facing?

PERSSON: We are an end-to-end business with production, marketing, digital, consumer products, development, deficit funding and distribution. That means we can be agile and flexible. The possibilities for partnerships are much more at your fingertips and endless. This has been really beneficial and integral to us over the past three years. Strategically, one of the things I set out to do early on was to expand our animation slate. We have had great success in preschool, and that’s an area that we continue to build and develop in, but we wanted to get our 6/7- plus [slate] on the map. We announced Vanishing Point at Annecy, coming together with BBC Children’s and Education and France Télévisions. We hadn’t done anything [for this demo] since Danger Mouse , which

was a while back. We’ve also worked hard to expand our live-action slate. With The Primrose Railway Children, we took it up a notch. This year, we’ve gone into production on Crookhaven in Northern Ireland. It’s based on the best-selling books by JJ Arcanjo and ﬂips the high school genre with a gripping, morally complex, twisty mystery rooted in identity, loyalty and found family. It’s a compelling coming-of-age adventure with cinematic storytelling and a large cast featuring Dougray Scott and stars from shows like Adolescence and Heartstopper

It was also important for us to focus on our producer and broadcast support with the setup of a content strategy team, which is also across our international channels.

Having a 360-degree infrastructure has been fundamental for us to grow and achieve the successes we have had.

TV KIDS: How are you working with the team at BBC Children’s and Education?

PERSSON: We work very closely with them. We share a similar editorial passion, approach and excitement for the audiences we serve. Once we hone in on projects that we are both equally excited about, that alignment sets us up in the right direction from the start. They are supportive of all their production partners; they work with creative teams across the development and production of their commissions and they also often help identify potential co-producers and broadcast partners.

On Vanishing Point, we have France Télévisions, but also the animation is with Watch Next Media in France and Kavaleer Productions in Ireland, so we can tap into the different tax credits and put funding together. All the different components work well together, editorially and creatively. The BBC supports and helps with those introductions and relationships. They champion the content and the production community.

TV KIDS: How vital are co-productions today, not just for ﬁnancial reasons but also to help make a show that will appeal to viewers in multiple markets?

PERSSON: They have always been incredibly important, but they are fundamentally more important now. The audience is growing up with much more experience and they are savvy about the world. Content becomes more compelling editorially when you have the insights that different co-production partners bring to the table. We developed Supertato with Tencent. It might have been an English book property, but we developed it in tandem with them. That made for a different take than if we had just gone in thinking about the British audience. The sentiments, the comedy, those laugh-out moments translate the world over. It isn’t just about the funding. There is that learning, working with different partners and getting a different editorial take and style that you may not have naturally gravitated toward, but which becomes a much more exciting execution. Ultimately, that’s going to connect more with the audience.

TV KIDS: How are you approaching your development process amid this time of rapid change?

PERSSON: You have to have a long-term vision. We’re creator-led. We’re passionate about the characters and storylines that come from a genuine position, often things that the creators have experienced themselves. When

story lines come from something genuine, kids recognize that, ﬁnd it more intriguing and they lean in more. We also have a great insights team. We examine what our audience is navigating from and identify the white spaces.

We have a show that’s in production, Rafi the Wishing Wizard, a brand-new animated sitcom that follows 7-year-old Rafi Martin, a determined young wizard learning to use her very own wishing wand. Rafi was born when creator and executive producer Tom Cousins was working in development. He identified a gap for a preschool series about magic and transformation. He was looking through that lens and also thinking about his own upbringing and family, and he envisioned a show centered on a loving and chaotic, relatable family. What if you added magic to that? He took the insight that he gained, but he adapted it, drawing on his own experience, knowledge and characters to create an original idea for a new show. When you watch it, you feel that heart. There has to be a creator-led passion underneath it; otherwise, it doesn’t cut through.

TV KIDS: What’s been your overall approach to YouTube and creator economy content?

TV KIDS: How are you striking that balance of tapping into the known IP that kids want to keep engaging with, while also being able to champion original ideas?

PERSSON: There is this feeling that if you have something that has a built-in audience, you’re a step ahead from the outset. We do love adapting books and working with authors. We’re working with Lucy Cousins on our new animated preschool series My Friend Maisy with Trustbridge Entertainment. She created this fantastic character with her books, and we are bringing Maisy back to the screen where audiences, for the ﬁrst time, will hear Maisy and her friends talking; that development is fantastic.

The audience also wants to ﬁnd characters that they feel are theirs, that reﬂect what’s happening to them now. You need originality as well as familiarity and comfort. It’s important to have both.

Recently, our insights team showed us some Ampere data, and when it comes down to it, 76 percent of what has been commissioned from 2022 to 2025 is original ideas. There is deﬁnitely a demand from the audience.

TV KIDS: What’s been the approach to franchise management and keeping brands beloved year after year?

PERSSON: The audience, especially preschoolers, doesn’t perceive TV in the way that you and I did when we were chil dren. They’re used to having access to everything, everywhere, all the time. They want to touch, hold and have the possibility to immerse themselves in the world of the characters they love. We have a clear content strategy. When we look at something like Bluey, we consider all the touchpoints and ensure that if the audience wants more, it’s readily available and easily accessible.

We also produce bespoke content. We ﬁlmed the original cast of the Australian version of Bluey’s Big Play and premiered it on ABC. For audiences that don’t have a chance to go to theaters, we brought it to them at home. It’s exciting to be able to do different kinds of executions alongside the 2D animation.

PERSSON: We make a lot of content alongside the shows that we produce that drives that experience on YouTube. For Supertato, we’ve done songs and shorts. If you look at it, apart from actual presenters or live-action characters on YouTube, the content that is the most successful in animation often has a life in another area or has transitioned off YouTube in other areas. Kids want to have access to that larger world in one place. The shows that are on linear also exist on YouTube. That is the expectation of the audience. What you show them in those places is what we’re thinking about. What does a kid want on YouTube versus what do they want on linear, and how do they cross-sect? That is something we work on all the time to ensure that we create a combination of what our digital team refers to as fandom, as well as enjoyable moments that complement what iPlayer does, for example, and what builds the overarching brand or experience for the user.

TV KIDS: What are your priorities for the business in the 12 to 18 months ahead?

PERSSON: Successful launches for some of our key titles like Raﬁ the Wishing Wizard , My Friend Maisy and Crookhaven. We are working carefully with our partners on those. Obviously, there are things in production that still have to go before they are delivered, like Vanishing Point. The constant ongoing thing is pushing your creative standards to keep them high, making sure that you are listening to the audience and that you are reacting to their needs. You have to be able to pivot. It is keeping all of those things together at once. Be present while ensuring that you deliver on both the future promise and what is necessary for success now.

We will continue to collaborate and ﬁnd ways to work together with partners to get things off the ground, as well as seek out opportunities. That can be quite challenging when you have to work maybe twice as hard for similar results you’d have gotten a few years ago. You have to be open to the new possibilities that are coming. They are there. And keep listening to your audience! They are very savvy and want us to create excitement and new and different things that they feel speak directly to them. If we listen to them, they will tell us what they need.

One of BBC Studios Kids & Family’s latest off erings is My Friend Maisy, based on the book IP by Lucy Cousins.

Ashley Kaplan Nickelodeon

By Mansha Daswani

Si nce 2 019, Ashley Kaplan has been tasked with building out Nickelodeon’s digital presence with a strategy that, up until earlier this year, was centered on using YouTube and the like to roll out additional content based on signature on-screen franchises. In Janu ary, Nickelodeon premiered Kid Cowboy , its first original for YouTube, with plans to build that brand out across the wider Paramount footprint. Kaplan, executive VP for unscripted and digital franchise studio, shared with viewers of the TV Kids Summer Festival the thinking behind Kid Cowboy’s launch and offered up some tips on navigating the YouTube ecosystem.

TV KIDS: What has been Nickelodeon’s YouTube and digital content strategy to date?

KAPLAN: You really can’t talk about kids without talking about YouTube. It’s by far the number one platform for kids. Ninety percent of all kids are on that platform. It has about 60 to 70 percent more reach than Netﬂix. [Kids] spend 80 minutes a day watching content there. Its inﬂuence on the biggest IP is clear. With the exception of Bluey, all the major [new] kids’ franchises have been born on YouTube. It plays a massive role, maybe the most critical role, in how kids discover shows,

brands, toys, music and culture. [Since 2019,] my team and I have worked to build out the largest YouTube network out of any kids’ media or entertainment company. We have [ 50-plus] channels on YouTube delivering content in more than a dozen languages. We have over 200 million total subscribers. We get 2.5 billion views a month. We’re the gold standard because we do not consider what we do on YouTube marketing. We program content on YouTube the same way that you would program content on any entertainment platform. Through watching our content, kids become fans of the IP. It’s not just about awareness, it’s really about building heart-share.

TV KIDS: How did Kid Cowboy originate as a YouTubeﬁrst property?

KAPLAN: We knew we had to fish where the fish were. [I was asked to] develop new IP on YouTube. Grow it there, build fandom and heart-share there before taking it elsewhere. It isn’t that much different than what Nick elodeon used to do in the past. Nickelodeon was always focused on learning from kids about what they wanted to see. Back in the day, Nickelodeon used to take their ideas and put them in front of kids at schools and get feedback. It’s the same fidelity to that idea. Instead of putting it in front of 200 kids in schools, we’re putting this new IP in front of millions of kids on YouTube and learning what they’re responding to and what they are not. Kid Cowboy was the perfect first project, mostly because it was fully developed! It was sitting on the development slate for years. I think it was about to revert back to the creator, Freddy Wexler. I approached him. He has three kids under 7 and he totally got it. I loved it for the unique story environment and the music. I knew it would work.

TV KIDS: What have been some of the lessons learned from Kid Cowboy?

KAPLAN: Don’t be afraid to make changes. Lean into what this platform and the process can afford. Because of our footprint, we have all this data. We can ﬁgure out truly what they’re responding to and what they are not responding to. We’re able to make adjustments in real time. We can get from idea to video in a matter of weeks. We have to move faster. So, not being afraid to pivot when we need to.

TV KIDS: What are the franchise plans for Kid Cowboy?

KAPLAN: YouTube is important, but it’s not a great place to make money. The strategy for Kid Cowboy is to build it into the next major franchise. We start on YouTube. We get kids as excited as we can. Once they are, we can move beyond the YouTube content. We can do more narrative, long-form storytelling. The goal here is not just to build large YouTube channels. The goal is that this

becomes the next PAW Patrol with a long-form series, theatricals, toys and consumer products. I believe the next PAW Patrol will be born on YouTube.

TV KIDS: Are there certain qualities you look for in a dig ital-ﬁrst pitch?

KAPLAN: It’s about how you format the content for YouTube. How you introduce the characters. It’s about getting to the action quickly and integrating some of the characters into other content that already has an audience. You have to have a way to ﬁnd the audience. You can’t just post a video on YouTube without an audience. I would not start a channel from scratch. We’re in this unique position here at Nick that we have such a footprint, we have the ability to ﬁnd the audience to launch something new.

TV KIDS: What elements should “traditional” content creators keep in mind when making the switch to digital-first storytelling?

KAPLAN: Creative ﬂexibility and willingness to take strategic risks when it comes to animation style or pacing. Treat YouTube like a launch pad, as a franchise incubator. Try to think beyond episodes. Plan to expand the world and the reach of your IP in different ways. We’re in an interesting time in the industry, and I would just say keep looking for opportunities where you can pivot because the world is changing.

TV KIDS: I know you can fall down a rabbit hole of YouTube data. How are you using all of that intelligence?

KAPLAN: The rabbit hole is amazing. I wish we had that level of data for linear. We can see where people are going back to rewatch the same thing. That can inform what

characters they’re liking the most. We can see when they’re not engaging as much. It is testing, learning and paying attention to where there is engagement. Watch time is the best way to gauge that more than any other stat.

TV KIDS: How does YouTube help support Nickelodeon’s other business lines?

KAPLAN: My work since 2019 has mostly been focused on supporting existing franchises like SpongeBob SquarePants and PAW Patrol . We built the best-in-class ecosystem with those beloved shows. This strength in digital is a huge advantage in launching shows and franchises because we know linear alone is not enough. The franchise strategy of using Paramount theatricals to further build our Nick titles works so well in cultivating audiences because we see that they’re willing to move with the characters across our platforms. We can use our strength and popularity in digital in the exact same way.

TV KIDS: You also oversee unscripted. What’s the strategy there? Is it mostly centered on sports?

KAPLAN: It’s mostly in the sports space. It’s also in tentpoles. My goal with all unscripted, whether it’s the Kids’ Choice Awards or the NFL games, is to break through culture. It’s to get everybody talking about us. I consider our unscripted tentpoles more as an opportunity for brand marketing than anything we do on YouTube. The slime cannons that we brought to life in the ﬁrst Wild Card game broke the internet. With the Super Bowl [in 202 4] , we were the most mentioned brand on social. We’re always thinking about how we can build things into the creative that will “travel,” so to speak, off the screen and into the national dialogue.

Kid Cowboy is Nickelodeon’s first original series produced specifically for YouTube, with a view to building the animated series into a full-on franchise.

Raphaëlle Mathieu Hundred Acre Wood ’s Winnie and Friends

By Mansha Daswani

This MIPCOM, Kartoon Studios arrives in Cannes with Hundred Acre Wood’s Winnie and Friends, bringing A.A. Milne’s beloved Winnie-the-Pooh character back for a new generation of preschoolers and families. Working with a creative team that includes Linda Woolverton, Elise Allen and John Rivoli, Kartoon Studios is building out a comprehensive launch platform for the new series. Raphaëlle Mathieu, executive producer, talks to TV Kids about how Kar toon Studios is reinventing the iconic, lovable bear.

TV KIDS: How did plans to relaunch Winnie-the-Pooh come about at Kartoon Studios?

MATHIEU: Winnie-the-Pooh is one of the most beloved characters in children’s entertainment history, with timeless themes and global recognition. When the original works entered the public domain, the team saw a unique momentum to reimagine this classic for a new generation. At Kartoon Studios, the mission is to create safe, enriching and joy-ﬁlled entertainment for kids and families, so bringing Pooh and his friends back to life in Kartoon Studios’ Hundred Acre Wood’s Winnie and Friends felt like a perfect alignment. It was approached as an adaptation fully respectful of A.A. Milne’s spirit of wonder, friendship and gentle humor, while introducing a visual and narrative style that speaks directly to today’s young audiences.

TV KIDS: How are you maintaining the DNA of the original while reinventing it for contemporary audiences?

MATHIEU: Preserving the heart of Winnie-the-Pooh has been our guiding principle from day one in developing Hundred Acre Wood’s Winnie and Friends . The emotional DNA—friendship, curiosity, kindness and problem-solving through teamwork—remains fully intact. To craft this new adaptation, we focused on assembling the best creative team possible. We have Linda Woolverton, the visionary screenwriter behind The Lion King, Beauty and the Beast, Alice in Wonderland and Maleficent , on board as executive producer. Emmy Award-nominated television writer and New York Times best-selling author Elise Allen will serve as s howrunner. John Rivoli, the celebrated creative force behind consumer-product programs for Harry Potter, Batman, The Lord of the Rings and SpongeBob SquarePants, is the creative director. With this series, we are innovating in pacing, tone and design. Today’s preschool audiences are accustomed to slightly faster storytelling and more visually vibrant worlds, so we’ve crafted stories that are a bit more dynamic while still retaining Pooh’s unhurried charm. The dialogue reflects contemporary sensibilities while honoring the lyrical simplicity of the original books. It’s a careful balance: refreshing the property without losing the soul that has made Pooh endure for nearly a century.

TV KIDS: Tell us about the themes you’ll be exploring in the series, as well as the look you have crafted.

MATHIEU: The development of the themes, led by Linda and Elise, will celebrate emotional intelligence, resilience, imagination and the power of friendship. Each

story gently models social-emotional learning moments—like empathy, problem-solving and managing big feelings—in age-appropriate ways. We also emphasize curiosity about the natural world, with storylines rooted in play and discovery.

Visually, under John’s direction, the design of the series features a soft, yarn-like, storybook-inspired world with warm textures, painter ly backgrounds and expressive character animation. It’s instantly recognizable as Winnie-the-Pooh, yet it feels fresh, contemporary and immersive for young viewers. We’re producing Hundred Acre Wood’s Winnie and Friends in high-end CG animation.

TV KIDS: What’s the international rollout strategy for the IP?

MATHIEU: From the start, this has been developed as a truly global project. We’re structuring deals in multiple phases: first, we are focusing on key partners in the U.S. and major broadcasters in Europe, and then we will rapidly expand into territories around the world to build brand awareness and audience engagement. We’ve already had significant interest from leading broadcasters and platforms worldwide. Because Winnie-thePooh is a universally recognized property, our approach is about cultural sensitivity and localization rather than market education—we can go wide very quickly while tailoring marketing and language to each region.

TV KIDS: What are your overall brand plans across L&M and digital? What extensions are you pursuing?

MATHIEU: We have Disney licensing veteran Chris DeMoulin leading the development and execution of the global consumer-products program for the brand, building a strategy across toys, publishing, apparel, accessories, home and live experiences. The unique color and texture of Hundred Acre Wood’s Winnie and Friends is key to product differentiation: soft, yarn-like, cuddly, friendly and inclusive.

Digital extensions will also be core: companion apps, educational, minigames and music content will help bring the series to life beyond the screen. We’re also planning immersive brand activations, from themed pop-ups to family-friendly live shows, ensuring children can experience Winnie-the-Pooh’s world in real life.

TV KIDS: How are you looking to use YouTube and other social platforms to help launch the show?

MATHIEU: YouTube will be the tip of the spear in our launch strategy. We’re producing exclusive short-form

content designed for YouTube’s preschool ecosystem to seed the characters, build familiarity and drive anticipation. We’ll complement that with TikTok, Instagram and Facebook campaigns aimed at parents and caregivers, focusing on nostalgia, behind-thescenes looks and co-viewing moments. Social will serve as both an awareness driver and an engagement platform—keeping the brand top of mind between content drops.

TV KIDS: What’s your overall mission for this MIPCOM and MIPJunior?

MATHIEU: Our mission with Hundred Acre Wood’s Win nie and Friends is to introduce this reimagined Winnie-the-Pooh to the global market and build strong strategic partnerships across broadcast, streaming, consumer products and brand experiences.

MIPCOM and MIPJunior are where the world’s leading kids’ content stakeholders gather, and we see it as the perfect stage to present this vision. We’re looking to spark excitement, lock in early partnerships and lay the foundation for Hundred Acre Wood’s Winnie and Friends to become one of the most significant preschool franchises of the coming decade.

Kartoon Studios is introducing the new animated series

Hundred Acre Wood ’s Winnie and Friends at MIPCOM and MIPJunior.

Credit: Kartoon Studios’ Hundred Acre Wood’s Winnie and Friends™

Gino Guzzardo

Disney Branded Television

By Mansha Daswani

Legacy broadcasters are utilizing various methods to harness the potential for reaching new fans and deepening engagement on YouTube. At Disney Branded Television, the multiplatform approach has meant developing a huge volume of shorts built around the company’s powerhouse of new and returning IPs. As the VP of multiplatform content, Gino Guzzardo has overseen the rollout of such beloved short-form franchise formats as Chibiverse, How Not To Draw and Theme Song Takeover At the TV Kids Summer Festival, Guzzardo, a longtime Dis ney content executive, discussed how the company is using social to engage with audiences in new ways.

TV KIDS: How do you deﬁne multiplatform content at Disney Branded Television?

GUZZARDO: It’s been such a rewarding experience to build a team here at Disney. You have seasoned pros and up-and-coming talent who possess the sensibilities of YouTube and TikTok—those storytelling styles. It’s been amazing to see these two worlds come together in this dynamic. You can see it in the work. With multiplatform, we’re a little like the Little Mermaid—we want to be where the people are! People are on YouTube, TikTok, Disney+ and Disney Channel. Multiplatform means getting our content and characters out there, wherever people watch, on all those different platforms.

TV KIDS: Tell us about the slate of shorts you have developed for YouTube.

GUZZARDO: Shorts as a unit of storytelling are an efficient and portable way to get the characters out there. Shorts as a medium are in Disney’s DNA. You’ve heard the saying, “It all started with a mouse.” It was all started by a short of a mouse. Go back to a place and time when Mickey Mouse did not exist. How is [Walt Disney] going to get it out there? He used shorts as a vehicle to bring Mickey to the biggest platform around: movie theaters. What we do now is a lot more complex with all these different platforms, but it’s essentially the same approach. We are using shorts to bring our characters out into the world, win over fans and then bring them back [to our platforms].

TV KIDS: What’s guiding your development approach for short-form?

GUZZARDO: Recurring, proven anthology formats. We like to find a hook that will immediately grab the audience and carry them through. The anthology formats also allow us to release on a recurring cadence, so we’re always on. We don’t like to let more than a month go by between releasing an episode of that format. We’re always engaging the viewer. We look at season breaks and push through. If a show has aired, if the show has sunset, if it’s a show that’s maybe three, four years old or longer, but there are still fans, those are characters that we want to bring back out and keep them always on for viewers who find them on Disney+. From their perspective, those characters are just as vibrant and relevant today as they were when the show first came out.

TV KIDS: You’ve built up incredible volumes on some of these, like Chibi Tiny Tales . What’s the key to that longevity, and how are you building out that universe even further?

GUZZARDO: Chibi Tiny Tales started as Big Hero 6 shorts. As we were making them, I had the sense that perhaps there was something more to it. It was taking familiar characters, but subverting them in a way. You see the thumbnail, and it’ll raise a question in your mind: Why don’t they look like they usually look? Are there others? I started thinking there was a format where we could focus on all of our shows and even movies, any Disney story, as a “Chibi.” The variety helps keep the audience’s attention. The subversion of the familiar. Where do the Chibis live? Why are they Chibis? They’re scientists who have taken all of the Disney stories, props, scripts and everything that’s out there, and they’ve crammed them into this mashup machine. And then the mashup machine compresses them down to this tiny little bean of a planet. And then they use their microscopes to look in. Those are the stories we get to tell. That’s the Chibiverse , a 7-minute series that we produce. We package them into three for every half-hour to be part of our long-form slate. I didn’t know we were going there when we started with Big Hero 6 , but it evolved. By looking at the metrics, watching them constantly and seeing what the audience wants and what they’re responding to, we found something that worked and evolved it into the Chibiverse .

TV KIDS: How do you build out characters further with shorts?

GUZZARDO: We get the chance to lean into a character the audience likes. The long-form series could take a while to produce. If we start seeing that one character is popping or there’s interest in a backstory that wasn’t answered in the canon of the series, we have an opportunity to work with the showrunner, answer those questions and get the short out. In Theme Song Takeover, we take villains or fan-favorite characters and let them take over show theme songs—new lyrics, new instrumentation, new visuals. That’s another example of subverting what you expect in a different context.

TV KIDS: How do the shorts serve as a funnel to Disney+ and Disney Channel?

GUZZARDO: A funnel needs a big opening. On YouTube, we have 1.1 billion lifetime views. It equates to, in 2024, 25 million views a month, 800,000 to 900,000 views a day. That’s the billboard. It is that big funnel that we are pulling viewers in from. Our future fans and current fans are on YouTube, TikTok and all those other platforms. Let’s get our characters in front of them there.

TV KIDS: Can you use the short-form to incubate characters that could then spawn the IPs of the future?

GUZZARDO: With both Big City Greens and Kiff, we surrounded those shows with shorts. We have a slate of proven formats that have proven audiences. In some ways, formats like How Not To Draw introduce a character and utilize a preexisting audience. Surrounding those shows with short-form content while they’re rolling out, before we roll them out and in between seasons helps build that groundswell of support.

TV KIDS: What advice would you give to traditional content creators looking to embrace opportunities on social media platforms?

GUZZARDO: I would suggest that they find what they should retain and hold on to dearly. What sensibilities can they not give up? And then what do they need to jettison immediately? My recommendation for what that is is preciousness—getting it exactly right. I believe in developing out loud. If we’ve made this the best we can with the information that we have at this moment, get it out there. There will be more insights that way. Use YouTube and TikTok as your incubation labs. Use it as your focus group. If you get some qualitative data, great. You’re going to get quantitative for sure. What’s the click-through rate of this character? What’s the audience retention rate? Are they dropping off halfway through or right at the beginning? Are they watching all the way through? And then use that information. Become very familiar with the CMS on YouTube or whatever platform you’re distributing on and use the native analytics tools for those platforms to understand what your audience is interested in and what they’re not, and then take that data back into your writers’ room, the next short of that format or a new format that it might inspire.

There are things you shouldn’t throw out. Traditional storytelling techniques might need to be compressed.

I’m a fan of Buster Keaton. He still has lessons that teach me today on where your eye is going across the screen. It’s very well designed, and the beats are paced out nicely. Something will happen over here that connects to there. You watch him as a live-action cartoon going across the screen. He holds your attention. He’s hooked you with the kinetic potential of a moment. And then you have to lean in. His instincts apply to today. Hold onto those storytelling tools. But maybe you don’t need an exterior shot that is pulling us into a scene. Maybe just get right into it, and you hook us.

A mistake a lot of people make is that they think you [hook audiences] in the content. I try to hook a viewer in their mind before they’ve even clicked on your video. Through the thumbnail and headline, the question you post in their mind should be baked in before they’ve even interacted with it. Once they tap on it, you must deliver on that promise; otherwise, they’ll jump off, and the algorithm will pay attention. The click-through rate was high, but the retention is low; they’re not delivering on whatever they promised the viewer that got them to click. And then we won’t get recommended to more people. So, ﬁnd that hook that is baked into the conceit and then deliver on it to hold the viewer’s attention the whole time. If you follow that process over and over again, over the years, you can’t help but perform better because you’re using the audience to tell you how to optimize.

TV KIDS: You’ve had a front-row seat to changes in how kids consume media. What most excites you about serving this demo today?

GUZZARDO: When I ﬁrst started, we were using Flash as a medium for storytelling. I worked on the Disney Channel games websites. All of that is thrown out. No one uses Flash anymore. We’re on shifting tectonic plates in this industry. You could build up whole franchises and production pipelines and vendor ecosystems and then [that technology] disappears and you have to shift to something else. I get excited when I think about how many different things I’ve had to do and change to entertain kids and families. I ﬁnd that exciting. It keeps me on my toes. Up-and-coming folks starting their careers should take heart in that. There’s a real opportunity because it’s a shifting media landscape. Under the leadership of Ayo Davis [president of Disney Branded Television], we are not only following what Walt originally started with getting our characters out there, but she also coaches and advises us to keep it fresh and to evolve the strategy. It’s not, Build it, set it and forget it. We have to always be on our toes and evolve where we’re going and where the audience is going.

Shorts produced for the Chibi Tiny Tales short-form anthology are repackaged for Disney Branded Television’s Chibiverse series.

From endearing new preschool shows to compelling comedies for the 6-to-11 set and digital-native titles, there’s a wealth of new and returning fare to sample in our MIPCOM and MIPJunior edition of the TV Kids Screenings Festival.

Armorsaurs

A team of teen pilots and their armored dinosaurs are humanity’s last line of defense against a sophisticated alien army intent on destroying Earth. Together, they must lead the fight to defend the planet in a heroic battle of survival, millions of years in the making. (CAKE)

Bubblegem

Boogie Bugs (Bichikids)

In this musical series, some little bugs suggest tasks, choreographies and funny activities that match the rhythm of cheerful songs. (El Reino Infantil)

In this hit Korean series, Princess Purple and her mermaid friends must recover magical gems before they fall into the hands of an evil sea witch while learning to navigate life on land. (CAKE)

Cuquín

Cuquín is a tireless, unpredictable, clever, agile and playful baby, a small battery full of infinite energy, always ready to explore and laugh. (Ánima Kitchent Media)

Bugtron

There is an epic battle waging between two factions of highly evolved bugs, and a new group of cadets is thrown right into action. (Lion Forge Entertainment)

Dino Ranch: Island Explorers

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

Louca

Clumsy Louca is no football star—until ghostly Nathan coaches him in sports, school and love, proving victories matter most off the field.

(Studio 100 International)

Toys and Colors Kaleidoscope City

Starring global sensation Toys and Colors, a magical world where kids learn to see the world through new perspectives. (pocket.watch)

GUMBALL BACK! IS

Ben Bocquelet and Erik Fountain take TV Kids inside Cartoon Network and Hulu’s The Wonderfully Weird World of Gumball.

By Mansha Daswani

The Amazing World of Gumball on Cartoon Network was among the biggest kids’ shows of the 2010s. Emerging out of Cartoon Network’s then-nascent European development studios, Ben Bocquelet’s animated series about 12-year-old cat Gumball Watterson and his adoptive goldﬁsh brother, Darwin, delivered pop-culture-infused comedy, high school antics and family shenanigans for six seasons, ending its run in 2019.

Cartoon Network internationally and Hulu in the U.S. have brought the Watterson clan back in The Wonderfully Weird World of Gumball, produced by Hanna-Barbera Studios Europe and with Bocquelet returning to guide the show’s creative vision, this time alongside Matt Layzell and Erik Fountain.

The media world has changed drastically since Gumball’s ﬁrst appearance, but much of the original DNA of the series is intact, Bocquelet notes. “Gumball’s rhythm was always closer to doom scrolling on TikTok than a traditional, elegant approach to animation storytelling,” he quips. “It’s probably even more frantic. The world has changed, but people are still humans, they still have the same feelings and problems and social stuff going on with their families and friends. It’s just that now we’re getting new stuff to riff on, like AI, social media brainwashing, food scarcity and billionaires!”

“Economic inequality, all the fun stuff!” Fountain adds. “For me, it’s fun and it’s wacky, but it’s also the big issues of the world seen through the lens of children. Children a decade ago are different than children now. You’ve got to talk about the things that kids are affected by now. It’s always been part of the DNA of the show to pay homage to the stuff we like, like pop culture, but now there’s big pop culture and small pop culture and meme culture. That’s become infused. And not just for the sake of referencing it—it’s to make the kids feel like kids.”

The show has also returned with its signature mixed-media look. “I wish we’d been more technologically savvy to come up with an easier way of doing it,” Bocquelet says, “but we’re still doing it the same way as before. We have fun with the designs and animate the old school way.”

“It’s a lot of rolling up our sleeves and working on things one frame at a time,” Fountain adds. “There have been a lot of advancements [in animation technology], but they’re in their ﬂedgling state. A season of animation takes a long time to produce. So, even when we started this season, AI was still at the ‘Will Smith eating spaghetti’ stage. It’s not what it is today. And I like doing things. A lot of the animators grew up with Gumball This is their ﬁrst job, they’re working on their beloved property, and you can see their investment and their love for the show. It’s got this quality of investment from the animators and the designers. They’re fans and now they get to work on it. It’s the opposite of technology—you get a sense of human investment.”

Gumball’s fandom is also rooted in the show’s ability to make viewers laugh—whatever their age.

“What kept some of the old fans watching was the fact that it could be funny for an adult to watch,” Bocquelet says. “It’s always been my dream that people would watch it as a family. I have very fond memories of watching old Looney Tunes cartoons with my dad and the two of us laughing out loud. That’s a nice thing to experience as a family. We always try to have an allegorical [message] for the adults, and then more cartoony and emotional kid-based storylines.”

The multiple levels of humor have helped the show endure, Bocquelet and Fountain explain, but the heart of its multigenerational appeal lies in the fact that it has always been a passion project for the team behind it.

“It’s always coming from a personal place,” Bocquelet says. “That is maybe the secret recipe to doing something relatable; you offer a vulnerable part of your story for others to enjoy. Or the fact that it’s so stupid that you just can’t help laughing at it.”

“What I always loved about it is it’s a feast for the eyes,” Fountain adds. “It’s got so many different styles, and it all feels integrated and it makes sense. Gumball has the pulse of what’s going on. It keeps itself relevant, but instead of whipping you into a frenzy, you get to have a release. That’s the way to stay relevant, right? Just keep looking at the world around you.”

The only video portal for the kids’ media industry.

By Mansha Daswani

TL Group’s Sky Deutschland takeover bid, announced in June and now making its way through Europe’s regulatory authorities, marks the biggest deal for the European media giant since its inception, CEO Thomas Rabe tells World Screen . The €150 million transaction will enhance RTL Group’s customer footprint, adding a pay-TV prong to its ad-supported free-to-air operations and SVOD and AVOD streaming platforms.

For Rabe, consolidation is crucial for local players as they take on the dominance of the tech giants, as are innovative alliances across linear and streaming and having a clear-eyed view of YouTube as both a competitor and a partner.

challenges of the international commissioning sector, disciplined investment and focusing on exportable, scalable IP are key to Rabe’s strategy for Fremantle.

Across broadcast, streaming and content production, RTL Group is exploring the benefits of AI. In addition to tapping into parent company Bertelsmann’s partnerships with the likes of OpenAI, RTL Group is deploying AI in a range of ways, including at Fremantle via Imaginae Studios, in tools for flagging unsafe materials and in marketing efforts.

THOMAS RABE RTL GROUP

At Fremantle, meanwhile, the revenue target of €3 billion ($3.5 billion) remains intact, centered on driving gains from both organic growth and selective acquisitions. With the

Rabe is excited about the road ahead for RTL Group. Advertising challenges and regulatory hurdles notwithstanding, the blueprint is clear: scale streaming, diversify revenues, harness AI and social media and chart new partnerships while continuing to provide great content to audiences across Europe and around the world.

WS: What motivated the move to acquire Sky Deutschland, and what are your plans for integrating that platform into the overall RTL Group offer?

RABE: We strongly believe that in-country consolidation is essential to ensure long-term competitiveness. Scale within national markets unlocks signiﬁcant synergies and enables greater investments in content, technology and innovation. The combination of RTL and Sky provides a strong foundation for future growth: two of the most powerful entertainment and sports brands in Europe teaming up to create a unique video proposition across free TV, pay TV and streaming.

The acquisition of Sky Deutschland is transformational for RTL Group, in particular for our streaming business. It will take us to around 11.5 million paying subscribers in the DACH region, making us the clear number three streaming provider. We will further diversify our revenue streams and enhance our appeal to creative talent, rights holders and business partners. Within three years after closing, we target annual synergies of around €250 million ($293 million).

We will integrate Sky Deutschland into RTL Deutschland in steps with a “best of both” approach. The goal is to retain the best talents, assets and processes from both companies, with an even stronger focus on streaming. Thanks to our existing content partnership with Sky, we know the company, the team and its culture well. We know that both companies are a match.

To summarize: RTL and Sky are highly complementary in terms of business models, revenue streams and the content offers across all genres—from entertainment to sports, fiction and news. In July, we filed the first documents with the European Commission, and we expect regulatory approvals and closing of the transaction in 2026, after which we will present more concrete plans.

WS: Streaming was a key highlight of your recent ﬁnancials. Tell us about the gains you’re seeing across both subscription and advertising revenues.

RABE: Streaming is a strategic priority for RTL Group, and one of our strongest growth drivers. Paying subscribers contin ue to grow strongly, up 15 percent year on year to over 7.2 million at the end of June 2025. Subscriber growth, increased subscription prices in Germany and rapidly growing advertising revenue, especially from RTL+ and M6+, led to a 27 percent increase in streaming revenue. With a moderate increase in content spend, we more than halved our streaming startup losses compared to the first half of 2024. This puts us on track to reach profitability of our streaming business in 2026.

WS: The transformation of the RTL Group is ongoing; tell us about some of the key strategy shifts you’ve made over the last year amid the broader evolutions in the global media business.

RABE: The international media industry is in the middle of a fundamental transformation, with big opportunities for those prepared to shape the future. And we are.

If you look at our strategy more broadly, there are three priorities. First, in our core business, we’re focusing on what RTL does best: investing in premium content, strengthening our families of channels, pursuing synergistic acquisitions—think about

our announcement to acquire Sky Deutschland—and managing both costs and our portfolio with discipline.

Second, our growth priorities include strengthening and scaling our streaming services RTL+ and M6+, advancing in advertising technology and digital advertising and further expanding Fremantle’s global content production footprint.

And third, alliances and partnerships. Whether in advertising sales, content development or distribution, we believe that collaboration—both within RTL Group and across the wider indus try—is essential for long-term success. Earlier this year, we strengthened one of our most important strategic collaborations by renewing our streaming partnership with Deutsche Telekom until at least 2030, covering the hard bundling of RTL+ in MagentaTV, Deutsche Telekom’s IPTV offer. This long-term extension not only boosts our reach and subscriber growth but also supports our path to proﬁtability by 2026.

WS: The ad market is taking a hit globally; how do you see the landscape in your key territories for the second half of 2025 and into 2026?

RABE: Linear TV viewing will remain under pressure—a nd with it, linear TV advertising. Germany has been more heavily affected than other European markets, with TV advertising revenues around 20 percent below 2019 levels.

Over the past years, RTL Deutschland has continuously gained TV advertising market share. Most importantly, we are driving fast growth in streaming across all three revenue streams—subscriptions, digital advertising and distribution revenue.

Advertising in streaming is gaining traction and acceptance among customers. This plays to our strengths because, in terms of daily usage, RTL+ has already reached a very strong position in the German streaming market. To further grow the monetization of advertising in streaming requires [increases] in watched hours.

Last year, we adjusted our tiering structure and introduced a fourth plan, the advertisingheavy “Basic” plan for €5.99 per month. This move was well received by our subscribers with no impact on churn, increased our ARPU by more than 25 percent and has already doubled our run-rate advertising revenue on RTL+.

WS: We know how dominant YouTube has become on the television set; what’s been RTL Group’s approach to that platform?

RTL Deutschland used AI tools to generate marketing images for its coverage of the NFL in Germany.

Fremantle, home to the Got Talent franchise, remains one of RTL Group’s key growth drivers.

RABE: YouTube has indeed become a major platform in the living room, and we see that trend very clearly in our markets. It is also one of RTL Group’s largest competitors—alongside other global tech giants and international streaming services.

Our approach is to embrace global platforms like YouTube where they add value, while at the same time investing in our own services and local content, all of which are essential to RTL Group’s long-term growth. Rather than competing head-on, we use YouTube strategically to extend the reach and monetization of our content and for pro motion. Fremantle, for example, has built a global presence on YouTube and is one of the biggest producers on YouTube worldwide, with billions of monthly views from formats such as Got Tal ent and Idol These shows have become digital brands, allowing us to engage younger audiences, create new revenue streams and extend the life cycle of our IP beyond traditional TV.

At the same time, we are investing heavily in our own streaming services with a clear focus on exclusive local content and building direct customer relationships. With RTL+ in Germany, we ar e increasingly testing content on YouTube, learning how to best reach digital audiences.

As part of the new content windowing strategy, RTL Deutschland has launched dedicated YouTube channels around popular program brands with the goal of establishing a new revenue stream and monetizing as many views as possible. In 2025, eight channels went live, with the launch of Alarm für Cobra 11 being the most successful start of all newly created channels. Building on this momentum, six additional channels are planned for 2025, with further expansion continuing in 2026.

WS: You’ve maintained your growth target for Fremantle; what’s driving that business currently, and what strategy shifts has it needed to make?

RABE: Fremantle is a strategic growth pillar for RTL Group, and over the past years, the company has significantly grown its portfolio across all genres and regions, with acquisitions in the Nordics, the U.K., Italy, France, the U.S., Asia and Australia. Following the acquisitions of Asacha Media Group and Beach House Pictures in 2024, the focus for Fremantle shifted to post-merger integration and margin improvement.

At the same time, the international market for content production has slowed in recent years, with commissioning becoming more selective. This makes discipl ined investment and a clear focus on high-quality, scalable IP m ore important than ever. To navigate this environment, Fremantle’s management has sharpened its strategy around five clear priorities and growth drivers. These include scaling the development of original IP, deploying AI across the production value chain and focusing on targeted, IP-driven acquisitions—particularly small and mid-sized production companies. We are also growing in high-potential genres and regions, while maintaining cost discipline with a clear profitability target: reaching an adjusted EBITA margin of 9 percent by 2026.

Our midterm goal remains to grow Freman tle’s full-year revenue to €3 billion ($3.5 billion), both through organic expansion and selective acquisitions. Investments in the U.S. market—including Eureka, Passenger and a stake in Fabel Entertainment reflect this ambition. The U.S. remains Fre mantle’s largest and most dynamic market, and we’re confident in the company’s ability to continue delivering strong creative and financial performance.

WS: What is your policy toward AI, and how is RTL Group beneﬁting from Bertelsmann’s partnership with OpenAI?

