Prensario International MIPTV 2024 Special Edition

INFLUENCER

SeriesMania & MIPTV 2024: smart tips to revert the complex content bowl

The spring content markets have been held in France: Series Mania took place March 19-21 in Lille, with its Festival around, while MIPTV is developed in Cannes through April 8-10, with MIPdoc and MIPformats the previous weekend. The first one is growing as a series-focused convention, good to get in touch with European players that are not at the MIPs. The second, focused mainly in docs, factual and formats, develops this year its last

New European Content Trends, Spring 2024

• Anything combined with sustainability, global warming

• Tech, robotic tips for entertainment formats.

• The big formats, as bigger as possible, are priority for free TV

• The personality shows, on top

• The ‘True Crime’ now is not only for pay TV or digital, but also for free TV

• Scripted and unscripted convergence

• On OTT, as on TV, don’t forget the very basics

edition, after the very recent RX France announcement of launching MIPLondon in late February, instead —see article apart. What must be taken in mind this fall? The big companies are suffering strong budget and staff reductions worldwide, due to the global stop of SVOD projects and the last year U.S. writer strike. Everything has got harder. To be successful is possible, but you must be fresh and particularly smart.

There are three pillars in the content arena that stop the bad mood and push fresh business: the progressive return of major distribution to third parties, that reinforces the events and the

The content ‘for sure’ trends, Spring 2024

• Broadcasters bet on big classic formats

• Global new strong issues must be on any screen

• The ‘True crime’ wave is not just another trend

• Cross-media: Free TV tips for Pay or OTT, and viceversa. Fictions to entertainment, and back

• Iconic characters, emotions, con icts, new sides of celebrities

• Programs for your audience, not others

>> 2025: bye MIPTV, hi MIP London

RX FRANCE has announced the launch of MIP LONDON, a new industry market and networking event set to take place 24-27 February 2025, with a pre-opening on Sunday 23 February. MIPTV will end its run with this 61st edition in 2024, including more than 130 exhibitors joining producers and distributors from 76 countries.

The inaugural MIP LONDON will take place the same week as the 2025 London TV Screenings and is conceived as complementary to the existing ...

fragmentation in general; the production alliances, that promote more and more coproduction models, production hubs, etc. to keep original production levels; and the new tech developments, with the AVOD & FAST fever as a main answer to SVOD problems to keep incomes growing and to make content in general more productive.

A complicated context

• Strong budget and sta reductions in big companies

• The US writers strike caused serious e ects

• Less budgets, less projects around Three pillars to revert

• The progressive return of major distribution to third parties

• The production alliances era

• The new tech developments, with the AVOD & FAST fever

These trends have appeared in the market some years ago, but they continue getting stronger and even they seem to be just in starting levels, with much more each to come. Today there are no fiction project without many coproduction partners, and every broadcaster is planning to launch an AVOD platform and/or FAST channels for this year or so, if they are not already releasing.

Global Content Market, Spring 2024 Continue

European content evolution: key trends on TV, cinema and streaming

European Audiovisual Observatory unveiled their anual instructive and very detailed “Yearbook 2023/2024 - Key trends report on the Pan-European’, focused on TV, cinema, video and VOD services. The report highlighted some elements, such as the fact that the still impressive rise in the number of series produced (873 of which feature fewer than 13 episodes in 2022, against 775 the year before) comes with a shortening of their duration.

FAST Networks: the rising stars of streaming

In the ever-evolving landscape of streaming services, Free Ad Supported TV networks, or FASTs, are seizing the spotlight once again. Cada vez más personas se afianzan en este modelo de TV, ya sea por su acceso, por su contenido, pero también porque recuperó algo que se había perdido con el streaming: la visualización de TV tradicional, incluso se recuperó la visualización en famila.

Consumer sentiments shift towards Ad-Supported content

Traditionally, viewers have harbored mixed feelings about watching TV advertisements. However, attitudes towards adsupported content are undergoing a positive transformation. According to the Vevo and a Publicis Media survey, ...

The text shows the growing interest in shorter formats that takes place in an environment marked by a decrease in series production last year in the USA as a result of the strikes of 2023 alone, or the sign of a potential reversal in the market that could spread to Europe. ..

Continue Reading

Continue Reading

Advertising investment could exceed for the first time the trillion dollars

For several years, the advertising market has been in a constant state of flux. Despite sensitivity to economic uncertainty, with rising inflation in operating costs and recession, international advertising faced 2023 with optimism. Marketing lost priority at most companies, and due to the conditions, advertisers scrutinized their budgets while reducing spending on certain channels versus others.

