Señal News 223 | MIPCOM 2024

A NEW PRODUCTION ERA?

The global content industry is experiencing a very crude shifting era, and that's no news. In the middle of that landscape, the production business moves its models and strategies to

supply an evolving demand from clients without hurting quality and trying to keep the audience's eyeballs.

Muge Akar, Head of Sales at ATV, describes the local performance, main features, and global potential of the new drama that the Turkish company will launch at Mipcom.

Claire Runham, Head of Acquisitions, and Tatiana Grinkevich, Head of Sales, describe how the company has adapted to changing viewer habits and market trends.

Elif Tatoğlu, Distribution Strategy and Sales Director at Kanal D International, explains the company's growth path while highlighting the potential of each global region.

BOSSANOVA ADAPTING TO NEW VIEWER HABITS

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SINCE 2011, NETFLIX HAS INCREASED PRICES SEVEN TIMES, WHICH HAS ULTIMATELY RESULTED IN A 94% INCREASE IN THE COST FOR A STANDARD MONTHLY SUBSCRIPTION.

$15.49

NETFLIX INCREASED ITS COST MORE OFTEN THAN ANY OTHER STREAMER ($8 IN 2011 - $15.49 IN 2024).

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NETFLIX’S $15.49 COST IS THE SECOND-HIGHEST OF ANY PLATFORM, BEHIND MAX’S $16.99.

Streaming services have decreased prices since launching. Paramount+ prices dropped from $5.99 to $4.99 between 2020 and 2021 before returning to $5.99 in 2023. Hulu dropped the price for its standard subscription multiple times, from $9.99 to $7.99 in 2010 and 2011, dropping it a further $2 to $5.99 in 2016, and from $7.99 to $5.99 in 2019 following a 2017 price increase.

BBC IPLAYER IS UK’S FASTEST GROWING VOD PLATFORM

BBC iPlayer has recorded remarkable year-on-year growth and is outstripping all its competitors across all audiences. The British service is up over 20% this year so far. BBC iPlayer’s viewing growth is twice that of Netflix, three times ITVX and four times that of Channel 4. The streamer recorded high levels of people coming to the platform this summer, which has grown 10% on

the same time last year. Live events during summer generated over 350 million requests. •

A+E NETWORKS EMEA REBRANDED AS HEARST NETWORKS EMEA

A+E Networks EMEA has rebranded to Hearst Networks EMEA. The international broadcaster, which operates across the UK, Europe, Middle East, and Africa, is fully owned by Hearst and will now operate under the new name of Hearst Networks EMEA. Hearst Networks EMEA will continue to be comprised of four unique companies: Hearst Networks UK, Hearst Networks Germany, Hearst Networks Italia. •

DORI MEDIA CLOSED PRODUCTION DEAL WITH ATENEA MEDIA & JOSHUA MINTZ

Dori Media International, Mexico City-based Atenea Media, and veteran production executive Joshua Mintz, have signed a production partnership, expanding their established relationship in Latin America. The deal was announced by Nadav Palti, CEO & President of Dori Media Group, Atenea Media President Ana Celia Urquidi and Mintz. Mintz, who will continue serving as Dori Media International’s Chief Content Officer, will oversee the partnership and also become a partner in Atenea Media. Dori Media will also be a partner in the venture. •

ITV STUDIOS AND TBS TO CREATE “NINJA WARRIOR” FAST CHANNEL

KARL WARNER TO LEAD BBC STUDIOS NEW CREATIVE UNIT FOR GLOBAL ENTERTAINMENT

ITV Studios and Tokyo Broadcasting System Television are partnering to create the world’s first-ever “Ninja Warrior” FAST channel dedicated to programming worldwide. The deal is a first, both in terms of ITV Studios’ first FAST channel creation for third-party IP and Tokyo Broadcasting’s first foray into FAST. Brokered by Bellon Entertainment on behalf of TBS, ITV Studios will initially create, operate, market, and distribute the “Ninja Warrior” channel in the UK and Canada, with Australia and several other major territories to follow in the coming months. •

BBC Studios Productions has hired Channel 4’s former Head of Youth and Digital Karl Warner to establish and lead a new creative unit within its recently formed Global Entertainment business that will target premium longform and digital formats for the UK and international markets. Taking up his new role in November as Executive Vice President of UK Entertainment and Digital Development, Warner’s new team will be tasked with creating new IP and formats for the BBC as well as other UK and global platforms. His unit will also partner with BBC Studios Global Entertainment teams around the world. •

CANAL+ APPOINTED AMANDINE FERRÉ AS MEMBER

OF GROUP MANAGEMENT BOARD

Canal+ Group Supervisory Board appointed Amandine Ferré a member of Group’s Management Board. Ferré joined Maxime Saada, Chairman and CEO, Anna Marsh, Deputy CEO of Canal+ Group and CEO of Studiocanal, and Jacques du Puy, Deputy CEO of Canal+ Group in charge of International and President of Canal+ International. Amandine Ferré was also appointed Chief Financial Officer of Canal+ Group. She will be in charge of Canal+ Group’s Finance and CSR, succeeding Grégoire Castaing, who joined the Lagardère Group as Assistant Managing Director in charge of Finance. •

INTER MEDYA TO DISTRIBUTE TIMS&B PRODUCTIONS’ TWO NEW DRAMAS

Tims&B Productions has teamed up with Inter Medya for the global distribution of their latest hit TV dramas, “Valley of Hearts” and “Loveberry.” These two series from will make their international debut at Mipcom under the representation of Inter Medya. “Valley of Hearts,” currently airing on Show TV in Türkiye, explores the dark secrets and fierce power struggles within the powerful Şansalan family. On the other hand, “Loveberry,” airing on ATV in Türkiye, follows the journey of Zuhal, a successful personal development expert whose seemingly perfect life takes a drastic turn when she falls in love with someone she shouldn’t. •

THE TRANSPARENCY DILEMMA

Ted Sarandos, Netflix's coCEO, has a new demand: he wants the streaming industry to be more transparent about its viewership data. At first glance, this sounds like an altruistic move, a push for a fairer playing field. But here's the truth: Sarandos isn't doing this to make the industry more accountable; he's doing it because Netflix knows it would win. A big win.