RABE: The media industry has been quick to adopt generative AI, from streaming to content production and marketing. AI technology has the power to transform our businesses by enhancing creativity and driving productivity. In particular, AI will fundamentally change the economics of video production, enabling massive cost savings and serving as a key driver of profitability for media companies in the years ahead, leading to more content produced, intensifying the battle for discoverability of programs and for the attention of audiences.

The challenge for us is to capture these efficiencies faster and more effectively than others, which requires us to rethink traditional workflows. At the same time, the areas of greatest value creation and margin will become even more decisive: IP creation, licensing and distribution.

This is why we are investing in AI, training our workforce and entering into partnerships with AI companies such as OpenAI and Perplexity. But first and foremost, we will remain the partner of choice for creative talent. We know human creativity is, and always will be, the foundation of our success, and, combined with AI, will continue to thrive at RTL Group.

WS: How is RTL Group leveraging AI in practice, and what are some tangible examples?

RABE: One example is Imaginae Studios, a new unit within Fremantle focused on

As it scales its streaming business, RTL Group is relaunching RTL+ with tech from its Bedrock subsidiary.

native AI production. The goal is to explore innovation in creative processes while capturing operational learnings that we can roll out more broadly. We’re also actively scaling AI use cases across the entire production value chain, from early development to postproduction, to boost creativity, improve speed and enhance efficiency.

AI is becoming an integral part of how our broadcasters operate, too. At RTL Deutschland, for example, we are making content safer and more efficient with an AI-powered youth-protection tool, which flags risks like violence or strong language and reduces screening time by up to 80 percent while keeping human oversight. Beyond safety, AI is also transforming our marketing efforts across RTL Deutschland, Groupe M6 and Fremantle, where it already generates trailers, openers and bumpers, delivering meaningful savings and creative impact.

WS: We’ve seen some innovative partnerships emerge recently, like TF1 and Netﬂix, and France Télévisions with Prime Video. What’s been RTL Group’s approach to partnerships with key digital players?

RABE: We are seeing a clear trend: broadcasters and global streamers are increasingly

exploring new forms of collaboration. Deals like TF1’s partnership with Netﬂix or ITVX teaming up with Disney+ are part of a broader shift in the industry—and they underscore the continued strength and relevance of tele vision. These partnerships are mutually beneﬁcial. For local broadcasters, they unlock new monetization opportunities beyond traditional windows. For global platforms, they offer better access to highquality local content and well-established creative ecosystems.

We have been investing in strategic partnerships across multiple ﬁelds for a long time, and these partnerships have proven highly successful. Wherever attractive new opportunities arise, we will pursue them. For us, the key criteria are clear: partnerships must deliver long-term value, strengthen our audience reach and support the strategic goals of our streaming and content businesses. And I am conﬁdent that we will be able to announce further collaborations in the coming weeks and months.

WS: You closed the sale of RTL Nederland this year after receiving regulatory approval. How do you see the media regulatory landscape in Europe at present? What changes do you think are needed to help European

com panies withstand competition from the global tech giants?

RABE: We believe market consolidation is essential for European media companies to compete with the tech platforms. That means allowing strategic partnerships and, where appropriate, mergers to create national media champions with the scale, investment capacity and long-term sustainability needed in today’s market.

Current regulations are years behind actual developments. That is why we are calling for a more forward-looking approach to consolidation. The current rules in Europe date back to the analog age when there was no YouTube, Facebook or Netﬂix. Competition law currently does not take into account the strength of and direct competition with global tech giants.

We continue to believe that the proposed merger of Groupe TF1 and Groupe M6 would have been the right response to this growing competitive pressure from international streaming and tech platforms. While the merger was ultimately not approved, we remain open to revisiting it.

WS: Are you pursuing other acquisition opportunities, either at the parent group level or at Fremantle?

RABE: At the group level, our immediate focus is on the regulatory approval process for the announced acquisition of Sky Deutschland, the largest transaction of RTL Group since its inception in 2000. On a pro forma basis, full-year 2024 revenue will rise to more than €8 billion ($9.4 billion), a major milestone for the group. Currently, we are engaging closely with the European Commission. Beyond that, we continue to look at smaller opportunities, for example, at Fremantle and in talent management and inﬂuencer marketing.

WS: What are your goals for the business in the next 12 to 18 months?

RABE: Our priority is clear: executing our strategy. On streaming, this means reaching our subscriber and profitability targets. A major milestone will be completing the migration of RTL+ to our Bedrock streaming tech platform. Fremantle’s focus is to continue growing its creative pipeline, particularly in drama and entertainment formats, while systemically integrating AI into production workflows and further improving margins. And once we have received regulatory approvals for the acquisition of Sky Deutschland, our goal will be to integrate the business and realize the targeted synergies. Exciting times are ahead for RTL Group.

RTL Deutschland has launched a slate of YouTube channels, including one for Alarm für Cobra 11

Scripted Financing Trends / Micro-Drama Boom / Inter Medya’s Can Okan King & Conqueror ’s Kitty Kaletsky & Robert Taylor / Vanguard’s Alex Haridi & Goran Kapetanović

Short-Form Surge CONTENTS

Revenues in China from micro-dramas are projected to exceed that of the local box office this year; 830 million people in that market are regularly tuning into these bite-size dramas, according to a recent study.

FEATURES DRAMATIC SHIFT

In an era of reduced commissions, a broad selection of distributors and producers weigh in on charting a new path forward.

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Jamie Stalcup Managing Editor

Kloudia Sakowski Associate Editor

David Diehl Production & Design Director

Simon Weaver Online Director

Dana Mattison Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

Ute Schwemmer Bookkeeper

Media Partners Asia’s (MPA) The Micro-Drama Economy projects that the market outside of China will generate revenues of almost $10 billion by 2030. “Micro-dramas have evolved from a niche experiment to a multi-billiondollar global category,” says Vivek Couto, executive director of the MPA, of the Asian-originated trend. “Production is cheap, but distribution is costly, and success depends on speed, scale and repeatable IP. China’s ecosystem shows what’s possible when content is integrated into social and payments rails, while the U.S. is proving the viability of global expansion.”

Meanwhile, the traditional long-form scripted business is restructuring for its own future amid a slip in commissions. Our main feature in this edition heard from a broad array of producers and distributors about navigating this climate. Pool your resources was the overarching theme to emerge from those conversations; it takes a village, often, to get these shows made.

Kitty Kaletsky and Robert Taylor, two of the executive producers on King & Conqueror, are featured in this edition, discussing how they brought that landmark production together to tell—for the ﬁrst time in the scripted space—the story of the chain of events leading to the Bat tle of Hastings. “It was a necessity of our ﬁnancing that it was a multiparty co-production process,” Taylor says. “It’s also a truly international show in terms of what our story means for the formation of what is now Europe.”

SHORT & SWEET

After sweeping across Asia, the micro-drama boom is reverberating throughout the scripted ecosystem.

INTERVIEWS

Ricardo Seguin Guise President

Mansha Daswani Associate Publisher & VP, Strategic Development

401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A. Phone: (212) 924-7620

Website: www.tvdrama.com

Jan Stenbeck’s transformative impact on European media translated into broad interest in Vanguard, the SVT commission about the Swedish media mogul. The New8 alliance of pubcasters backed the series, which we hear more about from writer Alex Haridi and director Goran Kapetanović.

Across our conversations, it was clear that delivering epic-scale storytelling is still possible—and still highly sought after. Audiences may be embracing storytelling in 1- to 3-minute bursts, but they’re not abandoning the long-form space. The challenge for everyone in the business is ﬁguring out how to make new ﬁnancing and discovery models make sense. Mansha Daswani

King & Conqueror’s Kitty Kaletsky Inter Medya’s Can Okan

Atresmedia Sales

Las hijas de la criada (The Maid’s Daughters) / ¿A qué estás esperando? (What are you waiting for?) / Sueños de libertad (Dreams of Freedom)

Atresmedia Sales’ slate features Las hijas de la criada (The Maid’s Daughters), a series about revenge, heartbreak and a mother’s ﬁght to secure her daughter’s legacy, set in Galicia in 1900 and based on a best-selling novel. Also available is ¿A qué estás esperando? (What are you waiting for?), also book-based, a rom-com about a man who is pressured by his family to get married. Life in Perfumerías de La Reina continues in the second season of Sueños de libertad (Dreams of Freedom), with new characters arriving and disrupting Begoña’s life. These titles are “about love, revenge and family and show empowered women who ﬁght for their freedom,” says Rebeca Fernández, sales director for Europe. The company is showcasing its slate of Spanish scripted at a new stand, Fernández adds.

ATV Distribution

Queen of Tears / Waves of Love / The Nightfall

ATV Distribution is touting a lineup that showcases “the diversity and strength of Turkish storytelling,” says Müge Akar, head of sales. Queen of Tears is an adaptation of a Korean drama starring Hande Erçel and Barış Arduç. Waves of Love features “sweeping landscapes, family-centered storylines and emotional depth,” says Akar. The Nightfall combines romance and mystery and “has quickly emerged as one of our strongest contemporary titles,” Akar notes. She adds, “Alongside Queen of Tears and Waves of Love, we are also bringing the brand-new season of The Ottoman , the ﬂagship title that continues to achieve strong results in Turkey and internationally. We are committed to telling stories that resonate emotionally, deliver strong ratings and offer reliable commercial performance for our buyers.”

Eccho Rights

Terra Rossa / The Trio / The Hairdresser Mysteries

Eccho Rights is bringing to MIPCOM Terra Rossa, a new romantic series starring Engin Akyürek that “blends the best of Turkish drama that our buyers love: passionate storytelling, unforgettable characters and an enchanting setting,” says Herbert Kloiber, CEO. The Trio is a romantic drama from Sweden, based on the novel Trion by Johanna Hedman. The Hairdresser Mysteries, a light comedy drama, stars Sally Phillips as a crime-cracking local hairdresser. These projects “underline the two main pillars of our business,” Kloiber says. “We offer the best lineup of Turkish drama series in a hugely competitive market, while in Western Europe, we are working with all key stakeholders—IP owners, producers, commissioners and also listening to our buyers—to produce and bring to market the series that people really want.”

“Atresmedia continues to be the home of some of the best Spanish productions, offering titles that stand out for their quality and variety.”

—Rebeca Fernández

“Our mission is to deliver high-quality Turkish dramas that travel across cultures and regions.”

“Eccho Rights’ offering is truly unique, and we look forward to meeting with clients, both new and old, to showcase our latest work.”

—Herbert Kloiber

Terra Rossa

Queen of Tears

—Müge Akar

Sueños de libertad (Dreams of Freedom)

Electric Entertainment

The

Librarians: The Next Chapter / The Ark / Leverage

Two seasons of The Librarians: The Next Chapter are available from Electric Entertainment. Electric is also offering two seasons of The Ark, plus a third that is currently in production. Additionally, the slate features ﬁve seasons of Leverage and three seasons of the spin-off series Leverage: Redemption “Leverage, Leverage: Redemption and The Librarians: The Next Chapter come with built-in worldwide fan bases, while The Ark delivers an original, high-stakes sci-ﬁ adventure that resonates across cultures,” says Sonia Mehandjiyska, head of international distribution. “Together, they offer buyers recognizable brands, strong audience demand and broad international marketability.” In addition, “we’re excited to bring the hit YouTube series Sideswiped to the market and explore partnerships on future seasons,” Mehandjiyska adds.

Inter Medya

Eshref Ruya / Valley of Hearts / Heartstrings

Inter Medya’s MIPCOM offering is led by Eshref Ruya , a love story that centers on Eshref, a high-ranking member of a mafia syndicate who spent years searching for a girl he once loved from afar as a child, nicknamed “Ruya,” meaning “dream.” Nisan, a young musician, ends up entangled in his world working as an informant for the police. Unbeknownst to Eshref, she is the long-lost Ruya he has been searching for. Valley of Hearts tells the story of a woman who abandoned her twins as newborns and lives a wealthy life. As adults, the twins confront her and seek retribution. Heartstrings follows the fallout of a hospital error in which Mahinur Aydın and Aras Yılmazer’s babies are switched at birth. The mistake is discovered years later.

“We’re thrilled to share that we’ll be kicking off our 25th anniversary celebrations at MIPCOM.”

—Sonia Mehandjiyska

Kanal D International

Sins and Roses / Secret of Pearls / The Family Burden

Sins and Roses from Kanal D International stars Cemre Baysel and Murat Yıldırım in a slowly blossoming love story. Secret of Pearls returns with a new season, continuing the story of a man who is released from prison and wishes to reunite with his children. In The Family Burden, a woman who was wrongfully imprisoned for her husband’s murder searches for the true killer upon her release. “The depth of the stories and the way they portray family dynamics allow every viewer to ﬁnd a piece of themselves within these narratives,” says Elif Tatoğlu, distribution strategy and sales director. She adds, “Family is a deeply valued concept across all cultures, and dramas that explore it from different angles and with real depth tend to resonate strongly with audiences.”

“With

its strong storytelling, rich character development and timeless narratives, our library provides stories that resonate universally.”

—Elif Tatoğlu

Sins and Roses

Leverage

Eshref Ruya

Onza Distribution

The Color of Love / Trafﬁc Jam / Neuer

From Onza Distribution, The Color of Love follows a young woman who uncovers her mother’s past and unexpectedly ﬁnds herself in a love story threatened by questions of inheritance and loyalty. A second season of Traffic Jam is available, continuing to interweave the stories of characters stuck in a traffic jam. “It is proving successful both as a ready-made and as a format, since its universal premise travels seamlessly around the world,” says Erika Gómez, head of sales. Onza Distribution is also presenting Neuer, a procedural based on the novels by Václav Neuer. “For us, MIPCOM is the ideal stage to strengthen relationships with buyers and producers, explore new connections and format sales and continue expanding our catalog with stories that combine strong narratives, exotic settings and universal themes,” Gómez notes.

Record

The Slave Isaura / The Slave Mother / Ultimate Love

Record is bringing to MIPCOM a remastered version of the telenovela The Slave Isaura with full HD visuals and 5.1 Dolby Atmos audio. “The new version allows broadcasters and platforms to relaunch the show as a true ‘television event,’ combining nostalgic appeal with a contemporary aesthetic,” says Delmar Andrade, international sales director. The Slave Mother is also available, deepening the character’s origin story with historical context. Ultimate Love , meanwhile, explores themes of inequality, prostitution and redemption. “These three titles form a powerful portfolio that blends legacy, innovation and thematic diversity, elements that make Record a strategic source of competitive and culturally rich content for the international market,” Andrade says.

“Our mission is to ensure that every title we represent has the potential to travel and connect with audiences around the world.”

“We’re ready to surprise, move and connect cultures through stories that transcend borders.”

—Delmar Andrade

TV Asahi Corporation

Their

Marriage / Masked Ninja Akakage

On offer from TV Asahi Corporation, Their Marriage follows a famous lawyer who was enjoying his single life until he suddenly falls in love with a mysterious woman and marries her. As it turns out, his wife is hiding a big secret: her fiancé died in an incident 15 years ago, and the police now suspect that she was responsible. The series is written by screenwriter Shizuka Oishi. TV Asahi is also bringing to MIPCOM Masked Ninja Akakage, directed by Takashi Miike, a modern remake of a manga published about 60 years ago. It is an adventure story about a ninja named Akakage (Red Shadow), who, together with his companion Aokage (Blue Shadow) and other allies, uses ninja techniques to fight against kaiju (monsters) and evil organizations.

—Erika Gómez

Their Marriage

The Color of Love

The Slave Isaura

Escapade Media’s Swipe.

Dramatic

In an era of reduced commissions, TV Drama surveys a broad selection of distributors and producers about charting a new path forward. By Mansha Daswani

There’s no escaping it; peak drama is long over. In the ﬁrst half of this year, the number of scripted originals commissioned by the top six global streamers fell by 24 percent compared with the same period last year, according to Ampere Analysis.

There were 318 first-run and renewed titles at Apple TV+, Prime Video, Disney+, HBO Max, Netflix and Paramount+ in the first half of 2024, a 14 percent increase from the year-ago period; this number fell to 242 this year. While streamers have made the most significant cuts, the scripted pullback is industry-wide, with scripted commissions overall down by 8 percent.

“Several factors underpin the reduction in H1 scripted commissions,” said Cyrine Amor, research manager at Ampere Analysis, in the report. “Primarily, the move reﬂects the streamers’ ongoing strategic shift in their business models post the era of ‘peak TV.’ This is marked by reduced investments in originals, a more cautious approach to commissioning decisions and a heavier reliance on licensing in their content strategies. The uncertain economic climate and the prospect of taxation on international productions have further exacerbated these trends. Regional disparities support this picture. Ampere’s monthly data shows a brief recovery in April 2025, followed by a dip in May after new movie tariffs were announced. Greater clarity on tariffs and the broader economic outlook could drive a rebound in H2.”

Even if there is a rebound, we’re never going back to where we were, so new models for getting shows off the ground are

paramount. Indeed, some are viewing this new landscape as an opportunity, rather than an obstacle.

PARADIGM CHANGE

“Regional broadcasters and independent producers are stepping up,” observes Erika Gómez, head of sales at Spain’s Onza Distribution. “That’s where our catalog shines: we curate distinctive stories with proven international appeal and offer adaptable formats that local partners can truly make their own. Our approach is all about ﬂexibility—ﬁnished content for those who need strong titles ready to go and formats for those eager to localize.”

At Escapade Media, Natalie Lawley, managing director, is working with producers to help get smart packages together for scripted funding. “We always approach a ﬁnance plan by looking at all options to secure the funding. We have seen very positive trends of presales by individual territories, allowing projects to be greenlit, which may then potentially go to a global platform for the second window.”

Sonia Mehandjiyska, head of international distribution at Electric Entertainment, highlights the value of “being creative and collaborative with our commissioning partners,” as well as exploring new platforms and distribution options. “More deals are necessary to get to a bottom line that will allow us to continue producing.”

Financing remains a challenge, says Dan March, founder and managing partner at Dynamic Television. “This has more to do with the global decline of content value than any one buyer or

even the cost of production, though the latter is a significant factor. But if we are aligned with our partners and developing a show to a specific budget, we’ve not yet failed to put the financing together.”

IT TAKES A VILLAGE

Production costs have risen signiﬁcantly, says Miguel García, sales director at Spain’s Atresmedia Sales, “and it’s becoming increasingly important to reduce budgets to maintain the same number of new productions each year. That’s why it’s always beneﬁcial to look for presale models that combine countries or partnerships between TV networks and platforms.”

Of note, García says, Atresmedia and Netﬂix joined forces through Buendía Estudios to produce Sira, the sequel to El tiempo entre costuras (The Time in Between). “A major production like this required a presale agreement,” he explains.

Onza’s Gómez references the “move away from single-platform financing to more diversified models where flexibility is essential. Instead of one global buyer covering everything, projects are increasingly built through layered structures that combine regional broadcasters, local streamers and international distributors. Each partner contributes a different piece,

whether through presales or complementary windows across territories. We focus on fostering these collaborations from the earliest stage, making sure that creative ambition is always supported by a financing structure that works across markets.”

Escapade’s Lawley adds: “The question of budget comes up a lot faster now in discussions with commissioners, which is excellent. We work on flexible and innovative finance models, looking to pull finance in from all different areas. It’s really important that the project is put forward with as much of the finance plan in place as possible.”

As for what it takes to land a commission, presale or acquisition, Dynamic’s March says: “Nearly every buyer we speak with is lookin g for shows that ‘sell themselves.’ This speaks to the enormous challenge networks and platforms have in trying to cut through and attract audiences to content. Talent has never been more important in not just securing a green light, but also in having success distributing the show globally.”

For a project to cut through today, it needs to “feel distinctive yet instantly relatable,” Gómez says. “Buyers and commissioners are drawn to bold, original storytelling, but it also has to tap into universal themes that resonate across cultures. We have learned that adaptability is the real differentiator. Stories that travel seamlessly as ﬁnished content and formats that give local partners the freedom to create their own versions are the ones that truly stand out. In a crowded market, versatility, authenticity and relatability are what make a project impossible to ignore.”

“You need to have compelling and well-developed characters that will make the audience interested in and care about them,” says Mehandjiyska at Electric. “They don’t necessarily have to be ‘heroes,’ but need to be intriguing and constantly evolving throughout a series. Familiar names and faces are also very important and help decision-makers commit.”

Escapade’s Lawley stresses the need for global appeal. “Whether that is a need for a global platform to be on board or because the commissioner needs ROI, the ability to sell a project internationally is paramount,” she says. “It is also important that each project embraces a trending genre but also offers a very real point of difference.”

Projects that come with some level of brand awareness have a leg up in this contracted and risk-averse landscape.

“The need to present projects based on IP has never been stronger, not only to mitigate risk but also to provide assurance around the project if the IP has been successful in other forms,” Lawley continues.

“Well-known IP has time and time again proven to be a draw for not only viewers but also to buyers and commissioners, which is why we are always looking to continue and evolve our franchises,” says Mehandjiyska, referencing Leverage: Redemption and The Librarians: The Next Chapter .

Electric Entertainment is rolling out The Librarians: The Next Chapter, the latest release in the successful franchise.

Atresmedia’s 33 días (33 Days) is based on the true story of a prison escape in Spain.

“It’s true that series based on recognized IPs help to increase the chances of getting commissioned, as the risk of failure is lower,” says García at Atresmedia. “If the audience is already familiar with the story or the characters, it provides a strong boost for the content’s launch marketing.”

The sales arm of the Spanish broadcaster lands at MIP COM with the book-based Las hijas de la criada (The Maid’s Daughters) and ¿A qué estás esperando? (What Are You Waiting For? ) as well as the true-crime-inspired 33 días ( 33 Days ) .

March acknowledges the value of series based on books, “but we are not actively chasing the newest bestseller. What good IP does is attract an audience ﬁrst and foremost; it [also] helps solve that marketing problem. But IP is not the only way to get a show made. Great storytelling and compelling cast can also cut through, and it ultimately becomes a show that can market itself.”

CRIME PAYS

Crime series continue to be sought out by buyers and commissioners seeking safe bets for audiences.

“Crime, in all its subgenres, is still very popular and globally appealing,” says Escapade’s Lawley. “But we have also seen a need for lighter-based content—whether that is in the form of light drama or lighter cozy crime—there is a desire to balance the offering to audiences.”

Mehandjiyska at Electric sees pronounced demand for American crime-procedurals. “It’s a formula we have perfected and have been very successful with. Although a niche genre, sci-ﬁ is an evergreen trend.”

Dynamic is continuing to lean into “commercial” genres, March says. “We’ve had a lot of success with cozy crime. One factor we have been focusing a lot in our shows is ‘fun.’ Whether crime, thriller or sci-ﬁ, we think audiences are engaging with content to truly be entertained and to have a good time, considering the tension around the world.”

Gómez at Onza also highlights sustained interest in crime dramas, “particularly procedural series and stories inspired by true events. That is why we are especially excited about our new acquisition, Neuer , a crime procedural based on the novels of Václav Neuer, themselves drawn from real cases. At the same time, we notice a clear appetite for feel-good stories and escapist content, both in entertainment formats and in ﬁction. Shows like Traffic Jam, with its lighthearted, relatable tone, are perfect examples of how audiences want content that allows them to disconnect from daily pressures and enjoy uplifting, universal stories. In today’s market, the mix of gripping crime, adaptable formats and positive narratives is what buyers are most consistently asking for.”

Conventional wisdom would dictate that in a time of reduced commissions, broadcasters and platforms would buy more to meet their programming needs.

March hasn’t seen that happen yet, “though I’m cautiously optimistic for 2026. Some streamers are opening acquisition doors that have been closed for a couple of years, and that is encouraging. But the larger platforms that are still spending $10 billion to $20 billion on original content certainly don’t have a dire need to acquire as well.”

Gómez is beginning to see a shift toward more acquired fare. “With fewer originals being commissioned, many platforms are leaning more on acquisitions to keep their catalogs dynamic and their audiences engaged. Finished content,

particularly strong dramas and crime series ready to air, are in very high demand.”

Atresmedia has been clinching second and third windows on some of its successful dramas, García says. “These are productions well known to audiences, with strong appeal and retention power, which is essential nowadays.”

Escapade’s Lawley says that “platforms are acquiring scripted series that have performed well on other media and introducing them to new audiences who are viewing content only via platforms. This strategy provides a more cost-effective approach to language versions, allowing them to purchase already created dubbed/subtitled versions.”

DUBBED BY AI

While still in its early days, AI dubbing could be transformative for the scripted industry—once costs come down and the quality improves. That is just one area where AI is expected to be a game-changer.

“AI is beginning to shape the scripted business, but more as a support tool than as a creative replacement,” says Gómez. “We see it being applied in research, in generating marketing assets and in streamlining parts of the production process. These are useful efficiencies, yet the heart of scripted content remains human: originality, idiosyncrasy and storytelling that resonates with audiences. AI can enhance the way projects are developed and promoted, but it will never replace the creative talent and strong ideas that drive our industry forward. AI is a copilot, not the driver.”

“I’m a believer that AI will have a positive impact on lowering production costs, certainly in post and in VFX, and I also believe AI can have a positive impact on storytelling,” Dynamic’s March says. “I’m not a believer in using AI to create or write stories, nor do I believe fully generative content can ever replace great scripted drama and the creativity that is uniquely human.”

Distribution recently took on the rights to Neuer, based on Václav Neuer’s best-selling novels.

Onza

Kitty Kaletsky King & Conqueror

By Mansha Daswani

Up until this year, no one had succeeded in bringing the events that led up to the Norman invasion of Eng land in 1066 to the prestige drama space. King & Conqueror, which premiered on BBC One in the U.K. and Prime Video in the U.S., required years of planning and a fair number of partners to realize its grand ambitions, which included recre ating the landmark Battle of Hastings, rich special eff ects and a star-studded cast. James Norton stars as Harold, Earl of Wessex, and Nikolaj Coster-Waldau as William, Duke of Normandy. Both also serve as executive producers on the eightpart production. Several entities came together to execute on the series, with The Development Partnership, the production arm of The Partnership Group talent agency, aligning with Rabbit Track Pictures (Norton’s production company), Richard Halliwell’s Shepherd Content, Baltasar Kormákur’s RVK Studios in Iceland and CBS Studios. Kitty Kaletsky, co-founder of Rabbit Track with Norton, has been with the series, created by Michael Robert Johnson, since its inception. She talks to TV Drama about the scale of the show and what she hopes viewers will take from the retelling of this transformative time in history.

TV DRAMA: What appealed to you about King & Conqueror? KALETSKY: It was one of, if not the ﬁrst, projects we ever discussed. Mike, our writer, ﬁgured out that the reason 1066 and the Battle of Hastings have never been adapted is because it’s not solely the Harold Godwinson story that’s interesting, nor solely the William the Conqueror narrative that would ignite a drama. It’s about the interconnection of their two tales. Once he had unlocked that solution, it becomes about marriage as well. It becomes about not just one nation but two. It becomes about the formation of a new continent and arguably a new world. Starting with a character, but then blowing it out globally, appealed to all of us from a creative perspective and from a commercial perspective. That’s been the bedrock of the development process from the very beginning. How do we tell two men’s stories, two couples’ stories and two nations’ stories and make it feel personal and yet also universal? Everything appealed to me. Plus, it felt important because it hadn’t been done before.

TV DRAMA: What sorts of research did you have to do to accurately portray these characters and this time period?

KALETSKY: It was incredibly fun, honestly. On the one hand, there’s a plethora of material. From a historical perspective, we read Peter Rex’s Edward the Confessor: King of England. There’s an incredible book by Tracy Borman, Matilda: Queen of the Conqueror , on how brilliantly strategic and well-educated she was. There were a couple of books that we read on the everyday life of medieval London and the Norman conquest. There is also a lot that you can lean on in terms of primary sources. But the brilliance of creating a drama that’s almost a thousand years old is that there are also huge gaps. That’s where artistic license comes in. We did a ton of research. We also had a historical advisor throughout the development process noting on every one of the eight scripts, guiding us, highlighting the bits that we knew were ﬁlling in the gaps and less likely to be accurate. And then Mike and his approach to language, his approach to storytelling, leaned into the bits that we have to dramatize in order to appeal to and then retain an audience. In a quick answer, it’s incredibly well researched, but it’s also a drama, not a documentary. That was something that we wanted to revel in.

TV DRAMA: What was your approach to managing all the different stakeholders as a multiparty international copro while also maintaining a singular creative vision?

KALETSKY: Having a singular vision from the start is always incredibly helpful. It does sound like a huge number of names, which might lead to a huge amount of conﬂict. But with Baltasar Kormákur as lead director, Mike’s brilliant scripts and the EPs supporting the two of them, we had a pretty smooth creative process. Financing a show of this nature is always really difficult, but everybody was singing from the same hymn sheet. It felt a lot simpler than it looks.

TV DRAMA: How did you set about ﬁnding locations to ﬁlm at?

KALETSKY: RVK Studios was a huge part of that. Having a production services company that was producing alongside us in Iceland meant that they were heavily

involved in the creative as well as in the practical. In terms of our exteriors, on location in Iceland we had to ﬁnd Norway, Wessex countryside, Northumbria—which looks very, very different from the south of England— Flanders, a location for Stamford Bridge and its battle, and then obviously the Battle of Hastings on a very par ticular incline we needed to replicate. It wasn’t easy, but actually, Iceland has a pretty varied landscape, and because it’s such a small country, it’s also not that diffi cult to find spectacular scenery not far outside of Reyk javík. The locations are plentiful and varied. And then obviously supported by visual effects in order to kind of enhance that look.

TV DRAMA: What are you hoping people will take from the show? Are there parallels to that time in history that you think people should be thinking about now?

KALETSKY: For time immemorial, mostly male ambition, ego and hubris have created countries and also collapsed them. What is particularly powerful about this story is it’s the tale of two men, neither of whom was destined for the throne, neither of whom, at least at the start of our narrative, wants the throne. [That changes due to] baronial factions, the politics of their respective nations and then ultimately their own personal ambition. One of them had to die, and England,

as we know it, fell apart and was reborn. So, yes, there are many parallels. But it’s also a universal story because of the family dynamics that it looks at. It plays out on a global scale and it looks at hubris and ambition. It also plays out on a domestic scale and it looks at marriage, the relationship between fathers and sons and betrayal. You can take away what you want from it, depending a lot on, as a viewer, what you project onto it.

Robert Taylor The Development Partnership

As an arm of The Partnership Group agency, The Devel opment Partnership, led by Robert Taylor, has been developing film and television projects directly with its stable of on- and off-screen talent. The outfit was instrumental in assembling the intricate pieces for King & Conqueror, including bringing James Norton on as executive producer and star. Taylor talks to TV Drama about managing the complicated co-pro.

TV DRAMA: How did you come to be involved in the project?

TAYLOR: Michael Robert Johnson, our writer and creator, sent me a two-page document for his particular take as to how he wanted to tell this story. The first thing I did was Google, When was the last time there was a series about the Battle of Hastings? It felt exciting but familiar, particularly in the U.K. It was astonishing that it hadn’t been told in episodic form before. I had started to discuss with James [Norton] the idea of him taking on more of a producer role in the work that he was going to be doing. He liked it very much. Through that, we discussed the idea of James starting a production company, which we couldn’t do until we had found the person to start the production company with: Kitty [Kaletsky]. We spent all of the first lockdown on Zooms with each other every day, figuring out how not only to develop the show, but also how to package it. We came out of that very strange time with Baltasar [Kormákur] attached as director and EP.

TV DRAMA: What was your approach to managing all the different stakeholders as a multiparty international copro while also maintaining a singular creative vision?

TAYLOR: We’re very fortunate we’ve got multiple parties with vested interests in the show, and all of the individuals charged with the responsibility of the show at those places cared deeply about it and were amazing teammates. You see the series of credits and it feels like it must have been thousands of people involved, but it was a core team of about eight of us that went through this process together. It was a necessity of our financing that it was a multiparty co-production process. It’s also a truly international show in terms of what our story means for the formation of what is now Europe. It felt appropriate to have that international co-production structure in order to tell that story authentically. Kitty is our creative lead and has been exceptional in playing that role throughout. Kitty and I, together, strategically and diligently, kept everybody informed. We all felt on day one that we wanted to make the same show, and ultimately that’s the key. We’ve probably all been involved in multiparty processes before where one broadcaster is making one show and another one’s making another, and that was not the case here. Everybody had an understanding of the vision.

Paramount Global Content Distribution is handling the international rights on King & Conqueror

Can Okan Inter Medya

By Mansha Daswani

Along-standing player in Turkey’s dynamic content landscape, Inter Medya continues to see gains in the competitive drama business thanks to two key strategies, according to founder and CEO Can Okan: consistency and adaptability. With an eye on future-proofing the business, Inter Medya is entering the vertical drama space, expanding its co-produc tion activities and exploring the scripted format business while continuing to roll out both “traditional” and next-generation Turkish stories worldwide. Okan shares with TV Drama his strategies for keeping Inter Medya at the forefront of the content business.

TV DRAMA: What is driving Inter Medya’s leading position as a supplier of Turkish dramas?

OKAN: Our leading position is built on two pillars: consistency and adaptability. Over the years, we have established long-term partnerships with both producers and broadcasters, and today, our catalog encompasses more than 15,000 hours of content. This scale allows us to meet a wide variety of needs—from mainstream primetime dramas to digital-ﬁrst miniseries. We constantly track audience behavior and market trends. When viewers began demanding shorter, bingeable formats, we responded with our “New Generation” strategy, while continuing to deliver the storytelling elements

that made Turkish dramas globally successful in the ﬁrst place—family dynamics, love, betrayal and deep emotion. Equally important is our global distribution reach. We have sold into nearly every major territory, spanning Latin America, Europe, Asia and Africa, while also opening up new windows such as airline entertainment. For example, several leading airlines have recently added Turkish dramas from our library to their in-flight plat forms—a clear signal of our content’s versatility and universal appeal. At the same time, we are a company that thrives on being proactive and forward-looking. We aim to anticipate client needs before they emerge, positioning ourselves not just as a distributor but as a trusted solutions partner. We embrace new spaces, experiment, learn and evolve—an approach that keeps us dynamic and pioneering. Distribution will always remain our core business, but integrating innovations and sector developments into what we do has always been and will continue to be our priority.

TV DRAMA: Tell us about Eshref Ruya and how you are positioning it globally.

OKAN: Eshref Ruya is one of the most high-profile and prestigious titles on our slate this year. Produced by TIMS&B Productions, the series marks the long-awaited on-screen union of two of Turkey’s most celebrated stars, Çağatay Ulusoy and Demet Özdemir. This firsttime casting of the duo has already generated exceptional anticipation in Turkey and across international markets. At its core, the story captures the universal themes global audiences are craving today—love, drama, power, betrayal and hidden truths. Yet what sets Eshref Ruya apart is its cinematic scale, emotional intensity and distinctive storytelling, qualities that have become synonymous with Turkish drama at its finest. We are positioning Eshref Ruya as a flagship premium drama with the highest production values. The series appeals to both female and male viewers alike, offering a fastpaced narrative where every episode escalates the tension. Each character introduces a new layer of depth, brought to life through outstanding performances. From script to direction, production to music, and acting to cinematography, every element has been crafted to deliver a drama of exceptional quality. For us, every title in our catalog is unique, but Eshref Ruya stands out as a project that not only enriches our lineup but also offers distinct points of connection for every client and territory. Moreover, it further strengthens our longstanding partnership with TIMS&B Productions, underscoring our shared commitment to creating global hits.

TV DRAMA: What makes it unique in the Turkish landscape?

OKAN: What truly sets Eshref Ruya apart is its genredefying storytelling. It is not conﬁned to being solely a love story or a tale of power struggles—it is both, enriched with profound themes of love, loyalty and

identity. Nisan, portrayed by Demet Özdemir, is an idealistic musician who finds herself drawn into a double life as an undercover informant to protect her sister. Eshref, played by Çağatay Ulusoy, is a commanding figure whose strength is shadowed by the haunting memory of his first love. Their dynamic creates a powerful emotional contrast, driving the story with both tenderness and intensity. Just as the characters embody duality, the series itself maintains a remarkable balance: romance is matched by gripping momentum, and its dramatic weight is softened with moments of warmth and humor. On top of this, the exceptional production values further elevate the experience. From its striking visual design and carefully composed music to its rhythm and pacing, every element is crafted to sustain audience engagement episode after episode. Turkish dramas are already renowned for their emotional impact, but Eshref Ruya intensifies that tradition, offering a bold, refreshing and standout production.

TV DRAMA: Where else are you seeing strong interest in Turkish content?

OKAN: Alongside Eshref Ruya , we are presenting a strong and diverse lineup that reﬂects the breadth of our catalog and the evolving demands of the global market. Valley of Hearts continues to expand its footprint, achieving remarkable success in Latin America and remaining a prime-time hit in Italy. Deception recently sold into Spain, Honduras and Italy, among others, demonstrating its broad international appeal. Heartstrings , licensed in Romania, Colombia, MENA and beyond, resonates worldwide with its universal themes of family and love.

We are also placing a spotlight on what we define as our “New Generation” Turkish series—shorter, fasterpaced miniseries such as Modern Woman, Fer, Mr. Right and Just Friends . These titles are specifically designed with streaming platforms in mind, offering tighter storytelling and innovative approaches that blend genres in fresh ways. Our feature film catalog is also stronger than ever, complemented by an updated and refined formats portfolio. Finally, at MIPCOM, we are excited to announce our official entry into the world of vertical drama. This initiative will see us both producing original content and curating a dedicated catalog of ready-made titles, ensuring we remain at the forefront of one of the industry’s most dynamic emerging trends.

TV DRAMA: What new opportunities are you pursuing for your productions?

OKAN: Co-productions remain an exciting area of growth for us. As pioneers of this business model in several countries, we are committed to continuing our leadership in this space. At the same time, we are placing

strong emphasis on emerging markets: Southern Europe has become a hub for Turkish dramas, while demand is accelerating across Asia and Africa. Streaming platforms continue to expand the horizons for our content worldwide. Looking ahead, we are also investing in vertical dramas and actively working to bring the remake rights of our titles to new territories. Our strategy is to continuously enhance our catalog both in quality and volume, while steadily growing our global client base.

TV DRAMA: What are your overall goals for MIPCOM?

OKAN: MIPCOM is always a cornerstone market for us, and this year our objectives are once again very clear. Our ﬁrst priority is to launch Eshref Ruya as a global event series, securing partnerships in key territories. Second, we aim to showcase the breadth of our slate, from major prime-time dramas to our “New Generation” titles—highlighting the full spectrum of what we can deliver to international buyers. But MIPCOM is about more than sales. It’s a platform for strategy and partnership. We are here to advance our co-production discussions, explore new format deals and position Inter Medya not only as a distributor, but as a creative partner helping shape the future of Turkish content worldwide. We will also be presenting our vertical drama model, accelerating conversations around potential collaborations in this exciting new area.

Our message is clear: Inter Medya is not just keeping pace with global trends; we are actively shaping them. We are showing how Turkish content can evolve with new consumption habits and platforms, while never losing the emotional depth that makes it unique. At the same time, we are investing in the future by building lasting partnerships, embracing innovation and creating content that resonates across cultures and borders. That is our mission at MIPCOM: to showcase the strength, creativity and diversity of Turkish drama and to reaffirm that Inter Medya will remain a driving force in shaping the global content landscape.

Eshref Ruya leads Inter Medya’s MIPCOM highlights.

Vanguard Alex Haridi & Goran Kapetanović

By Mansha Daswani

Abr oad swathe of broadcasters from across Europe have boarded Vanguard, the Swedish event series that tells the story of media tycoon Jan Stenbeck. The production was commissioned from FLX by SVT in collaboration with the New8 alliance of European pubcasters. Viaplay Content Distribution has secured a number of deals for the series, which won best series and best actor for lead Jakob Oftebro at the Monte-Carlo Television Festival’s Golden Nymph Awards this year. Alex Haridi, writer, and Goran Kapetanović, director, discuss with TV Drama how the series approached chronicling Stenbeck’s impact on European media, his tumultuous family life and his complicated legacy.

TV DRAMA: What appealed to you about telling the story of Jan Stenbeck?

HARIDI: I grew up during the end of his life. At that point, he was a joke in Swedish culture. He’d become such a larger-than-life character. He’d gained a lot of weight. He was very abrasive and conﬂict-prone. [I had been thinking about] where we are today with fake news, the way communication works, where you don’t trust sources; media is very much in doubt. We no longer

share a common truth. I was fascinated by this man because he was part of the start of disrupting media. So, it started from, how did we come to this point [in media], from a Swedish perspective?

