World Screen June 2025

June 2025 Edition

WWW.WORLDSCREEN.COM

THE MAGAZINE OF INTERNATIONAL MEDIA

TV Movies Screenings Festival / Behind the Scenes of Detective von Fock / ATV’s Müge Akar Silverback’s Keith Scholey & Toby Nowlan / Lucky Chow’s Danielle Chang TV Formats Festival Recap / Kids’ Media Trends

CONTENTS

JUNE 2025 WORLD VIEW By Mansha Daswani.

MOVIE TIME! The fifth edition of the TV Movies Screenings Festival featured a mix of heartwarming holiday features, thrillers and dramas.

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

Publisher Ricardo Seguin Guise Editor-in-Chief Mansha Daswani

DETECTIVE VON FOCK’S JEVGENI SUPIN & ARUN TAMM A video Q&A with the producer and director, respectively, of the period drama on offer from ZDF Studios.

ATV’S MÜGE AKAR The head of sales at ATV shared with viewers of the Turkish TV Festival the strategy for bringing the broadcaster’s hit series to channels and platforms across the globe.

Managing Editor Jamie Stalcup Associate Editor Grace Katich Editor, Spanish-Language Publications Elizabeth Bowen-Tombari

INSIDE OCEAN WITH DAVID ATTENBOROUGH Keith Scholey and Toby Nowlan of Silverback Films discuss the landmark National Geographic film.

Production & Design Director David Diehl

LUCKY CHOW’S DANIELLE CHANG A conversation with the host of the PBS series that explores Asian-American cuisine.

Online Director Simon Weaver Sales & Marketing Director Dana Mattison

TV FORMATS FESTIVAL RECAP Watch our sessions with BBC Studios’ Matt Forde, ITV Studios’ Mike Beale and Lisa Perrin, Warner Bros. International Television Production’s André Renaud, ZDF Studios’ Ralf Rückauer, The WIT’s Caroline Servy, All3Media International’s Sabrina Duguet, Something Special’s Jin Woo Hwang and Fuji Television Network’s Ryuji Komiya.

CHANGING THE GAME From refining co-production skills to adapting existing IP and driving digital-first content rollouts, a cross-section of producers and distributors weigh in on navigating a business in transition.

POCKET.WATCH’S CHRIS M. WILLIAMS The founder and CEO of pocket.watch on building franchises from the creator economy.

PARAMOUNT’S LOUISE BUCKNOLE A Q&A with the general manager and senior VP for kids and family at Paramount in the U.K. and Ireland about Milkshake!’s strategy.

Sales & Marketing Manager Genovick Acevedo Bookkeeper Ute Schwemmer

Ricardo Seguin Guise President Mansha Daswani Associate Publisher & VP, Strategic Development WORLD SCREEN is a registered trademark of WSN INC., 401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A. Phone: (212) 924-7620 Website: www.worldscreen.com

PROGRAM LISTINGS Highlights from several distributors.

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WORLD VIEW

BY MANSHA DASWANI

The Tipping Point Updating its advertising forecasts for 2025, WPP Media had a nugget of information that is likely to have professional content producers feeling some angst about where the media business is headed.

WPP Media is projecting a 6.1 percent growth in global ad revenues to $1.08 trillion this year, revising a previous 7.7 percent forecast “due to disruptions to global trade and continued deglobalization pressures weighing on advertising investment.” For 2025 to 2030, WPP expects a compound annual growth rate of 5.4 percent, down from a 6.4 percent projection for 2024 to 2029.

Digital continues to lead, accounting for a whopping 73.2 percent of global ad revenue this year. When factoring in streaming, digital out-ofhome and digital print, this share rises to 81.6 percent.

In a worrying sign for the traditional media ecosystem, usergenerated content is expected to overtake professional production when it comes to ad revenues. This year, more than half of contentdriven advertising revenue will come from platforms like TikTok, YouTube, Kuaishou and Instagram Reels. Revenues from creatorgenerated content will hit $184.9 billion this year, up 20 percent from 2024. WPP expects this to double to $376.6 billion by 2030.

TV, including streaming, will be up 1 percent this year to $162.5 billion. Streaming alone will contribute $41.8 billion, surging to $71.9 billion by 2030.

The U.S. remains the biggest market at 2025 revenues of $404.7 billion, a 5.6 percent gain. China will rise by almost 7 percent to $221.6 billion, and the U.K. will see a 6.5 percent gain to $55 billion. The other markets in the top ten—Japan, Germany, France, Brazil, Canada, India and Australia—will all see gains, with particularly strong showings in Brazil and India.

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The FAST Festival is a three-day, must-attend virtual event taking place from July 22 to July 24.

DEADLINE TO PURCHASE A SPONSORSHIP: July 2 DEADLINE TO SUBMIT MATERIALS: July 7 Please click here for more information or contact Ricardo Guise at rguise@worldscreen.com, Dana Mattison at dmattison@worldscreen.com or Genovick Acevedo at gacevedo@worldscreen.com.

UPFRONTS

All3Media International

The Assassin / Diddy: In Plain Sight / Chess Masters The All3Media International offering is led by Two Brothers Pictures’ thriller The Assassin, which stars Keeley Hawes as a retired assassin who is reunited with her estranged son, played by Freddie Highmore, when her dangerous past catches up to them. Lion TV’s Diddy: In Plain Sight goes beyond the headlines and seeks to understand how so many people around Sean “Diddy” Combs excused his alleged abusive behavior over decades. In the competition format Chess Masters, amateur chess players from all backgrounds battle across a series of rapid games.

The Assassin

Calinos Entertainment Ana / Deceiver / Crystal

Crystal

With its new and returning dramas, the team at Calinos Entertainment is focused on deepening relationships with existing partners while engaging new markets, driven by a clear strategy to deliver content that resonates internationally. Its latest slate of highlights includes Ana, which follows a young woman who takes a genetic test to find her biological mother. Deceiver tells the story of a perfect family’s life turned upside down. Crystal follows Fay, who grew up idolizing the daughter of her father’s boss, shaping her destiny in unexpected and tragic ways.

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Kanal D International The Family Burden / Secret of Pearls / Evergreen Classics Kanal D International has drama offerings that “resonate globally thanks to their universal themes and meticulous storytelling,” says Sangerim Zhakhina, sales manager for CIS, CEE and the Baltics. The Family Burden follows a wrongfully imprisoned mother seeking to rebuild her life and uncover the truth. Secret of Pearls dives into the life of a literature teacher, falsely accused of his wife’s murder, as he goes on a quest to reunite with his children.

Evergreen classics such as Time Goes By, Kuzey Güney and Forbidden Love are also on offer.

Secret of Pearls

“At Kanal D International, we’re proud to showcase a diverse slate of compelling dramas.”

—Sangerim Zhakhina

OGM UNIVERSE The Fall of the King / 6 of Us / Another Self OGM UNIVERSE has a slate of drama series that are “told through authentic Turkish cultural lenses that offer fresh perspectives,” says Ekin Koyuncu Karaman, global distribution and partnership director. Adapted from Gülseren Budayıcıoğlu’s novel, The Fall of the King centers on the collapse of a powerful man’s empire as the women around him rise stronger. 6 of Us tells the story of six siblings forced to flee their home after tragedy strikes as they face survival and sacrifice in Istanbul. In Another Self, three lifelong friends confront life’s crossroads.

6 of Us

“Our dramas combine cinematic production quality, deep character development and emotionally resonant narratives.”

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—Ekin Koyuncu Karaman

Onza Distribution Traffic Jam / Heart Keeper / Iberia & Savannah: One Wildlife Onza Distribution is highlighting Traffic Jam. “In addition to its gripping plots that have made it Prime Video Spain’s most-watched series, the production design is awakening an overwhelming interest for international adaptation,” says Erika Gómez, head of sales. Also on offer, the telenovela Heart Keeper follows Mariana as she returns home to protect her mother, facing rekindled love, a manipulative foe and buried secrets. On the documentary front, Iberia & Savannah: One Wildlife dives into the ecosystems of Europe’s Dehesa and Africa’s Savannah.

Traffic Jam

“Our commitment at Onza Distribution is to continue working to offer the best and most varied quality content for our customers.”

—Erika Gómez

Telekom Srbija

The Hand of Justice

The Hand of Justice / The Home Resort / Mind Tunnel Telekom Srbija’s The Hand of Justice follows a Yugoslavian war veteran who discovers that the fascist Ustasha leader responsible for war crimes is living in exile in Argentina. The Home Resort sees a status-obsessed family lock themselves in their apartment for ten days to fake a luxury vacation.

“Blending sharp dialogue, witty humor and emotional depth, it is a darkly comedic exploration of modern family life, identity and the illusions we build to feel whole,” says Aleksandra Martinović, director of the multimedia division. Mind Tunnel centers on a police negotiation unit.

“Telekom Srbija is actively paving new paths for local writers, actors, directors, producers and creatives to engage with the global entertainment landscape.”

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—Aleksandra Martinović

Book your Exclusive Showcase in

For a full list of benefits and examples of previous Exclusive Showcases, please visit WorldScreenings.ws.

World Screen has totally redesigned its flagship video portal, WorldScreenings.com, offering a slew of improvements and a sleek new look. In addition, we have unveiled four new targeted screenings destinations:

• TVKidsScreenings.com • TVDramaScreenings.com • TVRealScreenings.com • TVFormatsScreenings.com For information please contact Ricardo Guise at rguise@worldscreen.com, Dana Mattison at dmattison@worldscreen.com or Genovick Acevedo at gacevedo@worldscreen.com.

M a

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at MIPCOM

SPACE RESERVATIONS: September 5 ADVERTISING MATERIALS: September 10

Artist View Entertainment’s 25 Miles to Normal

MOVIE TIME! The fifth edition of the TV Movies Screenings Festival featured a mix of heartwarming holiday features, thrillers and dramas.

L

eading Artist View Entertainment’s slate, A Chrismystery centers on a young, widowed police deputy who feels trapped in her hometown—until the town’s Christmas decorations are stolen and she must solve the mystery. “Veteran Christmas movie queen Jen Lilley stars as the young widow,” says Scott J. Jones, president of Artist View Entertainment.

Six Days in Evergreen will appeal to fans of films like A Star Is Born, Jones says, calling it a “fast-paced adventure of a popstar’s fight to get her creative and personal life back on track.” With a cast that includes Bruce Davison and Lucas Bryant, 25 Miles to Normal is a family drama delivering “comedy mixed with touching moments,” Jones says. A Murder Between Friends stars Joan Collins in a thriller billed as a love letter to classic whodunits. Jones also highlights The Legend of Van Dorn, a period piece inspired by a true story, and the drama The Ghost Trap.

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Nicely Entertainment’s The Christmas Bookshop

As it marks its fifth anniversary, Nicely Entertainment continues to position itself as a key supplier of TV movies for the global market. The Christmas Bookshop “provides broadcasters and streamers a classicfeeling Christmas romance with great chemistry between lead talents Chris Connell and Melissa Melottey,” says Scott Kirkpatrick, executive VP of distribution and co-productions. Nicely Entertainment is also showcasing two titles with Jonathan Stoddard: Love at Lookout Lake and Saving the Christmas Ranch. “Love at Lookout Lake has heart, a little intrigue and great chemistry,” Kirkpatrick says. Saving the Christmas Ranch is “great for clients who want something with a little more heart and meaning in their holiday mix.”

Artist View Entertainment’s A Chrismystery 6/25 WORLD SCREEN 23

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

Hack My Yard Two gardening experts compete to transform a dull family garden into a relaxing oasis. After the family has chosen the best design, the team starts working. (ZDF Studios)

A Chrismystery After the death of her husband, Annie Willows returns to her hometown to become deputy sheriff. (Artist View Entertainment)

Windcatcher Ten-year-old Percy Boy Collins and his friends outsmart bullies to win their school’s athletics carnival. (Australian Children’s Television Foundation)

Wild Cape Town Reveals the wildlife thriving alongside millions, showcasing nature’s resilience and quirky coexistence in a vibrant urban wilderness. (Terra Mater Studios)

Virgin Island This groundbreaking new series follows 12 adult virgins as they travel to a Mediterranean retreat to embark on a unique course in intimacy. (Passion Distribution) 24 WORLD SCREEN 6/25

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JUNE 2025 EDITION

Behind the Scenes of Detective von Fock / ATV’s Müge Akar

TV DRAMA

CONTENTS

Spirit of Collaboration A renewed fondness for collaboration is evident across all sectors of the global media business, and the scripted space is no exception.

Ricardo Seguin Guise Publisher Mansha Daswani Editor-in-Chief Jamie Stalcup Managing Editor Grace Katich 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 Drama ©2025 WSN INC. 401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A. Phone: (212) 924-7620 Website: www.tvdrama.com

Amid budgetary woes and rising production costs, everyone is looking for smarter ways to fund shows and shorten development timelines.

That includes increased activity around scripted formats, a segment that IP owners from across the globe are looking to tap into. While big American and British shows do dominate the scripted-formats game, a wealth of other players are finding opportunities in this space, including the biggest names in Türkiye. ATV’s Müge Akar told Turkish TV Festival delegates about that company’s tape-sales business and expanding remake opportunities. You can watch her interview from that event in this edition.

Co-productions are also still paramount in the international scripted business, especially for smaller territories. This edition includes a behind-the-scenes look at Detective von Fock, an Estonian, Latvian and Italian collaboration that ZDF Studios is bringing to markets worldwide. “We need to co-produce because otherwise, it would not be an economically feasible project,” producer Jevgeni Supin told us.

“But it’s not just a co-production because of money. It’s an organic coproduction.”

—Mansha Daswani

DETECTIVE VON FOCK’S JEVGENI SUPIN & ARUN TAMM The producer and director, respectively, of the period drama on offer from ZDF Studios talk about receiving support from Creative Europe’s MEDIA strand and Eurimages, the benefits of working with the international co-pro model, achieving historical accuracy and the global appeal of the Estonian, Latvian and Italian collaboration.

ATV’S MÜGE AKAR The head of sales at ATV shared with viewers of the Turkish TV Festival the strategy for bringing the broadcaster’s hit series to channels and platforms across the globe.

.com

TV DRAMA

All3Media International The Gold / Mudtown / Boarders

Boarders

All3Media International arrives in Budapest with an eclectic scripted slate. The company now has two seasons of The Gold, in which Tannadice Pictures and Objective Fiction chronicle the true events of the Brink’s-Mat robbery in 1983 and the decade-long chain of events that followed. From Wales’ Severn Screen, there’s the crime drama Mudtown, which follows a magistrate whose maternal instincts clash with her commitment to upholding the law. All3Media International is also showcasing the popular YA hit Boarders, a coming-of-age drama from Studio Lambert.

Forever

Inter Medya

Eshref Ruya / Valley of Hearts / Heartstrings

Inter Medya continues to see strong traction on its dramas in Central and Eastern Europe.

Recently, the Turkish distributor landed a deal in Romania for Heartstrings. The drama is about two families whose lives are upended when their babies are switched at birth.

Another new highlight from the company is Eshref Ruya, a show from TIMS&B Productions. Also from TIMS&B is Valley of Hearts, which recently landed slots in Central and Eastern Europe following its strong performance in Italy.

Eshref Ruya

TVDRAMASCREENINGS.COM The only video portal for the global TV drama community.

TV DRAMA

Jevgeni Supin & Arun Tamm

Detective von Fock

By Jamie Stalcup

Z

DF Studios has brought the period drama Detective von Fock, a cross-cultural collaboration between Estonia, Latvia and Italy, to the world stage. The series, made up of two four-episode seasons, follows Paul von Fock as he solves various crimes, from murders and stolen fortunes to fake identities and imitation paintings, with the help of femme fatale Maria von Nottbeck.

The show is based on an Estonian series of light-crime novels. Producer Jevgeni Supin of Zolba Productions was instantly attracted to the conceit. “I saw huge potential; it’s a very interesting setup and setting, and in Estonia, it’s a period that had not been brought to the screen.”

With a few scripts ready and some financing in place, Supin approached director Arun Tamm about the project. Within a year, the team had wrapped production on the show.

TV DRAMA

The project benefited from the international funding model that underpins it, Supin said. “In the contemporary world, we need to co-produce because otherwise, it would not be an economically feasible project. But it’s not just a co-production because of money.