Netflix just released "What We Watched: The Engagement Report" for the first half of 2024, with audiences consuming over 94 billion hours of content from January to June. Titles like "Damsel" (144 million views) and "Lift" (129 million views) dominated, while the Spanish hit "Berlin" pulled in a massive 318 million hours of consumption. Sarandos knows that Netflix's dominance is clearer than ever, and by pushing for transparency, he's asking rivals like Disney+ and Max to reveal just how far behind they are.

Let's not pretend this is a move for industry-wide equality. Netflix's numbers are impressive because of its vast library and global reach. If other platforms had comparable data, they'd be flaunting it already. Sarandos is playing a smart game by calling for transparency, knowing Netflix's rivals will either have to reveal weaker numbers or stay silent and look defensive.

But here's the problem: hours watched is a slippery metric. Sure,

"Berlin" logged 318 million hours, but that doesn't mean it had the highest number of viewers. A long-running series can easily accumulate hours, even if fewer people are watching, compared to shorter, high-impact films like "Damsel." That emphasis on hours might look good in reports, but it only sometimes captures authentic audience engagement.

Here is Sarandos' endgame: pressure. By pushing for transparency, Netflix is making life harder for its competitors. Disney+, Prime Video, and Max have built reputations on their exclusive titles, but do they really want to open their books and reveal how many (or how few) are watching? Unlikely. It's a classic power move: either you share the data and expose your weakness or stay quiet and look reticent.

Anyway, let's not get too excited about transparency. Netflix's data-driven approach can have a chilling effect on creativity. If a show doesn't pull in "Damsel"-level engagement, does it get sidelined in favor of content that racks up hours? Netflix has already been willing to cancel fan-favorite shows that don't hit targets fast enough. More transparency could put even more pressure on the industry to prioritize high-viewing content at the expense of riskier, more creative shows.

So, where does that leave us? Sarandos isn't pushing for transparency for the sake of fairness. He's asking for a victory lap, knowing Netflix is miles ahead. Sure, it might lead to more honesty in the industry, but let's not pretend it will benefit everyone equally. For smaller players, transparency could highlight how far behind they are. It's just another move for Netflix to cement its place at the top.

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CONTENT AT A CROSSROADS

We come to Mipcom this year amidst a continually worsening tempest in the media industry.

Paramount is selling itself off the discount rack, FOX is re-enacting “Succession” in a Nevada court, Warner Bros Discovery can truly only be described as beleaguered. The traditional Media Industrial Complex is a melting ice cube left out in the sun, making less entertainment content than prior to the major American strikes. Public Service Media is shedding viewers to big tech streamers and social video. Most producers are finding it harder each year to sell the shows and movies that were flying off shelves just a few years ago.

Those who make and sell content continually ask me when we will reach “the new normal.” Unfortunately, for those who got addicted to the high-flying days of Peak TV, when everything was sold at high margins and when streaming services bought movies and series at ridiculous prices, in a desperate quest to “scale,” I have some bad news: THIS is the new normal. Welcome. Scale has been replaced by free cash flow as the holy grail of the Media Industrial Complex. Budgets for scripted entertainment have been stolen to buy sports. Even when you can sell to entertainment gatekeepers, they will offer you far less than they used to. What’s more: consolidation will only exacerbate these trends. If your business model is predicated on selling to the big gatekeepers at better than cost plus rates, then your model is broken. And, in my studied opinion, it will not unbreak. Peak TV was a bubble. That bubble has burst.

those communities, without relying SOLELY on those gatekeepers for greenlights and profits. Then teach yourselves to monetize it. If this sounds impossible, understand that Ryan Kaji learned to do this when he was just four years old. He and his family now run one of the most successful kids content studios on earth. Sports goofballs Dude Perfect have perfected this art form. This year they raised $100 million of investment capital. Dax Shepard took this leap. He just signed an $80 million deal with Amazon.

The Creator Economy is already a quarter of a trilliondollar business. By 2040, it will be a trillion-dollar industry. It is NOT JUST about influencers. If you don’t believe this, if you refuse to take the time or make the effort to understand it, you will be left behind by what’s coming next. Community is the new audience. Lean in or get out.

HOW ELSE? Jump into the retail media business. Don’t just develop shows about cooking or fashion or home improvement or travel, develop them to sell the products you feature in them.

If you want funding for what you want to make, start to explore relationships not just with brands, but with the platforms who sell them. There’s a reason Walmart is buying Vizio, and it’s NOT bc they love the smell of new TVs. Amazon’s $45 billion ad business isn’t about commercials, it’s about commerce. Retail Media on TV is already a billion-dollar business in the US alone. By the end of this decade, connected TV retail media will generate $6 billion, per year in America.

This is new money to the entertainment ecosystem. You can grab your share of this pie, or someone else will eat your lunch.

So, then, now what’s a studio or producer to do? Give up and sell real estate? Not necessarily. There are solutions to your problems. There are ways to do more than just survive - and thrive - in this new era of media. However, to do so, you must be willing to retrain yourself and your company to meet the moment, the same way horse buggy manufacturers had to learn how to make automobiles or go out of business.

HOW? Learn how to operate in the creator economy. Redesign your studio to make content for specific communities and then develop internal competencies to distribute that content directly to

The corporate media industrial complex will continue to contract. As it does, the Creatorled ecosystem will fill that void, taking over those audiences and those revenues. The traditional TV ad business is being replaced by an outcome-based marketplace, where the smartest creators and best environments win.

Imagine for a second you made radio when TV was invented, or a silent film producer when talkies arrived…. Would you have rejected that new technology? Or embraced it?

That is the crossroads where we find ourselves at this Mipcom. Choose your path wisely.

By Evan Shapiro

FAST: LATIN AMERICA AND SPAIN AD REVENUES WILL EXCEED $250 MILLION

ACCORDING TO OMDIA DATA, THESE MARKETS WERE WORTH $188 MILLION IN 2023 AND ARE EXPECTED TO GROW TO $328 MILLION IN 2025.