He was extremely handsome back in the 1970s, and he was incredibly glamorous. These things clashed with the picture I had in my mind of him as this sad, overweight joke. It was the dual stories of how we reached this point in time and his personal story, which was so fascinating. How does this wonderful, happy, joyous, attractive young guy end up as this sad clown?

KAPETANOVIĆ: It was also an interesting story about family. It’s a classic succession story. And, of course, the ’70s and ’80s were a time of such transformation. We ﬁnd a playground in China to produce inexpensive goods for Europe and the U.S. It’s the Margaret Thatcher era. We moved industry abroad and started something totally new here.

TV DRAMA: What was the approach to portraying an accurate representation of this polarizing ﬁgure?

HARIDI: I wanted to show his bad sides. In the Swedish context, that’s what he’s famous for. At the same time, it’s very

much the story of how he becomes a joke. It’s a “becoming” story. If we’re going to emotionally invest in that, if we’re going to feel anything at the end when he is a pretty horrible person, we have to sympathize with him along the way. It was a question of communicating to the audience in a way that they understand why he’s doing these things, while not excusing them. So, showing the horrible things that he does while also understanding why he does them.

TV DRAMA: Goran, how did you approach re-creating the look and feel of the era?

KAPETANOVIĆ: When you go back in history to the ’70s, it’s such a rich time. There are many details where you can express yourself. Numerous revolutions were occurring in clothing, furniture and everything else. We were trying to describe 20 years of one person’s life. The cinematographic expression is very powerful. We put a lot of effort into postproduction.

HARIDI: I’m so proud of the look of the show. One of the things that I, as a writer, really love about Goran as a director is that, even though the details are there, what he cares about is the story, the characters and the actors. It never becomes a fetish of filming individual old objects that we’ve spent weeks trying to find. We spent weeks trying to find them, and they’re there in the frame. If you look, you can see them. But it’s always about the story and the characters. They’re moving comfortably in these old clothes. That’s a credit to Goran and his directing style.

TV DRAMA: What is your approach to working with your onscreen talent? How do you get the best out of them on set?

KAPETANOVIĆ: I’ve been doing this for a couple of years now, bringing some new talents from Sweden and across Scandinavia and giving them a chance. We are very familiar with some old faces here, the people who are getting the roles for the TV shows. I always try to ﬁnd someone who is involved and engaged in the story. They want to show something new. They have such an interest in the characters. I give them a push, of course. I work with them to go deep into the character. It was a bit of method acting at times for the main character. We went on to drink and eat as the main character did during the ’70s and ’80s, and we tried to do it in three days. We gained two or three kilos! [Laughs]

TV DRAMA: What do you want audiences to take from the series?

HARIDI: One of the things that was so fascinating about this story was how much these things that we take for granted now happened by accident. This whole thing spirals out of a stupid conﬂict that he has with his sister. He changed so much in the world, in the landscape of media, and it’s basically because of a brother and a sister ﬁghting on the playground. And it’s just stupid and it’s ridiculous, but that’s the way the world works. If there’s something that I want people to take from this, it’s that the way things are today is not God-given. Things change, they change fast, we’ve changed them fast and sometimes things change for really stupid reasons.

KAPETANOVIĆ: He started all these things we have today. I think he realized we are going to reach this point. Maybe that was part of his destructive time. He made so much, but he asked himself, What’s going to happen next after this?

Distributed by Viaplay Content Distribution, Vanguard, about Swedish media mogul Jan Stenbeck, has the backing of the New8 alliance.

The latest edition of the TV Drama Screenings Festival features crime dramas, sci-fi, romance and more.

The Assassin

BAFTA TV nominee Keeley Hawes stars as Julie, a retired hitwoman living on a remote Greek island who is forced into a game of survival with her estranged son, Edward (Freddie Highmore). (All3Media International)

The Family Burden

Eshref Ruya

Eshref, a man who has everything but belonging, is unknowingly drawn back to his lost childhood love, discovering a destiny of passion he never imagined. (Inter Medya)

Melike, wrongfully imprisoned for 20 years, dreams of reuniting with her daughter. Upon release, she searches for her husband’s real killer and must confront the complexities of her daughter’s life. (Kanal D International)

Las hijas de la criada (The Maid ’s Daughters)

(Galicia, 1900. Clara and Catalina, born into different classes, are torn apart by revenge, heartbreak and a mother’s fight to secure her daughter’s legacy. (Atresmedia Sales)

Masked Ninja Akakage

The Librarians: The Next Chapter

When a “Librarian” stuck in the present inadvertently releases magic across the continent, he is given a new team to help him clean up the mess he made. (Electric Entertainment)

A historical fantasy where ninjas face colossal monsters, blending intense action, emotional drama and groundbreaking visuals to captivate audiences worldwide. (TV Asahi Corporation)

Terra Rossa

Queen of Tears

Under the shadow of illness, family expectations, corporate rivalries and buried secrets, the journey of Selim and Meyra becomes the ultimate test of love, honesty and the choice to stand by one another. (ATV)

Forbidden love reignites the feud between the Bereketoğulları and Karahanlıs. As vengeance brews, Ömer and prosecutor Nevin collide, their pursuit of justice entwined with desire. (Eccho Rights)

Short&Sweet

After sweeping across Asia, the micro-drama boom is reverberating throughout the scripted ecosystem.

By Mansha Daswani

More than $1.75 billion was invested in the short-form content platform Quibi, the brainchild of Jeffrey Katzenberg that crashed and burned just a few months after its launch in 2020. As it turns out, Katzenberg and company may have just had really terrible timing. Five years later, with the streaming wars ﬁrmly behind us and TikTok now regularly topping the likes of Netﬂix in the most-used platforms for younger audiences, the short-form video market is now a real revenue opportunity. How big a revenue opportunity depends on where you are. In China, micro-drama revenues will surpass the domestic box office this year, according to Media Partners Asia (MPA). According to The Micro-Drama Economy

report, revenues in China from microdramas climbed to $7 billion in 2024 and are expected to top $16.2 billion by 2030. MPA projects that more than 830 million viewers are consuming micro-dramas, with 60 percent paying for access. The market is led by ByteDance (Red Fruit), Tencent (WeChat Video Accounts) and Kuaishou (Xi Fan), delivering titles from leading players such as COL, China Literature and Tomato Nov el. Advertising will account for 56 percent of revenues by 2030, with subscriptions at 39 percent and commerce at 5 percent. Marking a new stage in micro-dramas’ growth, budgets are on the rise in China, with premium titles budgeted at between $400,000 and $600,000.

A wealth of players are starting to position themselves in the market out side of China, which is projected to generate revenues of $9.5 billion by 2030, a compound annual growth rate of more than 28 percent from 2024. Revenue will be subscription-led, at 74 percent, with advertising at 25 percent and commerce at just 1 percent.

The U.S. is the most lucrative territory, with revenues hitting $819 million in 2024 and rising to $3.8 billion by 2030. Affluent, urban women aged 30 to 60 are leading microdrama adoption in the U.S. Key players include DramaBox, which reported a proﬁt in 2024, and ReelShort.

“We want to tell good local stories in a micro-drama format,” Enoch Chen, COO of leading player COL Group, said at APOS in Bali this summer. “It’s very different from long-form. Equally important, we need to understand our audiences. That’s why we’ve formed a production studio in L.A., so we have people who understand the American culture and can tell a story that resonates with our target audience. The U.S. is our biggest market right now. The next one is Japan, and Southeast Asia is one of our fastestgrowing markets.”

Outside of the U.S., MPA similarly identiﬁes Japan and India as key territories. In Japan, micro-drama revenues are projected to hit $1.2 billion by 2030. The Indian market is being boosted with the arrival of Amazon in the space, with its free platform, MX Player, launching MX Fatafat for micro-dramas.

Vivek Couto, executive director of MPA, says: “Microdramas have evolved from a niche experiment to a multibillion-dollar global category. Production is cheap, but dis tribution is costly, and success depends on speed, scale and repeatable IP. China’s ecosystem shows what’s possible when content is integrated into social and payments rails, while the U.S. is proving the viability of global expansion. Markets such as Japan, Korea, India, Southeast Asia and Latin America are emerging. The winners will be operators that control their distribution and monetization infrastructure, manage customer acquisition costs and build sustainable IP pipelines.”

Mommy, It Hurts... Where's Daddy? on FlareFlow.

By Mansha Daswani

r. Norbert Himmler has spent his entire media career at German public broadcaster ZDF. Getting his start in the editorial team of flagship newscast heute, Himmler worked across the organization’s content operations, becoming program director in 2012, a post he held for a decade before being elevated to director-general in 2022. He assumed leadership of the stalwart European broadcast group at a transformative time in the business and has set out to future-proof the organization.

DR. NORBERT HIMMLER ZDF

At the heart of Himmler’s strategy is a focus on building on ZDF’s strengths: a well-established reputation for trustworthy information, deep brand awareness, an extensive footprint and a heritage of being a ratings

leader. But Himmler knows that having a legacy is not enough in these transformative times. Amid pressures on public funding, Himmler is driving new partnerships in content, exploring the benefits of AI and preparing for the pitfalls of the technology, building on ZDF’s fact-checking and news-sourcing capabilities and driving its digital transition to ensure it’s as relevant for young audiences as it is for older ones. All the while, it is ensuring it can provide German audiences with the best content, while ZDF Studios monetizes that output and third-party IP on the global market.

In this wide-ranging interview, Himmler shares with World Screen his strategy for ZDF as it plots its longterm vision for remaining relevant and essential for Ger man audiences.

WS: What’s driving your success with audiences at present? Amid all the options viewers have, what do they come to ZDF for that they can’t ﬁnd elsewhere?

HIMMLER: ZDF has been the market leader in Germany for the 13th consecutive year and, in 2024, achieved its best market share since the start of TV measurement in reunited Germany. With our linear and digital offerings from the ZDF family, we reach a total of 83 percent of the population each month. This success shows that we are in demand by a very large part of society as a national generalist broadcaster. Our offerings in news, entertainment, education and culture aim to provide people in Germany with an objective overview of world events and a comprehensive picture of German reality. One of our most important tasks is, therefore, to provide independent and veriﬁed information and to serve as a trusted source of news. We address topics that affect everyone, offer a platform for diverse opinions and thus comprehensively reﬂect the diversity of our society.

Our audience knows that, especially in times of disinformation and fake news, they can rely on the high quality of our reporting. Our news programs, in particular, score highly with viewers, reaching 80 percent of the population and 68 percent of 14- to 49-year-olds per month in 2024. Key components for younger audiences are our channels ZDFneo and ZDFinfo. The streaming platform reached a new record in 2024 with 7 million visits per day, as did the online news service ZDFheute, with 2.52 million visits per day. All of this strengthens our path to reaching an increasing number of younger users with our independent news offerings. At the same time, we stand for major fiction content—series productions, event miniseries and we broadcast a 90-minute TV movie in first run almost every week. Emerging talents also regularly have the opportunity to bring their films to audiences via ZDF. In addition, our wide range of documentaries, history and entertainment programs enables viewers to expand their knowledge in an engaging way and understand complex issues.

Fundam entally, our programming is committed to high-quality standards and the dem ocratic and fundamental rights enshrined in the Federal Constitution. We critically examine undemocratic developments. ZDF reports must respect human dignity, personal rights and youth protection. In doing so, we contribute to social dialogue and the strengthening of democracy, and thus receive broad support even in these turbulent times.

And we actively involve our viewers. Our own audience panel ZDFmitreden has grown to more than 75,000 participants. Through this direct communication channel with the audience, public opinion is incorporated into both major and minor decisions made by ZDF editorial teams. Because in the long term, we want to be a ZDF for all citizens— including those we have not yet reached. Our viewers appreciate all these efforts. That is the standard they are looking for. And they ﬁnd it with us.

WS: How is the public-funding situation for ZDF? What changes do you think are needed to help stabilize funding for pubcasters?

HIMMLER: These are turbulent times. Without stable and adequate funding, public broadcasting will not be able to sufficiently fulﬁll its existing mandate from the federal states in the areas of news, education, science, culture, sports and entertainment in the future. Like all other media companies, we must absorb price increases across all areas while also implementing mandated savings targets. We have been following the principle of

fru gality and efficiency for many years, having cut over 600 positions in the past decade, continuing to reduce staff and already reallocating €100 million of the content budget in order to modernize our offerings with a focus on digital areas.

The recommendation to increase the broadcasting fee, determined through a very elaborate process by an independent commission (KEF), is modest and was supposed to take effect on January 1, 2025, following the last increase in 2021. We insist on this. However, we are currently still negotiating ratiﬁcation with the 16 federal states.

To put things into perspective: contributing households currently pay 15 cents per day for ZDF—that includes the streaming platform, our linear programming, ZDFneo, ZDFinfo and all our partner channels.

WS: What opportunities is ZDF pursuing to partner with like-minded organizations across Europe and around the world?

HIMMLER: We are indeed pursuing a wide range of collaborations and partnerships: ZDF is a member of the Global Task Force for public service media, a worldwide network of public-service broadcasters committed to advocating for the values and interests of public media and taking joint positions on shared issues and challenges. Within this network and beyond, we maintain strong partnerships with CBC/Radio-Canada, ABC and France Télévisions, among others. One outcome of these efforts is the international research project Public Spaces Incubator, in which ZDF has been involved since 2023. In

this context, we are already taking the next step in our distribution strategy with ZDFspaces: moderated and constructive conversations for respectful debate under selected ZDF content and streams.

We are 50 percent shareholders of ARTE Deutschland—with ARD holding the other half—and thus contribute half of the Ger man programming for the Franco-German broadcaster, which now collaborates, copro duces and exchanges content with 12 European publicservice partners. Together with ARD, ORF and SRF, we also shape 3sat as a cultural broadcaster for the German-speaking world with numerous premieres and original productions, ranging from documentaries to feature ﬁlms, satire to comedy, pop to classical music and theater and even science.

On the European level, we maintain several major programming partnerships. Building on a long-standing collaboration, we entered into a far-reaching broadcaster partnership with the BBC in March 2025 to jointly develop high-quality ﬁction series. Also worth mentioning is New8, the largest European alliance for co-producing series content, aimed at creating synergies for programming that can reach audiences across Europe and around the world. Since 2018, we have also been part of the European Alliance with Italy’s Rai and France Télévisions for series production. Last but not least, the annual coproduction conference between ZDF, ORF and SRF has been held since 1967 and continues to develop joint programming for the German-speaking region.

WS: We’ve seen innovative models emerge over the last year, such as France Télévisions expanding on Prime Video. How important is collaboration amid these broader shifts happening in the media business?

HIMMLER: The transformation of the media industry demands and opens up new paths. ZDF is consciously pursuing them through strong partnerships, even beyond the public broadcasting sphere. In addition to A Good Girl’s Guide to Murder , a BBC production with ZDFneo and Netﬂix, we are engaged in various forms of collaboration with streaming services. The Israeli-German drama series Borders is also a co-production with ZDFneo, with Netﬂix as the partner for non-Germanspeaking territories. For the drama series KRANK Berlin, ZDF is working with Apple TV+

Produced for ZDF by UFA Fiction, K u ’damm 77 is being launched to the global market by ZDF Studios.

as a partner, and the series The Assassin is a co-production with Prime Video U.K. and Ireland.

As you can see, we rely on national and international collaborations to make our content as widely available and accessible as possible. In doing so, we combine our publicservice mission with a shared goal: providing orientation and quality in an increasingly fragmented media landscape. At the same time, we also invest in technological cooperation and see ourselves as enablers for both the market and society.

For all our partnerships, one principle remains essential: our independence. It safeguards journalistic and editorial freedom, ensures a diversity of perspectives and builds trust with our audience. Only in this way can we report credibly and offer socially relevant content beyond commercial interests.

WS: How are you positioning ZDF’s streaming portal and your other online platforms? What’s driving your success there, and what more do you think ZDF needs to do to reach audiences wherever they are?

HIMMLER: In line with our strategy “One ZDF for All,” we are pursuing not only editorial measures—such as expanding genre diversity— but also platform strategies and technical developments. As nonlinear usage continues to grow, the streaming portal is at the heart of our future strategy, as it brings together all ZDF offerings. This increasingly includes live content, which is being consumed more via the internet and less through traditional reception channels. At the same time, we

remain committed to our linear offerings, which still reach a broad audience. Our distribution channels regularly demonstrate the potential to complement each other. Whether through streaming, linear television or social media. We must integrate our plan ning and distribution across platforms to reach our target audiences comprehensively. This goal—a stronger 360-degree perspective— is being addressed by our newly established Audience Directorate.

WS: How is linear viewing holding up in Ger many? Has audience erosion from the transition to streaming stabilized? What’s the key to keeping these linear brands relevant for audiences today?

HIMMLER: Linear broadcasting will continue to play a defining role for ZDF for quite some time and remains a key factor in our success, as linear viewers are still numerous across all age groups. For the foreseeable future, linear television will remain part of our overall strategy. This applies not only to our main channel—ZDFneo and ZDFinfo account for one third of ZDF’s younger audience in linear viewing. They are a central component of our rejuvenation strategy. We define the ZDF of the future as follows: all genres and brands relevant to the public-service mission must find their audience, regardless of the distribution channel.

In terms of linear brands, media research data shows that they have signiﬁcant potential, even in reaching younger audiences and in strengthening emotional engagement. These offerings can be classiﬁed as premium

and core brands of ZDF. ZDF aligns itself with its umbrella brand: one that is shaped by a commitment to independent, high-quality and reliable journalism. We aim to be even more present where the audience is, to maintain and regain trust in a constantly changing media landscape and to provide orientation. Connection is therefore a central element of ZDF’s brand identity and forms the foundation for our programming diversity and related communication.

WS: What has been your approach to putting content on YouTube?

HIMMLER: YouTube is a relevant distribution platform for ZDF, especially to reach younger audiences that we cannot always engage through traditional channels. As a touchpoint with the ZDF brand, YouTube provides visibility, attention and additional points of contact. However, our strategic focus is clearly on strengthening our own platforms—ﬁrst and foremost, the streaming portal. There, our content is ad-free, compliant with data protection regulations and independent of developments by major U.S. tech corporations. This independence holds central journalistic and technological value for us.

WS: How does ZDF Studios support ZDF’s overall mission to serve German audiences? What are your goals for that business as it navigates the changes in the global market?

HIMMLER: For over 30 years, ZDF Studios has been a valuable partner of ZDF, and we are proud of how our collaboration has evolved over time. In a constantly changing world,

The medical drama KRANK Berlin was made in partnership with Apple TV+, with ZDFneo and the ZDF streaming platform airing the series in Germany.

ZDF Studios has taken on an increasingly important role in ensuring that we can offer the best content to our audiences in Germany. Whether it’s gripping dramas, inspiring documentaries or entertaining children’s programming, ZDF Stu dios is an indispensable part of our content acquisition through commissions, co-productions and licensing.

Thanks to its extensive international network and keen sense for current trends, the ZDF Studios group helps us discover and develop programs that captivate and move our audiences and is essential when it comes to content that helps us attract new viewers.

A particularly ﬁne example of this collaboration is the drama series Ku’damm 77. Produced by UFA Fiction for ZDF, the series will be presented to an international audience at a World Premiere Screening at MIPCOM in Cannes. The earlier seasons of this popular family saga have already won many hearts and were sold to over 30 countries. It was even nominated for an International Emmy.

Moreover, we are excited about ZDF Studios’ initiatives in innovation and digital transformation. ZDF Studios responds ﬂexibly and creatively to today’s market challenges, opening up new opportunities. We look forward to continuing our successful journey together with ZDF Studios.

WS: How are you approaching AI within the organization?

HIMMLER: ZDF is approaching generative AI with transparency and has established edito rial principles for its use. We see opportunities in the use of generative artificial intel ligence, but also risks.

First and foremost, generative AI tools are intended to support, not replace, the work of our editorial teams. These tools may be used within ZDF in editorial and journalistic contexts, but, like all other content, they are subject to our quality and programming guidelines.

Editorial teams are responsible for the use of AI to support programming, planning and communication processes at ZDF. Content created with generative AI must be checked for accuracy, origin and truthfulness. This is done by editors, who approve and publish the content, with the exception of live subtitles during live broadcasts. Where journalistic standards require it, AI-generated content is clearly labeled for users.

The two-source principle applies, with generative AI itself not counting as a source. AI tools used at ZDF must not be enriched with sensitive data (e.g., personal data, third-party data, compa ny secrets). Exceptions are only permitted after prior review by the editorial team and in consultation with the relevant departments.

WS: What systems has ZDF implemented to be able to track viewing across platforms so you can have a true sense of the value of your content?

HIMMLER: ZDF relies on a combination of technical analytics tools and qualitative media research to track content usage across platforms and to measure its value in a meaningful way. In addition to tracking systems and AI-supported evaluations, the ZDF KOMPASS is a central element of this strategy. This instrument combines traditional reach measurement with in-depth analysis of editorial quality.

Based on four dimensions—relevance, professionalism, orientation and acceptance— the KOMPASS enables a nuanced evaluation from the audience’s perspective. It incorporates not only usage data but also factors such as societal relevance, journalistic diligence and the ability to shape public opinion. This creates a comprehensive picture that reﬂects both the usage and the impact of content in a societal context.

WS: You’ve spent your media career at ZDF. In leading the organization today, what beneﬁts have you derived from your backgrounds in news and programming?

HIMMLER: Programming and audience engagement are matters close to my heart. Through my experience within the organization, I also understand the value of collaborative leadership. I’m grateful that our executive team is so well-positioned and that we engage in a respectful and critical dialogue at eye level, within a close and constructive discourse.

WS: What are your goals for ZDF over the next year?

HIMMLER: Beyond the issue of funding, we face major challenges. A key goal is to transition our streaming portal, together with ARD, into an open-source streaming network. Content-wise, our task is to set meaningful accents for a healthy societal discourse, for which we aim to move ZDFspaces from its beta phase into regular operation. We also conﬁdently embrace the challenges that new working environments bring for ZDF as an organization and continue to work on modernizing our programming.

ZDF aligned with the BBC and Netflix for the hit YA series A Good Girl’s Guide to Murder, which airs on ZDFneo.

Distribution Evolution / Wildlife Trends

Lion Television’s Richard Bradley / National Geographic’s Tom McDonald

Shifting Gears

The disappearance of the “middle ground” in the factual space cropped up in many of my conversations with distribution and production executives over the last few months.

FEATURES

SURVIVAL OF THE FITTEST

An array of factual distributors offer up their insights on navigating the current climate.

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Jamie Stalcup Managing Editor

Kloudia Sakowski Associate Editor

David Diehl Production & Design Director

Simon Weaver Online Director

Dana Mattison Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

Ute Schwemmer Bookkeeper

Premium, big-budget, limited-run event pieces that will make noise on one end. Returners that can engender viewer loyalty on more manageable budgets—and deliver in the long tail—on the other. Figuring out how to navigate between those two spaces, while still championing those great ideas in the middle that might get lost in the market’s polarization, was one of the key themes of the TV Real Festival this summer.

“This industry is built and thrives on creativity and innovation,” Bruce Robertson, chief storyteller at 11:11 Media, the next-gen media company founded by reality TV icon Paris Hilton and Bruce Gersh, said in his keynote session. “We’re beginning to see the green shoots coming through with people pivoting. For a period of time, brands were shut out of the streaming platforms because they were all very subscription-based, and now, of course, that’s pivoting to successful ad tiers. FAST channels are reinventing and rethinking. There are different independent ﬁnancing models. The branded-content side of things ten years ago was a dirty phrase, but now brands have pivoted and ﬁgured out a different way to integrate into storytelling in ways that don’t feel intrusive to the audience.”

WILD TIMES

A look at the complexities of bringing visuals of natural wonders to viewers.

Ricardo Seguin Guise President

Mansha Daswani

Associate Publisher & VP, Strategic Development

TV Real

401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A.

Phone: (212) 924-7620

Website: www.tvreal.com

“It used to be that if you just knew how to pick up a camera and tell a story and edit, that would be enough,” Mariana van Zeller, host of National Geographic’s Trafficked, said in her keynote with fellow Muck Media co-founder Cristina Costantini. The indie was founded by five best friends and has a slate of projects across streaming and cable. “Now, you have to figure out how to read a contract, sell, find financing and play in the sandbox of all these new mediums.”

Lion Television’s Richard Bradley discusses how that prominent production company—part of All3Media—is navigating the sector’s slowdown in this edition. We hear from Tom McDonald about what’s driving National Geo graphic’s global originals strategy across key categories like wildlife, history and science; his approach to aligning with talent; and how he is thinking about AI. We also explore the ramiﬁcations of AI in our annual distributors’ survey, which touches on ﬁnancing, co-productions, franchise-building and driving monetization across AVOD, YouTube and FAST. Mansha Daswani

INTERVIEWS

Lion Television’s Richard Bradley

National Geographic’s Tom McDonald

A+E Global Media

WWII with Tom Hanks / Homicide Squad New Orleans / Ice Road Truckers

A+E Global Media’s factual slate for MIPCOM is headlined by WWII with Tom Hanks. Hanks’ “passion for and deep knowledge of this rich period of history help elevate each of the 20 hours of this project to something truly extraordinary,” explains Melissa Madden, senior VP of international marketing. In true crime, the lineup includes Dick Wolf’s Homicide Squad New Orleans, “our third project with Wolf, which speaks well to our global reputation when it comes to telling these types of stories,” Madden says. Another season of Ice Road Truckers is available, this time returning to Northern Canada. With other titles such as Storage Wars, Ancient Aliens, The Chrisleys: Back to Reality and Secrets Declassiﬁed with David Duchovny, “our catalog boasts a depth and breadth that puts us in a great position to meet our clients’ diverse needs,” Madden says.

“A+E

Global Media’s library is naturally built to meet current industry needs.”

—Melissa Madden

Albatross World Sales

Europe: One Continent—Five Worlds / Oases—Islands of Life / Piranesi—Visionary of Shadow and Stone

Europe: One Continent—Five Worlds explores Europe’s most fascinating habitats and meets remarkable wild inhabitants. Oases—Islands of Life explores ﬁve oases, uncovering the plants, animals and people surviving in extreme conditions.

“These isolated habitats deliver cinematic beauty alongside urgent themes of climate change, resilience and biodiversity, all of which resonate across global markets,” says Anne Olzmann, managing director of Albatross World Sales, which is bringing the series to MIPCOM. Piranesi—Visionary of Shadow and Stone traces the life of Giovanni Battista Piranesi, artist, archaeologist and visionary. “What makes these titles stand out for international buyers is a compelling blend of universal themes, visual appeal, emotional and intellectual resonance and originality,” Olzmann says.

Europe: One Continent—Five Worlds Ice Road Truckers

“At MIPCOM, our mission is clear: to connect, collaborate and continue sharing powerful, high-quality documentaries with audiences around the world.”

—Anne Olzmann

All3Media International

Wild Homes with George Clarke / Hunting the Yorkshire Ripper / Beyond Bali: The World’s Most Exotic Islands

Story Films continues to help All3Media International serve up the best in true crime to clients worldwide, with the outﬁt’s Hunting the Yorkshire Ripper among the distributor’s key launches for MIPCOM. It follows the hunt for “Wearside Jack,” the hoaxer whose tape recordings derailed the Yorkshire Ripper investigation in the late 1970s. “Hunting the Yorkshire Ripper blends exclusive interviews, compelling evidence, archive footage and new revelations to deliver a gripping truecrime story behind this terrifying hoax,” says Peta Sykes, VP for the Nordics at All3Media International. Lifestyle is also a key part of the slate with Wild Homes with George Clarke and the eight-part Beyond Bali: The World’s Most Exotic Islands, which Sykes bills as a “captivating adventure series that goes beyond the usual tourist hotspots.”

Sykes

Hunting the Yorkshire Ripper

Autentic Distribution

Independence Dawn—The Forgotten Revolution / Penguin Baywatch / The Sum of All Cities

Autentic Distribution is bringing to MIPCOM Independence Dawn—The Forgotten Revolution, telling the human story behind the American Revolution. “By shining a light on oftenoverlooked revolutionaries, including women, Black soldiers, spies and young people, it offers a gripping and timely reexamination of America’s founding struggle and challenges audiences to ask: whose freedom was truly won?” says Mirjam Strasser, head of sales and acquisitions. Blending humor with hard facts and science, Penguin Baywatch features footage of king penguins’ complex social lives, daily struggles against predators, harsh weather and the challenges of survival. The Sum of All Cities combines urban life, a universal subject, with a unique storytelling device where numbers unlock surprising human stories.

BossaNova Media

Ancient Autopsy / Gold Wars Down Under / Ed Gein: Original Psycho

Ancient Autopsy, on offer from BossaNova Media, uses digital technology and reconstructions to investigate how historical figures such as Cleopatra and Alexander the Great may have met their end. Gold Wars Down Under follows three mining teams as they battle it out in a modern-day gold rush in Australia. Ed Gein: Original Psycho brings a true-crime story to life using actor-led recordings of police interrogation transcripts, AI-assisted dramatic reconstructions and rare archival footage. Holly Cowdery, head of sales, says, “We are delighted to be returning to MIPCOM for the fifth time as a company to proudly bring our varied and quality slate to the market. Compared with last year, we have a much larger selection of launch titles, a number of which are BossaNova commissions or shows we have contributed finance toward.”

ITV Studios

“We are expanding our FAST and YouTube channels and experimenting with digital-first content while also moving into feature documentaries, all with the mission of bringing highquality factual storytelling to global audiences.”

—Mirjam Strasser

“These shows feature innovative storytelling combined with rich, vibrant characters and are made with highly reputable and trustworthy production companies.”

Operation Dark Phone: Murder By Text / Extreme Earth / NFL Classics: After Further Review

Among the factual highlights from the ITV Studios catalog, Operation Dark Phone: Murder By Text provides access to a law enforcement operation targeting criminal gangs through encrypted phone networks. Extreme Earth, produced by Plimsoll Productions, examines wildlife’s battle for survival in an era of extreme weather, rampant wildﬁres and overall environmental upheaval. NFL Classics: After Further Review, from VICE, explores the National Football League’s greatest moments, including iconic plays, game-changing calls and drama. “We’re bringing a formidable slate of non-scripted titles to the market, each one designed to be a must-have for buyers by elevating popular genres with unprecedented access and fresh perspectives,” notes Tom Clark, executive VP for global sales and commercial strategy at ITV Studios.

NFL Classics: After Further Review

“These shows highlight a dedication to innovative and creative narratives and premium quality across a broad spectrum of genres.”

—Tom Clark

Ancient Autopsy

Penguin Baywatch

—Holly Cowdery

New Dominion Pictures

A Haunting / Ice Cold Killers / FantomWorks

New Dominion Pictures’ A Haunting features ﬁrst-person accounts and dramatic re-creations of encounters with spirits. Ice Cold Killers tells stories of deadly encounters in the frozen wilderness. FantomWorks showcases the technical skill and personal journeys of automotive craftsmen. “These titles each tap a globally popular genre—paranormal, true crime and automotive reality—while delivering high-quality, hour-long episodes that require minimal localization,” says Kristen Eppley, executive VP of distribution. “Their strong visual hooks—ghostly atmospheres, icy wilderness, garage workshops—make them instantly marketable, and the large episode counts give buyers ﬂexible programming options and long-term value. Together, they offer a ready-made, crossgenre package that appeals to diverse audiences.”

NHK Enterprises

Innovators of Japan Anime / Documentary of teamLab (w.t.)

NHK Enterprises’ Innovators of Japan Anime not only captures Kiyotaka Oshiyama’s personal creative process but also offers a rare look inside MAPPA, the studio behind worldwide anime hits like Chainsaw Man, Attack on Titan and Jujutsu Kaisen. “This program appeals both as a cultural deep dive and as premium content for platforms seeking anime-related documentaries with proven global demand,” says Shuji Yamada, deputy manager at NHK Enterprises. Documentary of teamLab (w.t.) heads inside the teamLab Phenomena Abu Dhabi. It captures an exclusive three-year journey inside teamLab’s philosophy, artistry and technological breakthroughs. “At MIPCOM, we aim to present NHK’s full spectrum of creativity—programming that is rich, varied and globally relevant,” says Yamada.

Passion Distribution

“Our mission is to present a rich slate of multi-genre, multilingual programming that reaches audiences worldwide.”

—Kristen Eppley

“In commemorating 100 years of Japanese broadcasting, we see it as our responsibility and privilege to share not only our history but also our vision for the future of global storytelling.”

—Shuji Yamada

The White House / I Bought it at Auction with Sarah Beeny / #CoupleChallenge

Passion Distribution arrives at MIPCOM with a slate that aims to “cut through the noise and grab audience attention,” says Nick Tanner, director of sales and co-productions. The White House is a new docudrama from Nutopia about America’s most iconic building and its residents. I Bought it at Auction with Sarah Beeny dives into the booming world of property auctions. In the reality show #CoupleChallenge, celebrity duos battle in intense physical and mental challenges for a massive cash prize. “Passion Distribution’s mission is to champion bold, genre-deﬁning non-scripted content, formats and IP,” Tanner says. “Our aim is always to push boundaries and provide fresh perspectives in our core genres of factual entertainment, lifestyle, blue-chip series and documentaries.”

“At MIPCOM 2025, we aim to deepen our existing global partnerships and forge new connections for distribution, development, our digital channels and production ventures with UpStream Media.”

—Nick

Tanner

The White House

Ice Cold Killers

Documentary of teamLab (w.t.)

PBS Distribution

The American Revolution / Terror on the Space Station / The Hills are Alive: A Year at Kylemore Abbey

PBS Distribution has on offer The American Revolution, a film by Ken Burns, Sarah Botstein and David Schmidt about the 13 American colonies that united in rebellion and won an eightyear war to secure their independence. Terror on the Space Station reveals the most terrifying moments aboard the International Space Station. The Hills are Alive: A Year at Kylemore Abbey follows a heritage site in Ireland run by Benedictine nuns. “PBS Distribution is proud to present a powerful slate of new programming that exemplifies the values and variety of world-class storytelling, global relevance and enduring appeal,” says Joe Barrett, VP of global sales. “Each of these series offers a unique lens on extraordinary subjects, told by master filmmakers and expert voices and designed to resonate deeply with audiences worldwide.”

TVF International

“At

MIPCOM, our mission remains rooted in bringing powerful, thoughtprovoking and globally relevant storytelling to audiences around the world.”

—Joe Barrett

Escape from Chernobyl: 48 Hours That Changed the World / The Ozempic Effect: Beyond the Waistline / China’s Wild Secrets

Whether looking back at the Chernobyl nuclear disaster, studying the Ozempic revolution or uncovering natural wonders, TVF International’s latest titles boast “a ‘must-have’ star quality for broadcasters,” says Poppy McAlister, head of the distributor. “An anniversary, a headline grabber, a global talent attached. They represent the best of TVF’s core genres: history, wildlife and world affairs.” Joining Escape from Chernobyl: 48 Hours That Changed the World and The Ozempic Effect: Beyond the Waistline at the top of the company’s slate is China’s Wild Secrets, narrated by Stephen Fry, taking viewers on a journey into the hidden wildlife havens of China. “MIPCOM is always a fantastic opportunity to ﬁnd new partners or ways to collaborate with existing partners to bring more outstanding factual content to life,” McAlister says.

ZDF Studios

Pharaohs at War / Into the Universe / Indonesia’s Volcanic Islands

Pharaohs at War, distributed by ZDF Studios, tells the history of ancient Egypt and brings the wars of the pharaohs to life.

“Across four captivating episodes, we take viewers on an immersive journey of discovery, re-creating the battles that shaped one of the greatest civilizations in history,” says Ralf Rückauer, VP Unscripted. Into the Universe delves into astronomical enigmas, exploring the cycles that shape the sky— from the birth of spiral galaxies to the deaths of massive stars. Indonesia’s Volcanic Islands brings a blend of natural wonder and environmental urgency and offers access to remote habitats and rare animal behavior. “With stunning cinematography and cinematic storytelling, it delivers a visually immersive experience,” Rückauer says. “Its powerful themes of biodiversity and conservation resonate worldwide.”

“Alongside

the sale of brand-new completed

tape, we have a number

of projects at the development/ presale stage for which we’ll be looking for partners.”

—Poppy McAlister

“We’re showcasing a slate of standout documentaries—from visually stunning nature series to thought-provoking science and history titles—that are designed to resonate with diverse audiences across platforms.”

—Ralf Rückauer

Into the Universe

China’s Wild Secrets

The American Revolution

BossaNova Media’s Guy Martin: Proper Jobs

Survival

Fittest of the

An array of factual distributors offer up their insights on navigating the current climate.

By Mansha Daswani

The overall assessment of the state of the factual business, as per our latest temperature check of the distribution sector, is “healthier than most.” Not as plagued as kids or drama, not quite smooth sailing either, but if you’re prepared and able to pivot, there are still plenty of opportunities.

“We are witnessing a clear upward trend in factual programming—we just have to wait for it to start,” quips Ralf Rückauer, VP Unscripted at ZDF Studios. “The industry is currently experiencing a turbulent phase. Rising costs, market disruption, declining budgets and order volumes, and competition from new production methods, content creators and AI are causing major changes in our business. However, we see opportunities for the documentary genre. Those who produce outstanding films, verify facts carefully, provide context and background information and master storytelling and dramaturgy—those who strive for quality—still have a chance in this industry.”

PBS is facing its own complicated challenges in the U.S. as it deals with the elimination of its government funding, but Joe Barrett, VP of sales at commercial arm PBS Distribution, sees the overall factual landscape as healthy.

“It is certainly not without its challenges, of course, but there is continued growth projected. My optimism is driven by the voracious appetite of viewers on traditional networks, streaming services and ad-supported platforms who still crave authentic, compelling stories.

Audiences are drawn to content that inspires, educates and offers insight into a range of issues and topics. Meeting this demand is at the heart of PBS Distribution’s mandate and guides our strategy to deliver an extensive and engaging collection of titles to the global marketplace.”

Macro industry trends notwithstanding, “demand remains high for differentiated, high-quality factual TV content,” agrees Nick Tanner, director of sales and copro ductions at Passion Distribution, a division of the Tinopolis Group. “Unseen worlds, discoveries, untold stories and perspectives are crucial to the success of new shows. I believe this applies across genres, including factualentertainment formats, lifestyle or crime.”

From the perspective of the well-established German independent Autentic, which operates across production, distribution and channels, the business is “healthier than other industry sectors,” says Patrick Hörl, managing director—”provided you are ready and able to adapt to the modified role of distributors in a predominantly digital environment.”

As Hörl indicates, business as usual is not really an option anymore, a sentiment expressed by everyone surveyed for this piece.

“As partnerships and diversiﬁcation have become almost fundamental for both producers and broadcasters, distributors have also needed to adapt by tapping into non-traditional methods of monetizing content,” says Claire Runham, head of acquisitions at BossaNova Media. “It has helped to work in ways that eliminate the need to rely on new content

coming fully funded from a single broadcaster, whether that’s by preselling and/or maximizing the potential of deep libraries. With a fairly consistent global demand for unscripted programming, it has also helped that factual content can be produced on manageable budgets and can be turned around quickly by comparison to most scripted projects.”

Per Hörl, volume, in particular, has become paramount. “Your systems need to be prepared to handle both individual titles and large packages. You need to be able to track reven ue-share deals in order to fully understand your customers’ needs. And you must be able to invest in content upfront. All in all, it looks like smaller distributors are suffering under these requirements. The bigger ones adapt and benefit.”

According to Runham, one of the biggest pressure points in the business for distributors is being able to deliver a steady supply of “enough new and relevant content for traditional linear broadcasters. We tackle that by commissioning our own, by providing broadcaster

briefs to producers we know can deliver and by getting involved in projects early on so that we can help to shape the idea for international buyers. It’s something that we’ve been doing for many, many years now, so while the industry is becoming more reliant on models that rely on partnerships, we’ve already got something established that works well.”

For Hörl, there is nothing more important than producer partnerships. “We often co-develop series with them. Collaborating on how to tell stories from a very early stage of development proves to be key for us. Over time, we have built relationships with several production companies that we co-produce with on a very regular basis, year after year.”

ON THE HUNT

BossaNova takes a collaborative approach to its producer partnerships, Runham says. “We like to board projects early, but it’s not essential. We need a mixed economy of commercial models to sustain the business, so if a project already has a partner attached and a budget deficit, for example, this is also something we’ll consider. We treat everything on a case-bycase basis.”