Dentsu’s latest report, predicts global ad spend growth of 4.6% in 2024, driven by digital advertising, retail media and connected TV. The holding company forecasts growth in the amount to $752.8 billion, roughly the same 4.7% growth it predicted in its May re-

The Wit’s trends: rom nostalgia to interactivity

In the ever-evolving landscape of entertainment, the quest for innovative content is ceaseless. The consuntancy firm The Wit, unveils the latest game-changers shaping the global consumption and production trends at this season. From reviving nostalgia to embracing interactive formats, here’s a glimpse into the shows dominating the industry. One of the axes that she defines these formats is their mimicry with the live audience and their use of social networks....

Continue

port. This is a conservative forecast compared to that of GroupM, which reported that it forecasts 5.3% global growth in ad revenue for the year as the market adjusts to inflation and global economic conditions, including the ongoing wars between Israel and Hamas and between Russia and Ukraine. Magna from IPG Mediabrands predicted 7.2% ad revenue growth in 2024...

Global TV disruption: ad-supported services and tech new venues

The global television market is undergoing an unprecedented transformation, with projections indicating exponential growth in the coming years. According to recent data from Business Wire, it is estimated that the market will have substantial growth that will exceed USD 135 billion by 2028, this is complemented by the market for display devices reaching a value of more than USD 200 billion by the year 2030. This phenomenal growth, driven by technological advances and changes in consumption patterns, is redefining the way we interact with visual content.

Streaming services drive TV evolution

Streaming platforms have become the undisputed protagonists of the entertainment landscape. The consultancy highlights that the exponential growth of services such as Streamflix, Prime Video Plus and Disney+ is changing the way we consume audiovisual content in all global markets. This paradigm shift has led to a decline in traditional cable and satellite television subscriptions, with an increasing number of users preferring the convenience and flexibility offered by streaming platforms...

Continue Reading

How sports broadcasters are capturing audience attention

Since 2022, changes have been brewing in the way sports broadcasters conduct business, so they are facing the challenge of attracting audiences in a context where public channels have modest transmission rights, but where also platforms, social networks, and even Connected devices are achieving...

Continue Reading

Series Mania Forum 2024: industry insights and record attendance

The heads of Series Mania with Unifrance during last year edition: Francesco Capurro, director of Series Mania Forum; Sarah Hemar, Director of Audiovisual at Unifrance; Jérémie Kessler, Director of European and international affairs at CNC; and Laurence Herszberg, founder and CEO of Series Mania

Series Mania Forum 2024 concluded with resounding success, marking its largest edition yet with over 4300 attendees, 18 delegations from various countries, 50 pitches, and an array of conferences and keynotes from industry leaders. Francesco Capurro, the director of the event, reflected on its achievements, citing improved logistics and a robust lineup of sessions ...

Continue Reading

Explore French TV programmes in all their diversity during MIPTV

Come meet 40 French TV content distributors at the Unifrance stand: R7.E2

French audiovisual impacts on the global stage

Percentage of French films in the world. Eastern Europe leads for the eighth consecutive year as the leading export destination for French films (Source: Unifrance – 2023)

French cinema witnessed a resurgence in international acclaim in 2023, as indicated by key figures and trends across movie theaters, festivals, and SVOD platforms. Despite challenges posed by the Covid-19 pandemic, French films continued to captivate audiences worldwide, contributing to the revitalization of the audiovisual sector. This report, made it by figures from Unifrance, provides an in-depth analysis of French cinema’s performance on the global stage, highlighting key statistics and noteworthy achievements in 2023.

French films attracted 37.4 million spectators internationally

APAC video industry sees explosive growth

The most recent report from Media Partners Asia Research Services ensured that the APAC region ‘continues to experience a secular shift from TV to online in terms of engagement and monetization’. Among the points that the consultancy highlighted, it stated that the industry grew 5.5% in 2023 to hit $145 billion in revenue,...

Continue Reading

Latam OTTs expand with local production

According to the Inter-American Development Bank, 5.7 billion dollars were invested in audiovisual productions in Latin America and the Caribbean, promoting the creation of more than 1.6 million direct and indirect jobs. In turn,

Brazil, Mexico, Argentina, Chile and Colombia stand out as the countries in the region that have the most robust and developed audiovisual industries...

in 2023, marking a significant increase of 38.5% compared to the previous year. This surge in attendance generated €234.0 million in box office revenues, reflecting a notable growth of 37.8%. MajorityFrench productions garnered 29.7 million admissions, while French-language productions secured 30.1 million admissions. Furthermore, 14.6 million admissions were recorded for arthouse productions, underscoring the diversity of French cinema...