Latin America & the Caribbean is now the thirdlargest regional market for FAST ad revenues, after North America and EMEA, according to recent data from Omdia. The leading players to propel this growth have been Samsung and LG, which have maintained their regional presence over the past year. "At the time of writing, there is no confirmation of when Samsung TV Plus will expand beyond Brazil and Mexico. Paramount-owned Pluto TV maintains its leadership because it is the first FAST platform to launch in the region," Juan Villegas, Research Analyst, Media & Entertainment at Omdia, explained. At a country level, Brazil and Mexico maintain their dominance thanks to the size of the main players and the presence of additional other services such as Fox Corporation's Tubi, TelevisaUnivision's ViX, and Roku Channel. Roku has grown enormously in the region, claiming Mexico to be its largest market outside the United States. In addition, these two territories and Spain are among the top ten markets in the FAST business outside the United States. "FAST's share of the Latin American and Spain premium ad-supported video market is expected to reach an all-time high of

LATIN AMERICA & THE CARIBBEAN AND SPAIN FAST ADVERTISING REVENUES

Latin America & Caribbean and Spain FAST Ad revenue and regional FAST share of premium ad-supported online video revenue, 2019-25, $m, %

27% in 2024," Villegas described. Latin America and the Caribbean has the highest FAST share of premium video advertising globally, mostly thanks to CTV platform operators and Pluto TV, as well as a continued appetite for linear content.

PLUTO TV, THE LEADER

Pluto TV launched in March 2014 as an independent streaming platform. Over time, it secured licensing deals with different providers, such as Lionsgate, MGM, and Warner Bros. Discovery. In 2017, it added premium content to the platform's channels and an on-demand library. Omdia's FAST Channel Distribution database tracks the number of channels per FAST service. In Q3 2024, it registered an average of 170 FAST channels on its platform. Omdia expects Pluto TV to reach U$D 35.9 million annual average monthly users in Latin America and Spain, with a considerable footprint in these territories. This combination shows an excellent prospect for advertisers. Pluto TV distribution has been quite even across Latin America and Spain. It offers well over 100 channels in each country where it is present, showing its growth and increasing relevance. A large part of its channels are provided by its parent company. These include channels with Paramount premium content from networks like Nickelodeon and MTV. Pluto TV is also used as a marketing tool for its SVOD sibling, Paramount+. "As other platforms grow, Pluto TV is expected to maintain prominence among the top three players over the next few years," Villegas concluded.

By Omdia

PLUTO TV CHANNEL COUNTS

Pluto TV channel counts (Q3 2024)

Source: Omdia FAST Channel Distribution Database

GLOBAL PRODUCTION: GROWTH, DECLINE, OR A COMPLETELY NEW ERA?

WITH SEVERAL EXTERNAL FACTORS TO CONSIDER, THE PRODUCTION BUSINESS IS ADAPTING TO NEW DEMANDS, BUDGET LIMITS, AND AUDIENCE BEHAVIORS. THE HEART OF THE CONTENT INDUSTRY IS RESHAPING ITS FOCUS.

The global content industry is experiencing a very crude shifting era, and that's no news. In the middle of that landscape, the production business moves its models and strategies to supply an evolving demand from clients without hurting quality and trying to keep the audience's eyeballs. Recent data from ProdPro reported a 22% increase in the number of projects actively filming in Q2 2024 compared to the same period last year. The U.S. experienced a 30% year-over-year increase in Q2. However, ProdPro noted that this comparison is against the beginning of the 2023 WGA strike, a period characterized by unusually low production activity. Over the past six months, the total number of productions filming globally in 2024 is still 16% lower than in 2022 and 37% lower in the U.S. That decline, though anticipated, is challenging for an industry that expanded to meet the demands of the peak T.V. era regarding crew and suppliers. Comparing the number of productions that started principal photography in Q2 2024 to those in 2022, the U.S. saw a decrease of approximately 40%, while globally, there was a 20% decrease.

ProdPro reported 344 scripted productions that started principal photography worldwide in Q2 2024. That encompassed 130 TV series and 214 feature films. Feature films decreased 18% compared to the same period last year. As with the Q1 drop-in feature starts, this can partially be attributed to the risk of another strike in 2024, which has made it more difficult for indie film producers to get bonded for production. T.V. series experienced an increase of 20% year-over-year, primarily driven by major studios making up for lost time and ensuring their fall slates are delivered.

GLOBAL SCRIPTED TV AND FILM PRODUCTIONS, Q2 2023 vs Q2 2024

Q2-2023

Continuing the trend from Q1 of delayed productions driving an increase in committed spending, ProdPro measured a 39% increase in committed spending in Q2 2023. The biggest increase was with projects in the $40M-$100M range, continuing the trend from Q1 2024 of returning episodic projects and mid-budget studio films driving the increase. Notably, this number is 20% less than committed spend during Q2 2022. On the episodic side, the U.S. and Canada experienced notable increases in the number of series beginning production compared to the prior year. While the U.K. lagged in series starts, they were the only region to experience an increase on the features side.

GLOBAL SCRIPTED TV AND FILM PRODUCTIONS BY BUDGET TIER, Q2 2024

GLOBAL PRODUCTIONS, EPISODICS AND FEATURES, Q2 2023 vs Q2 2024 Q2-2023

Furthermore, according to research by Vitrina, global film and T.V. production volumes increased by 9% last July, continuing the slow and steady recovery from the rock-bottom levels of the second half of 2023. The APAC and EMEA regions saw significant growth, with 48% and 19% increases, respectively. In contrast, the

Americas experienced a 31% decline in production volumes. However, during this same month, I.P. and Development activity experienced a 16% decline compared to June. This turnaround highlighted a renewed focus on bringing new projects to life, even as intellectual property and development volumes cooled. Drama remained the top genre, experiencing a 33% increase compared to June, with Comedy trailing closely behind. Scripted content made up 77% of June productions. English productions represented 38% of the June projects, marking a 12% decrease from June.