It’s an organic co-production. Our story takes us to Germanspeaking territories, to South Tyrol, for instance. We are a nation on the shore of the Baltic Sea. You can make a fish soup out of one fish. It will be a very good fish soup. If you add two or three more different kinds of fish, it will still be fish soup, but the taste will be completely different. That’s the biggest value of our co-production here.”

“I wanted it to feel intimate in its cinematography but also expansive.” —Arun Tamm Detective von Fock was the first Estonian series to receive support from both Creative Europe’s MEDIA strand and Eurimages’ pilot program for series co-productions. “That’s a huge step for us, not only for Estonians but for the Baltic countries overall,” Supin said. “We are a small nation, and receiving this kind of support is a sign that what we do is relevant and of value, and there is a demand for our stories.”

Tamm discussed the look he wanted to deliver in the show. “I wanted it to feel intimate in its cinematography but also expansive.

I chose wide lenses to see the scenery, and then handheld camera work to bring authenticity and reality into the scenes.”

TV DRAMA

Müge Akar ATV

By Elizabeth BowenTombari

F

rom epic period pieces like The Ottoman to romantic dramas like A Little Sunshine and The Nightfall, ATV, through its sales operations, led by Müge Akar, has been bringing top-notch Turkish series to broadcasters worldwide, steadily expanding its geographic footprint.

“The journey of Turkish dramas began in Eastern Europe and the Middle East, and after that success, Latin America reacted; the Chilean channel Mega was the first to acquire a Turkish title,” says Akar, head of sales at

TV DRAMA

ATV. “The fact that Latin America and the U.S. Hispanic market are huge and very important changed things for Turkish dramas and how they travel. After their success in Latin America, we’ve seen [the same results] in Spain, Italy, Portugal and many other countries in Europe and Asia, regions that have also followed this pattern.”

“Format licensing is becoming a new trend for us. We have licensed a few formats before, and now we have also closed a new deal for an adaptation in Mexico.”

Akar also touched on the range of the ATV offer, which encompasses long-running volume series like For My Family, as well as shorter-run productions. “Clients are looking for both the classical and new types of series now.”

Italy, Portugal and Africa are among the territories ATV sees strong growth potential in, Akar said. She is also bullish on the scripted format landscape for Turkish dramas.

“Format licensing is becoming a new trend for us,” Akar said. “We have licensed a few formats before, and now we have also closed a new deal for an adaptation in Mexico. It’s also another side of the business, which is exciting and very good to take a look at.”

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JUNE 2025 EDITION

Inside Ocean with David Attenborough / Lucky Chow’s Danielle Chang

A Special Th Our Sp GOLD SPONSOR

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hanks to All onsors S I LV E R S P O N S O R S

of the TV Real Festival, please click here

TV REAL

CONTENTS

Real Talk

Factual producers and distributors haven’t felt the sting of the SVOD pullback as acutely as the drama and kids’ spheres, but they are facing the same pressures as everyone else: constricted budgets, YouTube and discovery.

Ricardo Seguin Guise Publisher Mansha Daswani Editor-in-Chief Jamie Stalcup Managing Editor Grace Katich 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 Real ©2025 WSN INC. 401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A. Phone: (212) 924-7620 Website: www.tvreal.com

As I set out to curate the second edition of the TV Real Festival—if you haven’t registered, there’s still time to do so here—I wanted to take a look at how different members of the content ecosystem are managing.

Exploring programming strategies, we’ve enlisted the expertise of National Geographic’s Tom McDonald and Documentary Channel’s Tom Neff.

Coming to grips with deficit financing, AVOD and co-developing, we have a keynote with BossaNova Media’s Paul Heaney and a panel discussion with Albatross World Sales’ Anne Olzmann and TVF International’s Poppy McAlister.

Curiosity’s Clint Stinchcomb will be on hand to weigh in on how that brand has built its presence across SVOD, pay TV and FAST. Hearing directly from producers, we have Muck Media’s Cristina Costantini and Mariana van Zeller—who hosts the acclaimed series Trafficked— and Lion Television’s Richard Bradley.

And Gernot Lercher at ORF and Marion Camus-Oberdorfer at ORF-Enterprise will share how they collaborate to bring high-end natural history to Austrian and international audiences. Enjoy the show!

—Mansha Daswani

INSIDE OCEAN WITH DAVID ATTENBOROUGH Keith Scholey and Toby Nowlan of Silverback Films discuss Ocean with David Attenborough, in which the famed natural historian exposes the dire problems facing the world’s oceans and what can be done to restore their diversity and health.

LUCKY CHOW’S DANIELLE CHANG A conversation with the host of the PBS series that explores Asian-American cuisine.

TV REAL

Albatross World Sales The Right Whale—Tales of Resilience and Hope / Flight of Legends—The Quest to Conquer the Atlantic / Amnesia—When the Brain Suddenly GoesParents on Strike in the Wild Leading the Albatross World Sales slate, The Right Whale—Tales of Resilience and Hope showcases right whales’ behavior and the threats they’re facing. Flight of Legends—The Quest to Conquer the Atlantic centers on the race to accomplish the first direct flight between New York and Paris. It tells “a story about favorites and outsiders, winners and losers, legends and a lonely hero of the century: Charles Lindbergh,” says Anne Olzmann, managing director. Amnesia—When the Brain Suddenly Goes on Strike is also on offer.

The Right Whale—Tales of Resilience and Hope

“These programs captivate international audiences with their compelling storytelling, fresh perspectives and themes that transcend cultural boundaries.”

—Anne Olzmann

Nacelle Company Game Changers / A Future on Stage: The Making of a Broadway Musical / Icons Unearthed: Tom Cruise Movies Nacelle Company’s Game Changers explores the history of popular games and their influence on today’s society. “Our series takes a deep dive into this world, spotlighting its history and revealing stories of this $180 billion industry that have never been told,” says Brian Volk-Weiss, founder and CEO. A Future on Stage: The Making of a Broadway Musical goes behind the scenes of Back to the Future: The Musical. Icons Unearthed: Tom Cruise Movies is the tenth season of the Icons Unearthed franchise.

A Future on Stage: The Making of a Broadway Musical

“Every day at Nacelle, we are passionately considering anything and everything that we might be able to make into a television show.”

—Brian Volk-Weiss

TV REAL

ZDF Studios Dino Birds / How We Celebrate / Iconic Islands of the Indian Ocean Dino Birds, on offer from ZDF Studios, examines how birds became the most diverse group of vertebrates, thriving in nearly every habitat on the planet. How We Celebrate delves into the history behind holidays such as Carnival, Valentine’s Day, Easter, Halloween and more. “While traditions may differ across the globe, one thing unites us— we love to celebrate,” says Dr. Markus Schäfer, president and CEO. Iconic Islands of the Indian Ocean showcases the nature of the Maldives, Seychelles, Mauritius and La Réunion and highlights the threats they are under.

ZED

Dino Birds

“We have much more to offer than just the three briefly presented here, so please feel free to contact our sales teams.”

The Real Jungle Book —Dr. Markus Schäfer Tehran Confidential

Tehran Confidential / Knut, the Viking Emperor / Egypt’s Atlantis: Treasures of a Sunken City Leading ZED’s slate, Tehran Confidential delves into the power within Iran’s Revolutionary Guards and their influence over the country’s politics and society. Knut, the Viking Emperor brings to life the story of Knut the Great, who conquered and unified Denmark, Norway, Sweden and England into a Viking empire. Egypt’s Atlantis: Treasures of a Sunken City chronicles the ongoing exploration of Thonis-Heracleion. “Each project offers distinctive insights into their respective fields,” says Charlotte Tachet, head of distribution and acquisitions.

“These titles stand out for their great production values, meticulous attention to visual detail and dynamic storytelling techniques.”

—Charlotte Tachet

TV REAL

Keith Scholey & Toby Nowlan Ocean with David Attenborough

By Jamie Stalcup

T

he iconic natural historian Sir David Attenborough returns to the screen for National Geographic’s Ocean with David Attenborough to expose the dire problems facing the world’s oceans and what can be done to restore their diversity and health. The special from Silverback Films premiered globally on June 7 on National Geographic, Disney+ and Hulu, timed to align with World Oceans Day on June 8.

“This is David’s most important story,” says Toby Nowlan, a producer and director at Silverback Films.

“It’s a hugely authored and tailored piece. This is not your ordinary TV episode.”

Keith Scholey, a director on the project and a co-founder of Silverback, concurs, adding, “It’s very mission-oriented.

TV REAL

When we’ve made films about the ocean in the past, it’s been more generic—telling people about what lives there or what happens down there. This one is saying why we must protect the ocean. To understand the why, you have to go on this journey.

When David was a youngster, nothing was known about the oceans; now we know a lot, and he’s been on that journey. At the same time, you’ve got to discover what’s going wrong with it. If you know those two things, there’s an answer for how to fix it. It’s an exciting answer because it’s real, it works and it’s doable.”

“False hope is dangerous, but real hope is something we should be shouting about from the rooftops.” —Toby Nowlan Nowlan has worked with marine wildlife for most of his career, and he even learned new things during production.

“It wasn’t until I was working on the film that I came to understand that process of spillover. It completely blew my mind that if you protect an area of ocean, the process of recovery is very different to what happens on land. It’s easier, quicker, more spectacular and it fills out the surrounding areas of ocean with life again.

That process is a win for fisheries, conservationists; for everyone on Earth. It gives us a stable climate and a breathable atmosphere.

False hope is dangerous, but real hope is something we should be shouting about from the rooftops.”

TV REAL

Danielle Chang Lucky Chow

By Jamie Stalcup

I

n Lucky Chow, her Emmy-nominated culinary series for PBS that is now in its seventh season, Danielle Chang is furthering her mission of showcasing the AsianAmerican experience through food.

In the latest five-part season, Chang travels to Taiwan to delve into the island’s culinary culture. She meets indigenous hunters, visits busy night markets and learns how soy sauce and bubble tea are made, giving viewers an in-depth look at the intersection of history, tradition and modernity in Taiwanese cuisine.

“I was born in Taiwan, so it’s a homecoming for me,” says Chang. “I realized that, even though I was born there and visited a lot as a child, I never really knew it. I wanted to come back and see it with fresh eyes.”

There was much about Taiwanese cuisine to be explored, and just five episodes to work with. “We ended up filming

TV REAL

about 26 stories that make it through the five episodes,” Chang says. “The episodes are organized by theme. For instance, in the premiere we talk about staples of Taiwanese cuisine like soy sauce, tofu, rice and hot sauce.” Other episodes look at food prepared for religious offerings, nighttime treats and more.

Chang hopes that viewers take from the series a “sense of curiosity—I want to learn more about making my own tofu, or I want to travel there and explore that tea-making region myself.

Be inspired by somebody’s story to live your life differently or eat in a different way.”

“The American landscape for Asian food has shifted greatly.

We’ve grown with our viewers.”

American audiences are much more familiar with Asian cuisines than they were a decade ago when the show premiered.

“The American landscape for Asian food has shifted greatly,” Chang said. “When I first started thinking about Lucky Chow, fine-dining ramen was still a novelty. Even though Asian food was ubiquitous—you could get California rolls in supermarkets from coast to coast—it wasn’t as popularized as it is now. In season one, we would do an entire episode explaining what ramen is. Now, we’re doing more sophisticated episodes that assume the viewer already knows the difference between the flavors of China and Japan. We’ve grown with our viewers.”

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TV Formats Festival Recap

JUNE 2025 EDITION

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TV FORMATS

CONTENTS BBC STUDIOS’ MATT FORDE On the heels of his recent promotion to president of global production at BBC Studios, Matt Forde opened the TV Formats Festival with a keynote conversation about scaling the powerhouse’s remakes business across entertainment and scripted.

Ricardo Seguin Guise Publisher

ITV STUDIOS’ MIKE BEALE & LISA PERRIN ITV Studios’ Lisa Perrin and Mike Beale joined the TV Formats Festival to discuss group-wide creative collaboration, scouting for new ideas and managing format megahits.

Jamie Stalcup Managing Editor

WARNER BROS. INTERNATIONAL TELEVISION PRODUCTION’S ANDRÉ RENAUD As the group VP for format and finished sales at Warner Bros. International Television Production (WBITVP), André Renaud took part in the TV Formats Festival to discuss how he is amplifying the division’s presence worldwide across scripted formats and entertainment properties.

ZDF STUDIOS’ RALF RÜCKAUER Ralf Rückauer, VP Unscripted at ZDF Studios, shared with TV Formats Festival viewers how the factual, scripted and kids’ powerhouse is approaching the factual-entertainment and quiz-show landscapes.

Mansha Daswani Editor-in-Chief

Grace Katich Associate Editor David Diehl Production & Design Director Simon Weaver Online Director Dana Mattison Sales & Marketing Director Genovick Acevedo Sales & Marketing Manager

FORMAT TRENDS WITH THE WIT Tapping into The WIT’s extensive global database tracking content worldwide, Caroline Servy joined the TV Formats Festival to showcase the titles, markets and companies leading the global non-scripted format business today.

Ute Schwemmer Bookkeeper

ALL3MEDIA INTERNATIONAL’S SABRINA DUGUET All3Media International’s Sabrina Duguet highlighted how the company is navigating the format business across the Asia Pacific at the TV Formats Festival, with the company seeing traction on game shows, reality and scripted.

Ricardo Seguin Guise President

ASIAN INNOVATION: RIDING THE K-CONTENT WAVE Amid the booming interest in Korean content globally, the TV Formats Festival heard from Jin Woo Hwang of Something Special about the prospects for Korean remakes across scripted and non-scripted.

ASIAN INNOVATION: THE VIEW FROM JAPAN Fuji Television Network’s Ryuji Komiya joined the TV Formats Festival’s Asian Innovation strand to highlight Japan’s gains in the global format business.

Mansha Daswani Associate Publisher & VP, Strategic Development TV Formats ©2025 WSN INC. 401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A. Phone: (212) 924-7620 Website: www.formats.ws

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BBC Studios The Honesty Box / Nation’s Dumbest / The 1% Club BBC Studios is looking to drive its presence in the reality formats space with The Honesty Box. Created by Mettlemouse, the dating show gave Channel 4 its biggest-ever launch on streaming for a new E4 original commission. Sumi Connock, executive VP of global creative networks and formats, also highlights Nation’s Dumbest, featuring a celebrity cast. It delivers a “broad mix of challenges and a warm and humorous approach, so it’s family friendly, with a narrative arc that hooks you in from week to week.” The 1% Club has been licensed in 12 markets, including the U.S.

Nation’s Dumbest

“We will continue to develop our own formats, nurture those already in our portfolio and bring in exciting new formats that we can exploit around the globe.”

—Sumi Connock

Fremantle Bride in the Kitchen / The Ultimate Entertainer / What’s My Line?

Newlywed brides and their mothers-in-law take part in a culinary showdown in Fremantle’s Bride in the Kitchen. In The Ultimate Entertainer, ten musicians must adapt to a new genre. Fremantle is also showcasing the celebrity panel game show What’s My Line? Andrea Gavacova, consultant VP for CEE, commercial and international, notes, “Game shows are difficult to get right, but when you get them right and they do well, they’re costeffective, advertisers and audiences like them, and you can keep reinventing with fresh hosts and making them feel relevant for audiences.”

What’s My Line?

“New, original, noisy IP has great appeal, and these formats all resonate in different ways.”

—Andrea Gavacova

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Inter Medya Crossover / The Box Challenge / Dream Couple Over 13 weeks, musical artists step outside of their comfort zones in Crossover, one of a selection of formats on offer from Inter Medya. The company says that this is more than just another talent format, with the show promising to deliver a transformative musical journey where identities, cultures and creativity collide on stage. On the studio game show front, The Box Challenge sees teams of contestants vie for a cash prize as they open 30 boxes, each with a different prize inside. Inter Medya is also seeking commissioning partners on Dream Couple, a dating format set in a lavish mansion.

Something Special Unforgettable Duet / Still Alive / All Aboard After receiving new investment earlier this year, Something Special is embarking on a growth strategy to position itself as a one-stop shop for all kinds of formats from South Korea. “We are currently working hard to finalize agreements to represent multiple A-list format titles,” says Jin Woo Hwang, president and founder. On the slate at the company are Unforgettable Duet, “a heartfelt series about the power of music, family and memories,” Hwang says; the reality competition Still Alive, optioned in 14 markets; and the dating format All Aboard.

Dream Couple

Unforgettable Duet

“Something Special is the one-stop shop for Korean formats.”