Continue Reading

YouTube in EMEA: from sport broadcasting to content and channels agregation

Broadcasting rights have always been highly valued in the sports audiovisual industry. There was even a time when these rights considered players like YouTube to be a threat since users could upload images or videos of sporting events without permission, bypassing official channels and threatening streaming revenue.

Today the situation is very different. YouTube’s massive reach is seen as an opportunity, especially among younger and digitally native audiences. Live streaming and digital highlights are just as important as linear broadcasts and many people not only search for

sports content online, but go to YouTube as their default destination, because it is already integrated into interfaces on smart TVs.

Identifying this opportunity, Google responded by creating a dedicated business unit and developing a range of easy-to-use tools that allow rights holders to control, monetize and protect their sports content.

Seasoned sports TV executive Rob Pilgrim, Head of Sport & Primetime Channels, EMEA at YouTube

The streaming giant’s strategy in the region is based on three pillars, as Pilgrim recently commented, the first is partnerships, the second is productions, and the third is innovations.

‘Part of our team is focused on generating new partnerships, whether with consumer product brands, large content providers and even personalities in the segment. ...

Continue Reading

Paramount+ embraces key alliances to global reach

Asia was the latest recent market where Paramount+ entered as part of its international expansion plan. The streamer entered the APAC region with a promotional agreement in an alliance with Formula 1, promoted by Marco Nobili, EVP and GM...

Continue Reading

Marco Nobili, EVP and GM

Rob Pilgrim, Head of Sport & Primetime Channels, EMEA at YouTube

ITVX: adapting to the streaming era

From being ITV’s Catch-Up platform to a complete streaming service, ITVX is the OTT of the British commercial network that was relaunched on the market more than a year ago with a view to diversifying its content offering and becoming more relevant to the competitive streaming market.

The service had a successful first year: over 2.7 billion streams since launch. More than 40 million registered users. 88% or viewers who watch a premiere go on to watch other content. 1 billion streaming hours. Likewise, programs such as Love Island, The Rugby

WeTV in Indonesia: a local approach to global streaming success

Tencent has expanded with several streaming units in Southeast Asia, one of which is WeTV in Indonesia, where the company has increased its efforts and budget with local original content, in addition to the huge catalog of its subsidiary in China.

Lesley Simpson, country head in Indonesia, recently commented on the challenges of boosting the streamer in one of the fastest growing markets in Southeast Asia.

‘Tencent’s presence in Southeast Asia, especially in Indonesia, has a content strategy that is oriented to the local genre, in addition to our China catalog,’ explained Simpson, who specified that they are building a local catalog to reinforce the identity of the brand in the country...

World Cup, and Big Brother stood out as the content with the most views on the service.

‘Our image in the UK is between a public network and a commercial channel, because we precisely promote what is so scarce in streaming: original local content,’ commented Ross Appleton, director of operations, streaming at ITV, who referred in a recent conference from Dataxis, about ITVX’s first anniversary in the market.

The service, which was previously called ITV Hub, boasts of being a space where on-demand content coexists, complementary content to ITV’s linear signals, but also the place where the company’s FAST channel offering is housed, which also Of its 15 channels in various genres, 12 channels with regional news and ITVX Kids were recently added, which will be enhanced with classics and new content....

Continue Reading

Ross Appleton, director of operations, streaming at ITV

Lesley Simpson, country head in Indonesia

BUYERS

Vevo: licensing challenges with strategic partnerships

Being the largest music network in the world, since its creation in 2009, Vevo platform has more than 50 thousand music videos hosted, and is going for more, as it continues to undertake partnerships with the main record labels, as well as major players in the audiovisual industry, who have signed exclusive alliances with the service.

Rakuten TV: leading the European path in FAST streaming

One of its longest-standing partners, YouTube (Google), has allowed it to reach markets where the service is not available, due to licensing problems, which makes this syndication agreement one of the most successful, which also makes that advertising revenue be shared with Google...

Continue Reading

Gersh Agency: perspective on direct-toconsumer engagement

Owned by Rakuten Group (Japan), Rakuten TV is one of the longest-running platforms in the global market, having a large presence in Europe, available in 43 countries, operating TVOD, AVOD and FAST models, being the first to adopt the advertising model in this region...

Continue Reading

As one of the major talent agencies in the U.S., Gersh represents a diverse array of artists, including actors, writers, directors, and producers, across various entertainment platforms. In 2023, an equity investment from Crestview Partners signaled a new era for the agency, beginning a global expansion plan.

Interview with Prensario, Roy Ashton, Partner at the Gersh Agency, commented on his perspective of the content market, his current searches and the upcoming trends...