GLOBAL PRODUCTIONS RATES, 2024

COMMISSIONING TRENDS

According to Vitrina, Prime Video and Netflix have kept their stronghold in commissioning, with The German Federal Film Board, Disney+ (including Star+) following closely behind. Production transactions from OTT providers contributed 21% of the total deals (a 4% increase over June), with Netflix and Prime Video leading the commissioning. Vitrina revealed that EMEA emerged as the leading market bloc for July, with the United Kingdom securing the highest volume of production transactions. The top buyers and commissioners comprised a diverse mix of broadcasters, OTT providers, and production houses, led by Prime Video, Mediaset, Netflix, and Rok Studios (part of Vivendi and Canal Group). The share of

APAC increased from 17% in June to 27% in July, with production volumes from India rising by 77%, driven by companies such as Sony Yay!, Zee5 & Jio Studios. According to Ampere Analysis, Netflix commissioned its highest number of new titles since Q3 2021 in 2024, and Amazon set a new record for its quarterly commissions. This resurgence in original orders coincides with falling commissions from costconscious rival streamers, which meant the two streaming giants accounted for more than half (53%) of all SVoD commissions globally in Q1.

SVOD COMMISSIONS ORDERDED GLOBALLY BY MAJOR PLAYERS

# of SVoD commissions ordered globally by major US-based parent commissioners, (Q2 2020 - Q1 2024)

This growth is spurred by increased investment in international territories, with Netflix and Amazon ordering most of their titles outside the United States. Over the past few years, spending outside the United States by the two commissioners has increased steadily. Ampere predicts it will continue to rise as the players attempt to combat domestic subscriber stagnation by chasing expansion internationally. In Q1 2024, Netflix's Western European commissions almost achieved parity with North American titles for the first time. Asia Pacific titles also saw a notable uptick. Netflix is seizing the opportunity for international growth, focusing on proven market providers of portable content, such as Spain, India, and South Korea. The UK, Spain, and Germany led Netflix's Western European commissions. Cost-effective unscripted content featured heavily in the platform's Western European commissions, with documentaries accounting for 30% of regional orders, up from 23% in Q1 last year. The U.K. contributed 43% of the region's documentaries, a notable drop from the same period last year when it was 78%.

Source: Vitrina Daily Production Project Tracker

Source: Vitrina Daily Production Project Tracker

Netflix Disney Warner Bros. Discovery Paramount Amazon Comcast Apple

Source: Ampere Commissioning (excluding theatrical movies, Amazon Freevee and miniTV)

OVERVIEW

SHARE ON NON-US ORIGINATED COMMISSIONS

Share of non-US originated commissions (%, Q2 2021 - Q1 2024)

Source: Ampere Commissioning. (excluding theatrical movies, Amazon Freevee and miniTV)

According to Ampere Analysis, Thailand experienced the most significant individual increase in Asia Pacific, with nine titles ordered in Q1 2024. Crime & thriller content was a focus in India, which is predicted to become Netflix's largest subscriber hub in the region as it seeks to compete more closely with Amazon in the country. Netflix increasingly relies on pay-one agreements with theatrical studios to supply new, exclusive U.S. films and has decreased its domestic commissioning of original movies. By contrast, it has upped its international movie orders in territories like the Nordics, Asia Pacific, and Sub-Saharan Africa. In comparison, in Q1 2024, Amazon's Asia Pacific commissions were dominated by Indian productions with a record slate of 37 titles. That is more than the previous six quarters combined and an increase on Amazon's previous primary Indian slate in Q2 2022 of 32%. Global streamers, including Amazon, have previously struggled to compete with local players that offer strong regional content. However, this total signals Amazon's intention to take on the incumbent platforms, cementing India as the cornerstone of its international strategy. The streamer also announced its largest slate of Indian original movies to date and is actively pursuing pay-one and co-financing deals with local theatrical distributors. Enabled by its takeover of studio MGM, Amazon has upped its global orders of original movies in the past two years, commissioning more films than Netflix for the first time in Q2 2023.

YOUTUBE’S POWER

YouTube's content spend, consisting of its distinct revenue-sharing arrangement with content creators, will rank as the second largest non-sports content spend globally in 2024, behind Disney, according to the latest report from Ampere Analysis. While YouTube's content investment differs from traditional studios, its total expenditure will be the third largest worldwide this year for the fourth consecutive year when considering sports rights spending. That places it behind Disney and Comcast, with both forecasted to spend just over $9 billion on sports rights in 2024, yet YouTube's total spend is ahead of any VOD-first player and some of the major studios.

CONTENT SPEND BY COMPANY GROUP FOR TOP 5 GLOBAL

SPENDERS

Content spend by company group for top 5 global spenders, 2024 (f) ($bn, by spend type)

Original and Acquired

Sports Rights

Unlike SVOD platforms, YouTube's primary source of revenue is advertising, not subscription fees. YouTube's advertising revenue alone, forecasted at $35 billion in 2024, exceeds Disney+ and Amazon Prime Video's total earnings and falls just shy of Netflix's total revenue. YouTube is the number one platform for online video viewing globally, and its advertising revenue is driven by its large user base. Despite having few opportunities to re-license content on other platforms, YouTube has affirmed its focus on funding content creators. While it has experimented with more traditional-style commissioning in the past, this was never a primary way to incentivize production, and YouTube has since significantly reduced commissioning activities. The shift in power from box office and cable/broadcast to streaming continues to reshape the landscape, prompting a mid-term correction with less appetite for high-budget projects and a stronger focus on mid and smaller-budget productions. Players gravitate towards lower-risk strategies, favoring smaller budgets, timetested stories, I.P. adaptations from other media/

TOP 3 MARKETS BY COMPANY GROUP, GLOBAL

markets, and strategic partnerships. Cross-border collaborations in co-productions are becoming essential. Production financing decision-makers need to be convinced of the strength of I.P., development, and pilot projects, as skepticism and longer decision cycles risk delaying projects. Additionally, renewed and fierce competition between rival governments and film commissions is intensifying. Amidst these challenges, the industry must navigate a rapidly changing supply chain influenced by new tech players across every value chain dimension.

By Diego Alfagemez

Source: Ampere Markets - Content

Source: Ampere Markets - Content, Ampere Media - Consumer, company reports

Disney Comcast YouTube Netflix Warner Bros. Discovery

THE GLOBAL POWER OF FRENCH CONTENT

UNIFRANCE RENDEZ-VOUS CELEBRATED ITS 30TH ANNIVERSARY AND MOVED ITS EVENT TO LE HAVRE, WHERE 56 FRENCH DISTRIBUTORS SHOWCASED KEY SHOWS TO 180 INTERNATIONAL BUYERS.