—Jin Woo Hwang

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Warner Bros. International Television Production (WBITVP) 24 in 24: Last Chef Standing / Cash or Trash / Impractical Jokers WBITVP is showcasing a diverse array of formats that promise to be universally relatable while still easily adaptable to local tastes. The lineup includes the cooking competition 24 in 24: Last Chef Standing, the factual-entertainment series Cash or Trash and the comedy format Impractical Jokers.

“Each of these titles taps into something universally relatable while giving space to create something that feels locally relevant and resonant,” says André Renaud, global VP for format and finished tape sales.

ZDF Studios

24 in 24: Last Chef Standing

“We remain focused on bringing highperforming, flexible formats to the table.”

—André Renaud

Magic Moves

Magic Moves / Wanna Bet? / Skydive Quiz A powerhouse in documentary, kids and drama, ZDF Studios has been steadily scaling its format business under VP Unscripted Ralf Rückauer. That initiative included the launch of CONTENT LADEN with Tom Gamlich and Jan Fritzowsky in 2023. The first format to come out of that alliance is Magic Moves, in which magic tricks are used to help children with hemiparesis. The iconic studio show Wanna Bet? continues to deliver for the company, with the U.K.’s ITV recently taking a second season of its local version. Another highlight is Skydive Quiz.

“We’re free to think about the best partner for a specific format in different countries and territories.”

—Ralf Rückauer

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MATT FORDE

On the heels of his recent promotion to president of global production at BBC Studios, Matt Forde opened the TV Formats Festival with a keynote conversation about scaling the powerhouse’s remakes business across entertainment and scripted.

TV FORMATS

We have a big scripted division as a vertical; we have a big consolidated unscripted business now.

And then we have global production, which is a true multi-genre business that goes across them. It makes it much simpler to look at the world. Everything ex-U.K. is now global production, and we will deliver in different genres, even within unscripted. In addition to our day-to-day, Saturday night, shiny floor gaming and quiz, we’re now pushing into reality with shows like The Honesty Box. And we’ve seen a lot of success with scripted shows. We’ve proven that we can deliver these great shows to local audiences. Is there more to do?

This is our opportunity to continue to grow across more territories and grow deeper into the individual genres and branch out to be true studios to local audiences.

”

TV FORMATS

MIKE BEALE & LISA PERRIN

ITV Studios’ Lisa Perrin and Mike Beale joined the TV Formats Festival to discuss group-wide creative collaboration, scouting for new ideas and managing format megahits.

TV FORMATS

When you make massive, wild format changes, the viewers don’t like it.

They like it to feel familiar, but there’s just enough newness to feel fresh and interesting.

That could be coaches or little tweaks around the edges. People don’t want big changes.

One of the lovely feelings about The Voice is that you know it’s going to be a warm bath. It feels familiar and people love that. The same with Love Island, too. We’ve tweaked that a lot, but still at the heart, it’s about love and people finding love. —Lisa Perrin

”

The creative network is across non-scripted development for the entire group—U.K., U.S. and international.

We’re tracking everything that’s coming through various stages of development with broadcasters or streamers or within the group. Over the last two or three years, we’ve seen the growth of collaboration between labels, both in the development and production of ideas going forward.

” —Mike Beale

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TV FORMATS

ANDRÉ RENAUD

As the group VP for format and finished sales at Warner Bros. International Television Production (WBITVP), André Renaud took part in the TV Formats Festival to discuss how he is amplifying the division’s presence worldwide across scripted formats and entertainment properties.

TV FORMATS

It’s an interesting one when we talk about chasing global hits, because I guess 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, and it’s The Traitors, which is nearly five years old. LOL is actually a ten-year-old format, and that growth has only been driven by one commissioning entity, Amazon. Maybe we should look at redefining what a global hit should be. 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.

”

TV FORMATS

RALF RÜCKAUER

Ralf Rückauer, VP Unscripted at ZDF Studios, shared with TV Formats Festival viewers how the factual, scripted and kids’ powerhouse is approaching the factual-entertainment and quiz-show landscapes.

TV FORMATS

The buzzwords are budget cuts and risk aversion. Most commissioning editors that you are talking to don’t want to invest too much time in a show that might not perform. Most of the decisionmakers on the management level trust more in something that has proven success or is a reboot because people know the brand. But that said, there is also a lot of creativity coming up at the moment. Broadcasters are thinking about teaming up with other territories and creating a big hub in one city, and then you can share costs. There’s a whole new world of thinking creatively and creating something new.

”

TV FORMATS

FORMAT TRENDS WITH THE WIT

Tapping into The WIT’s extensive global database tracking content worldwide, Caroline Servy joined the TV Formats Festival to showcase the titles, markets and companies leading the global non-scripted format business today.

TV FORMATS

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.

Those new adaptations represented 4.6 percent of all new unscripted shows around the world, which includes documentaries. This figure is slightly down compared to the previous year, from 5.2 percent in 2023…. All in all, we have the indicators of a highly concentrated format market with the top ten distributors accounting for over 67 percent of the total number of adaptations and only six distributors are able to boast a portfolio of over ten active formats.

”

TV FORMATS

SABRINA DUGUET

All3Media International’s Sabrina Duguet highlighted how the company is navigating the format business across the Asia Pacific at the TV Formats Festival, with the company seeing traction on game shows, reality and scripted.

TV FORMATS

We’ve got a fantastic support team in London, and their job is to help the producers internationally from the beginning till the show is on air. It’s not just about getting the deal signed, but it’s about supporting our partners as much as possible, trusting them and giving them the freedom required. Probably even more in scripted, adaptation is everything.

Adaptation is done well when people don’t know that this is a format because they don’t have to. The reason people come to us to adapt scripted formats is that we have fantastic stories. Award-winning writers have written fantastic scripts; it’s great that writers around the world can access them and make them their own, but use the backbone of the story. We do give quite a decent amount of flexibility to our clients.

”

TV FORMATS

JIN WOO HWANG

Amid the booming interest in Korean content globally, the TV Formats Festival heard from Jin Woo Hwang of Something Special about the prospects for Korean remakes across scripted and non-scripted.

TV FORMATS

The K-content business is gaining fame at the moment; nevertheless, behind these successes, domestic production costs have actually tripled over the past five years. This is causing many difficulties locally. The global expansion has become inevitable. That is also one of the reasons why a Korean scripted series now has to secure international sales as a finished tape, or they work more on presales or even preinvestment nowadays. South Korea has the weakness of being a single-language country. This poses difficulties for global expansion. Something Special strongly believes that formats are the key to overcoming this.

”

TV FORMATS

RYUJI KOMIYA

Fuji Television Network’s Ryuji Komiya joined the TV Formats Festival’s Asian Innovation strand to highlight Japan’s gains in the global format business.

TV FORMATS

It’s essential for us to be able to create formats that are visually entertaining or non-verbal.

People say, do you have any crazy Japanese game shows? Japanese formats, in general, are visually entertaining to watch, even if you don’t understand the language. So, language is a challenge. But I think we were able to overcome that, turning that into an opportunity for us to create an original format that is visually entertaining.

”

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JUNE/MIFA 2025 EDITION

Trend Watch / pocket.watch’s Chris M. Williams / Milkshake!’s Louise Bucknole

A Special Th Our Sp GOLD SP

S I LV E R S P

B RO N Z E S

Sessions available on-dem

hanks to All ponsors ONSORS

PONSORS

PONSORS

mand at TVKidsSummerFestival.com

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4 TV KIDS

CONTENTS

Breaking the Rules

FEATURE

16 CHANGING THE GAME From refining co-production skills to adapting existing IP and driving digital-first content rollouts, a crosssection of producers and distributors weigh in on navigating a business in transition.

While it’s not a piece of advice parents would necessarily offer their kids, the consensus I’ve been hearing from folks in the kids’ media business is that it’s time to break some of the rules.

Ricardo Seguin Guise Publisher Mansha Daswani Editor-in-Chief Jamie Stalcup Managing Editor Grace Katich 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 ©2025 WSN INC 401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A. Phone: (212) 924-7620 Website: www.tvkids.com

There are no easy solutions for where the business finds itself. Deflated from the sudden decrease in SVOD investment, kids’ media producers are having to find new ways to get their shows off the ground. Securing an audience has never been harder amid fragmented platforms and an untenable sea of content. And big-budget, beautifully animated shows are often finding themselves losing audiences to properties made on shoestring budgets in the creator economy. Curating the latest edition of the TV Kids Summer Festival, we set out to grapple with these game-changing developments to see if we could find some consensus on the way forward.

The conversations we’ve had with senior production, distribution and programming executives indicate that, more than ever, it is time to throw out many of the old rules about exclusivity and walled gardens.

YouTube simply cannot be ignored—whether you’re in the business of serving kids or adults. Whether it’s developing shorts based on existing IP to maintain engagement between seasons, dropping exclusive online content in the run-up to launches or partnering with leading digital creators, IP owners and channels are taking myriad approaches to the world’s most dominant video platform.

Our trends report in this edition highlights digital-first rollout strategies from several perspectives, the surging importance of co-production models, especially for pubcasters, and the continued value of known IP. This edition also includes a wide-ranging conversation with creator economy pioneer Chris M. Williams, who has scaled pocket.watch into the leading network of channels for kids and families on YouTube, with a stable of some of the business’s biggest personalities, including Ryan Kaji.

Milkshake!, which has a deep legacy of serving preschoolers in the U.K., has also set itself up on YouTube, knowing that while its linear and on-demand ecosystems remain valuable, not having a presence on YouTube is just not an option. “We are trying to ensure that we are in step with the audience,” Louise Bucknole, who heads up the service at Paramount in the U.K. and Ireland, told me in an interview you’ll find later in this edition.

—Mansha Daswani

INTERVIEWS

26 CHRIS M. WILLIAMS The founder and CEO of pocket.watch on building franchises from the creator economy.

28 LOUISE BUCKNOLE A Q&A with the general manager and senior VP for kids and family at Paramount in the U.K. and Ireland about Milkshake!’s strategy.

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6 TV KIDS

9 Story Media Group/Scholastic Entertainment Momoguro / Paris & Pups / The Woohoos!

The Woohoos!

9 Story Media Group is arriving in Annecy with titles for varying age demographics. Momoguro, based on Baobab Studios’ Roblox game, features action-filled episodes for kids ages 6 to 11. Paris & Pups, a digital-first series for girls ages 5 to 8, takes inspiration from Paris Hilton and her real pets. For preschoolers, The Woohoos! has “a lovable cast of animal friends, playful humor and universal themes of curiosity and wonder,” says Alix Wiseman, senior VP of distribution and acquisitions. The slate also features Scholastic classics such as Clifford the Big Red Dog and The Magic School Bus. Plus, the offering includes hits like Daniel Tiger’s Neighbourhood and Wild Kratts, as well as newer titles such as Dylan’s Playtime Adventures, Open Season: Call of Nature and many more.

“With a library of over 5,000 half-hours, 9 Story offers something for every buyer.”

—Alix Wiseman

Ánima Kitchent Cuquín / Tippi T-Rex / Howly & Wooly Ánima Kitchent is bringing to Annecy/Mifa new seasons and titles, including a second season of Cuquín. The 3D series’ first season reached 9.4 billion views in 2024. Season two is in production for Max and has a toy deal clinched in Brazil. Tippi T-Rex is a 2D property with new episodes in production and follows the adventures of a curious dinosaur girl. Howly & Wooly marks the debut of a brandnew 2D IP, with a digital-first test planned by the end of 2025. Ariana Villalobos, Ánima Kitchent’s head of studio, said, “Titles such as Cuquín, Tippi T-Rex and Howly & Wooly are strategically developed to succeed across broadcasters, streaming platforms, YouTube, apps and beyond, maximizing both their global reach and long-term brand potential.”

Howly & Wooly

“At Ánima Kitchent, we are committed to producing high-quality content that not only performs strongly across platforms but also resonates deeply with audiences.”

—Ariana Villalobos

Australian Children’s Television Foundation Tales from Outer Suburbia

Tales from Outer Suburbia / Kangaroo Beach / Eddie’s Lil’ Homies Leading the Australian Children’s Television Foundation (ACTF) lineup, Tales from Outer Suburbia tells the story of Klara and her brother Pim, whose holiday in Outer Suburbia evolves into a surreal experience. The adaptation of Shaun Tan’s illustrated anthology “delivers a cinematic storytelling experience that is rarely seen in episodic animation,” says Roberta Di Vito, international sales manager. “Its imaginative, surreal adventures explore big emotional themes—family, belonging and resilience—that will relate to viewers around the world.” Also on offer, Kangaroo Beach pairs adventure with water safety education, following four animal cadets as they train with lifeguard mentors. Eddie’s Lil’ Homies, which centers on an 8-year-old as he navigates life on the playground, celebrates themes of diversity, friendship and community.

xxx

“The ACTF is excited to showcase the strength and diversity of Australian children’s content on a global stage.”

—Roberta Di Vito

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8 TV KIDS

Dandelooo The Upside Down River / Born in the Jungle / Tuiga Dandelooo has a jam-packed catalog for Annecy/Mifa.

Emmanuèle Pétry, head of international and development, highlights The Upside Down River, “which has been selected in the best TV program Annecy awards category,” she says. The Upside Down River tells the story of Tomek and Hannah’s meeting on the way to the Qjar River and their series of quests. Born in the Jungle takes place in late 1950s Venezuela, where 9-year-old Elizabeth’s summer break takes a wild turn when her little brother Leo vanishes into the jungle. Tuiga brings to life a giraffe in a balloon as he makes deliveries around the world. He is accompanied by a pilot, flower and rock. Dandelooo’s offering also includes PongPong Dino, Pompon Little Bear, Billy the Cowboy Hamster and many more.

Born in the Jungle

“These programs have a high visual impact with a strong setting in nature—an imaginative art-like nature, but nevertheless a true inspiration for kids today.”

—Emmanuèle Pétry

El Reino Infantil La Granja de Zenón (Zenon’s Farm) / Bichikids (Boogie Bugs) El Reino Infantil is bringing to the global market La Granja de Zenón (Zenon’s Farm), its flagship IP. The series “remains a solid and reliable choice for platforms and buyers seeking guaranteed success,” says Ylka Tapia, acquisition and partnership manager. The musical series Bichikids (Boogie Bugs) sees little bugs suggest tasks and activities that match the rhythm of songs. El Reino Infantil also has on offer the new IPs Wadoo and Pili Pilota, as well as a smattering of other digital series. “For us, diversification is key,” Tapia notes.

“We want families to have access to their favorite content anytime, anywhere and on any device. While YouTube remains our primary brand, prioritizing digital expansion to other platforms has enriched the user experience and significantly increased the visibility of our IPs.”

La Granja de Zenón (Zenon’s Farm)

“What makes these projects appealing is, above all, their proven effectiveness with a massive international audience.”

—Ylka Tapia

HARI The Weasy Family / Grizzy & the Lemmings / Mystery Lane On offer from HARI, the slapstick comedy The Weasy Family blends silly antics with emotion. It centers on the well-meaning but unprepared weasel named Weasy, who suddenly finds himself having to raise twin ducklings after accidentally sitting on their giant egg moments before hatching. Also available from HARI are four seasons of Grizzy & the Lemmings and its new preschool spin-off, Baby Lemmings. The former sees a bear take over a forest ranger’s house to live like a man, only to be disrupted by the lemmings, little furry mammals who have the IQ of a pea. In Mystery Lane, which also features a Christmas special, a detective hamster and her little brother take on investigations that baffle Scotland Yard.

The Weasy Family

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10 TV KIDS

Knuffle Bunny

Hidden Pigeon Company The Pigeon Show! Starring The Pigeon / Knuffle Bunny / Cat the Cat Tries That!

At Annecy, Hidden Pigeon Company is presenting a variety of programs that bring Mo Willems’ characters to life. The Pigeon Show! Starring The Pigeon, like its title suggests, centers on a pigeon who lives large and dreams big. Knuffle Bunny tells the story about the Knuffles, plush rabbits, and the chaotic human families they are part of. Cat the Cat Tries That! centers on a curious, confident cat who loves her family, her friends and trying new things. These “showcased projects appeal to a global audience because of the universally relatable kids’ and family themes, distinctive animation styles and the diverse cast of characters that connect emotionally with audiences no matter where in the world they reside,” says Karen K. Miller, CEO of the Hidden Pigeon Company.