Continue Reading

Telefónica boosts new content solutions

Telefónica continues to stand out in the IberoAmerican market with a robust connectivity and entertainment offer. In the words of Gonzalo Arrisueño Labarthe, content director for the region, we explore Movistar’s commitment to programming and innovative content.

‘Movistar’s operations in the region are positioned to compete very well and with a robust connectivity and entertainment offer in each market. People, as we know, increasingly demand greater and better connectivity and Movistar is focused on this task...

Continue Reading

Gonzalo Arrisueño Labarthe, content director for the region

Alexander Kisch, EVP Business Development/ Affairs & General Counsel

Roy Ashton, Partner

Atresmedia: ‘audience leaders maintaining the same essence’

Atresmedia is going through an extraordinary present: for more than 26 consecutive months, the company has been the audience leader in Spanish television. This year, 2024, has begun with great ratings successes, and a few weeks ago it premiered its latest telenovela, Sueños de Libertad, which became the best fiction premiere in two years, beating its competitors by four points.

In terms of streaming, Atresplayer continues to consolidate its position year after year, becoming the Spanish platform of reference. This leadership is based on a careful strategy that focuses on the creation of quality, innovative and diverse content, which makes its catalogue of content unique and internationally recognized.

‘Our philosophy and essence differentiate us from our direct competitors, not only in terms of quality but also in terms of relevance, variety of content and commitment to new entertainment content, fiction, documentaries, Sueños de Libertad,

OneFootball: redefining fan-base engagement in the digital era

Although it seems like a new player in the sports streaming panorama, the truth is that OneFootball, the streaming platform based in Germany and founded in 2008, has been making great broadcast alliances with major European sports players: in 2019 it partnered up with Eleven Sports to have the rights to stream directly on their app of La Liga in UK and with Sky to transmit 2. Bundesliga and DFB-Pokal matches in Germany. But it was not until 2020 that they took a big step by acquiring Dugout, a club-founded video forum, which had more specialization in social media, and with it the broadcasting rights of European clubs such as Real Madrid, PSG, Barca, Juventus, Chelsea or Bayern

true crimes, etc.’ says Juan Ignacio Jiménez Gargantilla, director of acquisitions, sales and distribution at Atresmedia

Atreplayer ended 2023 as the Spanish platform that has premiered the most national series. This is a revealing figure as it shows the group’s great commitment to its streaming platform. Among its successful content, Atresplayer’s original series Déjate Ver, a comedy by Álvaro Carmona that keeps receiving national and international recognition, such as at Berlinale and Series Manía, stand out.

‘The strategy we have followed is to add to the great catalogue of Atresmedia productions a series of original content that can only be seen in Spain on our platform, Atresplayer’ add Juan Ignacio Jiménez Gargantilla...

Juan Ignacio Jiménez Gargantilla, director of acquisitions, sales and distribution at Atresmedia.

historical drama

Yannick Ramcke, head of OTT

‘A good part of our success is due to Netflix. We’ve developed 7-8 years of window actions together’.

James Townley, CCO, Banijay (UK):

‘In the past, the best unscripted formats were created by big companies. Now, by small producers and outsiders. We want to finance them’.

Eddie Arias, Paramount/Pluto TV:

‘We are moving from transactional to transformational alliances. This means beyond content,

Gerhard Zeiler, president,WBDinternational, EMEA:

‘We have to make a difference in content vs. the Americas, with European productions as ’30 coins’ (Spain)’.

Aline Jabbour, Samsung TV Plus:

‘What is coming for us? More Samsung devices with our app, not only Smart TVs’.

Fernando Muñiz, TV Azteca (Mexico):

‘There key the alliances we have for intance with Pluto TV, to sell advertising together in packages, broadcaster + AVOD. This way, we are bigger and stronger for the ad agencies and massivebrands’.

Maxime Saada, executive director at Canal+ France

Claudia Ruehl, Sr. manager acquisitions, SevenOne Germany:

‘We are all digital players nowadays. We are buying now not only for free TV, but also for new own AVOD platform. For the first one, crime, procedural series. For the second, IP series, classics and remakes’.

‘The market is plain, with few good ideas and mostly running previous shows. I’d love to fine a big shiny floor show, for the family, but innovative’.

Fabrizio Battocchio, head of format and factual, Mediaset Italy:

Nuno Vaz, acquisitions director, RTP Portugal:

‘The today challenge is to make budgets perform, considering flat advertising, inflation. An answer is cost-effective formats’.

Rachel NG,

‘We develop an audience-centric approach. Young people are now mainly on social media, not even YouTube, but even TikTok, Instagram and X (Twitter). We must evolve based on these’.

‘A next step in content is live streaming, with all to develop’.