Unifrance Rendez-Vous 2024 was a special edition. The market, focused on French and French-speaking content, celebrated its 30 th anniversary, and was held in a new location, Le Havre, on the Normandy coast. "Our main objective was to maintain the efficiency of the event while moving," Sarah Hemar, Director of Audiovisual at Unifrance, said. "Unifrance Rendez-Vous is the last all-inclusive event with a screening room where people can truly focus on spending time together, either in formal meetings or informally, like during lunches and dinners. It was essential to keep it as efficient and successful as it has been for 29 years," she added.

Despite being away from Paris, Le Havre attracted 180 international buyers from 40 countries, including HITN,

V-me (United States), Gusto TV (Canada), Antena 3, Movistar, Mediaset España (Telecinco), OneGate Media (Germany), ORF (Austria), Warner Bros. Discovery – HBO Europe, LRT (Lithuania), TV Nova (Czech Republic), FTV Prima (Czech Republic), and Markíza Group (Slovakia). Regarding genres, 29% of the buyers were looking for animated programs, 55% for fiction, and 64% for documentaries.

In the market, 56 French distribution companies offered more than 700 shows from all genres in a screening room set up specially for the occasion. Among the most viewed were the fictions "The Eclipse" (About Premium Content), "Tom and Lola" (Mediawan Rights), and "Ça, c'est Paris" (Federation Studios). The documentaries "The Army of

Romantics" (ARTE Distribution), "From the Plate to the Ocean" (Only Distrib), and "An American Pastoral" (Mediawan Rights) also gained global attention. Lastly, in animation, the most viewed titles were "Lana Longuebarbe" (APC Kids), "Les Minus" (MIAM! Distribution), and "Samuel" (Folivari International).

FRENCH EXPORTS

The Centre National du Cinéma et l'Image Animée (CNC) and Unifrance released their annual report on the export of French audiovisual programs. In 2023, sales of French audiovisual programs remained high, reaching €203.4 million (-5.3% compared to 2022). That was the third time in 30 years that French content exceeded the €200 million threshold (previously

Raphaelle mathieu (Cyber Group), Sarah Hemar (Unifrance) and Cécile Lacoue (CNC)

Solene Crepin (Mediatoon)

Virginie Boireaux (HAGO)

in 2017 with €205.2 million and in 2022, a record year with €214.8 million). The strong performance of French exports reflects the quality and diversity of audiovisual works across all genres, which continue to appeal to the international market despite a challenging environment characterized by lower acquisition budgets, a contraction of the North American market, and longer negotiations between partners.

The success of French drama was confirmed in 2023, with sales of €74.5 million, making it the genre's second-best year after 2022 (-7.7%) and well above the average for the last ten years (€54.9 million). It remained the leading export genre for the second year, accounting for 36.6% of total sales. Ambitious and creative series with strong

intellectual properties, such as "HIP," "Marie Antoinette," "Bardot," and "BRI," as well as French expertise in procedural series like "Deadly Tropics" and "Bright Minds," contributed to the success of French dramatic fiction on the international scene.

Documentaries continued their excellent international sales momentum, reaching €47.2 million (-3.0% compared to 2022, a record year). 2023 was marked by the success of programs echoing current events and hybrid works combining several genres, such as science and history. Animation sales declined again, to €51.2 million in 2023 (-11.2% compared to 2022). While French animation programs with high visibility continued to circulate globally, the genre was affected by a reduction in buyers' investments, particularly

“ IN 2023, SALES OF FRENCH AUDIOVISUAL PROGRAMS REMAINED HIGH, REACHING €203.4 MILLION (-5.3% COMPARED TO 2022). THAT WAS THE THIRD TIME IN 30 YEARS THAT FRENCH CONTENT EXCEEDED THE €200 MILLION THRESHOLD"

Chris Knight (Gusto Worldwide Media)

Hyeo Jin Moon (Dandelooo)

Robert Salvestrin (Lucky You)

Laurene Voilliot (Only Distrib)

in North America (-69.7%, to €4.3 million), and a decrease in worldwide rights to €12.9 million (-6.6%). However, animation remained the #2 export genre, with a 25.2% market share.

CONTENT LAUNCHES

Unifrance Rendez-Vous Le Havre was the perfect setting for the launch of new key projects. ARTE Distribution hosted the screening of The Legends of Paris: A Tale of the 19 th Century Artistic Scene (4x52'), a 2D animation series that recounts the story of literary and artistic Paris between 1824 and 1870. "It's an amazing show that took six years of writing and two years of animation," said Josephine Letang, Head of Sales at ARTE Distribution. "It changes how we tell stories, and I think it will reshape how we present history to the audience. It’s captivating," she added. Judith Nora, producer

of the series, mentioned that an international team of 90 people worked on the project, creating 30 characters and 2,000 Parisian settings. "It’s the equivalent of two feature films in animation’s own art history. It’s an ambitious project," she said.

Federation Studios screened the first episode of Ça, c’est Paris (6x60'), a drama series produced by Federation Studios and Mon Voisin Productions ("Call My Agent!") that tells the story of Gaspard Berthille (Alex Lutz), the manager of Le Tout-Paris, a renowned cabaret perpetuating the myth of wild Parisian nights. The title has been sold in 190 countries, with remakes produced in 12 countries.

Mediawan Rights hosted the screening of Tom and Lola (12x52'), a procedural crime series starring Dounia Coesens and Pierre-Yves Bon as two best friends since high school who, as cops, must work and live together. Randall

Broman, Head of International Sales Scripted at Mediawan Rights, described it as following in the footsteps of the successful procedural Tandem with a dynamic duo who must navigate both their professional and personal lives, including co-parenting in the same apartment.

France tv distribution closed Unifrance Rendez-Vous with the screening of Zorro and a thematic party. The 8x40 minute series, coproduced by Paramount+, France Télévisions, and other international partners, features Jean Dujardin as Don Diego, who returns as Zorro to fight for justice while trying to win back his wife's heart, unaware she’s fallen for his alter ego. "It’s a modern, action-packed, and romantic take on this global classic," said Julia Schulte, SVP International Sales at France tv distribution.