“We are excited to be further introducing global attendees to Mo Willems’ work and to celebrate all the amazing talent throughout the world.”

—Karen K. Miller

Kedoo Entertainment Booba / Sonya From Toastville Kedoo Entertainment is bringing a variety of titles from the digital-first Booba franchise to Annecy. With five seasons and 130 episodes, Booba is available in over 45 countries and has racked up more than 22 billion YouTube views. It consistently ranks in the top ten kids’ animation titles on Netflix and has grown into a franchise with spin-offs such as Booba: Food Puzzle, Booba’s Bedtime Stories and Booba Live Show, plus games, toys and more. Another title from Kedoo, Sonya From Toastville targets kids aged 6 to 9. Since launching in 2024, the series has already surpassed 200 million YouTube views. In the show, Sonya’s adventures in Toastville champion friendship, self-belief and resilience. A second season is now rolling out exclusively to broadcasters and streaming platforms worldwide.

Magic Light Pictures

Sonya From Toastville

Tiddler

Tiddler / Pip and Posy / The Gruffalo Tiddler, based on the book of the same name by Julia Donaldson and Axel Scheffler, leads Magic Light Pictures’ Annecy slate. It follows a little fish who is lost at sea and saved by his own imagination. “It’s a vibrant and imaginative underwater adventure with themes of creativity, storytelling and self-expression that resonate with audiences of all ages,” says Muriel Thomas, international distribution director. The preschool series Pip and Posy, now in production on three new stand-alone seasonal specials, centers on the world of a mouse and rabbit whose lives revolve around play. It “continues to delight young viewers with its gentle humor, relatable stories and warm celebration of friendship and emotional learning,” Thomas says. The catalog also features The Gruffalo, another IP based on a book from Donaldson and Scheffler.

“Our projects are grounded in universal themes—friendship, adventure, curiosity— that resonate across cultures.”

—Muriel Thomas

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12 TV KIDS

Tweedy & Fluff

MIAM! distribution The Tinies / Goat Girl / Tweedy & Fluff Among the titles on offer from MIAM! distribution, The Tinies, a character-driven comedy for upper preschoolers, takes place in the toy-built world of Attic Town. Each day, Ollie and her best friend Titus use their crafting skills to solve everyday problems in a sustainable way. Goat Girl, a coming-of-age comedy, centers on a 13-year-old girl who was raised by mountain goats. After becoming a teenager, her Nanny and Billy send her to a boarding school to spend time around other humans. Tweedy & Fluff follows Tweedy, a little plush made from tweed cloth, and Fluff, a ball of woolly fuzz, who are inseparable. Also in the MIAM! catalog, Edmond and Lucy follows a squirrel and bear cub, siblings who live together with their blended family in a chestnut tree.

Pocket.watch

pocket.watch originals

Love, Diana Musical Mysteries / Toys and Colors holiday special / Ryan’s World The Movie: Titan Universe Adventure From pocket.watch’s portfolio of creator-driven content, Love, Diana Musical Mysteries provides a new avenue for kids to experience Kids Diana Show. The new series features 3D animation, puzzles, learning opportunities and original songs.

An upcoming holiday special for Toys and Colors will include festive music, activities, storylines and special guest stars.

Content also continues to pour from the Ryan’s World brand, with Ryan’s World The Movie: Titan Universe Adventure standing alongside the five hit seasons of Ryan’s Mystery Playdate. David B. Williams, senior VP and general manager of channels, says, “For Ryan, Diana, Toys and Colors and the rest of our ever-expanding roster of creator stars, we have the best of their most popular YouTube content, all thoroughly vetted, enhanced and packaged for distribution.”

Serious Kids

“We have over 30,000 hours [of content] from the most popular stars out there.”

—David B. Williams The Unreal

The Unreal / Operation Ouch! / Flix The Unreal, a live-action miniseries for families on offer from Serious Kids, “blends supernatural mystery and comedy with real-world issues relevant to younger audiences, such as mental health struggles and the impact of social media on teenagers,” says Leila Ouledcheikh, senior VP of global distribution and commercial development. Operation Ouch! has a 13th season available. “The show continues to be incredibly entertaining, relatable and globally marketable,” Ouledcheikh notes. Flix, the first series based on Tomi Ungerer’s work, has been renewed for a second season, available in January 2026, to further the themes of “tolerance, courage, friendship and community, [which] strongly resonate with buyers seeking content with meaningful values and universal appeal.”

“Our programming stands out for its universal themes, emotional authenticity and crossgenerational appeal.”

—Leila Ouledcheikh

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14 TV KIDS

Dino Mates

Studio 100 International Mortina / Gifted / Dino Mates Studio 100 International has multiple kids’ titles for Annecy/Mifa. Mortina is based on the book series by Barbara Cantini. The 2D animated show revolves around Mortina, a quirky 9-year-old zombie girl, and her friends as they solve strange mysteries at Crumbling Manor. Gifted, a live-action series based on the novels by Marilyn Kaye and aimed toward ages 8 to 14, follows a diverse group of teens with special powers who find themselves hunted by a shadowy organization. “The characters’ powers are not simply tools to fight villains—they’re metaphors for personal growth and overcoming challenges, adding layers of heart and suspense,” said Dorian Buehr, head of global distribution. Dino Mates, inspired by Madame Freudenreich Curiosités, tells the story of two children who help their grandmother care for dinosaurs.

ZDF Studios

“While preschool and kids’ programming remain key, we are also expanding into teen and family-oriented content—a diversification that allows us to cater to a wider audience.”

—Dorian Buehr

Klincus

Space Nova / Klincus / Sam & Julia The ZDF Studios kids’ slate is led by a second season of Space Nova, an animated series that takes place in the year 2162.

Aussie siblings Jet and Adelaide Nova, along with their parents, spend their days traveling to rogue planets in the name of science. In Klincus, a big feast is held to celebrate the 100th anniversary of the founding of the industrial town Umghard.

Klincus uses this as a chance to escape and search for his parents, but he ends up captive in Frondosa, an isolated town in the middle of nature. Sam & Julia centers on the she-mouse Julia, who moves into a residential building from a distant island, and the he-mouse Sam, who welcomes her to the new environment and helps her feel at home. It is based on the best-selling Dutch book series The Mouse Mansion

by Karina Schaapman.

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El Reino Infantil’s Paco el Marinero (Paco the Sailor).

CHANGING THE GAME

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From refining co-production skills to adapting existing IP and driving digital-first content rollouts, a crosssection of producers and distributors weigh in on navigating a business in transition. By Mansha Daswani

A

nnouncing its landmark deal to become the new home of Sesame Street globally (sharing U.S. rights with PBS KIDS), Netflix included a data point that, while unlikely to comfort those still recovering from the drastic reduction in investments by the global streamers, is, at the very least, a sign that all is not lost.

“Kids and family viewing represents 15 percent of Netflix’s total viewing,” the streamer said. “Whether it’s laughing alongside their favorite characters with Ms. Rachel, Gabby’s Dollhouse, CoComelon Lane, Blippi and Hot Wheels Let’s Race or diving into exciting new adventures with The Sea Beast and Leo, we’ve built a space where kids can watch, play and learn.”

Many of the titles referenced were born from YouTube, a theme that we’ll return to later in this piece, but Netflix and other SVOD platforms, while not investing in kids’ fare at the level they were at the height of the pandemic boom, still see the segment as key to their ability to maintain subscribers.

“Children are not a major motivating factor for consumers when deciding to subscribe to a service,” said Olivia Deane, research manager at Ampere Analysis, at the TV Kids Festival earlier this year. “However, they still play an important role in subscriber behavior. Households with children are not only more likely to have more viewing devices, but they also make up a large proportion of Netflix viewing activity. While children’s content isn’t enticing people to sign up, it is stopping them from leaving. Across the board, households with children were less likely to churn. While streamers are limiting their budget for new, original and exclusive children’s content, they are also acquiring large volumes of existing children’s content to appease this important consumer group.”

While SVOD commissions have plummeted, Ampere’s data did show one bright spot; the “crown jewels” of the sector, Deane said, are public broadcasters, mainly in Western Europe and North America.

“Between the first half of 2023 and 2024, not only did public broadcasters announce the highest volume of children’s commissions, but they were also one of only three

commissioner types to show growth in the volume of children’s commissions announced,” Deane explained.

Pubcasters, themselves facing funding challenges (including in the U.S., where President Donald Trump has left the fate of public broadcasting in doubt), are increasingly pooling their limited resources to maintain their commitments to high-quality kids’ fare. Indeed, partnerships are very much back in vogue now that global deals are rare.

Among the numerous studios and distributors attending Mifa to explore potential partnerships for new projects is Dandelooo.

The boutique independent has weathered the storm facing the French animation sector, which has seen a string of high-profile casualties in the last year.

Gennarino Romano, international sales manager and head of acquisitions, describes the European animation sector as being “relatively resilient” amid the broader challenges facing the ecosystem.

“Its strength lies in robust public funding systems, creative talent and a strong tradition of international co-productions,” Romano says. “Our series The Upside Down River and Billy the Cowboy Hamster are good examples of European cooperation,” he notes, referencing partners in Germany, Portugal and Belgium. “These co-productions help to share financial risk and keep the industry dynamic and adaptable, even in the face of ongoing market difficulties. We are fortunate to be in production simultaneously with two French broadcasters: CANAL+ for Max & Bunny and TF1 for Hold on Gaston!”

Both are based on known IP, a theme that remains paramount in a business where discovery continues to confound everyone.

BY THE BOOK “A published book is proof that someone has already said yes,” Jeremy Colfer, the director of development at Lion Forge Entertainment, told delegates at the TV Kids Festival. “When you’re bringing it into someone, the risk is lower because someone already put their neck out. You’re not taking a flier on something completely original, which we all would love to see more of, but it’s just not done a ton right now.”

“Book adaptations have always been a proven and successful model for us,” said Oliver Grundel, Director Junior at ZDF Studios, at that same session, highlighting shows like Sam &

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Birthed on YouTube, Booba has become a huge hit for Kedoo Entertainment with slots across streamers and linear channels and a successful L&M rollout.

Julia. Based on the Dutch book series The Mouse Mansion created by Karina Schaapman, the series attracted several partners, including ZDF and France Télévisions.

Kristofer Updike, senior VP of creative at Hidden Pigeon Company, which was created to adapt the work of beloved author Mo Willems, expects known IP to remain prominent for the foreseeable future.

“I thought this year would be the year of new original content,” Updike said, “but we’re not quite there yet. I think we have another year or so of this kind of content being in high demand. 2025 is a year of IP, brands and so forth.

We’re on the cusp of an AI-driven creator model, where creators can use AI to animate their own content, and therefore, there’ll be a lot of fun, new original ideas coming out, and we’ll be able to see them visually.”

FROM THE GROUND UP Even amid the known IP mantra, new brands are emerging from the digital-first economy, with the likes of CoComelon and Booba sitting alongside Bluey and SpongeBob SquarePants on retail shelves. You can build a hit with a digital-first model (digital-only, less so), and understanding how to do so involves a fair bit of trial and error.

“Booba started life on YouTube as a 3-minute short, quickly becoming a firm audience favorite,” says Olivier Bernard, COO of Kedoo Entertainment, which created the show. “We could see the fan base growing exponentially, with each episode achieving huge numbers. Keen to build on this success, the logical next step was to extend the 3-minute format. While the appetite for Booba was huge, we learned from linear TV habits that extending the length of a non-dialogue show was risky. Being on YouTube enabled us to be flexible and nimble, delivering what the audience wanted and learning from it. Sometimes it works and sometimes it doesn’t. But we knew it was a risk we had to take. We gradually crept up to 5 minutes in season three, and the audience continued to grow. We are now at 7 minutes from season four onward, and Booba is loved more than he ever has been.”

Several IP owners are also using YouTube and other digital ecosystems to reintroduce properties, as Ánima Kitchent has done with Cleo & Cuquín, its flagship IP.

Indeed, a successful digital strategy has led the show back into a premium streaming environment.

“It was originally launched as a television-first IP,” says Miguel Aldasoro, international sales and co-production director at the Spanish production and distribution outfit.

“After completing the first season, we began shifting toward a digital strategy, developing content specifically for YouTube, including songs and short episodes focused on the character Cuquín. The new Cuquín: Discover & Explore episodes performed well digitally, which led us to expand production and move to an always-on content model. These strong results also caught the attention of Max, and we’re now producing the second season of the Cuquín original for the platform.”

Reiterating the importance of trial and error, Aldasoro says Ánima Kitchent used a similar model with Tippi T-Rex, resulting in “a new co-production for additional episodes and a new deal in China. We are now preparing to apply the same model to our newest IP, Howly & Wooly, with a first digital test planned for Q4 2026.”

El Reino Infantil, meanwhile, is a YouTube channel that evolved from a series of DVDs, serving Spanish-language audiences with music videos, educational fare, games and more. “We currently produce over 40 new weekly content pieces across various platforms,” says Ylka Tapia, acquisition and partnership manager at the channel, which logs more than 250 million views a day.

DIGITAL PLUS While Ánima, El Reino Infantil and Kedoo are all operating in slightly different digital-first spheres, pursuing revenue opportunities outside of the YouTube ecosystem is a common priority.

“While YouTube was instrumental in building Booba’s initial audience, with over 22 billion views accumulated now, we always envisioned the character as a cross-platform brand,” Kedoo’s Bernard says. “Our distribution strategy focused first on global streaming platforms, but since season three, we have also formed partnerships with regional and local TV broadcasters. Booba launched on Netflix and is now established as a top ten kids’ animated series. The show is also available on Prime Video.”

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Dandelooo’s Max & Bunny, based on a book IP, was commissioned by CANAL+ in France.

ITVX and Nine Network have also acquired the show, which has a successful licensing and merchandising program managed by IMG. “In 2024 alone, more than 40,000 plush toys—produced in-house by 3D Sparrow—were sold via Amazon and other e-commerce channels, reflecting strong consumer momentum,” Bernard continues.

FINDING THE FUNDS “Monetization on YouTube depends on many variables— seasonality, trends, events and territories all play a role,” says Aldasoro at Ánima. “The main objective is to generate strong viewership, ideally in regions with higher CPMs. With the introduction of new formats like YouTube Shorts, monetization dynamics have shifted significantly. CPMs tend to be lower compared to traditional content. Success comes down to building strong engagement with the audience and continuously expanding the reach into new markets and demographics.”

Aldasoro adds, “Outside the YouTube and AVOD window, we see monetization opportunities through licensing and merchandising. While securing deals in this space is not always easy, given the competitive landscape and the need for brand recognition, it remains a crucial avenue for consolidating the value of an IP. Licensing partnerships help extend a property’s reach beyond the screen, strengthening brand engagement and opening up additional revenue streams.”

Tapia says that El Reino Infantil has been able to fund its content thanks to its multiple revenue streams.

“Our large audience allows us to generate revenue across multiple areas such as YouTube, strategic partnerships, consumer product licensing, live shows and agreements with streaming platforms like Netflix, Prime Video, Max and ViX. The development of FAST channels and distribution via platforms like The Roku Channel, Pluto TV, Samsung TV Plus and Tubi has also opened up new monetization streams. We only move forward with theatrical releases or licensing deals once digital metrics confirm that a property is mature and scalable.”

Data is paramount, whether you’re developing for a digital-first rollout or pursuing a traditional commissioning route. You need to have a sense, early, of how your IP is connecting with viewers.

“Data is a fundamental part of our day-to-day operations,” Aldasoro notes. “It allows us to understand not only whether an IP is performing well, but also why it’s resonating or not with audiences, and how we can evolve it strategically. We have a dedicated team of data analysts and mathematicians who monitor a wide range of metrics, including performance trends, audience behavior and competitive benchmarks. This approach goes beyond basic KPIs; we use tools like YouTube Analytics and Tubular Labs to gain deep, actionable insights that inform everything from creative development to release strategies. Thanks to this data-driven mindset, we have been able to refine our IPs to better meet audience demand, identify new market opportunities and support commercial deals such as licensing and co-productions.”

TRACKING THE NUMBERS “Data is a core pillar of our content strategy,” says Tapia at El Reino Infantil. “We combine native analytics with proprietary systems built in-house to measure performance, reach and engagement at every level—video, channel, playlist. We leverage a dedicated content analysis and trends team that meticulously analyzes content performance, including viewership, engagement and retention across all our SVOD and AVOD platforms. We also monitor global consumption trends, understand cross-platform viewing habits and benchmark our performance against competitors across different countries. This data-driven approach allows us to make informed decisions on content acquisition, licensing and development, ultimately maximizing the reach and value of our content for young audiences worldwide. Every expansion is data-validated. We pivot based on this information to make informed decisions about production and publishing. This allows us to scale efficiently, minimize risk and deliver measurable impact across audiences and partners.”