PBS Distribution, similarly, can board projects at any stage, Barrett says, “from fully completed films to early-stage concepts still in development. In addition to supporting creative development, we work with producers to secure co-ﬁnancing for the right projects, recognizing that co-production and presales remain essential elements of documentary funding. We also initiate projects by sharing internally developed concepts with production companies, ensuring they align with both our clients’ needs and our evolving catalog. At the core of all our partnerships is a deeply collaborative approach.”

The team at Passion beneﬁts from the network of production companies within the Tinopolis Group, Tanner

PBS Distribution is rolling out the series

The Hills Are Alive: A Year at Kylemore Abbey

New wildlife launches for Autentic Distribution include Penguin Baywatch from Terra Mater Studios.

Journalist Tir Dhondy visits Las Vegas in Passion Distribution’s What Happens in Vegas.

notes. “Passion is laser-focused on supporting ideas that can stand out in the marketplace. Our energy and resources are deployed on projects that will generate buzz and stand apart.”

Tanner says that early access to projects “allows us to take a strategic, holistic approach to bringing a project to market. The role of the distributor is evolving fast; we’re a commercial content partner, and often now an investor, so supporting and guiding a project from the early stage is crucial in that process. We love to be involved from the very beginning and help shows come to life.”

Distributors are also helping producers maximize the value of their content for the long tail, with AVOD becoming a lucrative opportunity for many distributors.

LIBRARY LIFT

“Placing our content on AVOD platforms has become an important pillar of our business,” says Hörl at Autentic. “We are constantly scanning the market for new opportunities to work with AVOD platforms. Beyond economic relevance, AVOD is always great if you want to ﬁnd out more about what people really want to see.”

“The interesting thing about AVOD is that it allows you to get to know your content in a whole new way,” ZDF Studios’ Rückauer adds. “Secret footprints on the sandy beach? A tiny ﬂy landing on the nose of a giant anaconda? Details you’ve never noticed before. It’s amazing how closely your AVOD audience pays attention to every single detail, shares them with others and discusses them. Communities on our YouTube channels, such as Get.factual and the latest, Get.history, are very responsive and provide us with valuable feedback. They also present us with good opportunities to ﬁnd more ‘gold’ in our programs.”

BossaNova has taken a more cautious approach to AVOD, Runham explains, due to its comparatively young catalog; the company is on the heels of its ﬁfth anniversary.

“A lot of the content we represent isn’t that old either,” Runham says. “We’re careful not to exploit via AVOD too soon, because it may not be the most lucrative path to take

in the ﬁrst years, depending on the project. There are certain tick boxes that show success stories for AVOD. High volume is one of the key asks, and as a young company, we haven’t had the time yet to build much volume from a single IP. There are some examples to mention (Borderforce USA, Paramedics: On the Frontline, Caught on Dashcam), but my initial point about it being too soon in the lifespan of the programs comes back into play. Some of our library content is starting to be exploited on AVOD platforms, and we’re beginning to acquire older content with volume in order to tap into this revenue stream.”

Barrett describes PBS Distribution’s AVOD business as “emerging” both in the U.S. and internationally. “We have found initial success, like many content companies, with the ad-supported platforms breathing new life into our catalog.”

Passion Distribution has a sister company, UpStream Media, that serves as its “in-house solution for monetizing our content library via AVOD platforms,” Tanner says. “We also continue to see strong success with third-party networks. We view library exploitation as a mixed economy; we carefully consider the best approach for each show we represent.”

FAST TIMES

Within AVOD, FAST is proving to be a significant business for Autentic, with the company now operating seven channels, Hörl says. “And we won’t stop here. We are determined to grow this business alongside our existing sales business. As we entered the scene early, we can now benefit from a lot of valuable experiences. Growth in this field is not a straight road. You have to constantly monitor which feeds are actually worth investing in. But we are happy to see that FAST has grown into a real business opportunity with its own legitimate position in the market.”

ZDF Studios was also early to the FAST game, Rückauer says. “In our experience, a strong brand or well-known strand is almost essential when it comes to operating FAST channels, given the level of competition. We started

History remains a key pillar in the ZDF Studios lineup with titles such as Pharaohs at War

launching FAST channels very early on and have no intention of stopping.”

Tanner agrees that strong single IPs can make an impact in FAST, with UpStream’s own Mech+ channel, featuring Robot Wars, widely distributed on platforms.

PBS Distribution has a mix of single-IP and multi-title services, Barrett says, “curated to target niche audiences on commercial FAST platforms.”

MAXIMIZING WINDOWS

The goal, ultimately, is to maximize every opportunity for a piece of IP, given the challenges that remain across the business.

“Passion Distribution has become a leader in digital distribution and original content for YouTube and social media since establishing our digital subsidiary, UpStream Media,” Tanner says. “We have a significant and growing online audience and multiple direct-to-consumer initiatives. At the inflection point between long-form and digitalfirst content, we are incredibly well-placed to ensure our content reaches viewers where they want it.”

“Economic resilience is key right now,” Hörl says. “That’s why our content investments are focused on returnable series, building brands and [titles] that perform well regardless of the particular path to the viewer. We are determined to grow Autentic’s business. Autentic’s success has always been going hand in hand with lasting, successful partnerships with other companies in the global market. We are convinced that this time of transition creates spaces for new partnerships.”

“We want to be a reliable partner that makes tailormade offers and delivers quickly and accurately,” says Rückauer at ZDF Studios. “This applies whether we are working with classic television, streaming portals, format partners or our own VOD and FAST channels. To achieve this, we must adapt to new market conditions quickly and flexibly.”

Runham says that the team at BossaNova will continue to do what it does best—maximize producer returns while meeting the needs of the market, “and we’ll also continue to think outside the box and find new collaborations. We’re in the process of commissioning some content for YouTube, as well as hosting our annual Development Day just prior to MIPCOM. Continuing to

be innovative and bring people together is on the agenda for the year ahead.”

GENERATION AI

The year ahead will also see everyone in the business coming to grips with AI in one way or another.

“AI is already changing the ﬁlmmaking business in many ways,” Barrett says. “AI is enabling these incredibly powerful tools and putting them in the hands of more content creators. Technological advances in production are the most obvious— from script development to postproduction, VFX and language translation. However, while producers are using it to reduce production costs, broadcasters and digital platforms are navigating what is and is not acceptable in creative output. It’s an exciting time that will require both considered and ﬂexible thinking in an AI environment.”

“There are two different fields here,” Rückauer says. “On the one hand, there is generative AI, which can assist with film production or creating local-language versions. On the other hand, there is the more technical side, involving database evaluation, workflow automation, process pattern recognition and maintaining a ‘sales machine’ amid ever-increasing volumes. We are having positive initial experiences in both areas. For instance, we produced several language versions of our 35-part series Great Inventions for some territories. We have also refurbished our history series The Ascent of Civili zation and significantly improved some of the images and text. We would not have achieved this without AI. When working with AI, we always use natural intelligence to carefully check what AI has created, in collaboration with our subsidiary ZDF Digital. This is essential for us.”

Passion is cautiously trialing AI in workﬂows, Tanner says, and using it to “create on-screen dramatic reconstructions” in an upcoming production.

Hörl says AI is having an impact on every stage of a piece of content’s life cycle. “From developing new ideas all the way through production, scheduling and optimization of sales to digesting performance data, helping us to better detect opportunities for future successes. One area that Autentic pays a lot of attention to is offering content owners a chance to monetize their content by making their shows available to AI learning engines. We want to provide a safe legal framework for such transactions that helps to protect the rights of factual content owners.”

WILD TIM E S

Mansha Daswani hears about the complexities of bringing visuals of natural wonders to viewers.

Thanks to the pandemic and the streaming wars, the natural history ﬁlmmaking space experienced a boom at the start of this decade, with seemingly everyone wanting to enter the blue-chip wildlife market. Amid the overall retrenchment by streamers and budget cuts across the board, there certainly aren’t anywhere near as many new high-end wildlife series hitting the market, but audiences are no less enthralled.

“Across factual programming, acquisitions and commissions have slowed dramatically, with buyers taking longer to greenlight projects and scrutinizing budgets more carefully,” says Anne Olzmann, managing director of Albatross World Sales, an indie with a signiﬁcant natural history slate. “In a time of economic and scheduling uncertainty, it’s challenging to launch a major production that may take years to complete. As a result, many broadcasters and streamers are consolidating their slots and being more selective about the projects they back.”

The genre, however, remains a consistent high performer, Olzmann notes. “These ﬁlms continue to travel exceptionally well because they are largely non-political, visually stunning and typically family friendly—qualities that help them perform across cultures and languages. On linear television, classic blue-chip wildlife ﬁlms with pure natural history focus are still very much in demand, as audiences seek the grandeur and timelessness they provide.”

On the linear side, it is the pubcasters that are upholding the entire wildlife ﬁlmmaking segment. They have long worked together to bring their audiences blue-chip productions on manageable budgets.

NHK is a well-regarded partner in international productions, having recently collaborated with Doclights and NDR on Japan-based stories such as Mighty Monkeys, Gift from the Ice—Japan’s Wild North and IRIOMOTE—The Fabric of Life “The deep connections and extensive footage we have access to in Japan are appealing to European produc ers,”

says Masa Hayakawa, executive producer of Hidden Japan, an upcoming NHK series, and former head of its natural history unit.

“Everybody is suffering from budget cuts,” says Gernot Lercher, the head of the natural history unit at ORF, who commissions for the Universum brand. “No co-production means no documentary. Putting money together is the only way to get things done.”

“International co-financing and partnerships—between public broadcasters, global streamers and even NGOs or brands—have become essential for premium wildlife productions,” says Olzmann. “They enable projects to reach the cinematic scale and production values audiences now expect while spreading the considerable financial risk. We’re also see ing more structured deals in which early partners secure specific rights or regional windows, giving the production financial stability from the outset and ensuring it stays competitive in the global market.”

Europe: One Continent—Five Worlds, which Albatross is launching at MIPCOM, was commissioned by WDR in Ger many for ARD and has a raft of other partners on board: ARTE, NDR, HR, RBB, ORF, SVT, DR, NRK and Yle.

“This kind of broad collaboration reﬂects how ambitious wildlife documentaries are now funded and distributed: through alliances that combine resources, expand reach and guarantee a truly international audience,” Olzmann explains.

“International co-production is vital in two key aspects: ﬁnancially and creatively,” adds Hayakawa. “While NHK has been able to maintain its wildlife programming slots, we, too, face the challenge of shrinking budgets. Collaborating with our international partners enables us to pool funding, talent and resources—allowing us to produce more impactful and ambitious programs. Even more important is the creative aspect of co-production. These collaborations bring fresh ideas and new perspectives, helping us keep our content engaging and relevant for the global audience.”

As for what audiences want, it partly depends on where they are watching. “In the online space, the boundaries are loosening a bit,” Olzmann notes. “Streamers and digital-first platforms are more open to dynamic ﬁlmmaking styles, sometimes incorporating strong human elements or hybrid formats, as long as the core natural history remains compelling. This creates room for creative approaches that might not have ﬁt the traditional blue-chip mold, while still delivering the spectacle and storytelling audiences expect.”

THEORY OF EVOLUTION

Hayakawa has been part of the juries at Wildscreen and Jackson Wild and has seen an increase in series over one-off, personal-storytelling docs. “I believe this shift is largely driven by tighter broadcaster budgets, fewer available slots and the preference—or perhaps necessity—of streaming platforms for serialized content over stand-alone ﬁlms,” he says.

Olzmann also references the challenges of the singular doc space. “Traditional ‘place films’—those built solely around a single location or habitat—are becoming harder to sell unless the cinematography is truly outstanding and offers a striking new visual perspective,” Olzmann says. “There isn’t one dominant theme driving commissions at the moment, but the universal priority is strong, distinctive storytelling. Broadcasters and streamers are increasingly seeking films that can stand out in their crowded on-demand and catch-up services. Many have shifted to an online-first strategy, and their natural history libraries are already extensive, given their long shelf life. That means they can be very selective. For a new title to gain attention, it must offer something genuinely unique: a compelling narrative arc, memorable animal characters or a fresh conceptual twist that resonates with the audience. In short, buyers are less interested in beautifully shot but generic nature footage. They want stories that surprise, move and keep audiences watching.”

ORF’s Lercher, too, has seen a move away from the “traditional blue-chip animal behavior storytelling; ﬁlms exclusively focused on animal behavior. The audience is increasingly interested in the human impact on nature. They want to learn more about conservation and get an idea of how each of us can help save the planet. Times are over for just focusing exclusively on the idyllic and exotic places. Today’s audiences are very open to and even appreciate seeing tensions and conﬂicts between civilization and nature.”

ITV Studios lands at MIPCOM with Extreme Earth, which “delivers a groundbreaking and timely look at how nature is ﬁghting back against today’s extreme weather, showcasing the

ingenuity and resilience of the natural world,” says Tom Clark, executive VP for global partnerships and commercial strategy.

Embracing technology to deliver new ways of film ing wildlife has been paramount. NHK has a long heritage of research and development in filming technology, deploying that expertise “to capture the world’s first-ever video footage of a group of coelacanths— along with behavior indicative of reproduction—all in stunning 8K resolution,” Hayakawa says.

Wildlife has long been at the forefront of implementing the best ﬁlmmaking technology, Olzmann says.

“Out of all documentary genres, this one needs to be the most visually stunning to stand out. While cameras are constantly being developed to perfection—from thermal imagery and racer drones to 360-degree capture and 8K resolution—equally transformative advances in camera systems and techniques are expanding what we can capture. Europe: One Continent—Five Worlds embraced this cuttingedge approach, using state-of-the-art camera systems and specialized optics to reveal its landscapes and wildlife in unprecedented detail. Agile drones and long-lens aerial systems opened dynamic new angles without disturbing nature, while motion-controlled time-lapse rigs and robotic sliders created smooth, immersive movements. A deep-sea submersible and advanced underwater housings enabled ﬁlming thousands of meters below the surface, and high-resolution camera traps captured elusive species around the clock.”

GETTING REAL

As ﬁlmmakers devise new ways to capture the real world, AI’s impact on the business looms.

Olzmann notes, “We’re only just starting to explore where its role might begin—in the scripting phase, in postproduction by refining or enhancing footage or by the creation of entirely synthetic visuals? Each of these scenarios presents distinct challenges, both creatively and ethically. In the wildlife genre, there is a shared sense of caution among both producers and commissioners. Wildlife documentaries are built on the principles of authenticity and trust—bringing audiences genuine, unscripted moments from the natural world. Viewers expect to see reality as it happens, not something artificially constructed. The use of AI-generated visuals, even with good intentions, risks undermining this trust and eroding the connection between filmmakers and their audience.”

Ultimately, for wildlife in particular, transparency will be paramount, Olzmann says. “Viewers should know when and how AI has been used, and industry-wide standards will be essential to maintaining trust. Over time, AI will likely become just another tool in the production process. However, in wildlife ﬁlmmaking, where authenticity is paramount, its use will remain limited to preserve the core values of the genre.”

NHK does not use AI within natural history, Hayakawa says, “but I can understand its potential. For example, AI could be useful in selecting scenes from the vast amount of footage we capture, or in reﬁning the wording of scripts. However, when it comes to the creative aspects—particularly storytelling—I believe that human insight and intuition remain essential. The heart of natural history ﬁlmmaking lies in how we interpret and emotionally connect with the natural world, and that’s something only people can truly bring to life.”

NHK Enterprises is bringing the new wildlife series

Hidden Japan to MIPCOM.

Richard Bradley Lion Television

By Mansha Daswani

From chronicling a landmark new excavation at Pompeii to charting the allegations against Sean “Diddy” Combs to delivering unprecedented access to St Bartholomew’s Hospital in London, Lion Television has built up an eclectic factual slate over its 25-year-plus history. Richard Bradley, co-founder and chief creative officer, is clear-eyed about the current state of the documentary commissioning sector but remains optimistic about the industry’s future. Speaking at the TV Real Festival, Bradley weighed in on the importance of having co-production skills, deploying content on social media, exploring the use of AI and the opportunities in brand-funded storytelling.

TV REAL: How do you assess the state of the factual commissioning market in the U.S. and the U.K.?

BRADLEY: We are in strangely tough times. Certainly, across the U.S. and U.K. markets, people have become more riskaverse, making fewer decisions, postponing decisions and battening down the hatches a bit around the familiar. The question is, will this trend be here to stay, or is it cyclical? The difficult news is that it probably isn’t going to come back to the way it was, and what we’re seeing at the moment is the way of the future. There’s going to be fewer

decisions, fewer commissions made and probably a more risk-averse decision-making process.

TV REAL: You have a fantastic pedigree in co-productions. Are you ﬁnding those skill sets to be particularly handy now, given that everyone perhaps wants to co-produce more?

BRADLEY: It was thought to be a slightly laborious way to make television, piecing together the ﬁnancing. But everyone now is a fan of co-production. Even some parties that in the past wouldn’t brook working with another partner are now looking at it. We have, for nearly 25 years, been coproducing in one way or another between broadcasters, sometimes between producers. Aside from the streamers, almost every project we do that is international is a co-production. We did a series on Pompeii, following the biggest excavation in a generation. We got the BBC, ARTE in France and Germany and PBS on board. It worked for all of them. We were able to come back again this year and do another episode. The co-producers came back. Co-production is certainly something we’re going to see a lot more of.

TV REAL: What are the keys to a successful co-production?

BRADLEY: Being transparent up front. You don’t want to sell one thing to one party and one to another. You don’t want to be making three different shows. Also working out post production—thinking about how you’re going to land it for everybody. Are you going to make one version for everybody, or two-thirds of the way through the edit, will you start making different versions? Factor in a good extra amount into the postproduction budget. And establish good relationships, because if you can do it successfully once with your co-production partners, it makes it much easier the second time around.

TV REAL: You have an incredibly diverse slate. Is there a through line for the kinds of projects you want Lion Television to be known for?

BRADLEY: We think of ourselves as a premium producer of smart, factual content. We do stories we feel have strong underpinnings of historical or journalistic research. We’re trying to ﬁnd things that connect with audiences. We’ve always been thinking both local and global. Thinking beyond your immediate surroundings is essential now, in a world where opportunities are fewer and farther between.

TV REAL: Is true crime still dominating?

BRADLEY: It’s true crime and celebrity. When streamers and broadcasters say they want true crime, they actually mean American crime, with a bit of British crime. We are developing those stories, but the secret hope is that the big hits come from defeating the algorithm. If you look at the big drama hits of the last two years on Netﬂix, Baby Reindeer and Ado lescence, they are not things the algorithm would have told you to commission. And yet they connected. We spend quite a lot of time in our development team thinking not just about true crime and celebrity, but what is the other thing that they’re not thinking about that we can persuade them might start a new trend and broaden the slate?

TV REAL: What’s guiding your thinking on the history front, especially as you look to bring in younger audiences?

BRADLEY: We’re fortunate that at the youngest end, we have a comedy series called Horrible Histories , which brings comedy to history for the youngsters. We know that an audience comes to history. Young people are fascinated by ancient Egypt and the Romans. How do you tell those stories authentically? You don’t necessarily jet in an Anglo-American host to stand in front of the people who are doing the archaeology. You foreground the people doing it. The younger audience isn’t afraid of subtitles. They like authenticity. Archaeology can be one of the dullest things going, but if you’re there at the moment of discovery, you’ve got drama. So, authenticity, big stories and thinking freshly about history. It’s thinking imaginatively about it, but also listening to the audience. This audience wants authenticity and immediacy. If you can give them a ringside seat, which seems a funny thing to say about history, that helps.

TV REAL: Are you collaborating with your partners on additional content that can be used on social media?

BRADLEY: Absolutely. We work closely with Channel 4, and they now post shows on YouTube, embracing the platform rather than thinking of it as one that will steal the audience from terrestrial. That thinking is old thinking. Enjoy the fact that a whole new audience is coming to your content. We made Irresistible: Why We Can’t Stop Eating . The show went out on the BBC and it did really well; about [1.2 million for the premiere]. When we posted a 10-minute chunk on Instagram and TikTok, it garnered 23 million views in four or five days. There’s a whole young audience that is interested in the food we’re eating, but isn’t going to sit down to watch a scheduled show on TV. Every program we enter now, we also consider the additional content, which can almost break up the formality of TV and bring them a bit closer, giving it a more podcast-like vibe.

TV REAL: How important is it to have the backing of All3Media as you’re navigating a business that is changing so quickly?

BRADLEY: Facing this on your own is challenging because you don’t know where your next commission is going to come from or where the next trend is. Being part of a bigger group gives you that sense of a cushion, but also the combined expertise garnered from all the different companies, as well as a fantastic distribution network that has smart, digital intelligence so that you can sweat your franchises and programs as well as you can. It feels less chilly and less anxiety-inducing.

We’re finding synergies with companies within the group. We are co-producing a drama for Netflix, titled Legends , with Objective Media Fiction. That’s about undercover drug operatives in the 1990s. We pitched it to Netflix as a documentary series, and they didn’t buy it. We took it to another

All3Media group, and with Neil Forsyth, a great showrunner and writer, at the helm, it got commissioned as a drama. That sort of synergy is something we will be exploring.

TV REAL: How are you thinking about AI at Lion?

BRADLEY: We’re cautiously embracing it. [For example] animating a still in the blitz. We’re trying to look at AI consciously and as a tool rather than running away from it in horror and fear. We’re doing a project called When Socrates Meets Confucius, a co-production with a Chinese company. It imagines what would have happened if they’d met. We’ve taken all of their writings, fed them into a large language model and then fed all the images of them into AI. Through that, we are concocting the conversation they might’ve had if those two great philosophers had ever met in the past. That’s a really interesting use of AI.

TV REAL: What are the greatest growth opportunities that you’re eager to pursue?

BRADLEY: We’re looking at building out brands or franchises in interesting ways. Specials that can come out of things that you already know the audience is interested in. We have had some success with brand-funded programming. Advertisers are no longer spending as much on ad spots on TV. They’re going on digital, but they are still interested in those big audiences you can get. Last year, we did a big project with VELUX and Alan Cumming. That’s an area where the production skills and capabilities, the broadcasters and brands can get together to make some really interesting content.

Access is a really interesting area for people who are thinking about where the next opportunities might lie. When we took access to Pompeii to the broadcasters, they found it very hard to resist. Part of what I’m urging my friends and colleagues to do is find the things that the commissioners find impossible to resist. A commissioner once described their role as finding a thousand different ways to say no. To those of us out there who are on the other side of the fence, let’s put our thinking caps on and try to find ways to make them say yes. That underpins a lot of what we do in development. How do you take something into a broadcaster that they just won’t be able to resist? It’s getting harder, but it’s not impossible.

Sold by All3Media International, Inside the Tower of London was made by Lion for Channel 5.

True crime, insider access, historical reenactments and uplifting factual entertainment feature in the latest edition of the TV Real Screenings Festival.

A Season with Isabella Rossellini

The documentary follows Isabella Rossellini in Italy, France, Spain and at her farm, capturing her artistry, charm, activism and playful spirit during a milestone season. (Escapade Media)

American Prince: JFK Jr.

EverWonder’s documentary provides unprecedented archive footage and astonishing access to John F. Kennedy, Jr.’s life and legacy. (All3Media International)

The American Revolution

A film by Ken Burns, Sarah Botstein and David Schmidt. Thirteen American colonies unite in rebellion, win an eight-year war to secure their independence and establish a new form of government that would inspire democratic movements at home and around the globe. (PBS Distribution)

Beyond Bali: The World ’s Most Exotic Islands

Acclaimed chef, author and television personality Lara Lee embarks on a deeply personal journey across Indonesia, reconnecting with her ancestral roots through food, culture and tradition. (All3Media International)

Local Heroes

Innovators of Japan Anime

A rare look into the creative process of animation filmmaker Kiyotaka Oshiyama ( Look Back ). Also features interviews with renowned creators from the world of anime. (NHK Enterprises)

Authentic docuseries following real firefighters via bodycams during dramatic rescues, offering raw insights into the daily lives of professional fire brigades. (ARD Plus)

Red River Gold

Martin Compston Living Las Vegas

Actor Martin Compston takes viewers on an insider’s tour of Las Vegas, revealing the secrets, thrills and irresistible allure that make it the ultimate playground. (BossaNova Media)

These treasure hunters are on the search for a trove of missing gold coins that have a deep historical connection to the Red River Resistance. (BossaNova Media)

Tom McDonald National Geographic

From its origins as an organization founded on the principles of advancing knowledge through its expansion from magazine to cable TV to a key pillar in Disney+’s streaming rail, National Geographic has maintained its mission to deepen people’s understanding of the world. That is what is guiding Tom McDonald’s approach as executive VP of content, with a focus on properties that will pop in a crowded media environment. He outlined his strategy at the TV Real Festival and weighed in on the approach to aligning with top-name talent and keeping quality on-screen. By Mansha Daswani

TV REAL: What’s guiding your overall programming strategy across unscripted at Nat Geo?

McDONALD: The headline for us, like a lot of places, is we want content that is gripping, entertaining and thrilling. What makes us distinct is the prism through which we look at everything: Do those ideas deepen one’s understanding of the world or enhance our appreciation of the world? It’s about that balancing act. It needs to speak to your head and heart. Ideas that may be edge-of-your-seat and thrill and entertain you, but also inspire you to think about the world in a different way. I think producers ﬁnd that a helpful ﬁlter. We’re quite a broad church, but that guiding mantra helps narrow down how we select.

TV REAL: How have you maintained quality on-screen at a time when everyone is having to do more with less?

McDONALD: We’ve taken a fewer, bigger, better approach over the last couple of years. Rather than try to maintain a certain number of hours, which feels like a linear mindset, we’re focusing on having a set of tentpoles that feel like they’re going to stand out on Disney+. We’re taking a streaming-ﬁrst approach. It’s great that we have linear channels around the world, but fundamentally, I’m thinking about its forever home, which is Disney+, and about ideas that we think are going to pop on Disney+, where you’re next to Star Wars, Marvel, Pixar and those other incredible brands. We’re taking a less-is-more approach while maintaining big ambition. It would be dangerous to go the other way, which is to make lots and lots of hours of television. Fewer shows but higher impact.

TV REAL: How important are co-productions for you?

McDONALD: My remit is global. We very rarely do coproduc tions. I’m principally looking for all rights on streaming. National Geographic International will commission local programming for particular countries. They can be coproduc tions. On my slate, it’s global, no co-production.

TV REAL: You’ve been aligning with a lot of top-name talent. How important is a David Blaine or a Ryan Reynolds when you’re trying to get someone to discover your show?

McDONALD: The question of discoverability is probably the thing that keeps everyone who works in unscripted awake at night. There are different ways to draw an audience to your show that are not just about talent. Name recognition, more broadly, is important. One of our most successful projects from the last few years, 9/11: One Day in America, does not have an A-list talent attached to it, but that’s a globally well-known anniversary. It was a landmark approach to that series— multiple episodes, bigger than has ever been done before—and felt like the deﬁnitive take. It garnered an enormous audience. We had a special called Titanic: The Digital Resurrection, using a digital scan that’s never been done before of the shipwreck. There have been lots of Titanic docs, but this genuinely shows you the Titanic in a new way. There are the A-list talent series, whether that’s Stanley Tucci, David Blaine, Chris Hemsworth or Will Smith. There’s a built-in recognition of that star. In the world of natural history, A Real Bug’s Life is a very smart lassoing of Pixar and Disney IP. It feels like it belongs only on our service. I have a guiding mantra: There needs to be a degree of name recognition for the audience to give it their time, but then it needs to offer something surprising, a new take or a different iteration—it needs to feel fresh and original. I’m unafraid of going back to stories where it feels like they may have been told before on television, as long as it’s a new way of telling them. We don’t work with talent for the sake of it. We look for the perfect mix of talent, what the talent’s known for and then what the talent’s passions and knowledge are. With Tucci in Italy, there’s a built-in understanding of why Stanley Tucci is going to Italy. Chris Hemsworth and Limitless he is Thor in the Marvel Cinematic Universe, so you expect him to be somebody who would push his body and his mind to the limits in the name of science. David Blaine is the world’s

Insider access continues to define National Geographic’s content strategy with originals like Top Guns: The Next Generation

most famous living magician and illusionist. The idea that he would explore culture through the prism of magic does n’t feel forced. The audience senses that there’s an authentic connection between the talent and the subject.

TV REAL: What trends are you seeing in natural history right now that are most exciting to you?

McDONALD: There was an enormous boom moment for natural history as a genre. There’s a universal quality to natural history; it goes beyond language barriers, and it doesn’t feel culturally speciﬁc. In every country around the world, there’s a passion for the natural world. Around 2020/2021, it seemed like every single streamer and broadcaster was in the natural history game. Inevitably, it now feels the waves are retreating. It’s a genre that we’ve always been pioneering in. We are not following trends. It feels core to our brand and identity. We are trying to create natural history that feels much more playful, mischievous and has a lighter tone, with a sensibility that doesn’t need to feel like it’s “voice-of-God” serious. I think about A Real Bug’s Life, which did incredibly well for us. [We’ve greenlit] The Real Finding Nemo. Underdogs with Ryan Reynolds is the Deadpool & Wolverine of natural history. It’s naughty, teenage and silly, but still features fantastic cinematography, amazing content and never-before-seen behavior. The choice of voice is really interesting there. It’s interesting to me to give the mantle of natural history to Awkwaﬁna and Ryan Reynolds. They aren’t necessarily the David Attenborough, Morgan Freeman, Tom Hanks trusted voices of serious program-making. But then, on the other hand, you look at a show like The Americas on NBC. It’s Tom Hanks narrating. He feels like the voice of America. They’ve gone back to the grassroots of what makes a natural history show: exceptional cinematography, high stakes, amazing technology. It trusts in the simplicity of great storytelling.

TV REAL: What other areas are you investing in?

McDONALD: We’ve worked hard over the last few years to establish ourselves as a brand of record in the contemporary history space. There’s a privilege in being a brand where people trust us to tell their stories. In a world that can feel quite riven and partisan, we provide a platform for whatever your political stripes or worldview. National Geo graphic will do your story justice. That feels like an incredible privilege. I’m interested in doing that in ways

that aren’t necessarily events of tragedy. Are there stories that are more uplifting, or are about cultural movements? A lighter tone, but still capturing a moment in time. I’ve noticed a real appetite for new evidence, new ways of seeing or new discoveries. If we go back to the source material, documentary evidence, how can we genuinely shed new light on history rather than just retelling it using different actors or different CGI? There are the ﬁrst glimpses of the use of AI. Our cinema documentary Endurance used AI lightly to bring back some of the voices of the people on the Endurance ship, using their real words but AI to enhance their voices. You can use AI as a tool to bring people back to life in a way that feels respectful, without fabricating things they said, and is still incredibly journalistic.

TV REAL: How are you leveraging social media?

McDONALD: We remain the number one brand on Insta gram. That means you can leverage the power of social in different ways. You can use it simply as a marketing tool—we do all of the things you would expect from a brand like ours to pop things on social. But more interesting to me is when we’ve been brave enough to put out content early from a forthcoming show to see how it performs on social media. For Secrets of the Penguins, we ﬁlmed some extraordinary footage and had to make the decision: hold it and wait for it to be in the show, or release it now? We put it out on social a year before the show came out. That footage was viewed over 160 million times. It’s our bestperforming piece of footage ever on social. It didn’t matter that it wasn’t instantly driving audiences to Secrets of the Penguins. It was driving audiences to our social feeds, where I want the young generation to experience extraordinary content from Nat Geo and hopefully build an affiliation with the brand.

At the same time, we’re testing interesting talent. We have a brilliant explorer, Eva zu Beck. She has done a series for us on YouTube, Superskilled. She has built a strong following through National Geographic’s YouTube channel and social media. That doesn’t mean we’re going to make a Disney+ series with Eva, but it does mean we are building the next generation of talent through our social channels. There are opportunities in social to reach different types of audiences. It’s a great place for experimentation, building your audience, and it makes the world that we’re operating in feel bigger.

TV REAL: What are your other priorities in the year ahead?

McDONALD: Our roster is underpinned by Nat Geo principles and values about appreciating the planet and deepening our understanding of the world, but that doesn’t limit us in form or tone. We’re probably at our most expansive right now. A landmark ﬁlm with David Attenborough launched in the same month as Underdogs with Ryan Reynolds. The fact that we can operate at both ends of that spectrum while still retaining National Geographic values feels great. We’re taking some big swings: a documentary with Tom Hiddleston about Pompeii that feels more Loki than dusty Pompeii documentary; and Meet the Planets , with Max i mum Effort and the BBC Studios Science Unit, reimagining the solar system as though it were a soap opera. In a landscape that sometimes feels like it is in retreat or that people are playing safe for understandable reasons, we’re still able as a brand to take big risks and swings.

The only video portal for the factual programming industry.

Creative Crossroads

Budget restrictions are making entertainment formats an especially safe, reliable option for broadcasters and platforms in need of locally resonant content.

ENTERTAIN ME!

Leading distributors share their perspectives on the latest trends in entertainment format rollouts, from the rising interest in strategic gameplay to the crucial need to build out brand extensions across multiple touchpoints.

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Jamie Stalcup Managing Editor

Kloudia Sakowski Associate Editor David Diehl Production & Design Director

Simon Weaver Online Director

Dana Mattison Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

Ute Schwemmer Bookkeeper

That was the topline upbeat news in my formats survey in this edition, which features input from a mix of executives about what’s dominating in entertainment. “In this landscape, proven formats can cut through—this environment favors formats that are repeatable, returnable and internationally scalable,” Fremantle’s Vasha Wallace told me.

The disclaimer to the good news is that getting a new concept away is proving to be much harder today as programmers retrench toward the safety of brands they know audiences love. So, brushing up your franchise management chops is absolutely crucial, ensuring your big shows return and you can build out entire universes to support fandom. Just look at IPs like The Traitors, which has a live experience, and ITV Studios’ juggernaut Love Island, which had a huge summer in the U.S. ahead of the launch of the World of Love Island FAST channel on Prime Video.

You can’t forget social, either, which is now seen as a key prong in any new format rollouts. “We need to ﬁnd a different way of telling the same story,” Nicki Gottlieb of Content Kings told me recently. “Authenticity is at the forefront. What are you going to give the audience that’s new? Everybody wants takeout. What would [the show] look like on Instagram? How is it being talked about? What’s your click rate? Those are the conversations you’re having now.”

ASIAN SPIN

Top format distributors from Korea and Japan share their globalization strategies as they look to bring the best in Asian innovation to markets worldwide.

Ricardo Seguin Guise President

Mansha Daswani

Associate Publisher & VP, Strategic Development

TV Formats

401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A.

Phone: (212) 924-7620

Website: www.tvformats.ws

The need for ﬂexibility came up in many of my conversations with media executives ahead of the market, especially around cost-efficiencies. We heard from the teams at Tern TV and BBC Studios about the beneﬁts of developing daytime and prime-time versions of The Inner Circle from the outset.

This edition also spotlights how distributors from Asia are stepping up their globalization efforts. From quirky Japanese game shows to vibrant Korean variety, the Asian export business is entering a new era, boosted by rising interest in scripted concepts as well.

The next innovation looming over the formats space is AI, which is already being used in marketing and production processes and is beginning to show up within the storytelling itself; All3Media International’s The Circle, for example, had its ﬁrst AI contestant this year. —Mansha Daswani

INSIDE THE INNER CIRCLE

Tern TV’s David Marshall and BBC Studios’ Rose Hughes discuss the creation of the new BBC commission The Inner Circle, which boasts daytime and prime-time versions.

A+E Global Media

Alone / The Rap Game / Top Dog

A+E Global Media’s Alone follows contestants as they attempt to survive alone in the most isolated locations in the world. “It is one-of-a-kind in the global marketplace,” says Ninder Billing, VP of unscripted international co-productions and formats. “No other show authentically pushes people and tests their mental resilience in the way that this format does, and it leads to truly compelling television.” The Rap Game takes undiscovered talent and puts their lyrical and performance abilities to the test under the mentorship of famous rappers. In Top Dog, canines compete on a Ninja Warrior-style obstacle course with the support of their human companions. It “is a family-friendly prime-time hit entertainment format that will succeed anywhere in the world where people love dogs—so, everywhere,” Billing says.

All3Media International

The Circle / The Inheritance / The Traitors

After seven seasons on Netflix and three on Channel 4, All3Media International’s The Circle is now available to format buyers. “This forward-thinking format captures how social media shapes our daily lives, with contestants competing in a psychological game where anyone can be anyone,” says Tony Ziran Tang, VP of sales for the Asia Pacific. “With its blend of human drama, tech intrigue and social strategy, The Circle remains one of the most innovative reality formats.” All3Media International is also rolling out the brand-new The Inheritance from Studio Lambert. “The format combines deception, strategy and high drama, while also allowing flexibility for celebrity cameos alongside its core gameplay.” The company is also continuing to expand The Traitors, which has landed in the AsiaPac region in India, with other versions in development.

“Alone is a truly global smash hit that continues to go from strength to strength.”

“All3Media International’s format catalog is full of untapped opportunities in scripted formats, big prime-time shows, as well as daily, low-cost formats.”

Broadcast Program Export Association of Japan

Treasure Box Japan / Japan Program Catalog

As part of its year-round efforts to support the Japanese content creation ecosystem globally, the Broadcast Program Export Association of Japan (BEAJ) is returning to MIPCOM to host its Treasure Box Japan (TBJ) format showcase. “TBJ has become one of the most important gateways for Japanese content to reach the global stage at the international marketplace,” says Makito (Mak) Sugiyama, BEAJ’s executive director. Ten companies will be showcasing their highlights—Nippon TV, TV Asahi, TBS, TV Tokyo, Fuji TV Network, NHK Enterprises, Yomiuri TV, ABC TV, MBS and Kansai TV—“bringing together an unprecedented lineup of creativity,” Sugiyama says. And content discovery doesn’t end in Cannes, with the TBJ selections going into the Japan Program Catalog (JPC), the largest one-stop portal for Japanese broadcast content.

“Buyers

know that the titles chosen for TBJ are carefully selected for their international adaptability.”

—Makito (Mak) Sugiyama

—Tony Ziran Tang

Treasure Box Japan 2024

Alone

The Inheritance

—Ninder Billing

Nippon TV

Mega Catch / Secret Little Assistant / Big Bad Bluff

Nippon TV’s MIPCOM catalog is led by Mega Catch and Secret Little Assistant, two formats from Gyokuro Studio, the company’s new in-house studio dedicated to content development for a global audience. Mega Catch features one rule—catch an object and survive; miss it and you’re out. “Its strength lies in its versatility, as the objects that players must catch can continuously change, offering a variety of challenges that keep the game fresh and exciting,” says Sayako Aoki, head of international sales at Nippon TV. “This ﬂexibility allows for multiple variations, making it a format that can easily be tailored to different audiences and markets.” Secret Little Assistant sees children secretly visit their parents’ workplaces to help as undercover assistants. In Big Bad Bluff, celebrities enter twisted storybook worlds.

“We have the ﬂexibility to create a wide variety of formats that can appeal to diverse international audiences.”

—Sayako Aoki

Paramount Global Content Distribution

Am I the A**hole? / The Perfect Line / Hollywood Squares

Am I the A**hole? leads the formats offering from Paramount Global Content Distribution. It sees members of the public present their stories of morally questionable behavior to a host and two judges, who determine who is in the wrong in each situation, appealing to “comedy and general entertainment commissioners looking for content that is both loud and relatable,” says Lisa Kramer, president of international content licensing. The Perfect Line challenges contestants to correctly arrange events, items or people into perfect order. Hollywood Squares was revived last year in the U.S. on CBS, with a second season already in production. “With the appetite for costeffective, ﬂexible, studio-based game shows showing no signs of waning among international format buyers, these three titles ﬁt current market demand perfectly,” Kramer notes.

Something Special

Iron Squad / Unforgettable Duet / Martial Arts: The Show

Something Special is highlighting Iron Squad, in which eight teams representing different branches of special forces compete in missions designed by military experts. Unforgettable Duet follows as the families of dementia patients gather mementoes and select their favorite songs to help them recall the past. Martial Arts: The Show sees teams of martial arts experts transform traditional techniques into stage performances. “Blending precision, athleticism and artistry, each team delivers breathtaking displays that audiences have never seen before,” says Jin Woo Hwang, founder, president and executive producer at Something Special. “Korean formats have captured the interest of international buyers for the past several years. We strongly believe that our formats can be ‘something special’ to international buyers.”