By Romina Rodriguez

Jeromine Ader de la Villardiere (Federation Studios)

Fanny Gilabert (Gaumont Animation)

Emmanuelle Gilbart, Julie Mateille and Oscar Iragui (APC)

Safaa Benazzouz (Xilam)

Mélanie Errea and Lucille Janvier (MIAM! Distribution)

Guillermo Sierra, Erika Vogt-Lowell (HITN), Doris Voguelmann (VME Media)

Lionel Marty (APC Kids)

Véronique Commelin, Milena Sjekloca (CLPB Rights)

THE EVOLUTION OF BRANDED CONTENT: A STRATEGY FOR LONG-TERM SUCCESS

EXPERTS FROM ITV, FREMANTLE , BANIJAY, AND BBC STUDIOS EXPLAIN THE MOST EFFECTIVE STRATEGIES FOR A BUSINESS MODEL THAT GAINS MORE VALUE FOR GLOBAL PRODUCERS AND DISTRIBUTORS.

Audiences, producers, broadcasters, platforms, and advertisers have adapted to new scenarios and needs as the audiovisual industry continues to evolve. Branded content has emerged as a robust, long-term solution in that context.

Carlotta Rossi Spencer, Head of Branded Entertainment Business Development at Banijay

"People are starting to respect the concept of branded content,"

Carlotta Rossi Spencer, Head of Branded Entertainment Business Development at Banijay, asserted. "For years, the attitude was that if it's branded, it doesn't meet the standards of a good production. Now, we're in a situation where we, along with other players in

the United States and Europe, are making great shows. I always say we're talking about entertainment made for and with brands, so the keyword is still entertainment," she explained.

Devina Seth, Brand Partnerships Director at BBC Studios Digital Brands

The industry's economic challenges are forcing producers to create premium content on tighter budgets, which can feel like performing magic. "When there is limited investment available for content, the power of research and insights (which we analyze using various methodologies) helps bring to life content that truly contributes to culture and transcends generations," Devina Seth, Brand Partnerships Director at BBC Studios Digital Brands, said. "High-quality brand partnerships that result in custom assets tailored to each platform help

generate the best user experience, creating impactful and evergreen relationships between a brand and its audience. That safeguards the brand image, which is of utmost value and supersedes its association with a single product or service that usually has a limited shelf life," she added.

Devina Seth also explained that with any campaign, it is essential to identify that there are two potential sets of audiences to explore across both partner portfolios: the core groups (loyalists of the brands) and the broad groups (potential loyalists) that can be identified through interest, behaviors, attitudes, and demographics. "It's important to ingest the data and approach it as a common source to avoid anomalies. Once the campaign is actioned, the expectation is that the existing loyalists will engage with the content because the content is of genuine value to them. In the broad audience category, based on interaction with the content, we can confirm a new audience base and refine the broad targeting so there is minimum wastage from a distribution POV, and we are only exposing audiences who are truly interested in what we have created," she stated.

"Ad Feature How Audi Won The Iconic Dakar Rally"

OVERVIEW

Roberta Zamboni, Global Head of Branded Content & Sponsorship at Fremantle

"The dynamic of interconnected brand budgets and production budgets, particularly in more ambitious projects, is becoming more common, both in scripted and unscripted content," Roberta Zamboni, Global Head of Branded Content & Sponsorship at Fremantle, commented. She highlighted the importance of maintaining creative freedom for the production team while ensuring the brand also benefits from authentic integration. "Brands benefit from being authentically integrated into content that

resonates with audiences, offering a more engaging and impactful form of advertising than traditional spots," she noted. Zamboni also explained that the mentioned integration creates opportunities for innovative storytelling, as brands often provide unique resources, locations, or expertise that can enhance the narrative. "Ultimately, branded content not only fills the financial gap but also adds strategic value, ensuring that high-quality productions continue to thrive in a competitive media landscape," she added.

Bhavit

Chandrani,

Director of BE Studio at ITV

Bhavit Chandrani, Director of BE Studio at ITV, mentioned they are still making significant investments in commissioning programming. "Branded content, or ad-funded

entertainment, can really help us add value to this investment. We can work with advertisers to develop shows that support their marketing ambitions and objectives while also delivering compelling entertainment for our audiences," he explained.

BRAND-FUNDED CONTENT

Brand-funded content allows broadcasters and digital streamers to reach new audiences innovatively. "Investment in engaging and impactful content creates credibility for the brand and helps foster deeper connections with existing and new audiences," Seth said. She also explained that this model encourages brands to listen to their audience, cater to their interests, and build a sense of community and loyalty around the brand. Zamboni agreed, stating that branded content offers a more organic approach to reaching new audiences by embedding the brand message within storytelling that resonates with active viewers. "Instead of relying on traditional advertising, which many audiences, especially younger generations, tend to skip or ignore, branded content integrates the brand into the narrative in a more seamless and engaging way," she described. Chandrani also emphasized that ITV, through the launch of ITVX, has been able to take creative risks in its approach, allowing it to commission shows they wouldn't have pursued traditionally.

Last year, Beyond Productions, a Banijay company, presented a documentary titled "Mind Games – The Experiment," commissioned by the international sportswear

“ THE DYNAMIC OF INTERCONNECTED BRAND BUDGETS AND PRODUCTION BUDGETS, PARTICULARLY IN MORE AMBITIOUS PROJECTS, IS BECOMING MORE COMMON, BOTH IN SCRIPTED AND UNSCRIPTED CONTENT"

"Mind Games – The Experiment"

"Maître Chocolatier – Talenti in Sfida"

brand ASICS. The production was an editorially driven, impartial, and unbranded film, and Rossi Spencer pointed out that it's hard to realize a brand commissioned it. The company also developed a branded solution for "The Secret Life of 4-Year-Olds", a UK show that was highly successful on Channel 4 Linear. Alongside Channel 4's digital commissioning team, Banijay produced digital content pieces for different platforms. "It allows Channel 4 to bring back something that was already successful for them, and it gives a CMO the ability to say, 'I recognize this title, and I know I can bring my values back with it,'" Rossi described. In Portugal, the company launched "Mistura Beirão," a talent show for cocktail makers in partnership with the premium Portuguese liqueur Licor Beirão and broadcaster TVI. Additionally, in Italy, Banijay is producing the second season of "Maître Chocolatier – Talenti in Sfida" in collaboration with Lindt & Sprüngli Spa for Sky Italia's freeto-air channel TV8.