For Bernard at Kedoo, data has been utilized to make creative and strategic decisions. “We track performance across platforms to understand which formats, characters, episode structures, publishing schedules and even thumbnail designs appeal to our audiences the most, helping us grow viewership globally. On the distribution side, performance

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“Government funding programs like France’s CNC and the EU’s Creative Europe MEDIA play a central role in funding development, production and, of course, distribution,” Dandelooo’s Romano says. “These mechanisms allow studios, especially independents, to stay competitive.

Without them, many productions simply wouldn’t happen.

Due to these subsidies, we are fortunate to be self-funding on projects such as Max & Bunny.”

And new co-pro opportunities are still emerging, “Most of the shows we’ve produced since Cleo & Cuquín Romano adds, referencing increased activity in Ireland have followed a digital-first testing approach, allowing and great potential in Portugal. “It’s also worth mentionus to validate concepts early and adapt them based on ing the significant tax credits available in certain regions. performance,” Aldasoro says. “Some of these projects The Canary Islands, for example, offer particularly have also been developed as co-productions, enabling advantageous tax credits, which have played a key role us to share costs and resources. With others fully in making projects such as Jasmine & Jambo and Under financed by Ánima with our production hub located in the Sofa possible.” the Canary Islands, we benefit from highly attractive tax While becoming more selective about which projects to incentives, which make our production costs signifiboard amid budgetary concerns, commissioning broadcastcantly more competitive and sustainable.” ers are also eager for content that can live in their linear, And we return to the value of Europe’s funding ecosyson-demand and digital ecosystems, Romano says. tems, which are helping to deliver content to a broad “At first, we used to separate content by platform, develrange of platforms. oping different formats for digital and for broadcasters,” adds Ánima’s Aldasoro. “Our goal now is to create content that can travel seamlessly across platforms, which is why production quality needs to be consistently high. Traditionally, broadcast content required longer durations, while digital favored shorter formats. Today, we often adapt by combining multiple short episodes or songs to meet broadcasters’ time slots.”

Kedoo is applying the lessons learned from its Booba journey to a show for the 6- to 9-year-old set, Sonya From Toastville. A co-production with Lakeside Animation and Studio Metrafilms, the series launched on YouTube last year and, after logging more than 200 million views, has now been greenlit “exclusively for broadcasters and streamers,” Bernard says.

Monkeys vs Robots, meanwhile, is a nondialogue animated comedy designed for co-viewing that is starting with four to six 2- to 3-minute pilot episodes. These are “designed specifically for YouTube and digital-first platforms as a trial to gauge market and audience response ahead of a potential full season,” Bernard says.

Book adaptations like ZDF Studios’ Sam & Julia remain popular for broadcasters and platforms.

Ánima Kitchent’s Cuquín has benefited from the company’s digital strategies, with YouTube success helping to secure a new commission at Max.

insights guide our go-to-market strategy, highlighting where Booba is gaining traction and helping us prioritize broadcast and licensing deals in specific regions. We also use real-time feedback constantly to test new concepts in short-form content before scaling them into longer formats or spin-offs.”

EUROPE TOONS IN

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Chris M. Williams pocket.watch consuming content. They were moving from traditional linear television to YouTube. It was apparent in my house as a dad—I would see my kids sit in front of my big screen TV and fire up their iPhones to watch YouTube videos—and, of course, in the data. It begged the question from a Disney perspective—a company that I admire tremendously, particularly for their franchise orchestration—why aren’t we looking at these stars, characters and IP on YouTube with massive fan bases and expanding them into franchise economics?

And that is what led to the launch of the company.

By Mansha Daswani

A

mid the teeming, fragmented landscape that is YouTube, pocket.watch has assembled a network of 50-plus creators, logging more than 855 billion lifetime views. From top-rated channels like Toys and Colors to the ubiquitous Ryan’s World, pocket.watch has been collaborating with its partner creators to transform beloved YouTube shows into complete franchises. That approach has included bringing this content into walled gardens, expanding into L&M and even tapping into linear viewing habits with a pair of FAST channels. In this wide-ranging interview, Chris M. Williams, pocket.watch’s founder and CEO, discusses the company’s early-mover advantage and offers some advice for those understanding how best to work inside the YouTube economy.

TV KIDS: Everyone is talking about the creator economy now, but this is a space that you’ve believed in for a while. What motivated that belief back then?

WILLIAMS: I spent two stints at The Walt Disney Company, both times via acquisition. The second time, I had been the chief audience officer at Maker Studios. During that period, I saw a profound shift in how kids were

TV KIDS: What do you look for when identifying new creator partners?

WILLIAMS: It starts with popularity. We are not necessarily the folks who find a creator who’s small and make them big. We generally partner with them after they have been through the democratic process on YouTube for determining what is going to be popular with kids and families. We will never partner with anyone who does not share our values. From day one, we’ve partnered with kids and family creators who prioritized the health, safety and well-being of kids. They don’t necessarily always know exactly how to embody this mission to do right by kids, but as long as they have the desire, we can help. We’ve created things like a creator handbook that we update every year. It tells them what the appropriate amount of screen time is for a kid to be in front of a camera and how to book a studio teacher. And then we look at it as a chessboard of diversity. We want kids reflected back at themselves in the content, so diversity of race, nationality, ethnicity, gender. And also diversity of formats. This is one of the gifts of YouTube. We can have gaming content, but we can also have art instruction. We can have a family that does everything on a farm in Texas. We can have imaginative role play. We are examining the mix to present the best packages to our potential content distribution partners.

TV KIDS: Ryan Kaji and his family present an amazing case study of how you can take a single YouTube unboxing show and transform it into a full-on franchise with his own theatrical feature, SVOD platform and FAST channel!

Talk about that journey and the lessons that you’ve taken from it as you continue to build on your partnerships with other creators.

WILLIAMS: He proved the model. He created the category.

When we were going out with Ryan and his family and engaging with business partners, we had a lot of biases to overcome. Having that proof of concept [was crucial]. A hit Emmy-nominated Nick series with Ryan’s Mystery Playdate. The success of Ryan’s World content and series on over 40 platforms, including Hulu, Peacock and Prime Video. A billion in retail sales. Fifty million game downloads. A feature film in theaters. And, of course, a balloon in the Macy’s Thanksgiving Day Parade! These

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opened the doors and helped us create an entirely new category that our creator partners and others can also now walk through.

We take a lot of pride in having been one to take the arrows at the beginning to open up that door more widely for not just kids’ and family creators, but all sorts of creators. I contend there’d be no Feastables without Ryan’s World toys, because Ryan’s World toys really proved the model. It gave Walmart the appetite to expand into this category. There is still friction in the market. With all our success with Ryan, being the first, it did get looked at as a little bit of an anomaly. Now, with success from MrBeast, Ms. Rachel, CoComelon and others, it definitely feels more like a trend. That’s a good place for us to be because the doors are more open.

TV KIDS: How do you use all the data you receive as you’re making programming, marketing and distribution decisions?

WILLIAMS: We look very closely at data. It starts with the YouTube data. We created a new tool for ourselves to use internally.

Maybe even before we’ve partnered with somebody, we’ve deployed this against their channel to determine a few different things.

What within their content needs to be done to make it exportable to premium platforms? Where is their most popular content and how can it be repackaged? Where the data falls down, of course, is on the non-YouTube platforms; it becomes a little more challenging. We do get measurement though. Typically, YouTube creator [content on other platforms] will perform to the relative success they found on YouTube. One extra layer of viewership and watch time from our third-party platforms and owned-and-operated channels and services gives us some additional information with respect to what’s hardest to measure, which is love. Love is what you need to drive a viewer into a consumer. In the kids’ category, it’s very hard to measure, rightfully. We have laws to protect the data of children, as we should, and so it becomes more difficult. There are lots of missing data points that would help understand love. So, when we distribute the content onto other platforms, it helps us understand whether there’s demand for that IP and that content off of YouTube, and that can steer future investment as well.

TV KIDS: What would your argument be to broadcasters who are still reluctant about creator content in their ecosystems?

WILLIAMS: You’ve seen new data come out of Nielsen over the last 18 months, two years, that shows that YouTube is not only dominating mobile screens and PCs, but it is dominating the living room television.

It’s the only one that’s truly growing. It’s gone from 6 percent when they started reporting to 12 percent of all watch time in the U.S. on television. The next closest is Netflix with about 8 percent, and no one else is really growing. This did open up some eyes. The early adopters will see the most success. We’ve been very

successful with our partners at Hulu, Peacock and Amazon, who’ve expanded their portfolio of our creator content and are making investments in additional content with other creators. All the major global players certainly have or are formulating strategies around digital creators. The local players, particularly internationally, will be slower to adopt. I expect that flood to come after. It’ll start with the global players who are all clearly leaning in, and I think at that point, the local players will realize that in order to compete with YouTube, they’re going to have to adopt some of these strategies and embrace creator content.

TV KIDS: There are questions about the health of the kids’ media ecosystem right now. Where do you see the business headed? What are the growth opportunities that you’re most excited about going forward?

WILLIAMS: It was great news a couple of weeks ago when Netflix picked up new episodes of Sesame Street globally.

As someone who appreciates the full breadth of the kids’ and family content landscape, a brand like that is critical.

A lot of the opportunities, obviously, are going to come from YouTube and digital creators. We’re going to continue to bet big there. It’s only going to grow in success.

Another area is gaming. Some people have done this well. There’s been a lot of experimentation. Roblox and Minecraft will continue to do well, and Fortnite could emerge as a winner there as well. These are similar ecosystems to YouTube. They are driven primarily by a creator class that’s actually creating these games. The best use of those platforms is going to come from collaborations between existing creators on those platforms and traditional IP or maybe new IP. It’s going to come from a mix of all those things in the same way that we see it landing for YouTube.

pocket.watch is building out the popular Toys and Colors YouTube channel across a range of platforms.

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Club. There’s the continuity that we have with our presenters—it’s a daily touchpoint with viewers. We have six presenters and also our puppet, Milkshake!

Monkey. That means that seven days a week, we’re able to have that connection with viewers and their families.

We have a live stage show, Milkshake! Live, and a magazine.

We also produce a ton of shorts each year that can cover all sorts of different subjects. We’re representative of the U.K. audience and their families. We’re a safe and trusted brand.

We’re on linear. We’re on VOD on 5. We just launched a FAST channel on the 5 platform. We have Milkshake! on Paramount+, our streaming service, and also on YouTube.

So, we’re focused on everywhere that kids are.

Louise Bucknole

Paramount

By Mansha Daswani

W

ith the recent rebranding of Channel 5 and My5 to a unified 5 for linear and digital, Milkshake!, the broadcaster’s popular preschool block, has landed its first FAST channel, creating an additional touchpoint for audiences across the U.K. to engage with the brand.

Led by Louise Bucknole, senior VP for kids and family in the U.K. and Ireland at Paramount (whose remit also includes Nick Jr.), Milkshake! is continuing to see audience gains across its multiple platforms. TV Kids caught up with Bucknole to hear about her programming strategy, approach to YouTube and the importance of well-thought-through digital extensions.

TV KIDS: What’s driving your success in the U.K.?

BUCKNOLE: There are four areas that drive our success.

Number one is always the content. We have some amazing brands like PAW Patrol, Rubble & Crew, Peppa Pig, The Adventures of Paddington, Milo and Pip and Posy. We have a mix of animation and live action. We have favorites like Thomas & Friends and Fireman Sam, and then U.K. commissions like Tweedy & Fluff, Mixmups, Odo and The Woohoos! and live-action series like Reu & Harper’s Wonder World and Animal Care

TV KIDS: Are you seeing differences in how audiences engage on linear, streaming or on-demand?

BUCKNOLE: Platforms and viewership are evolving in different ways. There is a lot more viewing on the VOD platforms and on YouTube. It’s very title-led; they’re drawn into their favorite shows and the IP that they love, and also new content. We launch new content on the linear platform. We roll it out straight away onto our VOD platform. It’ll then sit on a FAST channel. There’ll be promotions across all of the platforms. It’s about being accessible to that audience. We know kids are agile. They can download and take the content with them. They want to watch their favorite show again and again on the VOD platform. We’re a very habit-based brand because we are on in the morning on 5. We have that regular return viewing of the fans that come back to Milkshake! as well as attracting a new audience all the time. We’ve just launched Tim Rex in Space, and it’s performed very well. We ran a lot of clips and content on YouTube to highlight that the series was coming and then it was launched on the platform. It’s on our VOD service. We will be putting a full episode up on YouTube in due course. It’s about making sure that you’re agile with how you’re presenting that content to your audience so that it suits them.

TV KIDS: Tell us about your overall programming remit across commissions and acquisitions.

BUCKNOLE: We commission animation and live-action content. We have an Ofcom commitment to U.K. content. This is mixed in with acquisitions as well. Our content is focused on 2- to 5-year-olds, but we do go up to 7-year-olds. We want to reflect British children—their families, habits, desires and interests. We focus on things that are humorous, have adventure, fun and friendship and can inspire them to be curious about the world. We follow the Early Years Foundation framework for preschoolers in the U.K. We pick up about two to three [new or returning] series a year. We have a mix of fantastic Nick Jr. content as well. We don’t necessarily require movies or specials unless they’re related to some of the IP that we already have. We also don’t look for shorts—anything under three minutes—because we have an in-house team that produces a lot of that content. An area that we are looking for is slapstick comedy.

We also ensure that we have a sustainable theme in most of our content. It’s about having a clear hook and being slightly different. We don’t want the same as what we already have.

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Milkshake! commissioned Pip and Posy from Magic Light Pictures in association with Sky Kids.

TV KIDS: How important are co-productions for you?

BUCKNOLE: Co-pros are really important to us. We’ve been working around these models for many years. Tim Rex in Space is our first co-pro with Nick Jr. globally.

We’ve also had a co-production with Sky and ZDF, Pip and Posy. Odo, from Sixteen South, is with KiKA. It’s about how we can access those funding opportunities and collaborate with multiple partners to make the budget and the finance plan work. We all know that it is challenging at the moment, so we’re flexible on rights.

We’re open to discussing how the productions work. We want productions to go ahead. We will be involved at any stage, whether that’s development or a bit later on in the show. We’re open to all sorts of different models, and co-pros are at the center of how we produce our shows.

TV KIDS: How has your approach to exclusivity changed?

BUCKNOLE: Shared rights are something that we’re very open to reviewing if it’s a commission. We have to have the first broadcast on 5. For acquisitions, it’s a little bit different. We share many shows that might be on different platforms, whether that’s something like Chip and Potato, which is on Netflix, or Thomas & Friends, where we take the first run and then it’s on other platforms around the world as well. It’s thinking about what the IP is and how it fits in with our brand and what the funding model is.

TV KIDS: Are there types of shows that you’re not seeing enough of?

BUCKNOLE: One thing that we would like to see more of is…a well-rounded digital launch proposition. Content that you can roll out across YouTube and social media that enhances the shows that you have on the other platforms. [You need a] well-thought-through strategy of how you can reach an audience and be discovered in this very fragmented world that we have for kids. We’re always competing for kids’ time. You’ve got to be present on the platforms they’re on. Looking at that as part of your production plan is interesting to us.

TV KIDS: What’s been the approach to YouTube?

BUCKNOLE: YouTube is absolutely essential. It’s about discovery and engagement, and YouTube is often the entry point for kids into new brands. We have recently been releasing full episodes on YouTube. We have short-form and other assets to drive that engagement and awareness. Linear and VOD are still key—we have to drive those ratings. We’re a commercial business. But we understand that the engagement from kids happens in different ways. The linear block on 5 in the morning is so important because it’s part of their routine. In the afternoon, they can then catch up on our VOD platform, or they might want to go onto YouTube. Kids will go wherever is suited to them. Particularly for preschoolers, safe platforms are important. We know that YouTube and our linear and VOD platforms are well-curated, and they follow all of the compliance guidelines. We look to develop that further. For Nick Jr., we’re seeding content on YouTube to see how that develops. We are trying to ensure that we are in step with the audience.