“Paramount is home to a ﬁrst-class collection of entertainment formats powered by a portfolio of world-renowned brands.”

“Being the very ﬁrst format-specialized independent Korean company, we are conﬁdent that our programs have the potential to become the next big hits.”

—Jin Woo Hwang

Iron Squad

—Lisa Kramer

Am I the A**hole?

Me!

Leading distributors share with Mansha Daswani their perspectives on the latest trends in entertainment format rollouts.

The anecdot al assessments we’re hearing of risk aversion in the formats landscape today were borne out by research presented by the trendtrackers at The WIT at the inaugural TV Formats Festival in the spring.

“We counted a total of 380 new format adaptations generated by 249 different formats, which is a relatively low average of 1.5 adaptations by format,” said Caroline Servy, The WIT’s managing director, during her keynote session.

The media climate has hardly become less risk-averse since then, and while that isn’t great news for those seeking commissions on brilliant but untested new ideas, the format industry as a whole is benefiting from buyers’ reluctance to gamble in this economically uncertain climate.

“Budgets are tight across the board, with advertising slowdowns and streamer contraction making buyers even more risk-averse,” says Vasha Wallace, executive VP of global acquisitions and development at Fremantle. “The good news is that in this landscape, proven formats can cut through—this environment favors formats that are repeatable,

returnable and internationally scalable. Mainstream IP with recognizable talent continues to be at the top of the shopping list—shows that are instantly marketable and familiar, yet feel modern.”

TRIED AND TESTED

Nick Smith, executive VP for formats and licensing at All3Media International, adds: “Producing a ﬁrst season is always more expensive, so adapting a format with proven success can greatly beneﬁt buyers, providing a more economic and efficient route to bring a format to screen. Buyers can use learnings from previous adaptations, which can also prove helpful when budgets are under severe pressure. With that in mind, formats provide buyers with comfort, as they know what they are getting and that it has worked with audiences before.”

Tobias Schulze, senior VP of global sales at Seven.One Studios International, is of a similar opinion, stating: “Nonscripted formats are a strong and reliable option, particularly in the current economic climate. They offer ﬁnancial advantages, ﬂexibility and brand-building opportunities.”

Izzet Pinto, founder and CEO of independent distributor Global Agency, says he has “started to observe an increase in the number of formats ﬁlling prime-time slots this year, as they are becoming a more cost-effective solution for broadcasters.”

IN THE GAME

Several distributors surveyed here pointed to the rising demand for competition and game shows amid the business’s new cost recalibration, “but it needs scale, a big entertainment layer and an event-feel to bring in the viewers,” observes Sumi Connock, executive VP of the global creative network and formats at BBC Studios.

Competition reality—in the vein of the megahit The Traitors—is also in high demand. “Since the breakout success of The Traitors, there has been a boom in what I like to call ‘intelligent reality,’ ” says Smith at All3Media International, which distributes the popular format. “This encompasses reality shows that have a strategic element. They’re not about arguments and hook-ups, but about playing a game. Audiences love the immersive element of the game, and so these shows have evolved to be part of our ‘water-cooler conversations,’ with audiences openly discussing players’ strategies, methods and motivations with friends and colleagues. While it’s ﬂattering to see a boom in ‘intelligent reality,’ I expect we’ll see fewer shows that are obviously inspired by The Traitors. I’m conﬁdent the next big hit will not be similar to The Traitors, although it could be another ‘intelligent reality’ show.”

Connock references a rising interest in formats with comedic elements. “In these turbulent times, let’s face it, we all need a good laugh,” she quips. “And comedy plays out very well on digital and streaming platforms and also tends to attract those desirable younger demographics. Reality is still highly sought after—it plays so well on both linear and digital platforms due to its arced nature, plus it brings in the allimportant younger demographic.”

Wallace at Fremantle adds, “We are ﬁrmly in the attention economy, where viewers expect to be hooked within moments, otherwise they’re quick to switch off or scroll elsewhere. The challenge for us as creators is to deliver shows that not only captivate instantly but also sustain that interest over time. It remains a challenging landscape, but mainstream, marketable formats continue to cut through. Long-running, returning brands are more vital than ever. At the same time, audiences are seeking escapism—formats that deliver fun, humor and lighthearted diversion.”

Whatever the genre, there are still some key pillars that format IP owners need to keep returning to, observes André Renaud, group VP for format and ﬁnished sales at Warner Bros. International Television Production (WBITVP).

“A good format should be unique, adaptable, scalable, returnable and also have some sort of great entertainment or storytelling that audiences are looking for,” Renaud says. “That’s ultimately what you look for to say, Does it deliver on these different types of ideas?”

Schulze at Seven.One Studios International adds: “Buyers want concepts that feel safe—proven formats, familiar themes like reality, competition, game shows—but with a unique twist, like hybrids and fresh takes. The goal is to create content that resonates with audiences, encourages conversation and keeps them guessing. Shows should have a strong narrative, a clear purpose and, ideally, a series arc for sustained interest. Family-friendly content and shows that appeal to younger demographics are desirable, as are internationally successful formats that can be produced efficiently.”

Safety also comes from known IP, “using an existing universe to create a compelling TV entertainment experience,” says Connock. “Plus, classic board games have been providing new inspiration for formats.”

ACROSS THE UNIVERSE

Schulze notes that commissioners are also on the lookout for “brands that can be extended,” which means that IP owners are busy building out multiple touchpoints for shows.

“We are always thinking about how our brands can be extended, whether through off-air activity or as on-air brand extensions,” says Connock. “New spins on existing IP are a great way to either get a show back into a territory or keep the brand on air between seasons in a different guise. Digital platform extensions are also an area where we are pursuing more opportunities, allowing a show to be ‘always on’ with audiences.”

Global Agency is launching a new format this year that will have a related app, Pinto says. “This kind of secondscreen experience creates stronger engagement with the audience and allows us to extend the life and value of the property beyond television.”

Smith concurs, adding, “Exploiting our brands off-screen is more important than ever. In previous years, the majority of our exploitation was books and board games. We are now working in an ever-growing number of categories,

WBITVP is bullish on the Glow Up format brand, which has run for several seasons on the BBC and integrates well with social media influencers.

particularly when it comes to location-based and live experiences. We have a number of exciting projects to be announced in due course, with recent highlights this year including the opening of The Traitors: Live Experience and Race Across the World: The Experience. Each of these has been hugely successful following their London launches, so we’re working on rollout strategies for both.”

Seven.One Studios International has been working on spin-offs, digital content and other avenues for some of its key brands. “The speciﬁc approach depends on the format, but the key is to ﬁnd creative ways to build on the existing brand and explore new angles,” Schulze says.

GETTING SOCIAL

Understanding how a brand will resonate on social media is “absolutely critical,” Fremantle’s Wallace says. “Television and social are no longer separate spheres—they’re deeply interconnected. Audiences often engage with a brand ﬁrst through TikTok, Instagram or YouTube before coming to broadcast. If a show isn’t designed with shareability and community engagement in mind, it risks feeling invisible.

Knockout Champs is a strong example: a bold comedy format co-created with digital-ﬁrst talent, which broke records in the Netherlands by harnessing social reach to supercharge audience connection.”

“Social media is considered an indispensable component of a non-scripted format’s success,” Schulze says. “It’s vital to integrate social media strategy from the initial development phase to ensure unified storytelling, real-time engagement and maximum reach. While distributors may face challenges in controlling social media strategy due to territorial rights issues, the consensus is that a strong social media presence is crucial for amplifying awareness, boosting ratings and driving viewer engagement.”

BBC Studios’ Connock says that social is “invaluable” when launching new formats and keeping audiences engaged through a season’s run.

WBITVP’s Renaud references the studio’s successful Glow Up property, which has run for seven seasons in the U.K., as a brand that has strong connections with the creator economy.

“Makeup artistry is one of the biggest things on social media now. It’s a clever way to be able to bring in a makeup artist, a content creator, into television and cross over and also ﬁnd a way to engage television back into that industry. What a great way to stimulate the creator economy and also traditional television together.”

The format also holds branded-entertainment opportunities, which are becoming more important for broadcasters and platforms.

“Recently, sponsor-driven formats have gained momentum,” Global Agency’s Pinto says. “Whether through product placement or branded segments, sponsorship provides additional revenue opportunities and makes productions more feasible.”

There are other models being pursued to try to cut costs, Pinto adds, noting, “We see a growing trend of casting fewer celebrities, focusing instead on authentic contestants, which helps control costs.”

HUB APPROACH

Dori Media Group is always exploring cost-efficiencies for its formats, according to Nadav Palti, president and CEO.

“One of the initiatives we’re looking at is establishing a production hub in LatAm, which would allow us to create more cost-effective versions of the Power Couple format while enabling broader distribution across multiple territories.”

Fremantle’s Wallace believes that production hubs are increasingly attractive today, “enabling premium value while controlling costs. We are constantly ﬁne-tuning formats to ensure broadcasters get maximum return on investment.”

Production hubs have been key for BBC Studios, Connock notes. “Our global production teams work really closely together across our international network to share knowledge and drive efficiencies through working together and sharing best practices.”

As a cost-efficiency and production management tool, Seven.One Studios International has begun using production hubs on certain brands, Schulze says. “Our sister production companies Snowman Productions and CPL Productions have set up successful hubs in Asia for Stranded on Honeymoon Island and Bulgaria for our new reality adventure show The Hunt (w.t) ”

ARTIFICIAL INTELLIGENCE

As with the rest of the media business, format IP owners are looking at how AI will reshape the sector, from its impact on the editorial itself to production and development processes.

The most recent season of The Circle on Netﬂix featured an AI chatbot contestant named Max, who “had been trained on previous seasons of the show and created its own proﬁle,” says Smith at All3Media International, which is bringing the format to MIPCOM. “In episode two, it is revealed that one player is AI, and the contestants went about trying to discover the AI’s identity while trying to demonstrate their humanity. It was fascinating.”

Connock at BBC Studios expects to see “AI-driven data layers on reality shows. Just like in sports, we will soon have a ton of analytics to help us engage with reality shows. Who’s lying? Who fancies whom? The use of AI-driven emotion recognition software and other computer vision tools will mean the audience can begin to look under the hood of what contributors are saying and doing using semantic analysis from large language models. There are going to be shows that use AI characters and virtual humans, either overtly or perhaps stealthily, but synthetic humans will be coming to entertainment. I imagine some one will make a show that plays on the Turing test, which is the famous measure of how good an AI is, based on whether it can survive a 5-minute conversation with a human without being identiﬁed as an imposter. Development producers can play with that in every genre, from romance to adventure and deception shows.”

Palti says that Dori Media is developing a new game show that “leverages software and integrates AI, opening up innovative and scalable production possibilities.” However, Palti adds, “In our view, the main focus of AI should be on reducing production costs rather than on idea development. Once a format has been developed, AI can help make the production process signiﬁcantly more cost-effective. We are already in the process of working on a format that applies this approach.”

Schulze at Seven.One expects AI to streamline production processes, while also “enhancing personalization and providing valuable data-driven insights. For example, at our sister company Redseven Entertainment, AI is regularly integrated into the production process. It starts with the format development and conceptualization in terms of assisting with brainstorming ideas and preparing pitches, and if appropriate, can be

integrated into the production. A good example is Redseven’s medical quiz show, Doc Caros Körperkenner, which aired on VOX in Germany. All the locations and backgrounds were created with the help of AI, and the host was depicted as presenting from inside the human body.”

HUMAN TOUCH

Still, Schulze says, some of the basics of content creation will stand the test of time. “The human element of production, particularly creativity and emotional storytelling, remains essential,” he says. “The key is to leverage AI as a tool to enhance human capabilities, not replace them.”

Pinto at Global Agency concurs, noting, “We don’t believe AI can replicate the emotions and human touch that are central to entertainment. For us, creativity and authenticity remain at the heart of successful formats.”

While the fundamentals of what makes for great content haven’t changed, WBITVP’s Renaud argues that the old metrics for deﬁning success may need to evolve.

“It’s an interesting one when we talk about chasing global hits, because the question is, How are we defining what a global hit is nowadays? You need 21 versions of a format to make the top 100 most-traveled formats globally. I only know of one format that’s reached that magic number in the last few years: The Traitors, which is nearly five years old. LOL: Last One Laughing is a ten-year-old format, and that growth has only been driven by one commissioning entity, [Prime Video]. Maybe we should look at redefining a global hit. We need to stop burdening ourselves by saying what a global hit feels and looks like. Success probably isn’t defined in the same way anymore.”

ASIAN SPIN

Leading format distributors from Korea and Japan share their globalization strategies. By Mansha Daswani

For more than a decade, the government-backed Broadcast Program Export Association of Japan (BEAJ) has been hosting a formats showcase on the opening day of MIPCOM, assisting local IP owners in getting their properties on the global map.

“Treasure Box Japan (TBJ) has become one of the most important gateways for Japanese content to reach the global stage at the international marketplace,” says Makito (Mak) Sugiyama, executive director of BEAJ.

The event returns to Cannes this MIPCOM with ten leading companies participating and the backing of Japan’s Ministry of Internal Affairs and Communications, “underscoring its role as part of Japan’s national strategy to promote cultural exports,” Sugiyama explains. “This year’s slate demonstrates Japan’s unique ability to combine entertainment with originality.”

According to data presented by The WIT at the TV Formats Festival in the spring, Japan has risen in the global format export rankings over the last year, with a wealth of domestic players seeing increased traction with both scripted and nonscripted offerings.

“Japanese creativity has carved out a unique identity in the global marketplace by combining professional-driven

performance, cultural distinctiveness and fearless experimentation,” Sugiyama adds. “Equally important is the culture of constant innovation. Japan’s broadcasters operate in a fiercely competitive domestic market where originality is the key to survival.”

MADE IN JAPAN

Nippon TV has been expanding its international business in various ways, including through a new unit, Gyokuro Studio.

“Despite ongoing budget constraints and cautious spending among buyers, our proven unscripted hits, such as Silent Library and Old Enough!, along with scripted series like Mother and Woman, have continued to secure new deals,” says Yuriko Nakamura, a member of the global sales and licensing team at the media group. “This success has also enabled buyers to feel more conﬁdent taking a chance on our new formats. This momentum has allowed us to take a more proactive approach to our own format development and business structure. The launch of Gyokuro Studio symbolizes our active move to bring innovative and diverse content to the global market.”

TV Asahi has been partnering with international players as part of its globalization strategy, reports Megumi Shirokawa,

TV Asahi’s A Family Goes Job Hunting

co-director of the international business department, aligning with Craig Plestis’ Smart Dog Media to co-develop and coproduce SONG vs DANCE, a talent competition.

Unscripted is leading the gains at Fuji Television Network, according to Ryuji Komiya, the head of international distribution for unscripted formats. “In 2024, the format revenue doubled from the previous year,” Komiya says.

K-WAVE GAINS

South Korea, meanwhile, continues to ﬂex its cultural-export chops, using the rising global interest in local IP to drive its format capabilities.

“CJ ENM’s variety shows have built strong global fandoms, often going viral online and creating big buzz during their broadcast,” says Jangho Seo, executive VP of the global content division at Korean powerhouse CJ ENM. “Their success comes from clear formats, fresh ideas and high-quality production. They prove that Korean non-scripted content can spark global conversations and set new benchmarks for the genre.”

Armed with international expertise from his years at CJ ENM, Jin Woo Hwang founded Something Special as South Korea’s ﬁrst independent format agent in 2019 and has seen steady gains in his business.

“Since last year’s MIPCOM, Something Special has scored more than 20 option deals with international partners,” securing interest in Still Alive, The Penthouse Game, Hit and Miss Tour and Unforgettable Duet

For all the players surveyed for this piece, non-scripted remains a key driver across categories such as entertainment, competition and game shows.

“Networks are increasingly seeking familiar and costeffective content, which is where our classic titles come in,” says Nippon TV’s Nakamura. “In Asia, for example, studiobased game shows like Silent Library remain attractive for buyers, as they can be mass-produced efficiently within a single stage. We also continue to see strong demand for reality shows, as proven by the local adaptation of Old Enough! in Mongolia in 2024 and Canada in 2024 and 2025. On the other end of the spectrum, crazy game shows built on unique premises continue to be popular. We’re seeing traction with new formats like Red Carpet Survival, which Prime Video Italy recently renewed, and our new format Ants is gaining signiﬁcant global attention. While production costs are always a consideration, we’ve found that buyers today are more focused on a format’s unique meaning and cultural relevance than on budget alone.”

Entertainment is also leading TV Asahi’s format sales, Shi rokawa says. “We’re collaborating with U.S. production companies on several high-energy game-show projects. Interestingly, these concepts originated as segments within variety programs, proving that even small ideas can evolve into globally viable formats.”

For Something Special, reality competition and entertainment are key. “What is interesting is that Korean formats have been providing a fresh take in the international marketplace with hybrid genres,” Hwang says.

Of course, Asian innovation doesn’t always translate well to international markets.

CROSSING CULTURES

“It’s always been challenging to understand what gets viewers outside of Asia excited, and even with social media, only a handful of trends make it across the ocean,” Nippon TV’s Naka mura says. “But we now have AI tools that can dig deep

into what content audiences are glued to in every corner of the world and translate that into actionable insights for our formats in under a minute. That’s been a game-changer.”

Nakamura also highlights a structural challenge: “In Japan, some unscripted formats originate from seasonal or one-off special programs rather than weekly series. The key challenge for us is to prove that our formats can work as series with compelling narrative arcs that build toward a big ﬁnale. This requires us to not only bring creative ideas to the market but also to sell with a clear, long-term vision.”

“One of the biggest challenges is striking the right balance between the distinctive, often whimsical Japanese comedic style and sometimes too-noisy visual elements— and the tastes of global audiences, particularly in Western markets,” adds Shirokawa.

Hwang concurs, noting, “The biggest challenge lies in whether we can successfully transfer the key factors of Asian creativity for international adaptation. To achieve this, more detailed information needs to be included in our materials, clearer methods must be provided and they must be well-presented.”

Komiya references language barriers; as a result, “It is essential to develop visually engaging or non-verbal entertainment for global audiences. Embracing this challenge positively, we can observe that Japanese formats that have gained international popularity are typically visually entertaining. In discussions with our buyers, there is a consistent demand for what they term ‘crazy Japanese game shows,’ a genre for which we have established a notable reputation.”

Challenges aside, all of the executives surveyed here are bullish on the global format opportunity for Asian IP and are deploying a range of strategies to scale their global impact.

“In addition to using our network slots as a sandbox for innovative new formats (through Gyokuro Studio, our new unscripted studio with a global focus), we’re leveraging AI to understand underlying viewer needs behind the commissioning briefs and past performance of titles,” says Nakamura. “We then use that data to translate crazy new ideas of our creators into future global hits and to ﬁnd hidden gems in the library that Japanese viewers loved and could create a viral moment on Reels today.”

For Shirokawa at TV Asahi, international collaboration is paramount. “The key challenge—and opportunity—lies in creating formats that maintain their local ﬂavor while achieving global resonance. We aim to deepen partnerships with companies that excel in development and adaptation, enabling us to co-create, co-produce and distribute formats that can thrive in multiple markets.”

The Something Special lineup includes Iron Squad

Game shows and talent competitions headline the latest edition of the TV Formats Screenings Festival.

Cash Cab

Lion TV’s multi-Emmy-winning Cash Cab continues driving home success around the world, arriving in 50 destinations to date.

(All3Media International)

The Forbidden Duel

Top professionals compete in high-stakes challenges—from magic to cheerleading to driving—showcasing skill, pride and the pursuit of mastery. (Fuji Television Network)

Japanese Format Showcase— Treasure Box Japan (TBJ)

The Japanese Format Showcase—Treasure Box Japan (TBJ) presents never-before-seen nonscripted formats from ten broadcasters, featuring unconventional quiz shows, physical challenges, comedy and horror.

Iron Squad

(Reality competition) Korea’s number one military reality competition, where elite reservists battle through extreme missions testing strength, strategy and teamwork—until only one squad remains. (Something Special)

Rise and Fall

Martial Arts: The Show

A spectacular competition where global martial artists showcase skill, discipline and artistry, blending tradition with entertainment in an inspiring, highimpact performance format. (Something Special)

A compelling competition format from Studio Lambert where all players have opportunities to rise and fall, from having everything to having nothing. (All3Media International)

SONG vs DANCE

Step Dave

With local versions in Poland, Greece and Russia, South Pacific Pictures’ scripted format captures how in modern life families come in all different shapes and sizes. (All3Media International)

The two biggest forms of performance come together on one stage for the first time in competition television history. What’s better? Song or dance? (TV Asahi)

Inside The Inner Circle

By Mansha Daswani

From the iconic The Weakest Link to the fastgrowing The 1% Club , BBC Studios is already home to a bevy of successful game-show formats.

Adding to its slate this MIPCOM, the content powerhouse arrives in Cannes with The Inner Circle, a new contender in the increasingly popular strategic gameplay space.

“We genuinely feel this is a bold new entry in that strategic game-show area,” says Rose Hughes, senior VP of global format sales at BBC Studios. “It taps into global appetites for social manipulation, social psychology and high-stakes deci sion-making.”

The concept originated at Scottish indie Tern TV, a part of the Zinc Media Group, in response to a BBC call for a daytime and prime-time quiz show.

“Against all the odds, Tern fought off all the big quiz players and landed our very ﬁrst double commission in the quiz space,” David Marshall, head of entertainment at Tern, tells TV Formats. The order—for 25 daytime/early-peak episodes and six celebrity editions for Saturday prime time—served as proof that an indie like Tern, with no prior game-show experience, “could win with a really strong idea, a passionate team and a lot of belief in the format. We say it’s like a David versus Goliath story. And in our case, it was actually two Davids, because David Kerr was the development producer on it. Everyone at Tern has put their heart and soul into the format over the past few years.”

Marshall notes that developing for two slots from the outset has been hugely beneﬁcial to the format, which was commissioned by Rob Unsworth, head of daytime and early peak at the BBC, and Kalpna Patel-Knight, head of entertainment.

“We knew that the format had to work for both audiences— they could ﬂex it for daytime and then also have it be glossy enough for that big Saturday night slot,” Marshall says. “The process itself was so collaborative. We also had BBC Studios come on early as our distribution partners. Sumi [Connock, executive VP for the global creative network and formats]

and her team have such a wealth of quiz experience and knowledge. They all championed the format. It also meant that we tested the format within an inch of its life, making it as strong as it possibly could be with every eventuality. It was all worked out in advance of the studio. By the time we actually got to recording, we were conﬁdent in the format.”

Hughes says that the BBC Studios team spotted the potential of the property very early. “It’s so adaptable and such a globally appealing format because it’s built on universally relatable themes. It’s trust, betrayal, strategy. Trust is the currency. That’s what you’re playing for. A ﬁnal betrayal is only ever one step away. It’s not only about what you know, it’s about who you can trust. And that premise is so human at its core, so fascinating to watch and so addictive. It has ﬂexible casting. We have the daily strippable version with the recurring contestants and the prime-time glossy version. It’s amazing to have that already set in stone. And the set looks beautiful.”

Game remains one of BBC Studios’ strongest format sellers, Hughes notes, with sustained demand from buyers for reboots, returners and brand-new concepts. “We believe The Inner Circle is going to connect because viewers want what it offers—addictive, compelling, play-along TV that can be scaled up or down,” Hughes says.

Each episode culminates in contestants having to make a choice—shaft or split—as they decide whether to share their winnings with the opponent they worked with to get to the end.

“It has that added twist of a psychological cat-and-mouse element,” Hughes says. “It can spark conversations on social media. That is quite unusual for a game show.”

Fleshing out the engagement beyond the linear transmission was a key element in the format’s development process, Marshall explains. “We wanted it to work not just as a TV show,” he says. “The format lends itself well to having a life outside the linear broadcast. We’ve been working with BBC Studios to explore what extensions we can put in place—a board game, an app, a live experience. It can connect with the audience well beyond the TV screen.”

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Hungary (Destinations, 2x43 min.) A country of surprising diversity, with impressive nature and imposing landscapes, lies at the heart of Europe. Visit the lakes, volcanoes and caves of Hungary.

The Bird Guardians of Linosa (Nature/wildlife, 1x43 min.) Italian scientist Giacomo Dell’Omo is committed to protecting the island’s Scopoli’s shearwater colony from extinction. His daughter Eleonora works by his side.

Piranesi—Visionary of Shadow and Stone (History, 1x52 min.) Traces the footsteps of Giovanni Battista Piranesi, architect, engraver and archaeologist, to help us understand the mind of a genius who built entire worlds on paper.

ALL3MEDIA INTERNATIONAL

m international@all3media.com

w www.all3mediainternational.com

Stand: P3.C10

The Inheritance (Game-show/ent. format, 60 min. eps.) From Studio Lambert, a new game of wit, willpower, persuasion and betrayal.

Wild Homes with George Clarke (Home/garden/lifestyle, 6x60 min.) The British architect George Clarke embarks on an unforgettable journey across New Zealand and Australia to explore some of the most remote and breathtaking island homes.

Hunting the Yorkshire Ripper (True crime, 2x60 min.) From the BAFTA-winning team at Story Films, follows the hunt for “Wearside Jack,” the hoaxer whose tape recordings derailed the Yorkshire Ripper investigation in the late 1970s.

Beyond Bali: The World’s Most Exotic Islands (Travel/food/drink, 8x60 min.) From Southern Pic tures, centers on acclaimed chef, author and television personality Lara Lee as she embarks on a deeply personal journey across Indonesia.

The Treasure of Newfoundland

I Fought the Law (True-crime drama, 4x60 min.) Tells the true story of Ann Ming, a mother whose 22-year-old daughter, Julie, was tragically murdered in 1989.

The Assassin (Crime/thriller, 6x60 min.) Keeley Hawes and Freddie Highmore star in this thriller from Two Brothers Pictures mixing high-stakes action, great chemistry and stunning locations. Trespasses (Period drama, 4x60 min.) From Oscar-nominated Wildgaze Films, and featuring Gillian Anderson, centers on a forbidden love story set against the backdrop of the Troubles.

Trigger Point (Crime/thriller format, 60 min. eps.)

Set in the world of bomb disposal, officers known as “Expo” risk their lives daily on “the long walk” toward danger.

All Creatures Great and Small (Drama, S6: 7x60 min.) Returns to Darrowby to join the Skeldale family and the ensemble of farmers, animals and townsfolk living in the Yorkshire Dales in the 1940s.

AMAZON MGM STUDIOS

Stand: P3.A1

The Summer I Turned Pretty (Romance, S1-3: 60 min. eps.) A multigenerational drama that

hinges on a love triangle between one girl and two brothers, the ever-evolving relationship between mothers and their children and the enduring power of strong female friendship.

Daisy Jones & the Six (Drama, 10x60 min.) Based on the New York Times best-selling novel, follows the story of an iconic 1970s band, fronted by two feuding yet charismatic lead singers.

Citadel (Thriller, 6x60 min.) Eight years after the independent global spy agency tasked to uphold the safety and security of all people was destroyed, two elite agents who had their memories wiped embark on a mission that takes them around the world.

Lord of the Rings: The Rings of Power

(Fantasy, S1-2: 60 min. eps.) Set thousands of years before the events of J.R.R. Tolkien’s The Hobbit and The Lord of the Rings , takes viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested and the greatest villain that ever flowed from Tolkien’s pen threatened to cover all the world in darkness.

Butterfly (Thriller, 6x60 min.) A character-dri ven spy thriller that explores complex family dynamics within the treacherous world of glob al espionage.

Hunting the Yorkshire Ripper

The Summer I Turned Pretty

ÁNIMA KITCHENT MEDIA

O (34-916) 31-50-84

m info@animakitchent.com w www.animakitchent.com

Stand: R7.J11

Howly & Wooly (4-7 2D adventure/comedy, 52x7 min.) Howly and Wooly, unlikely best friends, solve daily forest problems in Woodytown, proving differences can unite rather than divide.

Howly & Wooly

Cuquín (1-6 CGI adventure/comedy, S1: 52x7 min., S2: 26x7 min., Max original: S1: 20x5 min., S2: 20x5 min. in prod. Plus, Discover & Explore episodes: 50x5 min. & music videos: 100x2 min.)

Cuquín is a tireless, unpredictable, clever, agile and playful baby, a small battery full of infinite energy, always ready to explore and laugh.

Tippi T-Rex (3-5 2D adventure/comedy, 52x5 min.) A playful preschool series about a curious dinosaur girl turning daily life into fun, imaginative adventures.

Lea & Pop (3-5 3D comedy, 29x5 min. & music videos: 62x2 min.) Follows an artistic brother and sister and their friends on fantasy adventures with a band of musical toys.

ARD PLUS

O (49-221) 2035-2272

m sales@ardplus.de w presse.ardplus.de

naked (Drama, 6x45 min.) An exciting “love noir” psychological drama about sex addiction and codependency questions how far lovers will go for each other.

Local Heroes (Doc., S1-9: 66x45 min.) Authentic docuseries following real firefighters via bodycams during dramatic rescues, offering raw insights into the daily lives of professional fire brigades.

David and Goliath (Drama, 2x90 min.) New medical series about psychotherapist Dina Schwarz, hired to support the clinic staff.

Helix (Thriller, 1x90 min.) Based on Marc Elsberg’s bestseller of the same name, combines a gripping personal story with controversial questions about genetic engineering.

Wäldern Mysteries (Thriller, 2x90 min.) In the town of Wäldern, people are disappearing. Pianist Lara Glanz returns to find her niece Magda and encounters supernatural forces and dark secrets.

naked

Parliament (Comedy, S1-4: 42x25 min.) A multiaward-winning political comedy series that takes a pointed and satirical look at the Euro pean Parliament.

The Watzmann Files (Crime, S1-7: 62x45 min.)

In Berchtesgaden, a team of investigators solves exciting cases amid mountain idylls, family life and current social issues.

Murder with a View (Crime, S1-5: 58x45 min.)

Combines crime drama and comedy as a clever investigator encounters quirky villagers and surprisingly exciting cases in the Eifel region.

Senior Squad (Crime, S1-7: 83x50 min.) Two retired detectives return to duty and use their experience, humor and heart to solve exciting cases in everyday police work in Cologne.

Under Fire (Drama, 10x48 min.) In this fire brigade series from Ostend, a close-knit team battles with courage, conflicts and personal dramas to achieve the ultimate goal—saving lives.

ARTIST VIEW ENTERTAINMENT

O (1-818) 752-2480

m scott@artistviewent.com

w www.artistviewent.com

Stand: R8.E1

American Warrior (Action, 1x92 min.) A former convict trying to rebuild his life becomes an unlikely hero after stopping a robbery. Now a viral sensation, he enters an MMA tournament in a fight for redemption.

Fortress (War doc., 8x44 min.) Visits historic fortifications that date back, in some cases, thousands of years.

Six Days in Evergreen (Drama, 1x118 min.) A famous rock star struggling to reclaim her career returns home and reunites with her first love and former songwriting partner—the man she abandoned years ago.

Love on Tap (Rom-com, 1x106 min.) This romantic adventure becomes a heartwarming tale of grumpy old men, burnt pizzas, runaway alpacas and maybe love.

A Chrismystery (Christmas/family, 1x86 min.)

Annie Willows returns to her hometown to become deputy sheriff. Though determined not to stay, a mysterious crime and the warmth of the town draw her back to what really matters—family, love and the spirit of Christmas.

The Legend of Van Dorn (War/western/ romance, 1x94 min.) A brilliant but disgraced Civil War general is sent to a sleepy Tennessee town for a second chance. As his risky tactics win battles, a dangerous affair with a married woman threatens to unravel everything.

The Ghost Trap (Drama, 1x106 min.) After a boating accident, young lobsterman Jamie devotes himself to caring for his injured girlfriend, but soon his world begins to crumble.

American Warrior

25 Miles to Normal (Drama/comedy, 1x100 min.) Christmas in September? Between tangled tinsel, awkward family secrets and dad’s suspiciously dramatic flair, this family must untangle their past before the holiday spirit gets too merry— and completely out of hand.

Catch the Wind (Drama, 1x100 min.) Follows an Irish comedian and a quick-witted barmaid as fate weaves their destinies together.

A Murder Between Friends (Thriller, 1x102 min.)

A group of friends rent a castle belonging to a legendary television detective. The intrigue unfolds when a guest is discovered dead, compelling Joan Collins, in her role as the famed sleuth, to unravel the threads of a genuine murder mystery.

The Neon Highway (Drama, 1x110 min.) A story of friendship, redemption and the power of music. Get Rich or Die Trying (Thriller, 1x87 min.) When her sister Darcie vanishes, Nicole discovers a sinister multi-level marketing empire run by a ruthless businesswoman.

ATRESMEDIA SALES

m sales@atresmediatv.com w international-sales-atresmedia.com Stand: R7.J1

Las hijas de la criada (The Maid’s Daughters) (Drama, 8x50 min.) Galicia, 1900. Clara and Catalina, born into different classes, are torn apart by revenge, heartbreak and a mother’s fight to secure her daughter’s legacy.

¿A qué estás esperando? (What Are You Waiting For?) (Rom-com, 8x50 min.) Can, a pilot

pressured to marry, meets Sonia at a family dinner. Unknowingly, they share a love for freedom, pleasure and avoiding emotional attachment.

Sueños de libertad (Dreams of Freedom) (Soap opera, S1: 279x50 min., S2: 209x50 min.)

After Jesús de la Reina’s death, power struggles, secrets and betrayals erupt. New rivals emerge, threatening everyone.

¿A qué estás esperando? ( What Are You Waiting For? )

33 días (33 Days) (Thriller, 6x50 min.) October 14, 2001. Two dangerous fugitives escape prison. This series follows their bond and the relentless police hunt. Física o química. La Nueva generación (Physics or Chemistry. New Generation) (YA drama, 8x50 min.) At Zurbarán high school, eight teens join a grief support group after a student’s death, confronting loss, clashing and discovering friendship, love and themselves.

Eva & Nicole (Drama, 8x50 min.) Eva and Nicole’s friendship ends over Manuel. Thirteen years later, Eva returns to Marbella seeking revenge, turning a past love into a dangerous rivalry to have the best club in the city.

Entre tierras (Between Lands) (Drama, S1: 10x50 min., S2: 10x50 min.) María sacrifices love

and home to marry a wealthy landowner for her family’s future, unaware she’s actually marrying his young nephew, Manuel, by proxy.

La Ruta (Drama, S1: 8x50 min., S2: 6x50 min.)

Marc Ribó, a successful DJ from the 1990s Valencian scene, arrives in Ibiza. Twenty-five years earlier, his parents also lived there, shortly before dying in a tragic plane crash.

Mariliendre (Fag Hag) (Musical LGBTIQ+ dramedy, 6x45 min.) Meri Román, former queen of Madrid’s gay nightlife, reconnects with old friends and memories to rediscover herself after her father’s death and years of decline.

Honor (Your Honor) (Drama, 8x50 min.) Spanish adaptation of the scripted format. On Sonia’s death anniversary, Alex accidentally kills a man and runs away. His father, a judge, must cover up the crime to protect his son from a dangerous gangster’s revenge.

ATV

O (90-212) 354-3000

w www.atvdistribution.com

Stand: R7.E75

Queen of Tears (Drama, 45 min. eps. in prod.)

Waves of Love (Drama, 45 min. eps. in prod.) A principled sea captain returns home from a long voyage and is pulled into a deadly web of power, betrayal and buried bloodlines when he unknowingly disrupts his half-brother’s criminal operations.

The Nightfall (Drama, 110x45 min.) Mahir, whose father was assassinated in the city of Denizli by Kürşat Kilimci, returns 20 years later as a police inspector, determined to avenge his father’s death. On his first day back, he has a fateful encounter with a mesmerizing girl named Canfeza, the daughter of Kürşat, and instantly falls in love.

Waves of Love

Hidden Destiny (Drama, 69+x45 min.) Tells the story of Mehmet, a successful lawyer, trying to reconnect with his young daughter, Doğa, who has distanced herself from him after her mother’s death. This effort will also bring longhidden secrets to light.

Safir (Drama, 89x45 min.) Feraye, a textile design student and housekeeper at a wealthy Gülsoy family mansion in Cappadocia, has a flaw in her affection for Yaman, one of the family’s heirs.

The Ottoman (Drama, 623x45 min.) The young and brave Osman will fight both internally and externally to defeat his enemies and empower the Kayı tribe in Anatolia.

Family Joy (Drama, 45 min. eps. in prod.) After the passing of the last owner of an old mansion, those left homeless learn to form a family and support one another, despite the difficulties they initially encounter.

AUSTRALIAN CHILDREN’S TELEVISION FOUNDATION

O (61-3) 9200-5500

m roberta.divito@actf.com.au

w www.actf.com.au

Stand: P-1.G61

Windcatcher (Family film, 1x80 min.) Ten- yearold Percy Boy Collins and his eclectic friends outsmart bullies to win their school’s athletics carnival.

Eddie’s Lil’ Homies (Animated comedy, 10x12 min.)

Eight-year-old Eddie and his best friends navigate playground life with help (and hindrance) from local kids with some comedy, rap music and plenty of kindness.

Windcatcher

MaveriX (Live-action teen drama, 10x30 min.) Six young motocross riders unite to chase national glory— or crash trying—but discover the greatest victory may be the lifelong friendships they forge along the way.

Kangaroo Beach (Preschool animation, 74x12 min. & 3x30 min.) Four young animal friends share an action-packed summer training as cadets with their lifeguard heroes, keeping the water safe at the spectacular Kangaroo Beach.

Crazy Fun Park (Live-action comedy/horror, 10x30 min.) A shy teen wants desperately to fit in

and enjoy his high school years—if only his dead best friend and a posse of rotting ghouls would stop sabotaging him at every turn.

AUTENTIC

m sales@autentic.com w autentic.com

Stand: R7.F2

Game Over: The Fall of Credit Suisse (Current affairs, 4x45 min./1x104 min.) Credit Suisse no longer exists, even though it was “too big to fail” and had built its reputation over a century. How could this happen?

American Amazon (Nature/wildlife, 2x52 min.)

This is a journey into the last secret wilderness in North America.

Penguin Baywatch (Nature/wildlife, 2x52 min.)

Discover the quirky world of penguins and their clumsy neighbors on the Crozet Archipelago, where mystery, science and humor collide in the wild. The Sum of All Cities (Science/tech., 8x52 min.)

A global tour exploring cities one number at a time, from the number of bird species in Panama City to cosmetic surgery rates in Seoul.

American Amazon

The Animal Within (Science/tech., S2: 6x52 min.) Though science strives to build perfect machines, none are more finely calibrated than the ones that survive, endure, fight and thrive in the natural world.

Oslo—The Wild Heart of Norway (Nature/wildlife, 1x52 min.) From herons in misty wetlands to squirrels leaping between rooftops, Oslo pulses with untamed life.

Tattoos: Enigma of the South Pacific (People/places, 2x52 min./4x30 min.) Caught between scientific study and tradition, between colonial archiving and the living practice of tattooing, the story of patutiki reveals itself as far more than art.

Flow: The Force of Weather (Science/tech., 2x52 min./1x90 min.) Discover the unseen engines of our planet: the colossal flows of air, fire and water that shape every aspect of life on Earth.

The Nature of Christmas (Nature/wildlife, 1x52 min.) Get ready for an enchanting journey through the natural history of Christmas.

Masters of the Sea—The Role of Ships in Global History (History, 1x90 min.) From ancient galleys to today’s colossal container ships, seafaring has always embodied our thirst for adventure, a pioneering spirit and technical progress.

BANIJAY KIDS & FAMILY

O (44-370) 042-0042

m sales@banijaykids.com w www.banijaykidsandfamily.com Stand: C20

Stan & Gran (Preschool CGI, 52x11 min.) A mysterybusting, nature-discovering adventure series with a

big dose of funny, following curious Stan and his dynamic Gran.

Totally Spies! (Comedy/action, S1-7: 182x26 min. & 1x90 min.) Beverly Hills students Sam, Clover and Alex live a double life as secret agents, saving the world from wacky villains in this hilarious action series.

Totally Spies!

Chimera Keepers: Adventures with Incredible Creatures (Adventure, 52x11 min.) Join Thelma and Wendy on an extraordinary summer adventure, discovering the unique and magical Chimera creatures.