BBC Studios Digital Brands has developed the commercial YouTube channel of TopGear, where audiences can find the

best clips from their favorite episodes, such as "Ad Feature: How Audi Won The Iconic Dakar Rally." Cupra UK and BBC TopGear have also collaborated on a series of advertisement features on the TopGear website, with their latest feature showcasing the new limited edition Cupra Formentor VZN. BBC Studios Digital Brands also produced the BBC's new documentary series "Arts in Motion" in partnership with Rolex, which profiles South Korean opera star SeokJong Baek, one of the world's top young tenors.

ITV's "Sessions," in partnership with O2, is another excellent example of branded content. "Live music is a bit of a departure for ITV, so we were delighted to work with O2 to bring this show to life," Chandrani noted. Other notable examples include "Dress the Nation" with Marks & Spencer, a hunt for Britain's best amateur fashion designer, and "Champions: Full Gallop" with Paddy Power, a high-octane documentary following a season of British horse racing.

The most recent collaboration involving Fremantle is the film "Maria" by Pablo Larraín, produced by Fabula, The Apartment

(a Fremantle company), and Komplizen Film. "We integrated a brand that the protagonist genuinely loved, Fernet Branca, into the storytelling in a way that felt authentic and natural," Zamboni explained. According to legend, Maria Callas drank the Italian liqueur before performing on stage to soothe her voice, making her one of the first endorsers of massconsumption brands. "In the film, this story within the story is told subtly and delicately, as only a great director would," she added.

By Romina Rodriguez

"Maria"

"Arts in Motion"



MUGE AKAR , HEAD OF SALES AT ATV, DESCRIBES THE LOCAL PERFORMANCE, MAIN FEATURES, AND GLOBAL POTENTIAL OF THE

NEW DRAMA THAT THE TURKISH COMPANY WILL LAUNCH AT MIPCOM.

The ongoing global expansion of Turkish drama can be attributed to a combination of strong storytelling, high production quality, and the ability to evoke universal emotions that transcend cultural barriers. In that context, ATV is launching “The Nightfall” at Mipcom. Señal News spoke with Muge Akar, Head of Sales at ATV, to understand the global potential of the show.

What is the global potential of "The Nightfall," the series ATV is launching at Mipcom?

"'The Nightfall' has already solidified its position as a breakout hit in Turkey, becoming the ratings leader in its slot and captivating local audiences. This early success points to its strong global potential, as Turkish series continue to thrive internationally due to their unique blend of emotional storytelling and high production values. The show has attracted great interest from international buyers, clearly indicating its wide-reaching appeal. The universal themes of love, betrayal, and the quest for justice, along with its cinematic visuals and complex character dynamics, ensure that 'The Nightfall' will resonate with diverse audiences worldwide. As Turkish dramas consistently perform well

“’THE NIGHTFALL' STANDS OUT DUE TO ITS GRIPPING STORYLINE”

in regions like the Middle East, Latin America, Eastern Europe, and Asia, 'The

Nightfall' is poised to follow in the footsteps of previous Turkish successes, expanding ATV's footprint in these key markets and beyond."

How would you describe the main features of the show? How would it appeal to global audiences?

"'The Nightfall' stands out due to its gripping storyline, a perfect blend of classic drama elements and fresh, unpredictable twists. The show has high-stakes tension, emotional depth, and intricate character relationships. 'The Nightfall' has high production values, stunning cinematography, and carefully crafted set designs that elevate it to an international standard. Additionally, it incorporates all the elements of drama, giving it a fairytalelike narrative that feels fresh while remaining deeply rooted in universal themes of fate, justice, loyalty, and love. The title's ability to marry local authenticity with global storytelling conventions ensures it will have broad international appeal, attracting a wide range of viewers across different cultural contexts."

How important is having a wellknown cast to expand the show's global footprint?

"Casting globally recognized actors like Burak Deniz and Su Burcu Yazgı Coskun adds considerable weight

to 'The Nightfall' international appeal. With his established presence in international markets, Burak Deniz serves as a major draw for viewers already familiar with his previous work. Moreover, Su Burcu Yazgı Coskun is quickly emerging as one of Turkey's brightest stars, and her role in 'For My Family' has garnered her a substantial international following. A well-known and charismatic cast is pivotal in driving international sales, as it offers buyers a familiar entry point to the TV series while ensuring higher engagement from existing fanbases across multiple territories."

How important is the show's high ratings in Turkey to reinforce its brand?

"Achieving top ratings in the Turkish market is a strong indicator of a show's quality and appeal, particularly given the highly competitive nature of the Turkish TV landscape. 'The Nightfall' leading its prime time slot is a measure of its domestic success and a crucial selling point for international buyers. A series that performs exceptionally well in a competitive market like Turkey demonstrates its capacity to engage and sustain viewer interest over time, a crucial consideration for buyers. 'The Nightfall' strong performance in Turkey enhances its brand identity. Ratings success also means that they have already been tested with a highly demanding audience, thereby reducing the risk for international networks and platforms when acquiring the rights."

By Diego Alfagemez

Muge Akar

ADAPTING TO NEW VIEWER HABITS AND GLOBAL TRENDS

CLAIRE RUNHAM, HEAD OF ACQUISITIONS, AND TATIANA GRINKEVICH, HEAD OF SALES, DESCRIBE HOW THE COMPANY HAS ADAPTED TO CHANGING VIEWER HABITS AND MARKET TRENDS WHILE STAYING FOCUSED ON DELIVERING CONTENT THAT RESONATES INTERNATIONALLY.

BossaNova Media has carved out a unique strategy in both acquisitions and sales as the media landscape continues to evolve. Claire Runham, Head of Acquisitions, and Tatiana Grinkevich, Head of Sales, spoke with Señal News about how the company has adapted to shifting viewer habits and market trends, focusing clearly on delivering content that resonates internationally.

BossaNova, a boutique company with a tight-knit team of ten employees, has grown increasingly selective about the content it chooses to acquire. Claire Runham explained the company's approach: "We're more selective than ever with the content we acquire. As a boutique company, any project we pick up crosses the desk of every single person in the business, so the

acquisitions need to be worth the resource. That process ensures that each title aligns with internal priorities and market appetite," she said.