Patompong Sirachairat, CEO, MonoNext, Thailand:

‘We are a media conglomate evolv ing from linear to digital business. The new step is original content, with local touch but world-class production standards. Internation al co-productions come next’.

content Mediacorp,commissioning, (Singapore):

Laura Fernández Espeso, CEO The Mediapro Studio (Spain):

Mometu enhances platform with OTTera’s advanced solutions

Specialist in FAST linear and OTT application solutions OTTera, is helping Mometu, a VoD and live TV streaming service, to enhance its streaming offerings.

Jordan Warkol, OTTera‘s VP of Business Development, shared his support for Mometu: ‘I enjoy aiding passionate individuals in realizing their streaming aspirations. Mometu, as an indie streamer, has ambitious goals, and it’s been rewarding to witness their launch. I eagerly anticipate their continued growth and pledge to support their journey’. Bryan Louzil, VP of Business Development for Mometu, expressed enthusiasm about the partnership: ...

Continuar Leyendo

To captivate tales, the essence of OGM Universe

OGM Universe (subsidiary of OGM Pictures) arrives to MIPTV 2024 with a lineup of top-notch Turkish drama series. Established in 2022, the company has rapidly emerged as....

Continuar Leyendo

Mediapro Studio: major titles and international consolidation

The Mediapro Studio, one of the most active companies on the audiovisual scene, has a broad catalog of content covering all genres, which it will promote at MIPTV 2024

Continuar Leyendo

RTVE: more content, top production quality

RTVE, Spain’s largest public audiovisual group, has a large portfolio of content spanning all genres and will be showcasing several of its most recent fiction productions at MIPTV

2024

Continuar Leyendo

Dori Media: from drama to formats

Dori Media Group presents a diverse and captivating slate of productions at MIPTV 2024. From gripping dramas to reality formats, the Israeli media company continues to push boundaries and captivate audiences worldwide...

Continuar Leyendo

GMA Network expands its international distribution

GMA Network, the Philippines’ leading television network, continues to be the leading provider of Philippine programs in different regions of the globe. ..

Continuar Leyendo

Centauro seeks new opportunities in co-production

Centauro Comunicaciones has been driving forward in the search for opportunities to partner in production projects, showing its powerful audio post services unit...

Continuar Leyendo

Jordan Warkol, OTTera‘s VP of Business Development

Caracol: diversified options to gain more markets

Caracol TV is at a key moment in its business evolution, as highlighted by Lisette Osorio, the company’s VP of international sales. The company has diversified its business lines, ...

Continuar Leyendo

Raya seeks to add new deals with The Sultan and Khan

Turkish content distributor Raya Group, reached its 10th anniversary last year and in this edition of MIPTV, it attends with two great titles from its catalog: #Influencer and The Sultan and Khan

Continuar Leyendo

Filmax unveils compelling lineup at MIPTV 2024

Filmax highlights in MIPTV is headed by two titles: Dating in Barcelona and Selftape, a family drama that was recently nominated at Feroz Awards...

Continuar Leyendo

Olympusat consolidates FAST channels under Free TV

Olympusat announces the rebranding of its suite of FAST Channels under the flagship FreeTV brand. This strategic initiative leverages the recognized consumer trust and visibility linked to FreeTV, ...

Continuar Leyendo

All3media International: innovative formats

At MIPTV 2024, All3media International unveils a strong lineup featuring a diverse range of formats poised to captivate audiences...

Continuar Leyendo

eSteno Media Services: a different way to approach business

eSteno Media Services has been providing AI-powered CC, Subtitles/ SDH, Dubbing/VO, and audio description services for over 25 years. With a team of highly skilled engineers and linguists, ...

Continuar Leyendo

Kanal D International welcomes new director to increase growth

Kanal D International kicks off 2024 with a strong start marked by the success of Secret of Pearls, dominating Thursday nights. With exciting new series and a dedicated team, the company is poised to make a bold statement this year.

Elif Tatoğlu is the new distribution and strategic director

At the forefront of this expansion is Elif Tatoğlu, who recently joined as the Distribution Strategy Director. With a succesful background in acquisitions, marketing and content distribution in both Pay-TV and OTT business, Tatoğlu brings invaluable expertise to Kanal D International as the company continues to navigate the everevolving landscape of content distribution.

Alongside Tatoğlu are several other talented team members who have played key roles within the Kanal D International team.

Çağla Menderes continues to leverage her extensive sales experience in her role as Sales Manager for CIS and Europe, ...

Continuar Leyendo

Globo: strong new releases at MIPTV

Brazilian giant Globo is returning to MIPTV in Cannes on this 2024 edition, showcasing an impressive array of titles from its international catalog.