Super Happy Magic Forest (Comedy/adventure, 52x11 min.) A comedy-quest adventure about five brave heroes brought together by a love of quests, picnics and frolics. Based on the best-selling books by Matty Long.

Piripenguins (Preschool comedy, 52x11 min.) Five fun, unpredictable penguin pals learn about life, friendship and working together in their iceberg colony.

MiniHeroes of the Forest (Preschool, 52x11 min.) Four adorable woodland heroes play and explore, aided by their mini mega powers.

Street Football (2D, S1-5: 130x26 min.) Follows a team of outcasts as they compete in a street football tournament, proving that the game is for everyone.

Once Upon a Time… Objects (Edutainment, 78x7 min.) Maestro unveils the stories behind everyday objects, exploring history, geography, physics and more, showing how they have shaped the world we live in today!

Once Upon a Time… Life (Edutainment, 26x26 min.) Discover the human body from the inside, journeying with Maestro from head to toe, exploring organs, cells, bacteria and more.

Shasha & Milo (Action/comedy, 26x22 min.)

Shasha the cat and Milo the boy discover their shapeshifting destiny and protect their home from an ultra-villainous cat’s hilarious plot to gain ultimate power.

BAVARIA MEDIA

m international@bavaria-media.de w www.bavaria-media.com

Stand: R7.K3

Mozart Mozart (Drama, 6x45 min.) When Wolfgang Amadeus falls apart, his sister Maria Anna takes the stage and becomes the last hope for her family— and her own freedom.

Josefa’s Return (Drama, 1x90 min.) After 40 years, Josefa returns to her home village that she left as a man. Her ex-wife and her childhood friend are seeking answers—and so is Josefa.

Modern Murder (Crime, 4x90 min.) Two strong women team up for tough detective work: Karin, a seasoned and sharp senior, and Leo, a young and ambitious newcomer.

Storm of Love (Telenovela, 4,400+x50 min.)

Arguably the most-watched European telenovela to

date, the telenovela set at the five-star hotel Fürstenhof celebrates its 20th on-air anniversary.

Cold Valleys (Crime, 12x90 min.) Two dyed-inthe-wool Austrian police officers from very different sides of the tracks team up to solve the twisted rural crimes in the insular Alpine countryside.

Einstein High (Kids, S1-27: 26x25 min. each) Welcome to the boarding school where the kids run the show. Together with their subtly guiding teachers, they navigate the ups and downs of growing up.

Pumuckl’s First Adventures (Kids, S1-2: 26x25 min. each) In this beloved classic, kind-hearted carpenter Master Eder lives a simple life—until one day, a mischievous little kobold named Pumuckl appears.

Law and No Order (Drama, 3x90 min.) Eva Adam (Christine Urspruch) is a passionate lawyer with her own company who is determined to go to great lengths to help her clients seek justice.

Deadly Whispers—Beneath the Surface (1x90 min.) An anonymous call alerts Bremerhaven’s special customs unit that the cargo ship Hundred Waves is allegedly carrying illegal components for combat drones.

Where We Come From A talented child tries to emerge from the social plagues that come with

Mozart Mozart

poverty at the bottom of the economic food chain, against the will of his proud father.

BBC STUDIOS

m format.sales@bbc.com w sales.bbcstudios.com

Stand: P0.E1

Wisdom of the Crowd (Game-show format, 45 min. eps.) One contestant tries to outguess the average of a 200-person crowd. Science says the crowd should win, but can the contestant beat them and win big?

The Inner Circle (Game-show format, 45 min. eps.) Strategy and trust are as important as general knowledge. The aim of the game? Get the most cash and best brains into the final.

Nation’s Dumbest (Game-show format, 60 min. eps.) The world’s first competition you don’t want to win. Twelve celebrities compete to be eliminated in an attempt to avoid being crowned “Nation’s Dumbest.”

The Honesty Box (Dating reality format, 45 min. eps.) In this radical dating experiment, singles take part in the most honest dating show ever to find love and win big.

The 1% Club (Game-show format, 45 min. eps.) A multi-award-winning game show that’s already in 13 countries and counting. It’s not about what you know, but how your brain works.

Weakest Link (Game-show format, 60 min. eps.)

The iconic game show returns as eight contestants aim to bank cash whilst ruthlessly eliminating the group’s “weakest link” on their path to the final.

Moneybags (Game-show format, 60 min. eps.)

The game show where contestants can get their hands on a fortune by literally grabbing it. The game isn’t over until the last bag comes out.

Our Dementia Choir (Fact-ent., 50 min. eps) This social experiment unveils the true extent of music’s power in fighting dementia as a unique choir rehearses and delivers a moving final performance.

The Answer Run (Game-show format, 45 min. eps.) The quiz where the answers are right in front of you and success swings on a split-second swipe. Bridge of Lies (Game-show format, 45 min. eps.) One team. One cash prize. All that stands in their way is the “Bridge of Lies.” Can they make it to the end, avoiding the lies and stepping on the truths? Or will they fall?

BEAJ (BROADCAST PROGRAM EXPORT ASSOCIATION

OF JAPAN)

O (81-3) 5577-6511

m contact@beaj.jp

w www.japan-programcatalog.com/en/

Just Circle it! (Format) A new type of quiz show where anyone can answer questions by “just circling” them. (NHK Enterprises)

Wisdom of the Crowd

Mega Catch (Format) The ultimate showdown where a single rule decides everything: catch it and survive—miss it and you’re out. (Nippon TV)

Six Genz Game (Format) Boomers meet Zoomers. A hit show unites generations in hilarious teamwork battles for cash—bridging age gaps with laughs, surprises and viral moments. (Yomiuri TV)

Love Time Travel (Format) A fresh dating reality show where singles in their 20s date across the ’80s, ’90s and today—connecting in person without phones, bonding through cassette tapes and embracing today’s world of online dating. (TV Asahi)

Wait, What? (Format) A travel-comedy show where celebrities explore towns while studio hosts pause footage to deliver witty commentary, turning everyday moments into laughter. (ABC TV)

Infinite Loop (Format) A survival game where challengers navigate a hexagonal maze, facing highstakes missions and psychological warfare to outwit each other and win unlimited prize money. (TBS)

Reform Horror House (Format) In this horrormeets-variety show, celebrities explore a cursed “horror-modified” house. As their investigation unfolds, viewers uncover clues and piece together the mystery. (MBS)

SUMO KING (Format) A physical competition format where 20 powerhouse contenders compete in four knockout stages, all on a massive sumo ring. (TV TOKYO)

Like or Dislike Doubt (Format) The ultimate psychological battle to discern truth from lies, as well as an entertainment show that offers a glimpse into the true personalities of celebrities. (Fuji Television)

The Laughing Throne (Format) Studio variety show: players play musical chairs for themed seats, then duel improv; judges score delivery, creativity, timing, laughs; losers out; final showdown crowns champion. (Kansai TV)

BLUE ANT STUDIOS

O (1-416) 646-4434 m international@blueantmedia.com w blueantmedia.com/rights Stand: R8.D7

Taylor (Bio., 2x60 min./1x90 min.) A cinematic portrait of Taylor Swift’s journey from childhood to stardom, using rarely seen footage and insight from insiders to reveal her artistry, resilience and cultural impact.

Death in the Wild (Crime, 6x60 min.) In the remote wilderness, friends gather in the beauty of nature only to come face-to-face with their worst nightmares.

The Great Art Fraud (Art/crime, 2x60 min.) Inigo Philbrick rose to art-world fame and orchestrated an $86 million scam. This series with unique access uncovers his lavish life, deception, disappearance and dramatic downfall.

Cold War Spies (History, 6x60 min.) Revealing the world of Cold War espionage, this series explores

double agents, deadly missions and covert operations through firsthand accounts from former spies.

Cosmic Vistas (Space/science, 8x60 min.) This series uses groundbreaking imagery and storytelling to uncover cosmic mysteries, human achievements and our place among the stars.

Judi Dench: Shakespeare, My Family and Me (Bio., 1x60 min.) Dame Judi Dench embarks on a personal journey, exploring Shakespeare’s world and uncovering possible family ties while reflecting on her career, ancestry and enduring passion.

Buried Evidence (History/science, 10x60 min.) Uncovering legendary treasures, temples and graves, this archaeological series reveals hidden secrets through 3D reconstructions, showing how discoveries transform our understanding of history and humanity. Wild Side of the Moon (Nature/wildlife, 3x60 min.) Reveals how the moon profoundly shapes animal behavior, influencing survival, reproduction and hidden rhythms that govern life on Earth.

Andy’s East Coast Kitchen Crawl (Food/travel, 12x30 min.) Chef Andy Hay travels across Canada’s east coast to cook, forage, fish with locals and uncover unique flavors before returning home to create inspiring, regionally-inspired recipes.

World War II: History on Trial (History, 6x60 min.) Exploring postwar justice, this series traces landmark and overlooked trials worldwide, revealing how accountability for atrocities shaped modern laws against war crimes and genocide.

BOAT ROCKER STUDIOS

O (1-416) 591-0065

m sales@boatrocker.com

w www.boatrocker.com

Stand: R7.N13

The Next Step (Teen/tween, S10: 20x30 min.)

Follows a new generation of dancers facing fierce competition, deep rivalries and unexpected alliances on and off the stage.

Dino Ranch: Island Explorers (2-5 3D comedy/ adventure, 52x11 min.) The spin-off of the smashhit Dino Ranch propels the Cassidy family into all- new, high-octane adventures on the mysterious and exotic Dino Island.

Dino Ranch (2-5 comedy/adventure, S3: 52x11 min.) Follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical, “pre-Westoric” setting where dinosaurs still roam.

Death in the Wild

Olga Da Polga

Stomp! Stomp! Rhinos! (6-11 3D edutainment, S1: 13x7 min., S2: 13x7 min., S3: 13x7 min.) When the feelings of the young rhino siblings get out of hand, mom, dad and the siblings are there to support and teach simple emotional regulation exercises.

Surprise & Seek (4-10 game show, 16x11 min.) Our friends hide in fantastic worlds filled with dinosaurs, super-sized candy, pirate ships, snowstorms and more—while trying to avoid hidden booby traps.

Olga Da Polga (2-5 wildlife, S1: 13x11 min., S2: 15x11 min.) Olga is a lovable and highly imaginative guinea pig. She lives with the Sawdust Family and a collection of backyard animal friends.

Peet The Forest Detective (3-7 nature doc. & animation, S1: 26x15 min., S2: 26x15 min., S3: 26x15 min., S4: 26x15 min.) The Forest Detectives experience a wide range of escapades, and through their journeys, children gain a deeper understanding of the environmental issues of our time.

Daniel Spellbound (6-11 3D action/adventure, S1: 10x30 min., S2: 10x30 min.) Daniel Spellbound sells magical ingredients for spells. When he catches the attention of dangerous alchemists, he must test his skills on a global adventure.

Lex & Plu Space Taxi Drivers (6-11 adventure, S1: 26x11 min., S2: 26x11 min.) Takes viewers on a cosmic journey to the universe’s outer fringes, where every new passenger means a new adventure.

BOSSANOVA

MEDIA

O (44-20) 8124-8419

m office@bossanovamedia.com w www.bossanovamedia.com Stand: R7.K4

Ancient Autopsy (History/mystery, 4x60 min.)

Professor Suzannah Lipscomb uncovers the truth

behind the deaths of four legendary ancient figures using cutting-edge digital technology, original sources and hands-on reconstructions.

Guy Martin: Proper Jobs (Ent., 8x60 min.) Guy Martin takes on some of the U.K.’s most demanding professions—trawler deckhand, wildlife warden on a remote island, firefighter and mountain rescue dog handler.

Ed Gein: Original Psycho

Martin Compston Living Las Vegas (Access/ob-doc., 3x60 min.) Actor Martin Compston takes viewers on an insider’s tour of Las Vegas, revealing the secrets, thrills and irresistible allure that make it the ultimate playground.

Red River Gold (Access/ob-doc., S1-2: 12x60 min./26x30 min.) These treasure hunters are on the search for a trove of missing gold coins that have a deep historical connection to the Red River Resistance.

Ed Gein: Original Psycho (Crime/investigation, 2x60 min.) Brings to life one of America’s most infamous true-crime stories in a way never seen before.

Gold Wars Down Under (Access/ob-doc., 10x60 min.) Three hardcore mining teams battle it out to see who can unearth the biggest nuggets and the most gold in an epic gold hunting season.

Classic Car Kings (Motoring, 6x60 min.) Big Irv and his team of welders, fabricators and mechanics are renowned for bringing classic cars back from the dead. These guys are car restoration royalty.

Wild Homes (Home/property, 10x60 min.) This repeatable lifestyle series follows Jonathan Lloy as he builds modular homes and delivers them to remote regions in North America.

Secrets of Flying Scotsman (History/mystery, 2x60 min.) Rare archive and expert insight tell the remarkable tale of the world’s most iconic steam locomotive, the first to hit 100 mph.

Soldier: Ready for War (Access/ob-doc., 4x60 min.) Unprecedented access to the Royal Welsh, one of Britain’s most decorated armored infantry units, as they train hard to be ready for war.

CAKE

m info@cakeentertainment.com w www.cakeentertainment.com

Stand: R7.D18

Pablo: Next Level (Animation, 40x11 min.) 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.

Bubblegem

Armorsaurs (Live-action, 26x21 min.) A team of teen pilots and their armored dinosaurs are humanity’s last line of defense against a sophisticated alien army intent on destroying Earth.

Tiny Buds (Animation, 26x5 min.) Six tiny explorers discover the vast wilderness of a small garden.

Groundhog Gary: Six More Weeks (Live-action, 1x90 min.) Desperate to stop his parents’ divorce, Benny kidnaps the town’s groundhog to extend winter and buy himself six more weeks.

DreaMars (Live-action, 40x22 min.) A groundbreaking international program selects eight exceptional teenagers to become the first young people to train for life on the Red Planet.

Bubblegem (Animation, 52x11 min.) In this Korean magical adventure series, Princess Purple and her mermaid friends must recover magical gems while navigating human life and protecting both worlds.

Fantus (Preschool live-action, 125x6-15 min.)

Fan tus, a curious creature, helps toddlers learn routines, social skills and more through educational content, playful adventures, catchy songs, gentle storytelling and calming, colorful animation.

The Sisters (Animation, 156x11 min.) Follows spirited 7-year-old Marie and her teen sister Wendy, whose hilarious rivalries and adventures reveal a heartfelt bond beneath their constant bickering.

Tiny Wonders (Preschool animation, 52x3.5 min.) The Nogglins discover nature’s tiny wonders, inspiring young viewers with curiosity, mindfulness and a positive relationship with the environment.

Wow Lisa (Preschool animation, 26x7 min.) Lisa, a curious mouse, finds magic in everyday things.

CALINOS ENTERTAINMENT

O (90-216) 999-4999

m info@calinosentertainment.com w calinosentertainment.com

Stand: P-1.M51

Lies After Lies (Drama) A drama about a mother’s struggle to reunite with her child while facing deep prejudice, old wounds and relentless vengeance.

Chasing the Sun (Drama, 75 hrs.) Gunes, forced to give up all her dreams when her brother is imprisoned as a result of slander, infiltrates the life of Ayaz, who she thinks is the cause of this situation.

Flames of Love (Drama, 84 hrs.) Tells the story of the impossible love between Zumrut, the most beautiful daughter of the struggling Kuloglu family, and Serhat, the precious son of the powerful Demirkan family of Nevsehir.

Farah (Drama, 89 hrs.) Tells the story of an Iranian woman who fled her country and struggles to survive in Istanbul, working as a cleaning lady to fund her son’s medical treatment.

In Her Arms (Drama, 90 hrs.) Follows Bas ma, a young girl whose childhood is scarred by violence and neglect from her mother and stepfather.

Crystal (Drama, 90 hrs.) Fay, the daughter of a gardener living in the servants’ quarters of a grand mansion, idolizes Alya, the beautiful and glamorous daughter of the mansion’s owner. Fay rises in power, claiming the mansion and Alya’s life piece by piece. But success comes at the cost of her identity.

Deeply (Drama/romance, 14 hrs.) Deniz and Baris once shared a passionate love story. Years later, they cross paths again, and memories from their intense past resurface.

CJ ENM

O (82-2) 371-8617

m watch@watchcjenm.net w watch.cjenm.com Stand: R8.B18

Jeongnyeon: The Star is Born (Drama, 12x70 min.) Jeongnyeon, a talented singer from a poor family, discovers gukgeuk—traditional Korean opera—and dreams of becoming the greatest gukgeuk actor herself.

Marry My Husband (Romance/comedy/fantasy, 16x70 min.) Kang Ji-won, betrayed and killed, travels back ten years to rewrite her fate, teaming up with Jihyuk to punish her unfaithful husband and best friend.

Lovely Runner (Romance/fantasy, 16x70 min.)

Im Sol, devastated by top star Sun-jae’s tragic death, wakes up 15 years in the past, determined to save him from his fate.

LTNS (Comedy/drama, 6x60 min.) In a sexless marriage, Woo-jin and Samuel blackmail cheating couples for money, rekindling their bond until a buried secret threatens to destroy everything.

I-LAND2 (Music/reality, 10x90 min.) BLACKPINK producer Teddy forms a new girl group. Who will rise as the next K-pop star in the second season?

Apartment 404 (Game show, 8x60 min.) Top Korean stars become detectives, uncovering

Lies After Lies

Jeongnyeon: The Star is Born

real- life apartment mysteries through games, clues and reenactments in a thrilling, suspense-filled variety show experience.

Dear X (Romance/suspense, 12x70 min.) An intense yet beautiful melodrama thriller about a woman who wears a mask to survive and a man who tries to save her.

Infinite Loop (Game show, 8x60 min.) A gripping survival game show where six challengers navigate a hexagonal maze to win unlimited prize money.

I Can See Your Voice (Music competition) A celebrity guesses who can truly sing based on looks and clues. Mystery singers reveal all on stage, ending with a thrilling duet finale.

Date My Friend (Dating/reality) Celebrities play matchmaker in friends’ love lives, offering playful meddling and support. But will their matchmaking magic succeed, or will Cupid miss the mark?

DANDELOOO

O (33-9) 7264-4601

m sales@dandelooo.com w www.dandelooo.com

Stand: P4.B1

Max & Bunny (Kids 2D adventure, 26x5 min.) Bunny is a real bunny for Max. They talk to each other, confide in each other, give each other advice, console each other and bicker. But only Max knows.

Billy the Cowboy Hamster (Preschool 2D adventure/comedy, 48x11 min. & 2x22 min.) Billy dreams of being a cowboy but is still just a hamster child. Hold on Gaston! (Kids 2D adventure, 46x11 min. & 3x22 min.) Living in a peaceful village surrounded by green hills, Gaston is a young unicorn like many others—except his rainbow mane changes colors according to his emotions.

Under the Sofa (Kids/family 2D sitcom, 52x7 min.) A comedy in which a group of lost objects get a second chance as they live in hiding under a sofa.

PongPong Dino (Early preschool CGI comedy, 52x7 min.) Explore a world where food comes to life in massive proportions, and five kids are about to set off on an unforgettable adventure.

Pol the Pirate Mouse (Preschool CGI adventure, 13x7 min. & 1x26 min.) Pol, the smallest pirate you’ve ever seen, and her eclectic crew look for lost treasures to give back to whichever forest friend they belong to.

Tuiga (Kids 2D comedy/adventure, 39x7 min.) A giraffe in a balloon makes deliveries around the world, accompanied by a girl pilot, a not-so-easily impressionable flower and an enthusiastic little rock.

Pompon Little Bear (Preschool 2D adventure, 72x7 min. & 2x21 min.) In bear cub years, Pompon is 7. He is mischievous, cheerful and playful, but above all, he adds a bit of extra to the ordinary.

The Mystery of Missing Socks (Kids stopmotion, 1x21 min.) Little Pille goes to find her father’s missing socks under the bed. She finds that dad’s socks have an egg. Now, Pille must protect the socks from danger until the tiny egg can hatch.

Jasmine & Jambo (Preschool 2D edutainment, S12: 52x7 min., 52x1 min., 26x1 min., 4x26 min.)

Jasmine and Jambo are crazy about music. They live in Soundland, where music and life go hand in hand.

Pompon Little Bear

DISNEY ENTERTAINMENT LATIN

AMERICA

w www.dmdcentral.com

Stand: P3.C1

The Banshees of Inisherin (Drama, 1x114 min.)

From writer-director Martin McDonagh comes a unique film starring Colin Farrell and Brendan Gleeson.

A Haunting in Venice (Drama/mystery/thriller, 1x120 min.) Kenneth Branagh stars as celebrated sleuth Hercule Poirot in this mystery set after World War II.

The Menu (Comedy/horror/thriller, 1x107 min.) A young couple travels to an exclusive island restaurant, but it soon becomes clear that the dinner guests are about to be served some shocking surprises in this dark comedy.

DORI MEDIA GROUP

O (972-3) 647-8185

m sales@dorimedia.com

w www.dorimedia.com

Stand: P-1.F50

La Subasta (The Auction) (Game show) Two teams bid on mystery items using hints (maybe helpful), all for a grand prize—blending auctions with humor, strategy, adrenaline and pure entertainment.

AMIA (Political/action drama, 8x45 min.) A Mossad agent hooks up with a local Argentinean journalist to find those responsible for a terrorist attack. Their journey draws them into a world of espionage, intelligence agencies and arms dealers.

Power Couple (Reality format) Eight couples face extreme challenges that will test how well they really know each other.

Soul Sucker (Horror comedy, 8x45 min.) On the verge of turning 40, a washed-up reality star is dead-set on turning her life around and winning back her mythological ex until she finds out that she might be carrying a matrilineal family curse.

Asfur (Drama, 70x35 min.) An industrial area among garages, seemingly a junkyard, is the “kingdom” of these hopeless underdogs, who work off the books, smoke, party and sway on life’s ham mock—until the rope is cut.

Cramel (Kids fantasy/adventure/drama, 80x30 min.) Three orphaned brothers inherit a castle, a factory and Cramel, a magical cat. Their dream life hides danger, fairytale wonders, mystery, suspense and humor in a fantastical adventure.

Lalola (Comedy, 20x30 min.) Lalo’s life changes when he breaks Romina’s heart and she goes to a witch to teach him a lesson. He wakes up turned into Lola and will learn to be a woman while seeking to reverse the spell.

The Banshees of Inisherin

La Subasta (The Auction)

Las Estrellas (5 Stars) (Rom-com, 120x60 min.)

The death of Mario Star leaves his five daughters—from three different mothers—to successful ly manage a boutique hotel to claim their inheritance.

Smart Face (Game show) Contestants are asked questions but are not allowed to answer them—they must find someone on the street to do so. If the person they choose answers correctly, they win money and move on to the next question. If the person is incorrect, they are out of the game.

Rebelde Way (Kids drama, 318x60 min.) Follows six teens from diverse backgrounds at a prestigious boarding school.

ECCHO RIGHTS

w ecchorights.com Stand: P3. B1

Terra Rossa (Drama/romance, 96x45 min.) Forbidden love reignites the feud between two families. As vengeance brews, Ömer and prosecutor Nevin collide, their pursuit of justice entwined with desire.

Behind the Veil (Drama, S1-3: 235x45 min.)

Hançer and Cihan’s love teeters on the edge as Hançer’s estranged mother returns and Hançer’s vengeful sister declares war to destroy their enemies, Cihan’s family.

Beneath the Surface (Drama, S1-2: 20x45 min.)

After her father’s suspicious death, Officer Cihan Manoğlu secretly investigates his case, pulling herself and her colleague Metin into a labyrinth of hidden truths.

A Journey to Belong (Drama, 150x45 min.)

When Yasemin leaves her little sister at her estranged grandmother’s mansion, hidden family secrets risk resurfacing, threatening to unravel relationships and change lives forever.

Safe Harbor (Drama/thriller, 8x52 min.) Techsavvy misfits Marco and Tobias’s lives are upended when they hack Rotterdam harbor’s system to control drug shipments for the Irish Mob’s European outpost.

Catch Me A Killer (Drama/thriller,

11x50 min.)

Follows journalist-turned-profiler Micki Pistorius as she hunts serial killers in post-apartheid South Africa, battling prejudice and personal demons. I Am Mother (Drama, S1-2: 161x45 min.) Filiz marries Hasan while Karsu enters a marriage of convenience and works for the cold, arrogant Bora Bozbeyli to aid her custody battle against Reha. Winds of Love (Drama/romance, S1-2: 373x45 min.) Zeynep learns Halil entered her life for revenge and refuses to be his “rebel lover,” but Halil persists, and their love is tested.

EL REINO INFANTIL

O (34) 628-598071

m ylka.tapia@puro.studio

w www.linkedin.com/company/el-reino-infantil/ Stand: R7.J11

Bartolito (4-8 Unreal Engine 3D sitcom/musical)

Aims to accompany little Barto fans as they take the big step of becoming students, surrounded by music, comedy and new friends.

Behind the Veil

La Granja de Zenón (Zenon’s Farm) (Preschool/family) The most-watched children’s series in Ibero-America, with over 50 million subscribers and more than 45 billion views.

Bichikids (Boogie Bugs) (Preschool/family) Little bugs suggest tasks, choreographies and funny activities that match the rhythm of cheerful songs.

Canciones

del Zoo (Zoo Songs)

(Preschool/family) Takes place in a zoo where a man named Mario works as a vet, accompanied by his son Pedro, his niece Mía and his nephew Teo.

Familia Blu (Family Blu) (Family) The Blu Fami ly’s songs spread love and joy in each video. Along with colorful animations and beautiful melodies, you will meet each member of the family.

Paco el Marinero (Paco the Sailor) (Family) Paco and Luli, as good sailors, are always ready to dive into new adventures full of rhythm, dancing, fun and discoveries.

ELECTRIC ENTERTAINMENT

O (1-323) 817-1300

m sales@electricentertainment.com w sales.electricentertainment.com Stand: R8.B1

The Librarians: The Next Chapter (Action/adventure, S1-2: 24x60 min.) When a

“Librarian” stuck in the present inadvertently releases magic across the continent, he is given a new team to help him clean up the mess he made.

The Ark (Drama/sci-fi, S1-2: 24x60 min., S3: 12x60 min. in prod.) The remaining remnants of humanity establish a new planetary home base while Captain Sharon Garnet takes a crew back out to search for lost Arks that haven’t yet made it to safety.

Leverage (Drama, S1-5: 77x60 min.) Nate Ford and his cohorts come together in an attempt to level the playing field against those who take advantage of others.

Leverage: Redemption (Action/crime, S1-3: 39x60 min.) This season, the team pits themselves against a power broker, a mayor, a pool hustler and an industrialist exploiting child labor, all while dodging a plan of vengeance from a season one enemy.

The Librarians: The Next Chapter

The Poly Couple (Drama/comedy, 9x30 min.)

Inspired by their real-life experiences as a polyamorous couple, it began as a social media series with 1 million followers and 500 million views.

Sideswiped (Comedy, 8x30 min.) Single and miserable at 35, Olivia decides to date all 252 of her matches on Tinder. The series follows Olivia and her mom and sister as they navigate dating in the digital era.

Sloane and the Cosmic Schlep (Animated scifi/comedy, 8x30 min.) Follows a young woman who leaves her home on Earth for a job as an interplanetary taxi driver for a slew of unruly aliens.

Bartolito

Almost Paradise (Action/crime, S1-2: 20x60 min.) U.S. DEA agent Alex Walker, retired on a tranquil beach in the Philippines, uses his skills as a longtime operative to put away criminals. One Big Happy Family (Comedy/drama, 1x82 min.)

Lisa Brenner stars as Rachel, a woman who goes on a journey of shock, dismay, disillusionment and selfdis covery, filled with surprisingly hilarious moments, with Linda Lavin, who plays her Jewish mother.

ESCAPADE MEDIA

O (61) 411-035317

m natalie@escapademedia.com.au www.escapademedia.com.au Stand: R7.B15

Swipe (Comedy/drama, 10x60 min.) A no-holdsbarred comedy following Julia, an Australian exchild star in Britain, on a long-haul homecoming to her dysfunctional family and a possible Mr. Right.

Deadly Messages (Cozy crime, 10x60 min.)

Pushpa Babbar, former Delhi detective, now U.K. social media icon, cracks cold cases uncovered online, using her unique blend of Eastern instincts and Western methods.

In the Light of Darkness (Crime drama, 8x60 min.) When a mass tragedy and an MP’s murder expose an occult conspiracy, a rogue detective

hunts an unconventional killer and ancient evil that is tearing the U.K. apart.

Food Diary (Lifestyle/food/travel, 4x60 min.) A visceral journey through countries that rarely top tourist lists, where food, politics, history and humanity collide for chef Colin Fassnidge.

A Season with Isabella Rossellini (Lifestyle/bio., 1x60 min.) Follows Isabella Rossellini in Italy, France, Spain and at her farm.

Wedding Dancers (Fact-ent., 10x60 min.)

Celebrity choreographers work with couples and their wedding parties to craft, rehearse and ultimately perform dances on their wedding day.

Casa Federici (Lifestyle, 8x48 min.) Invites viewers on a transformative journey, discovering the allure of starting fresh in an exotic destination and finding a new place to call home.

Motor Masters (History, 10x60 min.) A countdown series that showcases the most important automobiles and the most famous motoring titans.

Untamed (Factual, 6x60 min.) The adventures of two conservation wildlife veterinarians who work to protect endangered species in the wilds of Southern Africa.

Rue & Harper’s Wonder World (Preschool, 40x10 min.) Rue and Harper explore different cultures across the world, exploring a different country in each episode.

FILMAX

O (34-933) 36-85-55

m filmaxint@filmax.com w filmaxinternationalsales.com Stand: R7.J11

Not For Sale (Ravalear) (Thriller/family drama, 6x45 min.) A Barcelona family battles to save its century-old restaurant in the Raval from a ruthless

Swipe

investment fund, risking everything in this series produced for HBO Spain and Portugal.

Mouths of Sky (Thriller, S1-2: 8x40 min.) Former police officer Nerea García is drawn back into Bilbao’s dark underworld when a ritual murder investigation forces her to confront haunting secrets from her past.

Dating in Barcelona (Rom-com, S1-2: 12x50 min.) Set in Barcelona, the series explores online dating through diverse first-date stories, blending fears, desires and secrets as characters navigate love, sex and loneliness in the digital age.

FOX ENTERTAINMENT GLOBAL

O (1-917) 691-3031

m alexandra.gillespie@fox.com Stand: C15/16

Best Medicine (Drama, 13x43 min.) Based on the critically acclaimed global hit Doc Martin , follows Martin Best (Josh Charles), a brilliant surgeon who leaves his Boston career to become a general practitioner in a quaint East Coast fishing village.

The Z-Suite (Comedy, 8x26 min.) Advertising maven Monica Marks (Lauren Graham) launch es her biggest campaign yet—getting her career back and taking down the eager team of Gen Zers who are just starting to get comfortable in their new roles.

Animal Control (Comedy, S4: 12x22 min.) A group of local animal control workers navigate the complexities of human nature, led by Frank (Joel McHale), an eccentric officer with a superhuman ability to understand animals.

Going Dutch (Comedy, S2: 12x22 min.) Arrogant loudmouth U.S. Army Colonel Patrick Quinn (Denis Leary) is reassigned to the Netherlands, where he is punished with a command position at the least important army base in the world.

Krapopolis (Animated comedy, S1: 23x22 min., S2: 22x22 min., S3: 13x22 min.) Set in mythical Ancient Greece, this series follows a flawed family of humans, gods and monsters trying to run one of the world’s first cities.

Grimsburg (Animated comedy, S1: 13x22 min., S2: 13x22 min., S3: 13x22 min.) Marvin Flute (Jon Hamm) is back in Grimsburg to follow every lead he’s got to redeem himself with the ex-wife he never stopped loving, even if it means hanging out with the son he never bothered to get to know.

Next Level Baker (Competition, 4x43 min.) The holiday special tests the skills of bakers as they are challenged to create eye-popping, festive holiday delights across the franchise’s three iconic levels.

Martin Scorsese Presents: The Saints (Doc., S1: 7x43 min., S2: 8x43 min.) Hosted, narrated and executive produced by Academy Award winner

Best Medicine

Not For Sale (Ravalear)

Martin Scorsese, each episode delves into the life of a singular historical saint, highlighting their acts of faith and devotion in addition to their sacrifices.

Yellowstone to Yosemite with Kevin Costner (History, 3x43 min.) Explores the region’s rich indigenous American legacy, the serendipitous arrival of outsiders in 1850 and how John Muir evolved from an unknown Scottish immigrant to a crusader for our wildest places.

Christmas Everyday (Holiday, 1x90 min.)

Francine “Fancy” Ballantine (Brandy Norwood), a dedicated fashion designer, balances family duties and career goals. As Christmas nears, Fancy faces a choice between her planned life and unexpected love.

FUJI TELEVISION NETWORK

O (81-3) 6865-1988

m intlsales@fujicreative.co.jp w jet-pm.com

Stand: P-1.G2

A Brighter Tomorrow (Drama, 11x54 min.) A former police officer joins a child welfare center, passionately supporting children and families, bringing change and warmth to the office and community.

Stingers: Undercover Verification Unit (Crime/action, 11x54 min.) Follows Japan’s first undercover unit, the Stingers, led by Tamiko, as they tackle high-tech crimes with cunning, strategy and thrilling deception.

Last-Resort Investigator (Mystery, 11x54 min.)

A genius forensic scientist and his quirky assistant solve baffling crimes, exposing lies and hidden truths with sharp science, while confronting their own personal challenges.

Learning to Love (Romance, 11x54 min.) A strict teacher helps an uneducated host navigate life,

sparking unexpected lessons, connection and the possibility of Manami’s first real love.

Rich

Man, Poor Woman (Rom-com, 11x54 min.)

A clumsy student and a billionaire CEO cross paths, sparking a humorous, modern-day Cin derella romance filled with unexpected connections and billion-dollar chemistry.

I Doubt it! (Game show, 1x120 min.) A studio game show where celebrities’ truths and lies are tested, blending psychological mind games with entertainment, easily adaptable for any country.

The Forbidden Duel (Fact-ent., 2x120 min.) Top professionals compete in high-stakes challenges— from magic to cheerleading to driving—showcasing skill, pride and the pursuit of mastery.

VS School—The Ultimate HIDE and SEEK (Comedy game show, 29x30 min.) A large-scale game of hide and seek against an entire high school. Celebrities hide in realistic props, and students must find all the hiders in time to win the prize.

Iron Chef (Cooking competition, 295x45 min.)

Expert chefs challenge Iron Chefs in culinary battles, creating dishes around a single ingredient in an adrenaline-fueled, visually stunning game show. Run for Money (Game show, 64x60-120 min.)

Celebrities play a high-stakes version of tag, evading professional hunters and completing missions in a delimited area to win prize money.

A Brighter Tomorrow

GLOBAL AGENCY

O (90-212) 241-26-93

m info@theglobalagency.tv w www.theglobalagency.tv

Stand: R8.D21

Dynasty of Love (Drama) A drama about a battle for control of a powerful bus terminal, entangling its complex characters in a web of love, betrayal and revenge.

One Love (Drama, S1: 95x60 min., S2: 119x60 min., S3: 121x60 min., S4) The story of the idealistic Doga falling hopelessly in love with a charming man from a devout family whose values clash with those of her mother.

My Mother’s Tale (Drama, 47x60 min.) Presents the tale of Zuhal and her battle to bring up her three sons and find redemption after betrayal by her husband, tragedy and dark secrets from the past.

Vendetta (Drama, S1: 201x60 min., S2: 319x60 min., S3: 125x60 min.) Dilan and Baran are forced into marriage to end a blood feud, triggered by an attack on Baran’s parents, which leaves him struggling to bring peace to a conflict-filled family.

Red Roses (Drama, S1: 63x60 min., S2: 95x60 min.) Tells the story of Meryem, married off at 14 in an Islamic sect, and now battling bravely to prevent her daughter Zeynep suffering the same fate as the bride of the sheikh’s grandson.

BTS (Beat the Smartest) (Quiz format) Tests the knowledge, strategy and luck of four contestants as they face off in thrilling one-on-one duels, answering visually presented multiple-choice questions across categories like cinema, music and general knowledge.

Big 5 (Singing talent) Fifteen contestants train intensively in music, dance and styling for 12 weeks, aiming for a spot in a five-member pop group.

Celebrity Dreams (Reality/lifestyle) In each episode, a famous person lives out a secretly cherished fantasy.

GMA NETWORK

O (632) 8333-7633/34 m GWI@gmanetwork.com w gmaworldwide.tv Stand: P-1.E67

Her Name Was Carolina (Drama, 45x45 min.) Lorena built a perfect life as Wilfred’s wife—until her true identity as Carolina, accused of killing his first wife, was exposed. Branded a murderer, she lost everything. But the real monster wasn’t her—it was the man she loved.

Her Name Was Carolina

Hearts on the Badge (Action/romance, 40x45 min.) After her mentor’s death, police officer Bobby crosses paths with Tonyo, an undercover cop seeking revenge. Together, they uncover a deadly

Dynasty of Love

conspiracy involving two rival action stars—and secrets that could tear everything apart.

Sang’gre (Fantasy, 50x45 min.) On her 18th birthday, Terra discovers she’s the last princess of Encantadia. With newfound powers, she must defend both realms from an evil queen and embrace her true destiny.

GURU STUDIO

O (1-416) 599-4878

m sales@gurustudio.com w gurustudio.com

Stand: R7.D25

True & You: Shorts from True and the Rainbow Kingdom (Preschool 3D, shorts) A brand-new collection of shorts designed for cross-platform viewership that brings the heart of the True universe to life in bite-sized adventures.

True & You: Shorts from True and the Rainbow Kingdom

123 Number Squad! (Preschool 3D, 104x11 min.)

Paula, Billy and Tim use their love of numbers and counting to become a fast-response rescue team, helping solve problems faced by the citizens of Numberville.

Bark Heads (Kids 2D comedy, 52x11 min.) Boom is on a quest to be the doggiest dog who ever lived. Only catch? He’s a pig.

Big Blue (5-9 2D comedy, 52x11 min.) Siblings Lettie and Lemo lead their quirky submarine crew

to solve the ocean’s mysteries and find the origins of a new magical recruit named Bacon Berry.

HAT TRICK INTERNATIONAL

O (44-207) 184-5712

m melodyr@hattrick.com w www.hattrickinternational.com

Stand: R7.F24

Dear Life (Drama, 6x60 min.) After her fiancé’s tragic death and organ donation, grieving Lillian seeks the man with his heart, uncovering unexpected truths about grief, identity and healing.

Coming Out Amish (Factual, 1x90 min.) A five-year documentary following Mark, a gay Amish man, as he challenges tradition and embraces self-acceptance.

The Toolbox Murders (Factual, 2x60 min.)

Unravelling the chilling double murder, exposing a web of suspects, trials and unanswered questions. Do You Have ADHD? (Factual, 1x60 min.)

Unpacking the complexities of ADHD diagnoses with expert guidance, offering viewers a chance to self-assess alongside the process.

Dear Life

Britain’s Megaport (Factual, 4x60 min.) Delivers unprecedented access to Aberdeen’s bustling port, capturing the scale, skill and nonstop drama behind Europe’s oil capital and its vital maritime operations.

What Not To Eat (Factual, 4x60 min.) Discovering how removing ultra-processed foods can ease common health issues, with families guided by Professor Tim Spector and Dr. Kandi Ejiofor.

Johnny Vegas’ Little Shop of Antiques (Factual, 8x60 min.) Comedian Johnny Vegas pursues his dream of opening an antiques shop, scouring the North with friend Bev while struggling to part with his lifelong collection.

George Clarke’s Building Home (Factual, 16x60 min.) George Clarke meets people driven by deep emotional ties, risking everything to transform ruins, wrecks and memories into dream homes in Britain’s most beautiful places.

Welcome to Britain (Factual, 1x90 min.) Channel 4 follows migrants risking everything to reach the U. K. and the locals determined to keep them out, revealing human stories behind the small boat crisis.

INTER MEDYA

O (90-212) 231-0102 m info@intermedya.tv w intermedya.tv Stand: C16.C

Halef (Drama) Serhat secretly weds Melek, but a blood feud binds him to Yıldız. As Agha, he confronts betrayal, buried secrets and love on trial.

Eshref Ruya (Drama) Eshref, a man who has everything but belonging, is unknowingly drawn back to his lost childhood love, discovering a destiny of passion he never imagined.