TV KIDS: We all know it’s a challenging time. What keeps you excited about serving this demographic?

BUCKNOLE: Everybody who works in kids’ media is so passionate about the audience. They’re a brilliant audience to work with because they give you such honest feedback straight away. You will know straight away whether a show is going to go well or not, because an audience will connect with it very quickly. It is tough right now for creators and producers. That’s something that we’re mindful of. Content models are changing. But we get so much feedback about how much the audience enjoys Milkshake! We see it from our viewing figures.

Milkshake! has grown 2 percent this year. It grew last year on linear. It was up 24 percent on VOD. So, we know that the audience wants the great content. There is a supportive and celebratory community in kids. We ensure that we are very much part of that and agile in how we work with different partners.

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TV LISTINGS

IN THIS EDITION 9 Story Media Group/Scholastic Entertainment Albatross World Sales All3Media International Ánima Kitchent Media Australian Children’s Television Foundation BBC Studios Calinos Entertainment China Animation Association Dandelooo

9 STORY MEDIA GROUP/SCHOLASTIC ENTERTAINMENT

O (1-416) 530-9900 m distribution@9story.com w www.9story.com

Dylan’s Playtime Adventures (3-5 animation, 52x11 min.) Dylan, a stripey dog who lives in Buttercup Meadow, takes on a new career—doctor, pizza chef, hair stylist or sea captain.

Dori Media Group El Reino Infantil Fremantle Fuji Television Network Hidden Pigeon Company Inter Medya Kanal D International Kedoo Entertainment Magic Light Pictures MIAM! distribution Off the Fence OGM UNIVERSE Onza Distribution Passion Distribution pocket.watch Serious Kids Something Special Studio 100 International Terra Mater Studios Warner Bros. International TV Production ZDF Studios

Let’s Go, Bananas!

Let’s Go, Bananas! (3-6 animation, 52x11 min.)

Three sweet, silly, diverse families share each other’s lives, loves, triumphs and tantrums in relatable tales told by their five funny and fabulous kids.

Open Season: Call of Nature (6-11 animation, 52x11 min.) Boog and Elliot discover an abandoned summer camp, embarking on an adventure to create a place to live that welcomes animals of every kind.

A Kind of Spark (8-12 live-action, S1-2: 20x24 min.) Addie, a bright and sparky autistic girl encountering new friends and challenges, is determined to make the world a better place.

Lu & The Bally Bunch (2-5 animation, 75x5 min., 1x22 min., 25x1 min.) Lu and her new friends have just THE LEADING ONLINE DAILY NEWS SERVICE FOR THE INTERNATIONAL MEDIA INDUSTRY. For a free subscription, visit subscriptions.ws

TV LISTINGS

started preschool. Together they explore their brandnew social lives through play, music and big feelings.

The Woohoos (3-5 animation, 52x7 min.) Join Wynona, Iggy, Scotty and Ellie as they wander the natural world around them on Wise Island, where every moment is a new discovery.

Donkey Hodie (3-5 animation, S1-3: 150x11 min., 3x22 min. & 8x5 min.) Donkey Hodie lives in the land of Someplace Else, where everyone dreams big. Donkey spends her days pursuing her ambitions with gusto.

Hero Inside (8-12 animation, S1-2: 20x13 min.)

When cartoonist Scott mysteriously vanishes, 100 heroes from his 100 comic books are left scattered throughout the city.

Daniel Tiger’s Neighbourhood (2-5 animation, S1-7: 308x11 min., 3x22 min., 1x24 min., S4-6 interstitials) Daniel, a 4-year-old tiger, has fun while learning the skills necessary for school and life with help from his neighbors, family and friends.

The Singalings (2-4 animation, 26x5 min.) Extraterrestrials Melody, Harmony and Bop discover all they can about Earth. Whether a visit to the zoo, beach or a bus ride, they love to investigate.

ALBATROSS WORLD SALES

O (49-341) 4428-2450 m info@albatrossworldsales.com w www.albatrossworldsales.com

The Right Whale—Tales of Resilience and Hope (Nature/wildlife, 1x52 min.) Southern right whales represent one of the greatest conservation success stories of our time, but their Northern

cousins are in peril. This cinematic masterpiece explores reasons and possible solutions.

The Right Whale—Tales of Resilience and Hope

Wild Faces of Scandinavia (Nature/wildlife, 1x52 min.) With breathtaking cinematography and intimate wildlife encounters, this film captures the untamed spirit of the North and the incredible resilience of the creatures that call it home.

Flight of Legends—The Quest to Conquer the Atlantic (History, 1x52 min.) A gripping 1920s drama of deadly ambition, risk and glory as pilots race to conquer the Atlantic, culminating in Charles Lindbergh’s legendary solo flight.

Back in the Blue—Return of the Humpback Whales (Nature/wildlife, 1x52 min.) Once nearly extinct, humpback whales are returning to Canada’s west coast, bringing remarkable ecological changes to the waters between Vancouver Island and the mainland.

The Hidden Heart of Ireland (Destinations, 2x52 min.) Over 6 million people visit Ireland yearly, but only a few explore the Midlands—the true heart of the Emerald Isle, rich with hidden beauty and untold stories.

Shipwrecks—Oases for Wildlife (Nature/ wildlife, 1x52 min.) This underwater adventure

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TV LISTINGS

explores sunken manmade structures that have transformed over time into thriving habitats for diverse marine life.

Among the Wolves (Nature/wildlife, 1x52/81 min.) An award-winning film that follows a painter and a photographer living with a wild wolf pack for a year, capturing their hunts, bonds and survival through the seasons.

Liberation Diaries (History, 1x52 min.) Through their diaries, three women from Milan, Paris and Berlin document Europe’s turbulent transition after World War II, revealing powerful stories of resilience, identity and survival.

Wild Port of Europe (Nature/wildlife, 1x52 min.)

Portraits the various animals living in Europe’s largest and busiest port area, side by side with the shipping industry of Rotterdam.

Amnesia—When the Brain Suddenly Goes on Strike (Science, 1x43 min.) Neurologist Magnus Heier’s sudden memory loss sparks a scientific journey exploring how the brain processes, stores and forgets experiences, revealing memory’s crucial role in shaping identity.

ALL3MEDIA INTERNATIONAL

O (44-20) 7845-4350 m international@all3media.com w www.all3mediainternational.com

The Gold (True-crime drama, S1-2: 6x60 min. each) Tannadice Pictures and Objective Fiction deliver a star-studded drama inspired by the Brink’s-Mat robbery and the decade-long chain of events that followed, told across two seasons.

Mudtown (Crime drama, 6x60 min.) Severn Screen’s drama follows experienced magistrate Claire Lewis Jones as she faces personal turmoil when her maternal instincts clash with her commitment to uphold the law.

Mudtown

Boarders (Youth comedy/drama, S1-2: 6x60 min.) Studio Lambert’s razor-sharp coming-of-age comedy-drama, created by BAFTA-nominated Daniel Lawrence Taylor, follows the lives of five underprivileged Black students who win scholarships to an elite boarding school.

The Assassin (Crime drama/thriller, 6x60 min.)

Two Brothers Pictures’ action thriller about a female hitwoman (Keeley Hawes) on the run with her estranged son (Freddie Highmore) against the backdrop of an idyllic but remote Greek island.

Jewels of the Mediterranean (Lifestyle/travel doc., 15x60 min.) Dive into the crystal-clear waters of 12 well-known locations, from Gibraltar and the Balearics in the west to Cyprus, Corfu and Crete in the east, and get to know the people, culture, lifestyles and history.

Diddy: In Plain Sight (Bio., 1x60 min.) Reaches beyond the story of Sean “Diddy” Combs to bring to light the complicity of the people around him and

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TV LISTINGS

explore why so many, motivated by fame, money and power, turned a blind eye to his abusive behavior.

Chess Masters (Game-show format) The Curve Media prime-time competition format captures the excitement and drama of a game packed with smart thinking and clever strategizing.

Letterbox (Game-show format) Pairs of contestants go head-to-head to crack a series of passwords in an attempt to win a substantial cash prize.

Good Sports (Ent./travel format) A comedic host and celebrity guest travel to a new destination and go head-to-head in an outrageous athletic challenge from different cultures across the globe.

Tippi T-Rex (3-5 2D adventure comedy, 52x5 min.) A playful series about a curious dinosaur girl turning daily life into fun, imaginative adventures.

Howly & Wooly (4-7 2D adventure comedy) Howly and Wooly, unlikely best friends, solve daily forest problems in Woodytown, proving differences can unite rather than divide.

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.

ÁNIMA KITCHENT MEDIA

O (61-3) 9200-5500 m info@actf.com.au w www.actf.com.au

O (34-916) 31-50-84 m info@animakitchent.com w www.animakitchent.com

Cuquin (Cleo & Cuquin) (1-6 CGI adventure comedy, S1: 52x7 min., S2: 26x7 min.; Max original: S1: 20x5 min., S2: 20x5 min.; 50x5 min. & 100x2 min.) Cuquin is a tireless, unpredictable, clever, agile and playful baby, a small battery full of infinite energy, always ready to explore and laugh.

Cuquin

AUSTRALIAN CHILDREN’S TELEVISION FOUNDATION

Windcatcher (Family film, 1x80 min.) Ten-yearold Percy Boy Collins and his eclectic friends outsmart bullies to win their school’s athletics carnival, emerging as heroes of their own epic adventure.

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.

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, 52x12 min. & 2x30 min.) Four young animal friends share an action-packed summer training as cadets with

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TV LISTINGS

their lifeguard heroes, keeping the water safe at the Nation’s Dumbest (Game-show format, 60 min.) spectacular Kangaroo Beach.

The world’s first competition you don’t want to win.

Celebrities take on physical and mental challenges in this funny, family-friendly show about everything you really should know.

Weakest Link (Quiz format, 60 min.) This iconic game show sees contestants work together to answer questions, bank as much money as possible and avoid being voted out as the “weakest link.”

The Answer Run (Quiz format, 45 min.) Three Eddie’s Lil’ Homies teams battle it out for one cash prize. The answers Crazy Fun Park (Live-action comedy horror, are right in front of them; they just need to swipe the 10x30 min.) A shy teen wants desperately to fit in question into the correct answer bank. 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.

BBC STUDIOS

m format.sales@bbc.com w sales.bbcstudios.com The Honesty Box (Dating reality format, 45 min.)

The most honest dating show ever, and Channel 4’s biggest-ever launch on streaming for a brandnew E4 original commission.

The 1% Club (Quiz format, 45 min.) The game show where an 8-year-old has as much chance of winning as an 80-year-old. It’s not about what you know, but how your brain works.

Silence is Golden (Game-show/comedy format, 45 min.) The first comedy game show where the studio audience wins big if they can avoid making a sound through comedians, jump scares and more.

Nation’s Dumbest

Uncanny (Fact-ent./paranormal format, 60 min.)

Scary and fascinating in equal measure, this spooky paranormal format leads one of the biggest-ever investigations into the supernatural.

Our Dementia Choir (Fact-ent., 60 min.) A multiaward-winning, groundbreaking social experiment that unveils the true extent of music’s power in fighting dementia.

Megahit (Celeb. talent format, 60 min.) Celebrities battle it out to create the nation’s next megahit, joining forces with established music producers to write and produce songs that the celebrities perform live.

THE LEADING ONLINE DESTINATION FOR THE INTERNATIONAL MEDIA BUSINESS.

TV LISTINGS

Great British Bake Off (Competition reality, 60 min.) Feel-good competition that sees a group of passionate amateur bakers pushed to their limits in a bid to impress the judges and be crowned the nation’s best.

CALINOS ENTERTAINMENT

O (90-216) 999-4999 m info@calinosentertainment.com w calinosentertainment.com

Farah (Drama, 89 hrs.) Adapted from La chica que limpia, the story of an Iranian woman struggling to live in Istanbul who works as a cleaning lady to maintain her son’s medical treatments and becomes a mafia accomplice.

Ana

Ana (Drama, 120 hrs., ongoing) An ambitious young woman who lives in a foster home and works as an event hostess takes a genetic test to find her biological mother.

Love with Lavender Scent (Drama/romance, 166 hrs.) Fifteen years ago, Anda returned to Podișor, escaping her abusive husband just before giving birth to her daughter. Her life changes dramatically when a retired football player inherits her house and land through her father’s will.

Adela (Drama, 159 hrs.) The secret identity of Adela is revealed when her biological grandfather, a

wealthy mogul, decides to repair his past mistakes.

Her parents, living in a slum near Bucharest, decide to send their daughter Andreea in Adela’s place to live in the mogul’s mansion.

Deceiver (Drama, 90 hrs.) Follows Dr. Aseel, her architect husband Saif and their son Yazan, living a seemingly perfect life in Lebanon after marrying in America. The series explores a tangled love triangle fueled by betrayal, jealousy and revenge.

Crystal (Drama/romance, 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, shaping her destiny in unexpected and tragic ways.

EGO (Drama, 40 hrs.) The Koraslans are among the most well-known families in the tourism industry in Turkey. The Ozturks are middle class and on the verge of losing everything. Their lives intersect.

Alert Squad (Crime drama, 75 hrs.) Every minute counts when the Missing Persons Unit is working a case in this police-driven series built on human drama.

Indefensible (Crime drama, 240 hrs.) Inside the world of the Lapointe-Macdonald law firm and its dedicated criminal defense team, with high-stakes cases and compelling personal dilemmas.

CHINA ANIMATION ASSOCIATION

O (86) 15210625893 m zgdhxh@vip.163.com w chinapavilion.com.cn/en

New Happy Dad and Son: Exploring China (Real life, 80x13 min.) The Datou family drives a magical RV across the whole of China in search of Wakakas, embarking on an expedition full of children’s interests and fantasies.

TV LISTINGS

Panda and Gummy Bear (Fairy-tale/adventure/ music, 52x12 min.) The adventure journey of Panda Ho-Ho and Gummy Bear to solve the storm crisis and protect their fantastical homeland, using music as their power.

Legend of King Qian

Legend of King Qian (Sinology/coming-of-age/ historical, 52x20 min.) Set in late Tang Dynasty turmoil, Qian Liu’s heroic rise from humble roots secures peace and prosperity for Hangzhou City through loyalty, strategy and courage. (Zoland Animation) Legendary Su Dongpo (Action/adventure/historical, S1-2: 26x10 min.) A poet, thinker and reformer, Su Dongpo’s life in Hangzhou City reveals his warmth, wit and wisdom, enriching Song culture with his legacy and compassion. (Zoland Animation) Boonie Bears: Future Reborn (Adventure/comedy/ sci-fi, 1x108 min.) Briar, Bramble and Vick team up with a mysterious boy in a future where humanity is nearly gone to help save the world. (Fantawild) Boonie Bears: Shrunk 2 (Adventure/ comedy/fantasy, 52x13 min.) After Tricky Boo falls, cousin Billy Joe causes chaos. Vick, Briar and Bramble hunt the shrinker, facing tough foes to protect Pipesburg. (Fantawild) Hey, Toma! (Fantasy/adventure, 26x8 min.) Four Color Boos use color-changing powers and creativity to help Color World residents solve fun and heartfelt challenges. (YNUO)

The Spirit of Mountain Sea (Fantasy/adventure, 7x13 min.) Luna, who is from a boat-dwelling family, prevents overfishing and builds a stable and happy life on land with the help of a sea spirit. (YNUO) Heronimals (Hero/pet/comedy, 26x13 min.)

Three girls, aided by pets, gain powers to safeguard Bamboo City. (CUZ) Youth Sailors (3D ocean/adventure, 26x13 min.) This animation blends time travel, navigation and treasure hunting, exploring themes like friendship, growth and dreams with designed financial literacy points. (CUZ)

DANDELOOO

O (33-9) 7264-4601 m sales@dandelooo.com w www.dandelooo.com The Upside Down River (Kids adventure, 8x22 min.) The story of Tomek and Hannah’s meeting on the way to the Qjar River. Their quests follow one another, overlap and finally complement each other.

The Mystery of Missing Socks

Billy the Cowboy Hamster (Preschool adventure/ comedy, S2: 48x11 min. & 2x22 min.) Billy dreams of being a cowboy but is still just a child—well, a hamster child.

Max & Bunny (Early preschool/edutainment, 26x5 min.) If you see a purple rabbit in Max’s arms,

TV LISTINGS

you’ll probably think it’s a cuddly toy, but Lapin is a real bunny—especially for Max. The Mystery of Missing Socks (Preschool comedy, 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.