One of the highlights of Globo’s offerings is The End, a captivating series created and written by Fernanda Torres. Set over four decades, the show follows the joys, madness, and frustrations of a group of friends. ..

Continue Reading

TVP seeks new business in MENA and LatAm

TVP Polish Television, the largest public broadcaster in Poland, which constantly adapts its programming offer to the expectations of viewers and the demands of the domestic and foreign market, ...

Continue Reading

Love and Pride, the new Inter Medya coproduction

Being one of the titles of its recent partnership with the Chilean MGE, Love and Pride, is parte of the dramas that Inter Medya highlights at MIPTV 2024. ..

Continue Reading

Canal RCN: bioseries, dramas and more

Colombian broadcaster RCN presenta varias series que fueron éxito en sus señales lineales que muestran la diversity of local storytelling, Entre los títilos, la compañía destaca genres from biopics to musical dramas,...

Continue Reading

Unifrance showcases French content power at MIPTV 2024

MIPTV once again witnessed a robust presence from French production and distribution companies under the Unifrance umbrella. With a staggering array of participants, Unifrance showcases the diversity and quality of French...

Continue Reading

Madd Entertainment: Blooming Lady and No Mercy, news dramas

Madd Entertainment participates in MIPTV 2024 to highlight three of its seasonal titles: Blooming Lady, No Mercy, and Remember, the latter being one of the newest, being produced by MF Yapim, with finished episodes available for purchase...

Continue Reading

TV Azteca: the crossmedia new stage is taking shape

TV Azteca made some program announcements last Content Americas last edition past january, where highlighted its 30 years in the market and above all, showed the new stage of strong production development, ...

Continue Reading

Applicaster, now profitability for digital TV applications

Applicaster, the Israeli company that has always been at the forefront of digital apps for TV channels, today evolves with the market: it is dedicated to providing tools to make digital operations ...

Continue Reading

june 24 - 27, 2024

CEE’s most effective and trusted content marketplace.

budapest.natpe.com

Angela Colla

CJ ENM captures attention with major industry announcements

CJ ENM, South Korea’s leading entertainment company, continues its strategy of distributing Korean dramas and formats. This year at MIPTV 2024, the company will showcase its...

Continue Reading

Zee: taking Orient big stories to the world

With different business units in India, ZEE Entertainment Enterprise Limited is present at MIPTV 2024 to highlight its catalog of local dramas....

Continue Reading

The Kitchen: an exciting 2024

The Kitchen International continues its global expansion plans with a highly aggressive and exciting foray into the New Year. The Emmy Award Winning language studio will participate in MIPTV 2024, where it will highlight a very active first quarter of the year: ...

Continue Reading

Televisa Univision: audience hits both for linear and streaming

TelevisaUnivision presents new titles to international buyers at MIPTV. The company highlights original productions from its linear channels as well as its ViX streaming platform....

Continue Reading

Audiovisual From Spain: large offer on the market

Part of ICEX (Spain), Audiovosual From Spain, the organization that globalizes Spanish audiovisuals in audiovisual fairs, returns to MIPTV to highlight the potential of its delegation...

Continue Reading

Broken Lives from Mediahub, conquers 40+ countries in one year

MediaHub’s Turkish drama Broken Lives has crossed borders and reached over 40 countries within just one year of its release. The series, originally aired on Kanal D in Turkey, has now secured licensing deals in diverse regions, ...

Continue Reading

NHK-NEP: top-level factual content

NHK-NEP presents a diverse range of documentaries and programs that promise to captivate buyers at MIPTV 2024. From explorations of artificial intelligence to insights into Mars and ancient civilizations, company’s offerings reflect the intention of pushing the boundaries of storytelling and discovery....

Continue Reading

Paramount GCD: large catalog with interesting productions

Paramount is one of the studios that has undergone major transformations: from the merger of Viacom with CBS to the launch of Paramount Global Distribution as a unified brand for international sales of all the group’s...

Continue Reading

Akiko Nakano, sales manager

Main UK brodcasters: Paul Mortimer, controller of digital channels, ITV, John Peek, head of operations, Tomorrow TV, Nick Lee, head of acquisitions, Channel 4, Grace Coleman, head of scheduling, BBC 2&4, Sasha Breslau, head of content acquisitions, ITV

RTL Germany: Sabine Kreft, CCO, Super RTL; Kai Sturm, head of acquisitions, RTL Television; Oliver Schablitzki, EVP Nitro & RTL Plus

TF1, France: Xavier Gandon, head of

TF1; Nathalie Wogue,

Ibai

executive fiction, Jose

Japanese TV Asahi

Yukiko

Nordic

Nina

Russell Dehn, programming director, AMC Networks (USA); Noemi Castro Llorente, executive, Ibiza Film Commission (Spain); Sanna Stibitz, director programming & head of EU editor, A+E Networks (Germany); Sergaio Ramos, VP factual & documentaries, AMC Networks (USA).