Valley of Hearts (Drama, 107x45 min.) Abandoned twins Nuh and Melek go to confront their mother in Cappadocia, entangling themselves in forbidden love, family secrets and a looming revenge from the past.

Heartstrings (Drama, 125x45 min.) When Mahinur and Aras discover their daughters were switched at birth, a desperate fight to save a child forces them into a marriage of sacrifice and unexpected love.

Modern Woman (Dramedy, 10x25 min.) On her 35th birthday, witty and outspoken Pınar juggles love, career and family pressures, navigating tragicomic struggles of modern womanhood while chasing happiness on her own terms.

Just Friends (Rom-com, 20x30 min.) Ece and Umut, unwilling to marry, compete for an inheritance by dating daily—only to discover love and chaos while chasing a house through marriage.

Chasing the Wind (Rom-com, 1x96 min.) When a corporate CEO and a free-spirited surfer clash over a bay’s future, business rivalry turns into unexpected love between two worlds destined to collide.

Love and Pride (Drama, 120x45 min.) As the Köksoylar family faces bankruptcy, marriage to wealthy heir Tolga seems their salvation—until love, pride and rivalry between sisters turns everything upside down.

Poison Ivy (Drama, 83x45 min.) Macide, a young woman, falls for powerful businessman Kazım. Their forbidden love defies the world—but threatens to consume her purity and his darkness.

Modern Woman

ITV STUDIOS

(44-20) 7157-3000

www.itvstudios.com

Stand: C16.A

Nobody’s Fool (Ent., 5x60 min.) A strategic reality quiz format where the fate of the contestants isn’t decided by how smart they are, but how smart their fellow contestants think they are.

Celebrity Sabotage (Ent., 6x60 min.) On the sur face, this is a high-stakes series of reality competitions where everyday contestants think they’re battling it out to be crowned the winner. But actually, the shows are all fake.

Love Island: Beyond the Villa (Dating/reality, 8x60 min.) What happens when the island ends but the drama doesn’t? This premium reality format picks up after the iconic series ends.

Worlds Apart (Reality/adventure/travel, 5x60 min.)

Teens who’ve never left their home country are paired with adults who think their traveling days are behind them. They embark on a journey across a new country and navigate a high-stakes treasure hunt.

Time is Money (Competition, 25x60 min.) Time is money in this lightning-paced quiz format. Five players start with a cash pot—but there’s a twist: the money starts draining away before they’ve even answered a question.

Extreme Earth (Natural history, 6x60 min.) This series, three years in the making, reveals how nature is fighting back against today’s extreme weather.

Ages of Ice (Science/natural history, 3x60 min.)

The polar ice caps are the drivers of life on Earth: regulating our climate, controlling our oceans, storing our water and, ultimately, affecting every place and creature on the planet.

Secret Garden (Natural history, 5x60 min.) From the multi-award-winning creators of A Year on Planet Earth, tells the surprising stories of the wild characters that live right on our doorsteps.

Operation Dark Phone: Murder by Text (Truecrime, 4x60 min.) Reveals the inside story of the world’s biggest joint law enforcement operation against global organized crime.

Poisoned: Killer in the Post (True-crime, 2x60 min.) One death sparks a global investigation. Journalist James Beal digs deep into the harrowing death of a young man who bought a lethal poison online.

JUST FOR LAUGHS DISTRIBUTION m info@justforlaughsdistribution.com w www.justforlaughsdistribution.com Stand: R8.E1

About Antoine (Dramedy, S1-2: 20x30 min.) With authenticity, sensitivity and humor, explores life with a poly-handicapped child. Inspired by true events. English-language dubbed version.

Just For Laughs LOL (Sketch comedy, 168x30 min.) Unique comedy series of non-verbal sketches where versatile characters evolve in different scenarios: incompetent nuclear engineers, remorseless ambulance drivers, impatient chefs. Outlandish situations deliver unexpected payoffs.

Nobody’s Fool

Just For Laughs Gags

(Variety/sketch, S1-26: 26x30 min. each) There’s no dialogue but plenty of laughs when a crazy Quebec-based troupe uses the city as its stage and its inhabitants, or victims, as characters.

Pour toi Céline (Concert, 1x47 min. & 1x64 min.) Homage to Céline Dion. Artists from Quebec and France.

1995 (Movie, 1x119 min.) Ricardo Trogi, on the verge of quitting filmmaking, joins a competition that reignites his passion and leads to self-discovery during his travels.

Abroad (Variety/sketch, S1-3: 26x30 min.) Unique sketch show blending humor, culture, unexpected adventures and unforgettable moments showcasing Filipino comedians in Canada.

Larry (Dramedy, 10x60 min.) Larry, a former undercover police officer with a tarnished reputation, is now a security guard with an injured wife.

KANAL D INTERNATIONAL

O (90-212) 413-5111

m kdisales@kanald.com.tr w kanald.international Stand: R8.D2

Sins & Roses (Drama, 45 eps.) Betrayed by his past, Serhat built an empire on family and honor.

But when the woman he loves hides a devastating secret, fate collides him with Zeynep, who is fearless, passionate and unlike anyone he’s ever known.

The Family Burden (Drama, 95x44 min.) Melike, wrongfully imprisoned for 20 years, dreams of reunit ing with her daughter. Upon release, she searches for her husband’s real killer and must confront the complexities of her daughter’s life.

Secret of Pearls (Drama, 44 min. eps.) Azem’s life shatters when he takes the blame for his wife’s death to protect his daughter. After prison, he seeks his adopted children, navigating complex relationships, but time has taken its toll.

Daylight (Drama, 45x44 min.) Gece’s summer dreams of university and music in Istanbul are disrupted when her family moves to Foça for her sister’s special needs. A tale of love, maturity and unexpected challenges unfolds.

Farewell Letter (Drama, 76x44 min.) Alanur’s life, dependent on Ziya, takes an unexpected turn after 30 years. As their children navigate love and family opposition, hidden connections from the past resurface.

Three Sisters (Drama, 277x44 min.) Based on İclal Aydın’s best-selling novel, follows Türkan, Dönüş and Derya, who grew up in a close-knit family in the idyllic town of Ayvalık. As they enter adulthood, the sisters face harsh realities, uncovering hidden secrets and confronting painful challenges.

About Antoine

Sins & Roses

That Girl (Drama, 79x45 min.) Zeynep aspires to be a social media influencer to escape poverty while caring for her childlike father. Unexpected connections unravel as she works in influencer Ozan’s house, where she encounters businesswoman Sitare.

Love and Hope (Drama, 285x53 min.) Zeynep navigates a world of wealth and power in Istanbul, discovering her estranged father’s existence. Love with Ege brings hope, while Elif seeks revenge and love in a complex tale of family conflicts.

Love and Hate (Rom-com, 61x44 min.) Famous actor Tolga and ordinary dreamer Asya cross paths, bringing together two contrasting worlds of dissatisfaction and dreams in the collision of black and white.

Twist of Fate (Rom-com, 58x43 min.) Superstitious Ada marries Rüzgar to avoid a curse, but her attractive boss Bora complicates things. The series explores love, obstacles and a twist of fate.

KARTOON STUDIOS

O (1-310) 273-4222

m info@kartoonstudios.com w kartoonstudios.com

Hundred Acre Wood’s Winnie and Friends

Kartoon Studios’ Hundred Acre Wood’s Winnie and Friends (Animation, 200x6 min. & 5x60 min. holiday specials) Led by an all-star creative team, including composer Danny Elfman, EP Linda

Woolverton and creative director John Rivoli, the project reimagines the beloved classic with fresh storytelling and vision.

KONAMI CROSS MEDIA NY

O (1-212) 590-2100

Stand: R7.C17

Yu-Gi-Oh! GO RUSH!! (Animation, S1: 51x22 min., S2: 51x22 min., S3: 49x22 min.) As his home world rages in a never-ending battle, Yudias travels across the galaxy after learning that there is only one thing that can end the conflict: rush duels. (Excluding Asia)

Yu-Gi-Oh! GO RUSH!!

Yu-Gi-Oh! SEVENS (Animation, S1: 43x22 min., S2: 46x22 min.) Yuga Ohdo may seem like any other 5th grader in Goha City, but he’s about to take his favorite game to the next level by inventing a whole new way to duel: rush duels. (Excluding Asia)

Yu-Gi-Oh! Duel Monsters (Animation, 236x22 min.)

Meet Yugi and his best buds Joey, Tristan and Téa, who share a love for Duel Monsters. (Excluding Asia)

LION FORGE ENTERTAINMENT

m sales@lionforge.com w www.lionforgeentertainment.com

Iyanu (6-11 animation action/adventure, 26x22 min.) In the magical kingdom of Yorubaland, Iyanu,

a teenage orphan girl, after unknowingly triggering her divine powers, joins forces with two other teenagers to discover the truth about the evil lurking in her homeland.

Bugtron (4-8 animation action/adventure, 52x11 min.) There is an epic battle waging between two factions of highly evolved bugs, and a new group of cadets is thrown right into action.

Girl vs Boy Band (6-14 live-action comedy, 20x22 min.) Strait-laced Lark’s middle school life is thrown into disarray when her scattered music exec mom moves an up-and-coming band of three cute Brits into their house, forcing Lark to confront not only the chaos of her new housemates, but also her attitude toward her own secret musical talents.

The Wingfeather Saga (6-11 animated action/adventure, 19x22 min.) Chronicles the adventures of the Igiby family as they discover secrets, flee the evil Fangs of Dang and make a stand against the mysterious ruler, Gnag the Nameless.

LIONSGATE

ENTERTAINMENT

w www.lionsgate.com

Stand: C15.A8

The Rainmaker (Drama, 10x60 min.) Based on John Grisham’s bestseller, young attorney Rudy Baylor challenges veteran lawyer Leo Drummond,

uncovering linked conspiracies behind a client’s son’s mysterious death.

Spartacus: House of Ashur (Drama, 10x60 min.) Ashur survives Vesuvius, earns Batiatus’ ludus for ending Spartacus’ rebellion and rises from slave to master, navigating Rome’s deadly politics with his gladiators.

Robin Hood (Drama, 10x60 min.) After the Norman invasion, Robert of Locksley (Robin Hood) and Maid Marian unite against corruption, weaving love, rebellion and politics into a grounded tale of resistance.

Mary Kills People (Drama, 12x60 min.) An ER doctor secretly aids terminally ill patients with euthanasia, but when a determined detective investigates, her clandestine work grows dangerously complicated.

Private Eyes West Coast (Drama, 10x60 min.)

Jason Priestley and Cindy Sampson return as fanfavorite private investigators Matt Shade and Angie Everett, embarking on a new chapter solving cases in their new locale, Victoria, British Columbia.

The Hunting Wives (Drama, 8x60 min.) Sophie O’Neil relocates to East Texas, where she’s drawn into socialite Margo Banks’ seductive world—leading to obsession, betrayal and ultimately, murder.

The Chosen (Drama, S1-5: 43x60 min.) A compelling reimagining of Jesus’ life, told through the eyes of those who knew him, set in Roman-ruled Israel and capturing his transformative teachings.

Bugtron

Spartacus: House of Ashur

Amandaland (Comedy, S1-2: 13x30 min.) Freshly divorced and de-surnamed, Amanda downsizes to East London for “more bang for your buck,” only to find herself wryly adrift and hunting for her people.

Heartland (Drama, S1-19: 281x60 min.) Amy Fleming uses her late mother’s gift for healing horses while her family battles to save their struggling ranch amid love, loss and friendship.

The Rookie (Drama, S1-8: 144x60 min.) After a life-changing event, John Nolan becomes the LAPD’s oldest rookie.

MADGIC DISTRIBUTION

O (33-1) 5528-9090

m lionel.marty@madgicdistribution.com Stand: P-1.E1

Isadora Moon (Kids 2D, 48x11 min. & 2x22 min.)

Isadora is a fairy vampire who doesn’t realize just how special she is. She might have a lot to learn about the human world.

Emerald (Kids 2D, 18x11 min. & 1x22 min.)

Emer ald’s life changes when her mom marries the Sea King, bringing plenty of new fun adventures to what had been her ordinary life so far.

Jade Armor (Kids CGI, 52x22 min.) Lan Jun suddenly becomes a legendary hero thrust into actionpacked adventures with the help of her friends and the mystical Beasticons.

Lana Longbeard (Kids 2D, 52x11 min.) Lana, a fearless 12-year-old, sails the Ten Realms with her Viking dad’s diverse crew, chasing adventure while battling impulsiveness, curiosity and a love for pancakes. High Hoops (Tween live-action comedy, 10x26 min.) Aoife moves to another town and joins a struggling basketball team. With her skills and new friends, she’s determined to win—on and off the court.

Hawa & Adam (Tween live-action sci-fi, 13x24 min.) What if the world could only be saved by two teens who have never seen or met each other but communicate through a magic diary?

Angelo Rules (Kids CGI, S1: 78x7 min., S2-4: 52x13 min. each, S5: 46x11 min.) Thanks to his arsenal of clever planning, irreverent attitude, rebellious nature and optimism, 11-year-old Angelo has a knack for getting out of trouble.

Ewilan’s Quest (Tween/teen 2D, 8x26 min.) Thirteenyear-old Camille discovers she has been gifted with a powerful talent that could save Gwendalavir, a fantastical world threatened by terrifying creatures.

Stories from Backwoods (CGI comedy, 13x11 min.) Rooney, a city raccoon, has sniffed her way to Backwoods. There, she meets Hare, whose favorite thing to do is helping people—kind of.

Showkids (Kids/tween live-action comedy, 6x30 min.) Sam joins an after-school drama class where he discovers confidence, creativity and a place to channel his daydreams into real-life adventures.

MAGIC LIGHT PICTURES

m distribution@magiclightpictures.com w www.magiclightpictures.com

The Scarecrows’ Wedding (Animation, 1x26 min.) An enchanting story about two devoted

scarecrows who are planning a wedding to remember. Will they be able to overcome disaster in order to celebrate the wedding that no one will ever forget?

The Gruffalo (Animation, 1x27 min.) A mouse takes a stroll through the woods. Encountering three predators who want to eat him, the mouse must use his wits to survive.

MATTEL

O (1-310) 252-2000

m content_sales@mattel.com w www.mattel.com

Stand: P4.C14

Barbie & Teresa: Recipe for Friendship (6-11 CGI, 1x60 min.) A group of friends helps Teresa recreate a cherished family tamale recipe for the launch of her cousin’s New York City restaurant.

Thomas & Friends: All Engines Go! S28 (2-6 2D, 26x11 min.) The preschool series returns.

Thomas & Friends: Sodor Sings Together (2- 6 2D, 1x60 min.) At the Sodor Sings music festival, humans and engines alike band together to celebrate a variety of different musical genres and put on a show.

MEDITERRÁNEO—MEDIASET ESPAÑA GROUP

O (913) 959-200

m infosales@mediaset.es w sales.mediaset.es

Stand: R7.H3

La Agencia (Call My Agent) (Comedy, 13x65 min.) Rebecca Talent is one of Spain’s most prestigious talent agencies. Its four main agents, along with their loyal assistants and the stars who walk through its doors, make up a vibrant and competitive universe.

Romi (Detective Romi) (Crime drama, 8x70 min.) Romi, a 30-year-old private detective who is deaf, solves cases using her sharp observational skills and her special ability to notice things that most of us would miss.

La Favorita 1922 (Period drama, S1: 12x50 min., S2: 12x50 min.) After a life-altering event, a marquise and her maid start a new life in Madrid. Together with a group of fearless women, they rebuild their lives and a restaurant.

Punto Nemo (Point Nemo) (Sci-fi, 6x45 min.)

Delves into the mysteries surrounding the Pacific Ocean’s most enigmatic point.

Desaparecido (Vanished) (Thriller, 8x40 min.)

Follows the mysterious case of Jon, a young man who disappears after a night of partying in the

The Gruffalo

Barbie & Teresa: Recipe for Friendship

mountains with his friends. The only clue he leaves behind is a disturbing video posted on his social media just hours before vanishing.

Ella Maldita Alma (Damn Soul) (Drama, 9x70 min.) Set in the fictional seaside town of La Isleta, the series explores passion, guilt, betrayal and loyalty, while addressing broader issues like political corruption, moral dilemmas and cultur al tensions.

MOVISTAR PLUS+ INTERNATIONAL

m movistarplus.international@telefonica.com w www.movistarplusinternational.com Stand: R7.N7

El Centro (The Center) (Drama) A spy thriller that delves into the unknown universe of the National Intelligence Center (CNI).

Los Sin Nombre (The Nameless) (Drama) A woman loses her daughter in a traumatic way. Years later, just as she begins to recover from the trauma, she learns that her daughter may still be alive.

Antomia de un Instante (The Anatomy of a Moment) (Drama) Starting with the coup d’état in Spain on February 23, 1981, dissects one of the crucial moments in recent Spanish history.

NBCUNIVERSAL GLOBAL TV DISTRIBUTION

O (1-818) 777-1300

w www.nbcuniversal.com Stand: P4.C4

PONIES (Drama, 8x60 min.) Moscow, 1977. Two “ponies” (“persons of no interest” in intelligence speak) work anonymously as secretaries in the American Embassy. That is until their husbands are killed and the pair become CIA operatives.

PONIES

The ‘Burbs (Mystery comedy, 8x60 min.) Set in present-day suburbia, follows a young couple returning to the husband’s childhood home. Their world is upended when new neighbors move in next door, bringing old secrets of the cul-de-sac to light.

Under Salt Marsh (Drama, 6x60 min.) In the fictional Welsh town of Morfa Halen, a former detective turned teacher discovers the body of an 8-year-old

La Agencia (Call My Agent)

El Centro (The Center)

pupil seemingly drowned and must reconcile with her estranged policing partner.

The Five-Star Weekend (Drama, 8x60 min.) A famed food influencer, after suffering a devastating loss, hosts a weekend away at her house in Nantucket with three friends from different stages in her life.

The Copenhagen Test (Drama, 8x60 min.) Set five minutes into the future, where a first-generationAmerican intelligence analyst, Alexander Hale (Simu Liu), realizes his brain has been hacked, giving the perpetrators access to everything he sees and hears.

Surviving Earth (Nature, 8x60 min.) A co-production between Universal Television Alternative Studio and Loud Minds, takes a journey into prehistory to learn the lessons from past mass extinctions.

The Fall and Rise of Reggie Dinkins (Comedy, 10x30 min.) A disgraced former football player (Tracy Morgan) is on a mission to rehabilitate his image.

Prisoner (Drama, 6x60 min.) When a transport convoy with a prison officer and a prisoner is ambushed, they are forced to go on the run and work together.

Stumble (Comedy, 13x30 min.) A mockumentary about the ridiculously high-stakes competitive world of junior college cheer.

The Dream Lands (Drama, 6x60 min.) It’s 2039, temperatures are soaring, seas are rising and the political climate is equally menacing.

NEW DOMINION PICTURES

O (1-757) 923-1300

m kristen.eppley@newdominion.com w www.newdominion.com

Stand: P-1.E55

A Spy in the FBI (Doc., 1x128 min.) As U.S. agents furiously work to root out the mole, no one suspects that the traitor is one of their own.

A Haunting (Docudrama, 115x60 min.) Through mesmerizing first-person accounts and dramatic re-creations, delves into the true and horrific events that plague innocent people.

Ice Cold Killers (True-crime/docudrama, 35x60 min.) Set in brutal, unforgiving wilderness, unravels chilling murders with psychological tension and haunting re-creations that blur serenity and terror.

FBI Takedown (True-crime/docudrama, 6x60 min.) With exclusive FBI access, this series showcases adrenaline-fueled manhunts, daring rescues and undercover stings against some of America’s deadliest criminals.

Happily Never After (True-crime/docudrama, 33x60 min.) When dream weddings turn into deadly nightmares, this series reveals shocking stories of brides and grooms whose vows of forever meet a bloody end.

The Hunter’s Quest (Doc., 19x30 min.) Through public land adventures and talks with seasoned outdoorsmen, Hunter McWaters inspires hunters to embrace mountain big game challenges and grow through the hunt.

Death By Gossip (True-crime/docudrama, 6x60 min.) Exploring the dark side of whispers and rumors, this series investigates how gossip, secrets and half-truths spiral into shocking betrayals and deadly consequences.

Ice Cold Killers

Monsters and Mysteries (Paranormal/docudrama, 28x60 min.) From legendary monsters and ancient spirits to UFOs and unexplained phenomena, everyday people share firsthand accounts of their close encounters with real-life folktale fiends. Catch My Killer (True-crime/docudrama, 6x60 min.) Homicide investigators reopen old cases. FantomWorks (Reality, 70x60 min.) Dan Short and his team only have a heart for those who genuinely love their cars. Every week, old cars come with new obstacles.

NHK ENTERPRISES

O (81-3) 3468-6984

m nep_international_sales@nhk-ep.jp w pf.nhk-ep.co.jp Stand: R7.H6

Innovators of Japan Anime (Arts/culture, 1x59 min.) A rare look into the creative process of animation filmmaker Kiyotaka Oshiyama ( Look Back ). Also features interviews with renowned creators from the world of anime.

Documentary of teamLab (w.t.)

Documentary of teamLab (w.t.) (Arts/culture, 1x60-80 min.) Delivers exclusive access into the digital art collective teamLab as they work to open a museum solely dedicated to their works: the teamLab Phenomena Abu Dhabi.

Queen of Mars (Sci-fi/fantasy, 3x89 min./6x49 min.) 2125—all is not well on Mars. Authoritarian rule, social turmoil, an inexplicable phenomenon referred to only as “it”; can they be saved?

Quantum Entanglement: Einstein’s Final Mystery (Science/tech., 1x50 min.) A documentary to tackle the complex problem of quantum entanglement—a phenomenon where particles that are vast distances apart appear to be linked.

Deciphering the Nasca Lines (Science/tech., 1x53 min.) Astonishing numbers of new findings in Peru shed light on the meaning behind one of the world’s greatest archeological mysteries: the Nasca Lines.

Brothers in Arms (Period drama, 45 min. eps.) A thrilling story of a historical hero and his brother as they rise from humble beginnings to found a dynasty to unify the nation.

The Ghost Writer’s Wife (Drama, 125x15 min.)

A story inspired by the husband and wife whose relationship brought Kwaidan, a collection of Japanese ghost stories, just as the country was rushing to shed superstitions and modernize.

Hirayasumi (Drama, 20x15 min.) Ikuta Hiroto is a good guy who inherits a one-story house (hiraya) where tired souls gather to take a break (yasumi) from the stress of life.

Someday, Into Zero-Gravity Space (Drama, 32x15 min.) Thirty-something former science girls rediscover their love of space and their dream to reach it by starting a project to build their own microsatellite.

The Perfect Homecoming (Suspense/thriller, 4x44.5 min.) Want a perfect home village to “return” to? Three strangers do just that, with the same “mother” and “hometown.” For each, it’s the perfect homecoming.

NICELY ENTERTAINMENT

O (1-323) 682-8029

m info@nicelytv.com

w www.nicelytv.com

Stand: P3.B22

Crossroad Springs (Drama, 10x60 min.) When Willis falls off his horse, siblings James and Janet are forced to return home from their respective careers to help on the family ranch.

A Royal Romance in Ibiza (Romance, 1x90 min.) A talented American developer is determined to prove herself on her next big contract—creating a luxury wellness hotel for King Eduard on the island of Ibiza.

Once Upon a Christmas Crown (Holiday romance, 1x90 min.) Charlotte of Marovia, soon to be crowned Queen, escapes the palace to pursue her passion for cooking.

A Scottish Christmas Secret (Holiday romance, 1x90 min.) A workaholic publisher poses as a tourist to convince her best-selling author to finish his series, but she falls for him while uncovering a family mystery.

The Christmas Bookshop (Holiday romance, 1x90 min.) A perfectionist holiday expert and a free-spirited bookstore owner go head-to-head in a festive bet to prove whose approach to Christmas reigns supreme.

Christmas in the Ballroom (Holiday romance, 1x90 min.) After a viral meltdown on a hit dance show, Bella Fox escapes to a quiet ballroom studio in upstate New York—only to form an unexpected dance partnership with a charming, secretly talented handyman.

The Spirit of Christmas Station (Holiday romance, 1x90 min.) With a Christmas deadline looming, a literary editor retreats to her childhood holiday town, where a charming rancher helps her revive the local festival—and find the ending to her own story.

Christmas at Field’s Ranch (Holiday romance, 1x90 min.) When city broker Daisy inherits a ranch before Christmas, she’s torn between selling it or keeping it. Reconnecting with an old crush, she falls in love with the property and must choose between her career and her heart before the season ends.

A Cherry Pie Christmas (Holiday romance, 1x90 min.) A Chicago pastry chef returns home for Christmas, rekindles an old romance and must choose between her dream job and saving her family orchard—with a winning pie that changes everything. Exes of Christmas Past (Holiday romance, 1x90 min.) An ambitious hotel manager returns to her family’s B&B for Christmas to find all three of her high school exes staying there.

OGM UNIVERSE w www.ogmuniverse.com Stand: R8.C17

Reborn (Drama) A young woman receives a new heart from the daughter of a wealthy family, thrusting her into a dangerous world of grief, passion, secrets and betrayal.

The Fall of the King (Drama) A powerful businessman known as “The King” faces betrayal,

Christmas in the Ballroom

for bidden desires and a crumbling empire as his perfect life spirals into chaos.

6 of Us (Drama) Six orphaned siblings flee Istanbul after tragedy, bound by love, sacrifice and survival while confronting powerful enemies and the secrets of their past.

Shahrazad: Tears of Istanbul (Drama, 25x45 min.) Shahrazad sacrifices everything to save her lover from execution, making a pact that entangles her in betrayal, impossible love and deadly power.

Dilemma (Thriller, 8x45 min.) A renowned journalist faces her greatest test when her son is accused of murder, forcing her to choose between truth, justice and a mother’s love.

The Tailor (Drama, S1-3: 23x45 min. each) A famous tailor becomes entangled in dangerous secrets when tasked with sewing a wedding dress for his childhood friend’s fiancée, sparking love and betrayal.

Lost in Love (Drama, 77x45 min.) Bound by a childhood promise, Mete returns to marry Naz—but an unexpected bond with her loyal servant ignites forbidden emotions and shakes both families.

Miracle of Love (Drama, 38x45 min.) A soldier resurrected in 1921 never ages. A century later, he meets a young writer who may hold the key to his mysterious, eternal life.

Another Self (Drama, 8x45 min.) Three lifelong friends face their greatest trial when one is diagnosed

with cancer, leading them on an Ayvalık journey that transforms their lives forever.

Stickman (Drama, 88x45 min.) A game developer and a banker scarred by painful pasts find unexpected solace in one another, bonding through love, shared trauma and fragile hope.

Broken Destiny (Drama, 121x45 min.) After awakening from a coma, Toprak crosses paths with Fidan, who sees in him her late husband, sparking a mystery of love, fate and memory.

ONZA DISTRIBUTION

O (34-91) 562-0671

m onza@onzadistribution.com w onzadistribution.com

Stand: R7.J11

Neuer (Crime drama, 8x60 min.) Elite homicide detectives tackle everyday crimes, each case pushing them to the limit. Inspired by best-selling novels.

Heart Keeper (Telenovela/drama,

120x50 min.)

Mariana returns home to protect her ailing mother, facing a manipulative foe, a rekindled love and buried secrets that threaten her family and future.

The Color of Love (Telenovela/drama, 120x50 min.)

Eva inherits a wealthy estate in Angola, clashing with Talu, the rightful heir. As they fall in love, inheritance secrets and betrayal threaten their relationship.

Reborn

Neuer

Cacao (Telenovela/drama/romance, 139x50 min.) Cacao finds out her real father is the owner of a wealthy farm, and she is his heir.

Traffic Jam (Comedy, S1: 6x25 min., S2: 6x25 min., S3: 6x25 min.) As evening falls, a massive traffic jam disrupts the plans of thousands of drivers.

Vulnerables (Social doc., 3x50 min.) Examines worsening youth mental health, highlighting eating disorders, suicide and sexual violence, while exploring social media’s impact.

Iberia & Savannah: One Wildlife (Blue-chip wildlife, 1x52 min.) This 4K documentary compares Europe’s Dehesa and Africa’s Savannah, examining the lives and survival strategies of large predators in these similar but distant ecosystems.

Honor In Armor: Inside the Vatican Swiss Guard (Doc., 1x52 min./78 min.) Uncovers secret Swiss Guard archives, revealing a WWII mission to protect Pope Pius XII, while exploring the Guard’s 500-year history and present life.

The Cases of Teresa Battaglia: The Sleeping Nymph (Crime/thriller, 6x50 min.) Sequel to Flowers

Over the Inferno. Criminologist Teresa Battaglia investigates a cold case, uncovering macabre murders linked to a painting made with a woman’s blood.

Mamen Mayo: At Her Will (Comedy, 8x30 min.) A probate attorney resolves family conflicts over legacies.

PARAMOUNT GLOBAL

O (1-323) 956-9994

m gdgsales@viacomcbs.com w www.paramount.com Stand: C14

Boston Blue (Drama, 60 min. eps.) Stars Donnie Wahlberg as he reprises his role as NYPD Detective

Danny Reagan in a universe expansion of the longrunning top drama Blue Bloods. DMV (Comedy, 30 min. eps.) A single-camera comedy set in the Department of Motor Vehicles— where employees are making minimum wage, dealing with customers who are annoyed before they even walk in the door.

Sheriff Country

Sheriff Country (Drama, 60 min. eps.) An expansion of the universe of the hit drama series Fire Country, stars Morena Baccarin as straight-shooting sheriff Mickey Fox, who investigates criminal activ ity in small-town Edgewater.

CIA (Drama, 60 min. eps.) A crime drama centered on two unlikely partners—a fast-talking, rule-breaking loose cannon CIA case officer, and a by-the-book, seasoned and smart FBI agent who believes in the rule of law. A universe expansion of the FBI series.

M.I.A. (Drama, 60 min. eps.) Running drugs is a family affair for Etta Tiger Jonze, but when the family business is threatened, Etta is thrust into a life she never expected, forcing her to use her wits to survive as she navigates Miami’s criminal underground.

The Thundermans: Undercover (Kids, 30 min. eps.) Nickelodeon‘s spin-off series based on characters from The Thundermans is created and executive produced by Emmy winner Jed Spingarn.

Tim Rex in Space (Kids, 30 min. eps.) Follows a Tyrannosaurus Rex named Tim, his big brother

Tommy, little sister Tia and triceratops bestie Kai as they tackle kid-shaped adventures with dinosized solutions in space.

Bodyguard of Lies (Doc., 1x90 min.) In collaboration with The Washington Post , Amblin Doc umen taries, Jigsaw Productions and See It Now Studios, the first unvarnished documentary of the history of the Afghanistan war.

Perfect Line (Format, 30 min. eps.) A new, visuallydriven game show where contestants test their knowledge by arranging events, items or people in the correct order to create a “perfect line.”

Am I The A**hole? (Format, 60 min. eps.) A panel show where celebrity guests judge real-life moral dilemmas submitted by the public.

PASSION DISTRIBUTION

O (44-207) 199-9214

m sales@passiondistribution.com w www.passiondistribution.com Stand: R7.C33

The White House (Doc., 4x60 min.) Power, rivalry, scandal and war collide as three U.S. presidents—and two unforgettable first ladies— shape a fragile nation from inside a freshly built White House.

What Happens in Vegas (Doc., 2x60 min.) Journalist Tir Dhondy visits Las Vegas to uncover how it’s changed—and whether its glamorous image reflects its true reality.

Angus Ashworth: Yorkshire Heritage Hero (Fact-ent., 8x60 min.) Angus dispenses his wisdom and historical knowledge as he helps to protect some of the country’s most incredible houses. #CoupleChallenge (Ent., 40x60 min.) Teams of two compete against each other in a series of

phys ical and mental challenges to win a cash prize of up to €100,000.

World of Wonders (Ent., 5x180 min.) Three celebrity teams compete against each other in different categories designed to reveal the wonders of our planet.

Crash Scene Investigators (Crime, 6x60 min.) This documentary series follows the delicate work of the crash investigation teams in North Yorkshire, U.K.

The Quest for Camelot (Doc., 1x60 min.) Was the legendary town of Camelot a real place? Pro fessor Mark Horton is convinced something akin to Camelot did indeed exist and is on a mission to find it.

In Real Life (Doc., 45x30 min.) In each episode, a correspondent explores a new story across a wide range of subjects, including technology, nature, pop culture and more.

I Met My Murderer Online (Crime, S2: 26x30 min.; total: 52x30 min.) Gripping true-crime series that explores chilling cases where online relationships turned deadly.

Yorkshire Air 999 (Doc., S2b: 8x60 min.)

Strap in and take off with the crew of the Yorkshire Air Ambulance in this immersive series packed with real-life drama, human emotion and stunning scenery.

The White House

PBS DISTRIBUTION

m loliver@pbs.org

w www.pbsinternational.org

Stand: R7.F7

The American Revolution: A Film by Ken Burns, Sarah Botstein & David Schmidt (History, 6x120 min.) What begins as a political clash between colonists and the British government grows into a bloody struggle that will engage more than two dozen nations.

Terror on the Space Station (Factual, 2x60 min./1x90 min.) On November 2, 2025, it will be 25 years since the first crew arrived aboard the International Space Station. Now, British and international astronauts and mission controllers reveal its most terrifying moments.

Trump’s Power & The Rule of Law (Factual, 1x90 min.) Inside the high-stakes showdown between Donald Trump and the courts over presidential power.

The Orient Express: A Golden Era of Travel (Factual, 4x60 min.) Retraces the iconic train’s route from London to Istanbul at its peak. The series explores the train’s rich history, Europe’s transformation over 150 years and legendary railways along the way.

Syria After Assad (Factual, 1x60 min.) Syria’s uncertain future under Jihadist-turned-statesman

Ahmad al-Sharaa. After the fall of Bashar al-Assad, correspondent Martin Smith travels the country tracing al-Sharaa’s rise to power and the emerging threats to the country’s stability.

We Want the Funk (Factual, 1x90 min.) A syncopated voyage through the history of funk music, spanning from African, soul and early jazz roots, to its rise into the public consciousness.

Ultimate Crash Test (Factual, 2x60 min./1x90 min.) A world-first experiment, enabled by remotecontrol-driving technology, will involve triggering and analyzing a multi-vehicle motorway pile-up.

Aims to unravel the science behind deadly motorway crashes and potentially save lives.

PINK PARROT MEDIA

m info@pinkparrotmedia.ca

w www.pinkparrotmedia.ca

Stand: R8.E1

GoFish+ (Animated adventure, 26x11 min.) Alex, the parrotfish, leads an underwater city, tackling challenges with courage and friendship. Adventures under the sea never end.

My Brother the Monster (Animated adventure, 26x11 min.) Petunia adopts Mombou, a space monster. Together, they learn that family isn’t always about blood—it’s about heart.

Ultimate Crash Test

GoFish+

Louis the Piglet (Animated adventure, S1: 13x13 min., S2: 13x13 min. in prod.) Louis, the long-nosed piglet, dreams of being a knight.

Joy Eternal (Teen adventure, 13x11 min.) Teen Joy dies and discovers a mega-corporation sells souls. With quirky Oogle, she fights to save her parents and bring justice to the afterlife.

Snowsnaps (Animated comedy/adventure, 52x5 min./26x11 min.) Violet, Tomas, Sami and Kiki turn the snow into their playground. Every day is a new frozen adventure full of laughter.

Butterfly Academy (Family animated comedy/adventure, 26x11 min.) After the great migration, Patrick, Jennifer and Marty are rookie teachers who must guide young butterflies without losing their way.

The Sleepy’s Dream Team (52x5 min.) Sleepy the teddy bear, with Fleur and Fluffy, harvests dream dust so Starlet can sprinkle it for sweet, cozy dreams.

Momonster: The Movie (Feature) The Momonsters enjoy a forest camp, find a diary about a treasure guarded by a ghost who’s more silly than scary.

Hanna & The Monsters Hanna, a monster-loving girl, stumbles into Monsterville, a town of shy creatures.

Graduation Heist Daniel and his quirky friends, eager to stay together another year, team up with his thief grandfather for a daring school exam heist.

PINNACLE PEAK PICTURES/PANORAMIC PICTURES

O (1-818) 564-6942

m ron.assist@pinnaclepeakpictures.com w pinnaclepeakpictures.com, www.panoramicpictures.com

Mimics (Horror, 1x100 min.) When a struggling impressionist and a contract for fame take cen ter

stage, the battle for a good man’s soul takes the spotlight.

The Last Supper (Drama/faith, 1x114 min.) In the days leading up to his death, Jesus gathers his disciples for the Last Supper.

County Rescue (Drama, S2: 6x30 min.) When lives hang in the balance, a team of small-town EMTs races against time and their own struggles to bring hope and healing to a community in crisis. The Lightning Code (Sci-fi/fantasy, 1x88 min.)

After receiving unexpected intel, 18-year-old inventor Miles Fletcher discovers the secret to harnessing perpetual energy.

Little Angels (Family/comedy, 1x110 min.) A hotheaded college coach hits rock bottom after a media fiasco costs him his job. To get it back, he reluctantly agrees to coach a ragtag girls’ team.

Between Borders (Drama, 1x90 min.) The true story of an Armenian family forced to flee their home during the collapse of the Soviet Union.

POCKET.WATCH

O (1-424) 298-8234

m content@pocket.watch w pocket.watch

Ryan’s World The Movie: Titan Universe Adventure (Animation/live-action, 1x83 min.) In

The Last Supper

this wide-release 2024 theatrical motion picture, follow 12-year-old Ryan as he transforms into super alter-ego “Red Titan” and battles animated bad guys to rescue his sisters and learn what it means to be a big brother.

Ballpark Blast! presented by MLB and pock et.watch (Live-action, 1x22 min.) A new series from pocket.watch and Major League Baseball premiering in time for the 2025 playoffs.

Love, Diana Musical Mysteries (Animation/liveaction, 10x22 min.) Diana and Roma are back again to keep boredom at bay. Whenever a new problem needs solving in the Land of Play, the dynamic sibling duo must use their imagination and critical-thinking skills to solve three puzzles that unlock the clues they need to save the day.

Toys and Colors Kaleidoscope City (Liveaction/CGI, 10x22 min.) Starring global sensation

Toys and Colors, a magical world where kids learn to see the world through new perspectives.

Ryan’s Mystery Playdate (Live-action, 90x22 min.) Kid video superstar Ryan, his parents and animated friends work together to identify a mystery guest.

Kids Diana Show Ultimate Mishmash (Liveaction, 45x22 min.) Join family vlog superstar Diana, aka the Princess of Play, and her brother Roma on their hilarious pretend-play adventures.

Toys and Colors Ultimate Mishmash (Liveaction, 90x22 min.) YouTube’s number one kids ensemble learn life skills, letters, numbers and more through musical and pretend-play adventures.

Ryan’s World Specials (Live-action/animation, 193x22 min.) Kid video superstar Ryan, along with his family and animated friends play games, make crafts, learn science and go on adventures.

LankyBox Ultimate Mishmash (Liveaction/gameplay, 60x22 min.) YouTube’s number one gamers, LankyBox is Justin and Adam, two best friends who love playing Roblox and making funny videos with sidekicks Foxy, Boxy and Rocky. Onyx Monster Mysteries (Animation, 8x22 min.)

The Onyx family comes to cartoon life in epic adventures to save monsters.

POLYDONT FILMS

m commercial@polydont.com w www.polydont.com

Roman Pigeons (2D, 50 eps.) A web series—with episodes under 1 min. each—that humorously explores daily life with sharp, relatable storytelling.

MechaNick (Preschool 3D, 52x6.5 min.) Offers a fresh perspective on entertainment and creative thinking, while also teaching children how to care for their toys.

Toys and Colors Kaleidoscope City

Roman Pigeons

Mazukta & Shambabukli (16+ 2D, 26x3 min.) A slice-of-life comedy that humorously explores existential questions, showcasing how every person is a creator in their own life.

RADIAL ENTERTAINMENT

O (1-310) 979-5880

w www.radialentertainment.com/#1

Stand: R7.N9

Forensic Files (True-crime, 395x30 min.)