Under the Sofa (Kids/family sitcom, 52x7 min.) A comedy in which a group of lost objects get a second chance as they live in hiding under a sofa.

Pol the Pirate Mouse (Preschool adventure, 13x7 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 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 rock.

PongPong Dino (Early preschool/comedy, 52x7 min.)

Food comes to life in massive proportions and five kids are about to set off on an unforgettable adventure.

Pompon Little Bear (Preschool adventure, S1: 39x7 min., S2: 72x7 min. & 2x21 min.) In bear cub years, Pompon is 7. He is mischievous, cheerful, playful and adds a bit of extra to the ordinary.

Jasmine & Jambo (Preschool edutainment, S1-2: 52x7 min., 52x1 min., 26x1.5 min., 4x26 min.) Jasmine and Jambo are crazy about music. They live in Soundland, where music and life go hand in hand.

grand prize—blending auctions with humor, strategy, adrenaline and pure entertainment.

Soul Sucker (Horror comedy, 8x45 min.) A washed-up 40-year-old reality star returns home when her mother is suspected in her lover’s strange death. Confronting a family curse where lovers of daughters meet a gruesome end, she uncovers dark secrets and suspects her mother knows more than she’s revealing.

Love at Third Sight

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.

Love at Third Sight (Docureality format) Men and women in their golden years spend 14 days at a luxurious resort seeking love through tailored activities, romantic outings and deep conversations.

Indal (Action drama, 8x45 min.) A group of EthiopianIsraeli youth decide to kidnap the police officer who peppered their adolescence with abuse and eventually murdered their closest friend.

DORI MEDIA GROUP Power Couple (Reality format) Eight couples face O (972-3) 647-8185 extreme challenges that will test how well they m sales@dorimedia.com know each other. w www.dorimedia.com El Buscador (The Browser) (Interviews) A TV forThe Auction (Game show) Two teams bid on mat centered on face-to-face interviews triggered by mystery items using hints (maybe helpful), all for a web content that anyone can easily access.

TV LISTINGS

Yum Factor (Cooking competition) Flips the script on culinary competitions. This isn’t about the professionals; it’s about the everyday culinary maestros.

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.

Ciega a Citas (Date Blind) (Rom-com, 140x60 min.) A story of a woman trapped in a love triangle unconsciously. The love that is not good for her blinds her, and the love that could make her happy is not even on her radar.

Paco el Marinero (Paco the Sailor) (Family) When Paco and his inseparable friend Luli are together, no one can stop them. As good sailors, they are always ready to dive into new adventures full of rhythm, dancing, fun and discoveries.

Pili Pilota (Preschool co-pro) Centers on the vibrant and imaginative Pili, a young girl with boundless imagination and a heart full of adventure.

EL REINO INFANTIL

La Granja de Zenón (Zenon’s Farm)

O (34) 6285-98071 m ylka.tapia@puro.studio w partners.elreinoinfantil.com

Wadoo (Preschool co-pro) A groundbreaking series set in a magical world inhabited by adorable, mythological creatures attending a unique preLa Granja de Zenón (Zenon’s Farm) school. What sets this preschool apart is its focus (Preschool/family) Represents life in a simple and on environmental stewardship. fun way; the country customs, the love for animals and the good care of the Earth. Zenon’s Farm has FREMANTLE over 70 million subscribers on YouTube.

O (44-20) 7691-6000 Bichikids (Boogie Bugs) (Preschool/family) In w fremantlescreenings.com this musical series, some little bugs suggest tasks, choreographies and funny activities that match the Swiped: The School That Banned Smartphones rhythm of cheerful songs.

(Doc./social-experiment format, 2x60 min.) No Canciones del Zoo (Zoo Songs) screens. No social media. No safety net. Can a (Preschool/family) Takes place in a zoo where a school survive 21 days without smartphones? A man named Mario works as a vet, accompanied by groundbreaking experiment exploring the true his son Pedro, his niece Mía and his nephew Teo. impact of smartphones on young minds.

Familia Blu (Family Blu) (Family) The Blu family’s Scrabble (Game-show format) The world’s songs spread love and joy in each video. Along with favorite word game super-charged for the screen. colorful animations and beautiful melodies, you will This format is a game show based on the classic meet each member of the family. board game.

TV LISTINGS

made up of eight to ten athletes and celebrities, in classic physical, agility and comedy games.

Where does the Sea begin (Family drama, 12x54 min.) Natsu discovers he has a 6-year-old daughter, Umi, after his ex, Mizuki, passes away. He struggles to embrace fatherhood.

My Precious (Romance, 11x54 min.) Miwa conceives a child with her childhood friend, raising it as House of Secrets her husband’s, leading to a complex love-hate story House of Secrets (Reality competition format) Con- that impacts all three lives. testants with hidden secrets enter an isolated cottage and must uncover others’ while protecting their own.

FUJI TELEVISION NETWORK

O (81-3) 6865-1988 m intlsales@fujicreative.co.jp w www.fujitv.com

Swap Project (Docureality, 1x60 min.) A crosscultural, comedic social experiment show. Two contestants with the same occupation from different countries swap lives for a week.

VS School—The Ultimate Hide and Seek (Game show, 23x30 min.) A large-scale game of hide and seek against an entire high school.

Celebrities hide in realistic props and students must find all of them in time to win the prize.

Iron Chef (Food competition, 295x35 min.) Chefs compete against Iron Chefs in a high-energy culinary challenge, creating innovative dishes with a themed ingredient in just one hour.

Run For Money (Game show, 80x60-114 min.)

Players must evade professional hunters and complete missions within a set area to win prize money by surviving until the end.

The Versus (Game show, 487x60 min.) A guest team of six competes against the resident team,

Iron Chef

Answer like an Animal (Quiz format, 1x120 min.)

Two teams fully embrace the spirit of different wild animals and learn about their behavior in depth before going head-to-head.

One Peak (Reality game-show format, 4x60 min.) Top professionals take part in Japanesestyle competitions where their techniques are “played” like sports.

HIDDEN PIGEON COMPANY

O (1-818) 655-4280 m contact@hiddenpigeonco.com w www. hiddenpigeoncompany.com

The Elephant & Piggie Show! (4-6 CGI, 63x7 min./21x30 min.) Features the joyful, adventurous, sometimes preposterous, often hilarious, lovingly hard work of best-friending.

TV LISTINGS

The Pigeon Show! Starring The Pigeon (5-7 Heartstrings (Drama, 120x45 min.) The lives of CG, 40x11 min./20x30 min.) In this comedic Mahinur Aydın and Aras Yılmazer became interseries, a wildly overconfident pigeon, named The twined when their daughters are switched at birth.

Pigeon, lives large and dreams big. There’s only one thing standing in his way: himself.

Knuffle Bunny (4-6 CG, 40x11 min./20x30 min.)

The story about the Knuffles and their delightfully chaotic human family they are a part of.

Chasing the Wind

The Pigeon Show! Starring The Pigeon

Cat the Cat Tries That! (2-4 2D, 39x7 min./13x30 min.) A curious, confident cat loves her family, her friends and trying new things.

A Busy Creature (2-4 2D, 39x7 min./13x30 min.)

A busy preschool creature (named Busy) explores the alphabet with her dad (named Dad).

INTER MEDYA

O (90-212) 231-0102 m info@intermedya.tv w intermedya.tv Eshref Ruya (Drama) Eşref spent years searching for a girl he once loved from afar. Now a high-ranking member of a mafia syndicate, he meets a young musician, unaware that she’s the woman he’s been searching for—and working as an informant for the police.

Valley of Hearts (Drama) Sumru is confronted by Nuh and Melek, the twins she abandoned. Meanwhile, the Şansalans’ mansion is rife with family drama.

Like There Is No Tomorrow (Romance, 4x35 min.) The meeting of popular and successful actress Manolya with experienced journalist Hakan for an interview changes both of their lives.

Just Friends (Romance, 4x35 min.) When roommates Ece and Umut learn that the first to marry will inherit a coveted house, they embark on a wild race of daily dates—each hoping to fake love before the other finds it for real.

Mr. Seref (Romance, 4x35 min.) Migrated from Albania to Turkey, one of the best chefs starts a new life. New surprises and love are waiting for him.

Chasing the Wind (Romance, 1x96 min.) Ege Yazıcı, living in Çeşme, and Aslı Mansoy, the CEO of the Yazman Group, find themselves at odds.

KANAL D INTERNATIONAL

m kdisales@kanald.com.tr w kanald.international

The Family Burden (Drama, 95x44 min.) 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.

TV LISTINGS

Secret of Pearls (Drama, 44 min. eps.) Azem, a beloved literature teacher with a happy family, sees his life shattered when he’s imprisoned for his wife’s murder. Upon release, his only goal is to reunite with his children, who were adopted by different families.

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.

KEDOO ENTERTAINMENT

O (44) 7769-940674 m site@kedoo.com w sholink.to/kedoo

Secret of Pearls

A Father’s Promise (Drama, 67x44 min.) In the 1980s political turmoil, Mustafa sacrifices to save his wife, leaving his daughter with the wealthy Ronas. A poignant tale unfolds as they reunite, facing danger and love’s resilience.

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, Aslı and Mehmet, navigate love and family opposition, hidden connections from the past resurface.

Three Sisters (Drama, 277x44 min.) Crafted by İclal Aydın, the narrative revolves around three sisters whose idyllic upbringing does little to prepare them for the harsh complexities of adulthood.

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

The Wonder Guys (Travel investigative doc., 12x45 min.) Steven Prior and Emily Laing uncover the duality of popular destinations like Las Vegas and Tokyo, unveiling hidden stories and overlooked perspectives beneath the surface.

Let’s Go!/¡Vamos! (Travel adventure doc., 40x90 min.) Join travel journalist Stas Natanzon as he ventures into offbeat, mysterious and dangerous places, discovering the beauty and allure in the scary and unknown.

Booba

Faraway (Travel doc., 16x60 min.) Rada Samutti goes beyond beautiful landscapes and scenery, connecting with locals to embrace their unique culture, food and traditions for a true destination experience.

Booba (Family comedy animation, 130x3-7 min.)

Explores the multiverse with friends, promoting emotional learning. A digital superstar with 22 billion-

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plus YouTube views, it ranked in the top ten among kids’ animation on Netflix.

Sonya From Toastville (Kids animation, 26x11 min.) Sonya discovers a kitchen breadbox that teleports her to magical Toastville, where adventures with friends teach kids friendship, self-belief, resilience and empowerment.

Goat Girl (Kids comedy, 26x11 min.) Gigi, a 13-yearold raised by goats, faces her biggest challenge yet: surviving school and making human friends.

Edmond and Lucy (Preschool comedy, S1: 52x12 min., S2: in prod.) Edmond the squirrel and his sister Lucy, a bear cub, grow up together in the heart of the forest, their favorite playground.

MAGIC LIGHT PICTURES

m distribution@magiclightpictures.com w www.magiclightpictures.com 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.

Tiddler

Tiddler (Animation, 1x24 min.) A little fish with a wild imagination gets lost in the sea and must rely on his stories to find his way home.

MIAM! DISTRIBUTION

m contact@miam-animation.com w www.miam-animation.com The Tinies (Upper preschool comedy, 50x11 min., 1x22 min.) In Attic Town, every day brings a new adventure as Ollie and her best friend Titus turn their crafting skills into superpowers to fix toy-sized squabbles.

The Tinies

Tweedy & Fluff (Preschool stop-motion comedy, 40x5 min.) Different but inseparable, Tweedy is always here to take care of little Fluff. They are the perfect pair: a pure friendship full of softness.

The Dangers (Kids adventure comedy, 10x13 min.) After nature reclaims the world, two kids, their dad, a giant bacterium and a monster truck search for mom in a wild, funny and emotional journey.

Mare the Mermaid (YA comedy, 10x22 min.)

Princess Pelagie trades royal life for university, seeking a normal place without social injunctions— or so she thinks.

Our Summer of Freedom (Family adventure, 6x26 min.) Algiers, 1955. Khadidja and her friends race through the Casbah’s rooftops to rescue her brother in a daring, action-packed summer of friendship and courage.

Yeti Tales (Preschool animated puppets & liveaction, S1-6: 280x8 min., 2x26 min., Yetili’s Fabulous Book of Fables: 40x2.5 min.) Every evening, two little mice snuggle up with Yetili, a giant plush toy,

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who comes to life to read them magical bedtime stories.

Little Malabar (Preschool, S1-2: 52x4 min., S3: 26x4 min. in prod., 24x2 min. & 6x1 min.) Little Malabar explores space like a playground, chatting with stars and planets to understand science and astronomy in a playful, child-friendly way.

The MiniWhats (Young kids comedy, 52x7 min.) Six curious friends have a magic pencil that brings drawings to life, sparking wild adventures and creative solutions to everyday questions and challenges.

Leader of the Pack (Nature/wildlife, 1x60 min.)

After 70 years, painted dogs return. A wild dog ecologist races to restore balance by forming a new pack and reintroducing them into the wild.

Paramedics: Emergency Response (Lifestyle, 43x30 min.) Ride with ambulance emergency responders as they face real-life drama on the city streets, answering 911 calls from everyday mishaps to critical, life-threatening emergencies.

COVID Collateral (Science, 1x90 min.) Reveals how government, big tech and media silenced scientific debate, exposing cover-ups and smears, leaving the public struggling to find the truth.

OFF THE FENCE Daisy: The Story of a DC-3 (History, 1x60 min.)

O (31-205) 200-222 Daisy, an 80-year-old legendary DC-3 warplane, m info@offthefence.com faces her greatest challenge yet as veteran pilots battle w www.offthefence.com time to keep her soaring. How many flights remain?

Comte d’Artagnan—The Forgotten Duels (His- The Trials of Alan Dershowitz (People/ tory, 1x60 min.) Reveals the real musketeer behind culture/crime, 1x120 min./60 min.) A behind-thethe myth in this gripping historical documentary. scenes look at the turbulent life of the controversial attorney who defended OJ Simpson, Claus von Bulow, Jeffrey Epstein and Donald Trump.

We Are Guardians (Nature/wildlife, 1x90 min.) In the Amazon, Indigenous forest guardians risk everything to protect their ancestral lands from relentless invasions, deforestation and global neglect as the rainforest nears collapse.

Halloween: An Ancient Mystery (History, 2x60 Comte d’Artagnan—The Forgotten Duels min.) Uncover the dark origins and eerie traditions Forever Wild (Nature/wildlife, 2x60 min.) that haunt this spooky celebration.

Explores how animals experience time, revealing nature’s diverse lifespans and perceptions OGM UNIVERSE of existence. w www.ogmuniverse.com Into the Carpathian Wild (Nature/wildlife, 4x60 min.) Captures a year in Europe’s last wilderness, The Fall of the King (Drama) Adapted from where bears, wolves and lynx roam ancient forest— Gülseren Budayıcıoğlu’s best-selling novel, unravels nature’s final refuge from extinction. the deep secrets hidden behind a life of greatness.

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6 of Us (Drama) Six siblings—Azize, Cemo, Zeliha, Fidan, Samet and Balım—flee Istanbul after their parents are murdered. Pursued by Azize’s estranged father, Yavuz, they struggle to survive in the city.

reunites his family. Peri, a private bank manager with a traumatic past, finds solace in Tamer.

Broken Destiny (Drama, 121x45 min.) After five years in a coma, Toprak wakes up with amnesia, unaware of his family or fiancée.

ONZA DISTRIBUTION

O (34-915) 620-671 m onza@onzadistribution.com w onzadistribution.com Shahrarazad: Tears of Istanbul

Shahrarazad: Tears of Istanbul (Drama, 25x45 min.) A story of impossible love, sacrifice and the price of power—where every choice reshapes destinies.

Dilemma (Drama/thriller, 8x45 min.) Neslihan Turhan, a renowned journalist known for her honesty, faces the most difficult choice of her life when her son is accused of murder.

The Tailor (Drama, S1-3: 23x45 min. each) A drama set in the heart of Istanbul, following Peyami, a famous tailor, as he begins to craft a wedding dress for his childhood friend’s fiancée, Esvet.

When A Man Loves (Drama, 26x45 min.) A romantic comedy about Zeynep, a divorced mother of two who has lost faith in love, and Kenan, her handsome and successful boss.