TV2 Denmark: Lars Erik Nielsen, acquisitions, Anders Leifer, head of acquisitions, Lotte Kohler Lindegaard, CCO, Mette Johansen, head of programming and scheduling

TVI Portugal: Fátima de Jesús, acquisitions, and Margarida Pereira, head of acquisitions

Carlos Garde, Onza Distribution; Sonia Salas Gutierrez, acquisitions manager, Movistar+; Olga Zhurova, acquisitions manager, HBO Max Central Europe; Jessica Ortiz, acquisition manager HBO Max Spain

Digital buyers: JP Garcia, acquisitions manager, Runtime Media; Eric Malyshev, acquisitions manager, Ammo Content; Arman Oner, content manager, Runtime Media

Warner Bros Discovery, Europe: Tom Savage, VP legal affairs, WBD UK; Guillaume Le Gross, general director, programming & acquisitions, France; Helene Goujet, VP of acquisitions, HBO Europe (France)

Greece: Koralia Georgakopoulou, programme director, Star Channel; Savvas Vellas, head of productions, Nathalie Woodfield, GM & COO Media and entertainment, both from Green Pixel Productions; Ioanna Adamopoulou, greek programme manager, Star Channel

The Netherlands: Lisa Paulet and Bastiaan Van Dalen, VP content strategy, Talpa; Stefanie Segers, programming manager at SBS; Valerie Daems, acquisitions Streamz; Inge Lubsen, head of acquisitions, Talpa

NHK Japan: Yoko Barrett, Translator, Saimi Suzuki, producer, Tomoko Kumanomidou, senior director, Kayo Fukuda, senior manager

Matylda Szewczyk, program acquisitions executive, Polsat, Poland; Manuel Villanueva, programming manager, TV UNAM, Mexico ; Herve Michel, Unifrance; Liqiang Zhao, global acquisitions, Huawei

Middle East’s MBC Group head buyers: Kawtar Bellafquih, director of acquisitions; Tareq Ibrahim, director of MBC1 MBC Drama & Shahid VIP; Aya Medhat, head of Arabic acquisitions; Zeinab Abulsamh, general manager; Badr Albakree, acquisitions executive.

Alzaga, programming

Luis Blanco, programming director, both from Basque Audiovisual, Spain; Sabrina Ayala, SVP Sales France, Italy and Iberia, Cineflix, UK; Aritz Galarza, head of programming and acquisitions, Basque Audiovisual, Spain; Laura Ni Cheallaigh, commissioning & acquisitions editor, TG4, Ireland; Susanne Folkesson and Magdalena Lofstrom, both acquisition executives, UR Swedish Educational Broadcasting Co, Sweden

Disney: Vessela Dimitrova, programming director, Balkans (Bulgary); Carrie Murphy, acquisitions and coproductions, Disney Channels, worldwide (USA); Camino Martínez, Disney Channels programming director, Portugal

team:

Sakaguchi, associate director copyright business developer; Ami Kawamoto, manager programming & entertainment; Sayaka Takahara, programming & entertainment department

buyers:

Forsyth Rosin, Acquisitions Executive Series, SVT, Sweden; Örjan Olsson, NBCUniversal, nordics; Eve Väyrynen, Acquisition Executive, YLE, Finland; Trine Fossan, Acquisitions executive, NRK Norway

Teresa Potocka, CEO, Future Pictures (UK), with Japan: Kazuki Yokoi, Content Producer, Chukyo TV, Yuki Akehi, Director, Mikiko Nishiyama, EVP, both Nippon TV Network Corporation

acquisitions,

entertainment format strategist and acquisitions, Fox, USA; Elisabeth Durand, acquisitions manager, Fabrice Bailly, director of program acquisitions, Sophie Leveaux, artistic director of acquisitions and international drama development

The programming & acquisitions team of SevenOne Germany: Claudia Ruehl, Sr. manager, Thomas Lasarzik, EVP, Sebastian Kiefer, director, Nicole Kourader, Verena Gebendorfer, Christian Kohler, acquisition managers

Carina Francisco and Andre Santos Silva, SIC

Mediaset Italy and Spain: Rocio Cachero, international manager; Giacomo Lievi, Channel 5 programming manager; Tania Villa, acquisitions executive; Silvia Cotino, business development deputy director;

Asian

Nova TV (Croatia): George Makris, program director; Zrinka Jankov, editor; Nina Mikola, head of acquisitions; Aljosa Kokan, programme editor.