Remastered in HD, presents the science behind crime-solving with dramatic re-creations, expert interviews and deep dives into key evidence. (Excl. U.S. broadcast)

Futcrunch (Reality, 120x30 min.) A FIFA fanatic and content creator takes on wild challenges, builds insane teams and brushes shoulders with the greatest football stars both in-game and on the field. (English-speaking digital & broadcast)

Golden Princess Movie Library (Action films, 156 titles) Collection featuring 156 Hong Kong classics by John Woo and Ringo Lam, including new 4K of Hard Boiled, The Killer, A Better Tomorrow and City on Fire. (Excl. Asia & Middle East)

Medici (Historical drama, 24x60 min.) Starring Academy Award winner Dustin Hoffman, the dramatic saga set during the Italian Renaissance is

inspired by the real-life story of the House of Medici. (U.S., Canada, U.K., Ireland, Spain)

Millennium Films (Action films, 297 titles) This library includes London Has Fallen, Olympus Has Fallen , Angel Has Fallen , The Mechanic 1 & 2 , Hit man’s Bodyguard 1 & 2, Rambo and Rambo V.

Z Nation (Sci-fi, 69x60 min.) In the wake of a zombie apocalypse, a ragtag group of strangers escort the only known survivor of a zombie bite across the United States in hopes that the survivor’s blood will save humanity.

RAINBOW

O (39-071) 7506-7500

m info@rbw.it

w www.rbw.it/en

Stand: R7.H2

Winx Club: The Magic is Back (Adventure/action/comedy, 26x24 min.) This innovative adaptation will reimagine the classic tales of Bloom and her friends, blending the show’s cherished themes with contemporary storytelling and sensational visual effects.

Mermaid Magic (CGI adventure/action, 10x24 min.) A magical story set between the ocean and the surface world starring a young mermaid called to save the ocean from an evil threat.

Gormiti—The New Era (Action/adventure/drama/ comedy, 20x22 min.) The popular franchise is reinvented into a live-action series starring four young heroes called to save Gorm and Earth from war and destruction.

Pinocchio and Friends (Adventure comedy, S1-2: 52x11 min.) This fresh adaptation of Pinocchio’s adventures set in our day is a bridge show combining fantasy, friendship and big adventures.

Futcrunch

Summer & Todd—Happy Farmers (Comedy edutainment, 52x7 min.) Summer, the enthusiastic bunny, and Todd, the handy raccoon, live at Sunshine Farms, learning new things every day and solving farm issues in original ways.

Winx Club: The Magic is Back

44 Cats (Comedy, S1-2: 106x12 min.) The adventures of the Buffycats, four special musician cats, always ready to play new songs and help all friends in need with their Noodle Power.

Winx Club (Adventure/action comedy, S1-8: 208x24 min.) The fantasy saga that follows Bloom, Stella, Flora, Aisha, Tecna and Musa, six special fairies always ready to save anyone in danger.

Regal Academy (Comedy, S1-2: 52x23 min.)

Fairy-tale heroes and their grandkids come to life at Regal Academy, where Rose Cinderella and her friends combine their hero life with magic studies.

Maggie & Bianca Fashion Friends (Comedy, S1-3: 78x23 min.) Maggie and Bianca meet at the Milan Fashion Academy, where they follow their dreams and discover secrets that change their lives forever.

World of Winx ( Action/mystery, S1-2: 26x23 min.) As talent scouts for WOW!, the Winx fairies travel the world searching for talented kids to prevent the mysterious Talent Thief from kidnapping them.

RECORD TV NETWORK

O (55-11) 3300-4022

m mcscosta@recordtv.com.br w www.recordtvnetwork.r7.com

The Slave Isaura (Period telenovela remastered, 167x45 min.) Based on the 1875 novel by Bernardo Guimarães. The telenovela shows a love story amid the theme of slavery.

Topíssima (Telenovela, 145x45 min.) Delves into the feminine universe and brings to light the conflicts of modern women. In parallel, a police investigation full of twists and turns involving the protagonists.

Ultimate Love (Telenovela, 148x45 min.) The beauty of old age, the struggle of young athletes for a career in sports, social prejudices and other parallel plots are part of this telenovela.

The Slave Mother (Telenovela, 151x45 min.)

Prequel to The Slave Isaura is about the lightskinned slave who lived persecuted by the stubborn Mr. Leoncio.

Doc Investigation (True-crime, 12x45 min.)

Exposes the most shocking police cases in Brazil, featuring exclusive interviews with victims’ families and convicted criminals.

La Bestia (Doc., 2x60 min.) For 21 days, the Record TV team followed families who crossed

The Slave Isaura

Central America clandestinely, fleeing poverty and violence to reach the U.S.

SESAME WORKSHOP

O (1-212) 595-3456

m celia.musikant@sesame.org w sesame.org Stand: P-1.N9

Sesame Street (2-5 live action) The Sesame Street friends help children identify, understand and work through their big feelings. Together, they’ll show how kindness and compassion make every day brighter.

Tales from 123 (2-5 2D, 13x5 min.) Elmo and Tango, with Abby, Cookie Monster and Grover, explore their home and discover exciting adventures around every corner and friendly neighbors behind every door.

Mecha Builders (3-6 3D, 26x22 min./52x11 min./52x5 min.) Animated in a 3D style, the series reimagines Elmo, Cookie Monster and Abby Cadabby as robot heroes-in-training who use their STEM superpowers to solve problems.

Nature Explorers (2-5 2D, 20x5 min.) Elmo and Tango join Gabrielle as the Nature Explorers, where they’ll sniff out discoveries, ask questions and learn something new in every episode.

Elmo & Tango’s Mysterious Mysteries (2-5 2D, 20x5 min.) Elmo and Tango’s friendship blossoms as they embark on new adventures, following a series of clues to help solve various mysteries on Sesame Street.

Sesame Street: The Nutcracker (2-5 2D, 1x26 min.) The Nutcracker is retold in an animated special that follows Elmo and Tango on a fantastical adventure filled with new music and friends.

Elmo Gets a Puppy (2-5 2D, 1x26 min.) When Elmo and Grover discover an adorable stray puppy on Sesame Street, they set out on an adventure to help find her a new home.

Cookie Monster’s Foodie Truck (2-5 liveaction, 77x5 min.) In each installment, kids learn about their favorite foods with Cookie Monster and Gonger as they gather a key ingredient for cooking.

Elmo’s World (2-5 live-action, 82x5 min.) Join everyone’s favorite furry red monster as he uses his imagination to transform his bedroom into “Elmo’s World,” a chalk-drawn playground where anything is possible.

Bea’s Block (3D, 20x22 min./40x11 min.) The wooden block characters zip, stack and hop around Blocktown on a kindness adventure as they learn to manage emotions and be kind.

SEVEN.ONE STUDIOS INTERNATIONAL

O (49-89) 9507-7303

m sales@sevenonestudios.com w sevenonestudiosinternational.com

Stand: P4.C16

Match My Ex (Dating format) Celebrity singles hand over the matchmaking reins to their ex-lovers in this bold new twist on the traditional reality dating format.

Sesame Street

Play That Song Again (Ent. format) Four contemporary singers compete to perform the best version of a legendary ’80s song in this nostalgia-packed prime-time competition format.

Match My Ex

The Race (Adventure reality format) Five content creators compete to reach a distant finish line first, with no money, no smartphones, no backup—and they must film themselves on their journey!

The Cooking Academy (Daily drama, 120x30 min.)

At an elite German cooking academy, naked ambition collides with romance and rivalries as talented chefs of tomorrow strive for culinary expertise and stardom Frier & 50 (Comedy/drama, 8x30 min.) Fiftyyear-old actress Annette’s attempts to turn hot flashes and humiliation into a TV streaming hit proves that age is not just a number—it can also be comedy gold!

Married at First Sight: The Last Resort (Dating format) Twelve singles who have all been previously married marry strangers and try to build a relationship while living in a luxury resort, helped by expert guidance and fellow couples.

Married at Second Sight (Dating format) In this sunsoaked spin-off of Married at First Sight, 12 singles meet not at the altar—but at their engagement ceremony. Will the chemistry match the commitment?

Stranded on Honeymoon Island UK (Dating format) A bold adventure dating format in which couples,

matched by experts, are stranded on a deserted island. Will the experience lead to love or loathing?

The Blind Detective Movies (Crime drama, 13x90 min.) A bomb took ex-cop Alexander Haller’s eyesight, but the criminal underworld shouldn’t underestimate him. His instincts are sharp and he never stops until he gets justice.

SOMETHING SPECIAL

O (82-2) 2093-7463

m courtneyboyett@sspecial.co.kr

w www.sspecial.co.kr

Stand: R7.E1

Iron Squad (Reality competition, 12x60 min.)

Korea’s number one military reality competition, where elite reservists battle through extreme missions testing strength, strategy and teamwork—until only one squad remains.

Martial Arts: The Show (Talent competition, 8x90 min.) Global martial artists showcase skill, discipline and artistry, blending tradition with entertainment in an inspiring, high-impact performance format.

Make Me Glow (Makeover reality, 10x60 min.) A beauty makeover competition where contestants transform with expert guidance, revealing not just new looks but inner confidence, charm and personal stories that shine.

Martial Arts: The Show

Unforgettable Duet (Music reality format, 10x80 min.) As songs unlock memories, people with dementia, supported by family and a memory singer, transform their life stories into stage duets. Still Alive (Mystery reality competition format, 8x60 min.) Contestants compete in a comedy-infused survival game with just one rule: don’t break the hidden “death rule”—but no one knows what it is.

Hit and Miss Tour (Comedy travelogue format, 12x80 min.) Five lifelong friends take spontaneous trips abroad, playing hilarious games with one costly twist: you lose the game, you pay for everything.

The Penthouse Game (Reality competition format, 8x80 min.) Eight players enter a five-story building, each tied to wealth and privilege. To win, they must outwit rivals, climb levels and claim the penthouse.

I Am Single (Reality dating format, 8-10x90 min.) Singles reveal raw truths about relationships, selfdiscovery and love.

Dog Knows Everything (Comedy/fantasy scripted format, 12x50 min.) A fallen actor gains the ability to hear a talking dog, forming an unlikely detective team with eccentric friends to solve neighborhood mysteries and rediscover himself. Who is She! (Comedy/romance/music scripted format, 12x70 min.) An elderly woman gets a second chance at youth, uncovering bittersweet truths about family, sacrifice and the beauty of aging.

SPIN MASTER

O (1-416) 364-6002 m meganb@spinmaster.com w spinmaster.com Stand: R8.E1

Unicorn Academy (7-11, S1: 1x72 min., 17x22 min., 2x44 min., 1x60 min.; S2: 16x22 min., 12x5 min.,

1x60 min. & shorts) Each year, chosen teens attend Unicorn Academy on magical Unicorn Island, bond with unicorns to unlock powers, train their riding skills and protect the island’s magic.

Vida the Vet (Preschool, S1-2: 26x22 min./52x11 min. each & shorts) Vida, a 10-year-old animal lover who dreams of being a veterinarian, discovers a magical door to Sweetwood, where charming creatures make her dream come true.

Sparkles Magical Market (7-11, 30x5 min.)

When Glowville’s neglected mall faces demolition, fairy friends “The Sparkles” unite to revive its magic by opening and running their own enchanting stores.

Bakugan 3.1 (7-11 anime, 26x22 min./52x11 min.) When Bakugan brawls go underground, Dan and his team launch a secret training facility, sparking global clan tournaments where a villain collects Bakugan to build an army.

STUDIO 100 INTERNATIONAL

O (49-89) 960855-0

m distribution@studio100int.com w www.studio100international.com

Stand: R7.K17

Louca (Adventure/comedy, 26x24 min.) Clumsy Louca is no football star—until ghostly Nathan

Vida the Vet

coaches him in sports, school and love, proving victories matter most off the field.

Gifted (Live-action action/adventure, 10x28 min.)

A light-hearted action-adventure mystery series about a group of teenagers with special powers who are being hunted by a secret organization with a dangerous plan.

Mortina (Comedy/mystery, 52x12 min.) Mortina, a clever young zombie, solves exhilarating mysteries at Crumbling Manor with her quirky Mystery Squad—friends both undead and alive, plus a hero ic greyhound.

Dino Mates (Adventure/action/comedy, 26x11 min.)

Two kids expect a boring summer with grandma—until they discover her secret adventurous side and suddenly have to take care of real, living dinosaurs.

Waiko (Live-action sci-fi/comedy, 10x22 min.)

Alien Nova, robot Ion and their human friends protect Earth from cosmic chaos, turning a retro fair into headquarters for action, friendship and intergalactic adventures.

BFF (Comedy, 26x11 min.) Ben the bear, Frida the squirrel and Freddie the cat tackle life’s ups and downs, proving true friendship overcomes any differences.

Momonsters (Comedy, 104x7 min.) At the Momonsters Academy, five monsters learn from children’s favorite activities, proving friendship grows through play and curiosity.

Vegesaurs (Comedy/adventure, 100x5 min.) A fresh and unique spin on the dinosaur genre, the series encourages curiosity, friendship and healthy eating through the adventures of young Tricarrotops Ginger and her friends. Includes seasons four and five. 100% Wolf (Comedy/adventure, 52x22 min.) Being a fluffy pink were-poodle isn’t easy—but Freddy faces monsters, magic and mayhem with friends, laughter and a howl that’s 100 percent wolf.

FriendZSpace (Comedy/adventure, 52x11 min.) A hilarious animated comedy about three human kids committed to making friends with alien kids all across the supercluster of stars— and sharing cool selfies.

TELEFILMS

O (54-11) 5032-6000 m telefilms@telefilms.com.ar w telefilmsgroup.com

Stand: P-1.K3

The Smashing Machine (Sport/drama, 1x123 min.) Chronicles the life of Mark Kerr, a mixed martial arts legend and UFC champion whose ferocity in the octagon contrasts with the personal battles he faces outside the ring. A powerful portrait of glory, addiction and the price of being the best.

Marty Supreme (Drama, 1x120 min.) Marty Reisman, the athlete who defied the impossible, comes to life in this feature film directed by Josh Safdie, with a star-studded cast: Timothée Chalamet, Gwyneth Paltrow, Fran Drescher and Tyler the Creator.

Greenland: Migration (Postapocalyptic, 1x120 min.) In the aftermath of a comet strike that decimated most of the Earth, the Garrity family is forced to leave the safety of their bunker in Greenland to traverse a shattered world in search of a new home.

Louca

Roofman (Feature, 1x120 min.) After escaping from prison, former soldier and professional thief Jeffrey Manchester finds a hideout inside a Toys “R” Us, surviving undetected for months while planning his next move. However, when Jeffrey falls for a divorced mom, his double life starts to unravel.

THE TELEVISION SYNDICATION COMPANY

O (1-407) 788-6407 m cassie@tvsco.com w www.tvsco.com Stand: P-1.E55

It’s a Beautiful World (Lifestyle, 19x30 min.) An award-winning series hosted by explorer Jeff Fuchs, showcasing cultural exploration, local stories and breathtaking landscapes through authentic, visually stunning and emotionally uplifting storytelling. What’s It Worth? (Lifestyle, 12x30 min.) An eyeopening series uncovering the surprising price tags of businesses, landmarks, brands and innovations— revealing the stories behind valuations that shape our world.

The Best We’ve Got: The Carl Erskine Story (Doc., 1x88 min.) Brooklyn Dodgers legend Carl Erskine—teammate of Jackie Robinson—championed disability rights, inspired by son Jimmy with Down

syndrome. His story embodies courage, compassion and impact beyond baseball

The History of Chicago’s Most Violent Neigh borhoods (Doc., 2x60 min.) Through an Emmy-winning journalist’s lens, traces Chicago’s notorious streets and expressways, revealing how Prohibition, deindustrialization, gangs and neighborhood struggles shaped the city.

Women Rising (Lifestyle/talk show, 39x30 min.) A movement of storytelling, connection and empowerment, inspiring transformation and community through diverse voices and global experiences.

Islands Without Cars with Kira Cook (Travel, 18x30 min.) Hosted by Emmy winner Kira Cook, this series explores car-free islands worldwide, revealing authentic culture, charm and unforgettable stories from Aeolian Islands, Porquerolles, Helgoland and Hydra.

The Kids of Byron Bay: Growing Up in the Golden Cage (Doc., 6x60 min.) Filmed over 15 years in Byron Bay, this documentary follows 18 children into adulthood, capturing love, loss, triumph and identity in an intimate generational portrait.

Space Mistakes (History, 6x30 min.) Gripping behind-the-scenes NASA disasters—botched conversions, reversed installations, chemical spills and a rocket fuel mishap—reveal hidden catastrophes and hard-learned lessons of space exploration.

The Smashing Machine

It’s a Beautiful World

Embracing Ireland’s County Clare (Travel, 1x30 min.) Set on Ireland’s Wild Atlantic Way, Lis doonvarna’s Matchmaking Festival transforms from a celebration of love into a haven for Ukrainian refugees, embodying resilience, compassion and community.

No Corners (Sports, 1x30 min.) Set against the sweeping salt flats of the Outback, takes viewers inside a world of motorsports rarely seen.

THE MEDIAPRO STUDIO

O (34-917) 28-57-40

m themediaprostudio@mediapro.tv w www.themediaprostudio.com

Stand: R7.N1

Yakarta (Drama, 6x45 min.) Joserra, haunted by his badminton past, finds hope in Mar, a gifted player. He dedicates himself to training her, confronting sporting challenges, adolescence and inner demons.

Raza Brava (Drama, 4x52 min.) Barti, from humble origins, becomes the leader of Colo-Colo’s Garra Blanca. Ambition drives him into drugs and corruption, forcing him to confront violence or lose everything meaningful.

Reykjavik Fusion (Thriller, 6x52 min.) The talented chef Jónas, falsely imprisoned, tries to regain the

trust of his family. Rejected by society, he accepts illicit funds to open a restaurant. This puts his parole—and his life—in danger.

El Resto Bien (So Far So Good) (Dramedy, 8x30 min.) Ariel, a successful comic artist, struggles with family and social pressures. A hernia limits him, sparking a humorous journey exploring what truly weighs us down.

Celeste (Drama/thriller, 6x40 min.) Sara Santano, a retiring tax inspector, must prove superstar Celeste pays taxes in Spain, navigating a glamorous world full of secrets, twists and unexpected challenges.

The Christine Jessop Story (True-crime, 3x50 min.) The Christine Jessop case, Canada’s most notorious child murder, horrified the nation. Exclusive interviews and unseen material reveal one of the country’s most haunting crimes.

Quiet (Thriller, 8x45 min.) March 2020, Barcelona. Streets are empty. A homeless man is brutally murdered in his sleep—the first in a series of similar, chilling crimes.

Real Madrid: How Could I Not Love You? (Sports doc., 6x40 min.) Inside Real Madrid, pressure fuels players, staff and fans. In an unforgettable season, they defy critics, conquer top teams and prove their European dominance once again.

The Williams (Sports doc., 1x84 min.) Two Ghanaian-descended brothers, football stars, confront racism, identity and ambition, navigating triumphs from the World Cup to Copa del Rey and EURO victories.

Tales from the Void (Horror, 6x32 min.) An episodic horror anthology inspired by r/NoSleep’s viral stories. Each chilling tale delivers social commentary while exploring the darkest corners of the human psyche.

Raza Brava

TV ASAHI CORPORATION

(81-3) 6406-1952

m ml-intl-contact@tv-asahi.co.jp w www.tv-asahicontents.com/en/ Stand: R7.E67

Masked Ninja Akakage (Drama, 20x30 min.) A historical fantasy where ninjas face colossal monsters, blending intense action, emotional drama and groundbreaking visuals.

Their Marriage

Their Marriage (Drama, 9x60 min.) A celebrated lawyer weds a woman with a hidden past, leading to a compelling story that fuses romance, mystery and emotional family drama.

Doraemon (Animation, 1,000+x22 min. & 45 movies) One of the longest-running Japanese animation series. A robot cat from the future with gadgets saves a boy from getting into trouble. Shin chan (Animation, 800+x22 min. & 33 movies) A slice-of-life show about a fun and cheeky 5-year-old boy. The movie released this year was set in India and turned out to be a huge hit.

Gregory Horror Show -Save Our Souls- (Animation) Seeking co-producers. Jack must save the souls of the monster guests of a supernatural hotel after he makes a bet with the evil hotel owner Gregory. Obocchama-kun (Animation, 26x22 min./52x11 min.) Based on the hugely popular manga by

Yoshinori Kobayashi. A gag comedy about a “crazy rich” boy on his outrageous school life and family love. Launched in August on Sony YAY! in India. Japan launch expected to follow.

Akane-banashi (Animation, 12x22 min.) The highly anticipated anime adaptation of the manga currently serialized in Shonen Jump is coming in 2026. A passionate and authentic rakugo drama begins now.

SONG

DANCE

(Competition format, 60 min. eps.)

The two biggest forms of performance come together on one stage for the first time in competition television history. What’s better: song or dance?

Love Time Travel (Dating format, 4x10 min.) A dating reality show where singles in their 20s date across the ’80s, ’90s and today—connect ing in person without phones, bonding through listening to cassette tapes and embracing today’s world of online dating.

Guess It Right (Game-show format, 60 min. eps.) A brand-new format combining physical gameplay with strategic prediction. Contestants face balance and timing challenges while judging rivals and mystery guests.

TVF INTERNATIONAL

O (44-20) 7837-3000

m sales@tvf.co.uk

w tvfinternational.com

Stand: R7.C40

China’s Wild Secrets (Wildlife, 5x45 min.) Narrated by Sir Stephen Fry, this landmark series takes viewers on a journey through wild China, revealing the secrets of rare and remarkable creatures.

Escape From Chernobyl: 48 Hours That Changed the World (History, 1x47 min./1x90 min.)

Dive into the first 48 hours of the most devastating nuclear disaster in history in this immersive investigation.

Great British Train Journeys from Above (Travel, 4x47 min.) All aboard, this is your ticket to ride the most spectacular train journeys in Britain. Narrated by Hugh Bonneville and featuring the real Hogwarts Express.

The Ozempic Effect: Beyond the Waistline (Health, 1x52 min.) Now one of the best-selling prescriptions of all time, this is the first in-depth investigation into the meteoric rise of the infamous weight-loss drug.

Off Road Rescue (Fact-ent., 6x45 min.) At the edge of Canada’s most treacherous mountains, off-road rescuers risk their lives to save stuck and stranded vehicles before dangerous turns to deadly.

Australian Crime Stories: The Investigators (True-crime, S1-2: 12x60 min.) Each episode of this gripping series returns to the toughest cases of these investigators’ careers, revealing what it took to get Australia’s toughest criminals behind bars.

Castle From Above (Lifestyle, S2) A second season exploring Europe’s most picturesque castles, visiting the castles of Germany, Scotland, Slovakia, Spain and more.

For the Culture (World affairs, S2: 6x48 min.)

Amanda Parris travels the world to uncover the

issues most affecting Black communities, from police misconduct, mental health and food sovereignty to hoop dreams.

The Nuclear Option (World affairs, 2x60 min.)

Tracing the evolution of nuclear technology, this series explores how more countries are embracing nuclear energy as an increasingly vital part of a cleaner future.

When Titans Clash: Is Military Strength the New Path to Peace? (World affairs, 1x47 min.)

Eighty years after WWII, Japan is rearming and countries across East Asia are expanding their nuclear arsenals. In Asia, how will peace be maintained?

VIAPLAY GROUP

O (44-208) 742-5100

m contentdistribution@viaplaygroup.com w www.viaplaycontentdistribution.com Stand: R7.F15

Vanguard (Drama, 5x45 min.) A double Golden Nymph winner, this prestige drama follows a visionary tycoon’s turbulent rise, disrupting telecom and television and reshaping the media landscape.

A Life’s Worth (Drama, 6x44 min.) Nominated at Series Mania, follows Swedish UN soldiers in Bosnia, where a peacekeeping mission turns violent, exposing war’s moral dilemmas and bonds.

Sport vs. Money (Sports/current-affairs, 4x47 min.) A timely docuseries on football’s billion-dollar transformation, hosted by ex-club owner Simon Jordan with exclusive insight from Arsène Wenger, Andrea Agnelli, Lord Sugar and more.

Raoul Wallenberg Missing Inaction (History/true-crime, 1x86 min.) Narrated by Jake Gyllenhaal, Jamie Lee Curtis and Brian Cox, this

China’s Wild Secrets

WWII documentary retraces Raoul Wallenberg’s heroism, disappearance and the decades-long search for truth.

Scenes After a Marriage (Drama/romance, 8x30 min.) A quietly powerful drama set at a roadside diner, where separated couple Lovis and Kian meet for custody—and a possible second chance. In the Name of Love (Comedy/drama, 8x30 min.)

A bold, bittersweet family saga spanning decades, as two brothers uncover their father’s porn empire— and the secrets their mother hid.

Stayer (Drama, 6x30 min.) A fallen rock star returns home to reconnect with the daughter he left behind in an emotional drama about grief, redemption and second chances.

Mafia (Crime/thriller, 6x45 min.) Inspired by true events, this gripping series charts Sweden’s 1990s shift as cigarette smuggling fuels organized crime— and one cop fights back.

Adults (Dramedy, 8x44 min.) Mathilda’s orderly life is upended by an unexpected proposal and a forbidden affair, exploring desire, ambition and the messy complexities of love and self-discovery.

Dead Man Running (True-crime doc., 1x60 min.)

This BBC documentary follows Kim Avis, a Scottish performer turned fugitive, whose faked death exposed decades of sexual abuse, deception and a shocking manhunt.

THE WIGGLES

O (61) 423148-509

m lfield@thewiggles.com.au

w www.thewiggles.com

Stand: R8.A6

The Tree of Wisdom (18x5 min.) Promises to delight families worldwide with fresh and different fun stories about the life of “The Tree,” new songs and the unmistakable Wiggly magic that has entertained generations.

The Tree of Wisdom

Ready, Steady, Wiggle! (Preschool, S8: 52x11 min.) A brand-new season of the fan-favorite preschool show.

Wiggle and Learn (Preschool, 80x11 min./40x30 min.) Now available for a new generation of early learners.

Wiggle Up, Giddy Up! (1x75 min.) A special event program tying into The Wiggles’ country music roots.

WILDBRAIN

O (1-416) 363-8034

m sales@wildbrain.com

w www.wildbrain.com

Stand: R8.E1

The Snoopy Show (2D kids/family, 39x22 min.)

Follow Snoopy, the beloved doghouse-sitting,

Scenes After a Marriage

hap py-dancing, big-dreaming beagle, along with his best friend Woodstock and the rest of the Peanuts gang on brand-new adventures.

L’il Stompers (Preschool CG, 65x5 min.) A group of dinosaur friends love playing and exploring the world around them. Through play and laughter, they learn how to be their best selves.

Zip and the Tiny Sprouts (Preschool 2D, 52x7 min. & additional content) Step into Harmony Hollow, where each visit with Zip, Aria, Riff and Hum promises a delightful blend of nature’s beauty and the sparkle of imagination.

Strawberry Shortcake: Berry Big Specials (Preschool CG, 4x44 min.) Through winter, fall, spring and summer, Strawberry and her Berry Besties find big adventures wherever they go.

Badjelly (Family 2D, 13x22 min.) Tells the story of two curious kids whose futures are in the balance after their beloved cow is taken by an evil witch.

Secrets at Red Rocks (Live-action family, 8x24 min.) After Jake discovers a sealskin on the beach, he realizes that the sealskin has trapped a mythological creature on land and unleashed an ancient spell.

Tata & Kuma (Kids 2D, 104x2.5 min.) Join hero dog Tata, sock-loving cat Kuma and their quirky allies as they battle a parade of new villains with side-splitting slapstick comedy and action.

Songs from the Brightside (Preschool 2D, 20x2.5 min.) Under the glow of a far-out sun, a merry band of colorful characters sing toe-tapping tunes all about feeling those positive vibes.

Caillou (Preschool CG, 52x11 min. & 5x44 min.)

With fresh, relatable stories, follow the sensitive and imaginative 4-year-old Caillou and the supportive family and friends that help him navigate his big feelings.

WONDERPHIL ENTERTAINMENT

O (1-310) 482-1324

m phil@wonderphil.biz

w wonderphil.biz

Blood & Rust (Action, 1x90 min.) One woman’s fight for survival in a postapocalyptic world. Shooting November 2025.

My Heart Remembers (Family drama, 1x82 min.) An award-winning, Jane Austen-like, Doverated family drama about a young woman’s fight for identity.

When Cats Fly (Family, 1x85 min.) When a cat shelter loses its funding, a group of kids scheme to get their furry friends adopted by creating crazy cat videos.

Alien Invasion: Rise of the Phoenix (Action/sci-fi, 1x90 min.) Scientists on a space station and a team on Earth must discover how to defeat an alien force.

The Snoopy Show

Blood & Rust

Don’t Come Here (Horror, 1x90 min.) A hike in nature during a group of friends’ vacation turns to suspicion and terror as the members are killed one by one.

Hard Coin (Action, 1x90 min.) A valuable coin is stolen and a martial artist must go on a mission to get it back—one kick at a time.

My Little Moon (Drama, 1x81 min.) Two young women—one from Iran, one from America—connect online during Iran’s “Woman, Life, Freedom” uprising.

Rogue Cops (Action, 1x95 min.) With crime being completely out of control, the police decide to go rogue and take the law into their own hands.

Love & Vodka (Rom-com, 1x83 min.) Bobby meets a young woman from Ukraine and impulsively travels to Ukraine to propose to her and meet her family.

The Salmon’s Call (Doc., 1x57 min.) Explores the spiritual and cultural relationship between wild salmon and Indigenous people that has lasted centuries.

ZDF STUDIOS

O (49) 6131-991-0 m info@zdf-studios.com w www.zdf-studios.com

Stand: R7.D5

The Lady Grace Mysteries (Junior live-action, 10x24 min.) Lady Grace spies at Queen Elizabeth I’s court, solving mysteries and navigating royal intrigues alongside her loyal friends and the challenges of growing up.

Klincus (Junior animation, 26x22 min.) Klincus escapes during Umghard’s centennial feast, seeks his parents and finds hope between industrial town Umghard and isolated village Frondosa.

Magic Moves Kids (Junior live-action, 8x23 min./4x45 min.) Children with hemiparesis improve motor skills and confidence through magic therapy, guided by top magicians and medical experts.

Pharaohs at War (History/bio., 4x50 min.)

Docuseries recreates ancient Egypt’s epic battles with expert insights, stunning CGI and immersive reenactments at historic sites.

Into the Universe (Science/knowledge, 8x50 min.) Explores cosmic mysteries from galaxy formation to black holes, questioning the universe’s origin, fate and hidden forces.

Song Trip (Music format, 5x45 min.) Pop and rock stars journey worldwide, collaborating with local artists to create new music versions, bridging cultures through sound.

Ku’damm 77 (Drama, 9x90 min./18x45 min.)

Berlin’s 1970s dance school family saga explores emancipation, identity and societal change across three generations of the Schöllack family.

The Puzzle Lady (Crime/suspense, 3x90 min./6x45 min.) Mystery series follows Cora Felton, a puzzle-solving newcomer who aids police in solving baffling murders in a sleepy town.

Top End Bub (Romance drama, 8x30 min.)

Indigenous lawyer Lauren and husband Ned raise an orphan, blending family, cultural duty and relationship challenges in Australia’s Top End.

Lume (Drama, 6x50 min.) Eco-thriller unfolds at Portugal-Spain border, uncovering forest fires, corruption and a journalist’s fight to reveal the truth behind dark secrets.

Ku’damm 77

Azteca in Mexico, ZDF in Germany and Mediawan in France. That enabled us to bring the relevance needed when launching a new service in the market. The second part is distribution. You want to be everywhere. And the last part is advertising. We’ve been leveraging some of the big broadcasters—for example, Sky in the U.K. is monetizing our inventory. Whether it’s content, advertising or distribution, it is key to have the right partners on your side. We have more than 400 partners who trust us on the platform. We are part of Paramount and, as such, have access to its incredible content; however, we remain a third-party aggregator platform.

WS: How are you setting up your UX to drive both ondemand and live viewing?

JOLLET: When we started, our vision was to bring the leanback experience into the streaming world. At the time, the future of television was seen to be Netﬂix and on-demand only. We believed in the power of linear. After a couple of years, we noticed that the same constraint that you have on

Olivier Jollet Pluto TV

By Mansha Daswani

As it continues to scale its international footprint, Pluto TV has been emphasizing strategic partnerships across content, distribution and marketing. Speaking at World Screen’s FAST Festival, Olivier Jollet, executive VP and international general manager of the Paramount-owned AVOD platform, stressed the importance of alliances in a fragmented, challenged media environment and weighed in on the discovery conundrum and the CTV advertising opportunity.

WS: What gains has Pluto TV seen at this time, when the media business has been reevaluating its approach to advertising-supported media again?

JOLLET: We launched Pluto TV 11 years ago as a pioneer in free ad-supported streaming TV. Over the last decade, we have achieved incredible momentum and scale, totaling millions of users worldwide. It’s great to see the adoption of advertising by users increasing, thanks to the changes in the last two years in SVOD and the work we’ve been doing as a pioneer in the FAST space. Pluto now spans four continents and over 35 markets.

WS: What’s been the approach to scaling the footprint?

JOLLET: The company was acquired by Paramount in 2019, and it was a game-changer. We were able to beneﬁt from a global footprint, fantastic content and iconic IPs. That’s been facilitating the international rollout.

When considering how to internationalize a product like Pluto TV, the first step is to emphasize the importance of building a strong local offering. Local doesn’t always mean local content. It means content that fits the audience. It could be American, British or a specific genre. Before we launch in any country, we ensure we have a strong offering. To achieve this strong offering, we also secure significant deals with local players, including Viaplay in the Nordics,

linear television was also appearing on streaming, which is that users often miss the beginning of a movie and want to start over, or they may want to bookmark it to watch later. Our core DNA is linear, but we need to provide what the users want, which is a catch-up zone. We then began to build two distinct sections. Over the last couple of years, that has been a big area of focus for us, both from a content acquisition standpoint and from the UX standpoint. There’s a lot of communication between the two worlds. You watch something on-demand, but maybe you want to watch more lean-back or vice versa. It’s been a huge effort for us to bring those two worlds together, but with one thing in mind: simplicity. That’s what we promise to our users—simple access to content. We don’t want the users to search for ages. The primary mission of Pluto TV, initially, was to solve the paradox of choice. If you add a lot of on-demand content, you can re-create the paradox of choice. So, we’ve been working with our designers to build the best UX possible and a world where live TV and on-demand are communicating. The majority of consumption is still on live TV.

WS: Is there a sweet spot in terms of the channel lineup?

JOLLET: We don’t want to have too many channels. At the same time, we want every channel to be self-explanatory— when you see it, you know what to expect, especially when you go into a speciﬁc niche or fandom. It’s always about ﬁnding the balance. If a channel is growing in watch time per user, frequency and total users, it’s likely we will keep that channel. If we start seeing those KPIs decreasing, then we need to do something. That could be refreshing the content or changing the programming strategy. If the trend keeps going in that direction, then it’s probably time to kill the channel. And it’s OK. Every week, we kill channels. The number is not set. We do a lot of pop-up channels. It is a

dynamic offering. We have around 100 to 200 channels in our international markets; around 150 to 200 seems to be a pretty good number.

WS: Tell us about the gains you’ve seen in niche sports.

JOLLET: We decided to enter that world, again with partnerships. In Germany, we have a partnership with DAZN, so all major darts tournaments are available with a subscription on DAZN but are also available exclusively for free on Pluto TV. You can have a truly healthy business model and a collaborative approach with different streamers. The sponsors want to have maximum visibility. We have a partnership with the AWSN, the All Women’s Sports Network, co-founded by Whoopi Goldberg. We have been doing a lot of handball, MMA and boxing. The common point is they all feed a specific fandom. They are welldefined audiences and active on social. The fact that we can provide this content for free, live, makes a significant difference for the fans and creates a lot of virality as well.

WS: How are you approaching the challenge of discovery?

JOLLET: Discovery is probably the biggest challenge for any streamer in the world. Simplicity has always been the primary criterion in our product and tech discussions. Ensuring the user doesn’t spend 40 minutes searching for their next piece of entertainment. It’s all about content discovery. That’s why FAST has become so popular. We are taking the burden of choosing for the users. We have a great team, great data and we know what you’re going to like. Tune into the channels and let us do the programming for you. But that’s not sufficient in the world we live in today. We need to go beyond that because we have on-demand. That’s where AI will play a role in helping with content discovery. It will help at a lot of different levels in the value chain of a streaming service, besides also helping efficiencies, marketing and all of that. There are a lot of applications for how AI is going to make the lives of users better and help with decision-making, which I think is the $1 billion question— how to make the users decide in a few seconds what to watch. That’s where I’m very enthusiastic about the capability that AI is going to bring for the user.

WS: What advantages does a CTV ad buy provide a client over a traditional linear buy?

JOLLET: Pluto TV’s inventory offers the best of both digital and traditional TV. Over 90 percent of our consumption is happening on the TV set. It is full-screen, non-skippable,

audio-on. [Viewers] don’t see the difference whether it’s served via a digital signal. From a user perspective, there is no differentiation. Except you can personalize for the users. You have way more data. You can offer a better ad experience because it’s a digital product. More budgets are shifting from traditional TV to CTV. This movement is accelerating in Europe and Latin America, driven by major broadcasters. Now, SVOD services are entering this ﬁeld. Advertisers go where the eyeballs are, and the eyeballs are increasingly moving into the digital world. Therefore, advertising is expected to shift drastically to CTV now.

WS: How do you balance using the data you have access to while also tapping into the expertise of your curators when making content decisions?

JOLLET: Data is everything when you run a streaming service. Everyone on our team is a kind of data analyst, whether they’re in marketing, content partnerships or channel curation. Everyone can interpret the data with the help of our data analytics team. That’s what helped us ﬁnd some hidden gems as well.

WS: What are your priorities for the year ahead?

JOLLET: FAST was a big buzzword. We started to see a lot of fake FAST channels. That was not good for the business. A FAST channel requires quality and quantity. You can’t build a FAST channel with a playlist. We’ve been focusing on the quality more than the quantity. We’re making sure that every single channel is getting better. We’re starting to see better content coming to our platform. Shorter windowing, more fresh content. More live content. That has been a priority to make sure that we are jumping on those opportunities. In Brazil, we did a fantastic partnership with Tinder, where we created Tinder Apresenta: MTV Beija Sapo Beija Sapo was a dating show 20 years ago on MTV. Tinder was looking for a new way to address its users. Those kinds of examples show how the market is evolving.

We’ve also been doing more partnerships. Our focus has been on making sure we are bringing innovation in the way we work. Innovation for the end users, in content acquisition, content strategy and the product. We’re scaling the niches and making sure we capture the audience. Our marketing teams are making sure we address the right audience and always in a creative way. I encourage the team to think outside the box. We are the leader in FAST, but we’re competing against giants in the streaming industry—it’s good to keep an underdog mentality.

WS: What has been the overall approach to partnerships?

JOLLET: Partnership has always been a key pillar in our strategy. Usually, big local players have a great pipeline of local content and are the leading ad-sales house in their market. We’ve been trying to develop those 360-degree partnerships. With Viaplay, we closed a partnership [covering] marketing, distribution, ad sales and content. The alliance of two players helps consolidate the market, which is good for advertisers and good for users. We have a deal with M6. We launched some FAST channels on M6+. We’re partnering with the manufacturers. We need those partners, and we need to collaborate to bring more value. The partnership with DAZN is remarkable. A paid streaming service in sports and a free streaming service. It creates a win-win situation for the industry and for the users.

Pluto TV is available in some 35 markets across the globe.

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

Eshref Ruya

Eshref, a man who has everything but belonging, is unknowingly drawn back to his lost childhood love, discovering a destiny of passion he never imagined. (Inter Medya)

The Inheritance

From BAFTA and Emmy Award-winning producer Studio Lambert comes a new game of wit, willpower, persuasion and betrayal. Strangers set out to inherit a chunk of a vast fortune left behind by a benefactor who goes by the name “The Deceased.” (All3Media International)

Magic Moves Kids

A fun and groundbreaking magic camp designed for children with hemiparesis, a weakness on one side of the body that affects movement and coordination. (ZDF Studios)

Armorsaurs

A team of teen pilots and their armored dinosaurs are humanity’s last line of defense against a sophisticated alien army intent on destroying Earth. (CAKE)

VS School—The Ultimate HIDE and SEEK

A large-scale game of hide and seek against an entire high school. Celebrities hide in realistic props and students must find all the hiders in time to win the prize. (Fuji Television Network)