Lost in Love (Drama, 77x45 min.) Mete returns from studying abroad to fulfill his promise to marry Naz, but fate intervenes when he meets İncila.

Miracle of Love (Drama, 38x45 min.) Ali Tahir, a commander in the 1921 Battle of Sakarya, made a costly mistake but was resurrected by the “Water of Life” and ceased aging. In 2023, as Kemal, he meets Harika.

Stickman (Drama, 88x45 min.) Tamer’s marriage to Berrin and a $300 million game success

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, leading to funny, crazy and emotional conflicts.

Mamen Mayo: At Her Will (Comedy, 8x30 min.)

Mamen Mayo, a brilliant probate attorney, resolves family conflicts over inheritances. Balancing humor and heart, the series explores reconciliation amid secrets and rivalries.

Shield

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.

The Sleeping Nymph (Crime/thriller, 6x50 min.)

Sequel to Flowers Over the Inferno. Criminologist Teresa Battaglia investigates a cold case, uncovering

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macabre murders linked to “The Sleeping Nymph,” a painting made with a woman’s blood.

Cacao (Telenovela/drama/romance, 139x50 min.) Cacao finds out her real father is the owner of a wealthy farm, and she is his heir. Her beloved Tiago will protect her from her enemies.

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.

Courtois: The Return of The Number 1 (Sports doc., 4x40 min.) Thibaut Courtois, an elite goalkeeper, leads Real Madrid through triumph and recovery from injury.

Shield (Conservation doc., 3x45 min./1x90 min.)

Climate change worsens Caribbean disasters, causing devastation and migration. The documentary follows researchers and locals working to protect mangroves and coral reefs.

From Vinyl to AI: A History of Modern Music (Music doc., 3x60 min.) Reflects on how a best-selling album can shape an artist’s legacy and elevate them to legendary status.

Iberia & Savannah: One Wildlife (Blue-chip wildlife, 1x52 min.) Compares Europe’s Dehesa and Africa’s Savannah, examining the lives and survival strategies of large predators in these ecosystems.

Open House: The Great Sex Experiment (Factent., S3: 8x60 min.; total: 22x60 min.) Couples arrive at a luxury retreat to explore whether having open relationships and sex with other people can strengthen their bond.

Miracles (Ent., 1x90 min.) Returning to his street magic roots, Steven Frayne (formerly Dynamo) delivers mind-blowing moments to public crowds and everyday heroes.

Virgin Island

Trump Revolution: 100 World-Changing Days (Doc., 1x60 min.) Following 100 turbulent days of Trump’s second term, full of unprecedented decisions, commentators and insiders ask: Is unpredictability and chaos part of the master plan?

Stacey Dooley: Meet the Shoplifters (Doc., 1x60 min.) Stacey Dooley meets the staff at the sharp end of shoplifting, seeing firsthand the impact it has on them, while witnessing nearconstant attempted thefts.

Love My Face (Fact-ent., 4x60 min.) People with PASSION DISTRIBUTION visible facial differences are given support to make O (44-207) 199-9214 the decisions they feel will shape happy, confident m sales@passiondistribution.com and fulfilling lives. w www.passiondistribution.com Murder Scene: The Incident Room (Crime, Virgin Island (Fact-ent., 6x60 min.) This ground- 6x60 min.) Explores murder through the eyes of the breaking new series follows 12 adult virgins as they detectives in an incident room setting. travel to a Mediterranean retreat to embark on a Coastguard: Search & Rescue SOS (Doc., S3: unique course in intimacy.

6x60 min.; total: 18x60 min.) This series features

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an incredible array of stories, from daring search and rescue helicopter incidents to fatal criminal maritime investigations.

Killer at the Crime Scene (Crime, S4: 10x60 min.; total: 42x60 min.) Reveals what it takes to establish a crime scene and quickly uncover the key forensic evidence that will bring a murderer to justice.

Cops Gone Bad (Crime, S2: 7x60 min.; total: 14x60 min.) Lifts the lid on the ultimate betrayal of trust—when cops turn their backs on the law and become criminals.

All New Cold Justice (Crime, S6: 10x60 min.; total: 90x60 min. & 2x90 min.) Follows former prosecutor Kelly Siegler and a team of crime scene investigators and detectives as they crack cold cases.

Call the Bailiffs (Doc., S3: 12x60 min.; total: 24x60 min.) Follows the work of enforcement agents as they execute high court writs on behalf of people desperate to recover money they are owed.

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 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.

Ballpark Blast! presented by MLB and pocket.watch (Live-action, 10x11 min. & 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.) Whenever a new problem

needs solving in the Land of Play, the dynamic sibling duo of Diana and Roma 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.

Toys and Colors Kaleidoscope City

Ryan’s Mystery Playdate (Live-action, 90x22 min.) In the top-rated, Emmy-nominated series, kid video superstar Ryan, along with 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, Toys and Colors 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

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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 the most endangered species of all: monsters.

SERIOUS KIDS

O (44-20) 8771-7310 m leila.o@seriouskids.com w www.seriouskids.com The Unreal (Live-action, 8x26 min.) Kevin is stuck in a boring holiday park with his family when he discovers a videotape from an obscure 1980s TV show that accidentally unleashes a strange creature known as the Pooka into the world.

The Unreal

Team Nuggets (Preschool animation, 52x7 min.)

Fast-paced primary school comedy starring an ambitious young chicken, Karla, and a band of volatile and diverse classmates.

Treehouse (Preschool live-action, 30x7/12 min.)

A celebration of nature, following as Squiggle and his friends navigate the world around them, exploring themes of kindness, inclusion and empathy.

The Sound Collector (Stop-frame/live-action, 60x5 min.) Short stories about sound, as heard through the ears of a small but very active little being called the Sound Collector, who has a passion for sound despite the fact that he is very hard of hearing.

Messy Goes to OKIDO (Animation, 104x11 min.)

Inquisitive and lovable monster Messy brings science to life as he adventures with his best friends Zoe and Felix through the colorful world of OKIDO. Girls of Olympus (Animation, 26x24 min.) Three high school girls discover their true identities as reincarnations of Athena, Aphrodite and Artemis.

Tik Tak (Preschool live-action/animation, 104x5 min.) A universal show that stimulates children’s cognitive development in a relaxed, simple way.

Operation Ouch! (Fact-ent., 175x26 min. & 30x15 min.) This ongoing show helps kids combat their fears of hospitals by showing them how amazing the human body is at fixing itself.

Happy Town (Preschool animation, 50x7 min.) In Happy Town, where everyone is happy and the ‘Happy Town’ sign shines brightly, it only takes one person to feel unhappy and the sign fizzes out. This SOMETHING SPECIAL O (82-10) 2288-9124 is where Pep the Hedgehog and his best friend m jinwoo.hwang@sspecial.co.kr Tabitha leap into action. w www.sspecial.co.kr Style It Out (Live-action, 11x26 min.) A competition series in which nine young fashion designers Unforgettable Duet (Music reality format, 10x80 (aged 10-14) compete to show their own collection min.) A heartfelt series about the power of music, at London Fashion Week. family and memories.

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Still Alive (Mystery reality competition format, 8x80 min.) There’s only one simple rule to avoid elimination. Never do what the rules say.

Unforgettable Duet

I am Single (Reality dating format, 8x80 min.)

Korea’s number one dating show on all platforms.

Singles genuinely seeking a marriage partner join in.

Hit and Miss Tour (Comedy travelogue format, 8x80 min.) People with Funny or Die’s friendship journeys can never be the same.

The Penthouse Game (Reality competition format, 12x80 min.) The competition takes place in a five-story building, where each stories are distinguished by inequality.

All Aboard (Dating reality paper format) Seven people tangled up with exes and seven of their “ideal” types embark on a journey aboard the train.

Miracle Habits (Fact-ent., 12x60 min.) Medical experts discover the one small habit that can change a participant’s life.

Miracle Recipe (Fact-ent., 12x60 min.) What would it be like if professional chefs created a dish that made you healthier by eating it?

Who is She! (Rom-com scripted format, 12x70 min.)

Scripted adaptation of the film Miss Granny, which was directed by Hwang Dong-hyuk of Squid Game.

Dog Knows Everything (Comedy/mystery scripted format, 12x70 min.) A grumpy old actor is able to communicate with a former police dog after an accident.

STUDIO 100 INTERNATIONAL

O (49-89) 960855-0 m distribution@studio100int.com w www.studio100international.com

Mortina (Comedy/mystery, 52x12 min.) A clever young zombie solves mysteries at Crumbling Manor with her quirky Mystery Squad—friends both undead and alive, plus a heroic greyhound.

GIFTED (Live-action, 10x28 min.) An actionadventure mystery series about a group of teenagers with unique gifts who are being hunted by a secret organization with a dangerous plan.

Dino Mates (Action/comedy/adventure, 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.

Mortina

Waiko (Live-action adventure/sci-fi, 10x22 min.)

Sci-fi comedy series about four teenagers protecting a theme park from aliens crash-landing and sending them back home safely.

BFF (Comedy, 26x11 min.) Follows bear Ben, squirrel Frida and cat Freddie—three unlikely friends navigating everyday life with humor, empathy and a strong sense of belonging.

Momonsters (Comedy, 78x7 min.) At the Momonsters Academy, five little monsters learn

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how to be kids’ best friends by exploring and mastering their favorite activities.

Vegesaurs (Comedy/adventure, 60x5 min.) A spin on the dinosaur genre, encourages curiosity, friendship and healthy eating through the adventures of young Tricarrotops Ginger and her friends.

TERRA MATER STUDIOS

O (43-1) 87003 m office@terramater.at w www.terramater.com

Lemur Diaries (Nature, 3x50 min.) Offers an intimate, humorous glimpse into lemurs’ extraordinary lives, sharing their captivating stories and heartfelt moments from the animals’ unique perspectives.

Oslo—The Wild Heart of Norway (Nature, 1x50 min.) A journey into Oslo’s hidden animal kingdom, where moose, foxes, beavers and badgers live among us, thriving in gardens, alleys and parks.

Lemur Diaries

Shells—Within A Sheltered Spiral (Nature, 1x50 min.) With vibrant colors and a multitude of shapes and textures, seashells are biological treasures, magical messengers from the sea.

Singapore—Wild Day Out (Nature, 1x50 min.) In bustling Singapore, wild otters, macaques, crocodiles, pangolins and more thrive alongside skyscrapers,

revealing nature’s surprising triumph within one of Earth’s busiest urban jungles.

Wild Boreal (Nature, 1x50 min.) A cinematic journey through the Boreal Forest, where wolves, bears, moose, wolverines and more reveal the wild drama of a world still ruled by predators.

Mallorca—Beyond the Beaches (Nature, 1x50 min.) Beyond the beaches, Mallorca reveals a hidden world of dramatic landscapes, striking beauty and biodiversity—a surprising portrait of the island few visitors ever see.

Wild Souls (Nature, 2x50 min.) Journey through South America’s wild heart: encounter iconic animals and passionate people protecting them, from Peru’s coast and Andes to the Amazon and Brazilian savannah.

Wild Cape Town (Nature, 2x50 min.) This series reveals the remarkable wildlife thriving alongside millions—caracals, leopards, whales and more— showcasing nature’s resilience and quirky coexistence in a vibrant urban wilderness.

Rift Valley—In the Line of Fire (Nature, 2x50 min.) Explore the African Rift Valley, where shifting tectonic plates sculpt stunning landscapes, sustaining diverse wildlife from flamingos and gorillas to crocodiles and vibrant coral reefs.

Penguin Baywatch (Nature, 2x50 min.) Tuxedoed penguins, clumsy giants and beachside drama.

Follow king penguins through hilarious encounters and heartfelt struggles in a wild colony where natural history meets comedy.

Oh Deer! (Nature, 1x50 min.) As climate chaos unfolds, a deer family’s struggle for survival reveals nature’s resilience and vulnerability in a close-up story of change, challenge and adaptation.

Wild Catalonia (Nature, 2x50 min.) Discover Catalonia’s extraordinary biodiversity, from

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city-dwelling owls to flamingos, whales and coral romantic interests, from which he hopes to find the reefs, where vibrant wildlife thrives across coasts, love of his life. He gets to know the 25 women wetlands, mountains and Barcelona’s urban heart. through a series of dates and romantic challenges held in a range of stunning locations.

First Dates (Dating format, 60 min. eps.) Set in a WARNER BROS. INTERNATIONAL restaurant, hidden cameras capture first dates as TELEVISION PRODUCTION they unfold, from flirty smiles and sparks of pasm enquiries@wbitvp.com sion to looks of disappointment. w www.wbitvp.com/catalogue Who Do You Think You Are? (Fact-ent. format, 24 in 24: Last Chef Standing (Cooking competi- 60 min. eps.) Popular celebrities share their emotion format, 60 min. eps.) Part culinary marathon tions as they uncover stories at the heart of their and part social experiment, this dramatic format family histories. pits 24 chefs against each other with 24 chal- Test the Nation (Quiz format, 60/90/120 min. lenges over 24 non-stop hours. eps.) This live, interactive television event format sets out to test the nation’s IQ across a range of subjects, for example, geography, music, parenting or politics.

ZDF STUDIOS

Cash or Trash

Glow Up (Reality/competition format, 60 min. eps.) Follows talented hopefuls, desperate to make it big with a career in the world of professional make-up, as they compete for a life-changing internship with a world-renowned make-up artist, plus a place at a top beauty academy.

Cash or Trash (Auction format, 60/90 min. eps.)

In this hosted format, a panel of expert dealers attempt to outbid each other to buy antiques, heirlooms, keepsakes and other extraordinary items brought in by members of the public looking for the best possible price for their treasure.

The Bachelor (Dating format, 60 min. eps.) An eligible bachelor meets a group of women, all potential

O (49) 6131-991-0 m info@zdf-studios.com w www.zdf-studios.com Weiss & Morales (Crime/suspense, 4x90 min./8x45 min.) BKA agent Nina Weiss visits her mother on the Canary Islands to investigate a German citizen’s death, working alongside Raúl Morales, the Civil Guard sergeant in charge.

Top End Bub (Romance drama, 8x30 min.) A city lawyer and her chef husband jeopardize their marriage when they return to her tropical hometown to raise her orphaned niece and reintegrate with her extended family.

Hameln (Crime/suspense, 6x45 min.) Eight centuries after the insidious Pied Piper abducted 130 children from the German town of Hameln, he returns, seeking revenge. Only the blind Finja, the

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deaf Jannik and the physically disabled Ruben can stop him and his army of dead children’s souls.

Ancient Apocalypse (History, S3: 3x50 min.)

Using expert insights, archaeological evidence and historical records, this series reveals the hidden fragility of even the mightiest civilizations and the unexpected forces that destroyed them.

Dino Birds

Dino Birds (Science, 2x50 min.) After surviving the last mass extinction event, birds have become one of the most diverse species on Earth. CGI effects bring extinct birds and dinosaurs back to life while experts explore their plumage, colors, birdsong and wings.

Iconic Islands of the Indian Ocean (Wildlife/nature, 3x50 min.) Explores the Maldives, Seychelles, Mauritius, and La Réunion’s fragile nature using drone and underwater technology.

Magic Moves (Docutainment, 4x45 min.) Could learning magic tricks within an intensive rehab

program help children with hemiparesis? Ten children spend two weeks at a magic camp with the Ehrlich Brothers and a team of 20 doctors, researchers and therapists. At the end of the camp, the kids demonstrate their newfound skills to their friends and family.

Clan—Choose Your Destiny (Junior live-action, 10x25 min.) Fifteen-year-old Francesco, born in Scampia and raised in Vele on the outskirts of Naples, has a fugitive father, a brother nicknamed Ninja and his family is affiliated with the Camorra, which educates him following its rules.

Labyrinth of Lies (Animation, 9x22 min.) In 1985, 12-year-old Paul is living in East Berlin with his grandmother and uncle after his parents were caught fleeing to the West and sent to prison. He makes friends with the new girl in class, Millie.

Theodosia (Junior live-action, 52x26 min.) It’s 1905. Theodosia Throckmorton is the daughter of two Egyptologists, excavating in the Valley of the Kings. When Theo and her younger brother stumble on a hidden tomb and a mysterious artifact, she unlocks the power to see and perform true magic.

Klincus (Animation, 26x22 min.) Klincus flees Umghard to find his parents, believing they are alive. In Frondosa, he sees a balance between industrialization and nature. Perhaps this was what his parents sought?

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