LNK Group, Lithuania: Marijus Gradauskas, head of acquisitions, Jurgis Jefremovas, program director, Junita Budvytiene, head of acquisitions

CJ ENM, South Korea, acquisitions & programming team: Anni Chang, Seung Hoonham, Myeung Hin Lee, Un Ji Sung, and Elaine Blinth

CEE: Szabo Balazs, CCO, Gabriella Vidus, CEO, both form RTL Hungary; Erika Tothova, head of acquisitions, TV JOJ, Slovakia; Peter Kolosi, deputy CEO, director of programming, RTL

Paramount Kids & Family, Nickelodeon: Lauren Nola, VP K&F brands, Central, North and Eastern Europe, Lynsey O’callaghan, senior director, international acquisitions; Natalie Falk, Manager, Acquisitions & content partners; Cecilia Padula, VP kids & family brand head south Europe, MENA.

Atresmedia Spain: Fabio Dominguez, programming executive; Juan Ignacio Jimenez Gargantilla, director of acquisitions; Sonia Vesperinas Riuz, acquisitions executive; Javier Iriarte, programming deputy director.

New Zeland & Australia: TVNZ, NZ: Josh Wolfe, business afairs, Cate Slater, content director, Dan Monaghan, Network Ten, Australia, Ben Quinn, head of programming, TVNZ

(Portugal); Yasemin Aksu, master lead content manager, Turkcell TV+ (Turkey); Carlota Vieira, SIC (Portugal); Camino Martinez Rico, programming director, Joao Vasconcelos, manager acquisitions, both from Disney Portugal

Andrea Piazza, senior acquisitions manager.

Iceland buyers at the Palais: Skarphedinn Gudmundsson, head of TV, RUV; Kristjana Brynjolfsdottir, head of development and tv platforms, Thora Clausen, head of programming and acquisitions, Eva Georgsdottir, head of production, all from SYN HF

OTT buyers: Taehoon Park, CEO and co-founder, Watcha (South Corea); Camelia Somers and Kara Mckinney, from Lionsgate; Michelle Jo, business development, and Sol Kim, head of business development, Watcha

José Fragoso, programming director, RTP Portugal, Maike Haas, head of acquisitions, Bavaria Media, Germany; Nuno Vaz, acquisitions director, RTP Portugal.

De Roode Jauregui, Beta Film (Germany); Mirela Nastase, acquisitions manager, ZDF Studios, Germany ; Veronika Karakova, Beta, Germany; Christine Daoudova, Acquisition Manager, TV Nova, Czech Republic; Anais de Neergaard, VP International Sales & Acquisitions, Beta

RTVE, Spain: Laura Montero, acquisitions, with Milagros Mayi, acquisitions manager

Mediaset Spain: Mercedes Figueroa, acquisitions manager, Angel López, head of foreign productions

Susanne Frank, director drama, ZDF Studios, Germany; Lisa Wegscheider, content acquisitions manager, Netflix, Spain; Robert Franke, Vice President Drama, ZDF Studios, Germany; Elena Bort Rambla, content director, DeAPlaneta, Spain

Hungarian buyers: Blanka Balazs, head of content acquisitions, RTL Hungary; Agnes Bodnar, Daro Film (Monaco); Katalin Nemeti-Biczo, senior program manager, MTVA (Hungary); Andrea Zaras, acquisitions manager, Gabor Fischer, programming director, both from TV2 Hungary

Canal+ France: Olivia Kramkimel, acquisitions cinema; Myriam Hacene, cinema director; Laure Llose, channel director; Suzette Krick, deputy director of acquisitions.

More UK buyers: Emma Ayech, Channel Director, UKTV; Harriet ArmstonClarke, Sr Acquisitions Manager, BBC Studios; Melanie Rumani, Global Head of Acquisitions, BBC Studios & UKTV; Richard Watsham, Chief Creative Officer, UKTV

The Paramount+ team: Olivier Jollet, EVP and international GM, Pluto TV, Germany; Marisol Amaya, VP acquisitions Latam; Dario Turovelzky, EVP broadcast & Studios LatAm; Mercedes Feu, acquisition senior, Telefé Argetina; Rosario Cosentino, director, formats & content licensing, Paramount GCD, Spain; Samuel Duque, SVP & General Manager TIS & PTIS Productions, USA; Eduardo Arias, VP International content partnerships, Pluto TV, USA; Juan Ignacio Vicente, GM, Chilevision/Paramount Chile; Lauren Marriott, SVP content parnership & Brand strateg, Paramount GCD, UK; Sebastian Vibes, VP sales & co-prod PTIS, Spain