When it comes to content diversification, the company's focus is clear: internationally appealing content. "Rather than focusing specifically on

local content, our focus is more on internationally appealing content," Runham shared, emphasizing the importance of historical productions like "Tsunami: The Day the Wave Hit" and "Greatest Escapes of World War 2," which draw global attention. Runham also highlighted the balance between maintaining a robust catalog and pursuing new acquisitions. "Much of the content we're currently representing is selling internationally. We're not averse to taking risks, so considering diversification is something we continue to explore," she added. That careful balance keeps

their catalog fresh while catering to broad audience demands.

SALES WINDOW

On the sales front, Tatiana Grinkevich stressed the importance of listening to buyer demands and staying agile. "Listening to what buyers want is essential.

We work closely with producers and buyers to keep up with their ever-evolving strategies. That approach helps Bossanova adapt to the fast-paced and competitive nature of the media industry," she stated.

According to the executive, a significant challenge in sales is staying ahead of evolving trends: "The industry is quite fast-paced, so keeping up with all the trends is essential, and this is probably the main challenge," Grinkevich said. To navigate that landscape, she closely monitors market trends and regularly checks in with buyers to ensure that BossaNova's content matches their evolving needs.

The company's strategy extends beyond traditional content offerings. As Grinkevich explained, buyers are becoming more creative with channel strategies, experimenting with formats, genres, and scheduling models. "Buyers have been as creative as possible in the past few years. Audiences have been spoilt with such a variety of content on offer," she described. BossaNova doesn't just rely on gut instinct and relationships in the sales process. Technology and data analytics play a pivotal role. "I often rely on data analytics when working on deals, including pitching and negotiations," she said. This data-driven approach ensures that BossaNova is well-informed when making critical decisions, helping the company stay ahead in an increasingly tech-driven market.

By being selective about acquisitions, focusing on internationally appealing content, and adapting to the fast-changing market, Bossanova is positioned to continue its growth. With a blend of traditional methods and forward-thinking strategies, BossaNova remains committed to producing and distributing high-quality, globally resonant content. "The model that we use at BossaNova still works. It's about continuing that while also making plans for the future," Runham noted.

By Federico Martinez

Claire Runham

Tatiana Grinkevich

K“THE

KEY GROWTH OPPORTUNITIES LIE IN DIVERSIFYING OUR BUSINESS MODELS”

ELIF TATOĞLU, DISTRIBUTION STRATEGY AND SALES DIRECTOR AT KANAL D INTERNATIONAL, EXPLAINS THE COMPANY'S GROWTH PATH WHILE HIGHLIGHTING THE POTENTIAL OF EACH GLOBAL REGION.

anal D International will launch 'My Mother's Tale,' 'The Family Burden,' and the new season of 'Secret of Pearls' at Mipcom, enhancing the global need for Turkish drama. Señal News talked to Elif Tatoğlu, the company's Distribution Strategy and Sales Director, to describe its strategy to expand its global footprint.

How would you describe Kanal D's global expansion strategy?

"Kanal D International's global expansion strategy focuses on increasing the footprint of our Turkish dramas across multiple regions by partnering with key broadcasters and digital platforms. We aim to leverage the growing interest in Turkish content, tailoring our approach to the specific needs of each market and client. That includes a mix of strategic partnerships, format adaptations, and ensuring our content is accessible through multiple distribution channels such as free TV, pay TV, and digital platforms."

Where are the growth opportunities for Kanal D's shows internationally in terms of business models?

"The key growth opportunities lie in diversifying our business models, including AVOD, SVOD, and partnerships with global streaming platforms. In addition, there is a significant opportunity to syndicate

our content to relatively new regions, such as Africa, Asia, and Europe, where Turkish dramas are gaining popularity. Licensing and format adaptations also offer the potential for expanding our footprint."

Kanal D will feature new launches at Mipcom; what are the expectations around those titles?

"We are very excited about our new titles launching at Mipcom: 'My Mother's Tale,' 'The Family Burden,' and the new season of 'Secret of Pearls.' These series blend fresh storytelling, high production values, and universal themes that resonate across cultures. Our expectations are high, particularly given the ongoing demand for quality Turkish drama. We're confident these new launches will perform well in key territories, further solidifying our position as a leading distributor of Turkish content globally."

How do you analyze the neverending growth of Turkish drama worldwide?

"The growth of Turkish drama worldwide is driven by its unique ability to blend traditional values with contemporary themes, making it relatable to diverse audiences. Turkish series are known for their emotional depth, strong character development, and high production quality. As viewers seek fresh,

emotionally compelling content, Turkish dramas continue to meet this demand, ensuring sustained growth in global markets."

Kanal D recently closed deals in Vietnam, Bangladesh, and Thailand. How important is the Asian business in Kanal D's global strategy?

"Asia offers immense potential with its diverse and rapidly expanding audience base. We focus on revitalizing interest in Turkish dramas across the region. Our recent deals in Vietnam, Bangladesh, and Thailand underscore our commitment to deepening our Asian presence. That market is a strategic priority for us due to its scale, and we are continuously exploring innovative approaches to expand our footprint, tailoring our strategies to meet each market's unique preferences and dynamics."

What is the growth potential around the European market?

"The European market continues to be a strong growth area for Kanal D, with a deep appreciation for Turkish dramas in regions like the Balkans and Central and Eastern Europe. As streaming platforms grow and evolve, there's an increasing opportunity to reach new audiences across the broader region through digital platforms. Additionally, we are actively expanding the market with format sales, as the Kanal D catalog is unmatched in terms of the quality and richness of its stories, all of which have proven successful locally and globally."

By Diego Alfagemez



Elif Tatoğlu

NICHE PLATFORMS:

HOW TO GET A PLACE IN A CROWDED LANDSCAPE?

EXECUTIVES FROM AMC NETWORKS, FLIXXO, OUTTV, QALBOX , AND KOCOWA+ UNVEIL THEIR SECRETS FOR KEEPING THEIR PLATFORMS ALIVE AND GAINING GLOBAL SUBSCRIBERS EVERY YEAR.

Consumer appetite for subscription streaming services has transformed the industry over the past decade, but new data from Omdia has found a notable shift in the SVOD "stacking" behavior. Omdia's latest report found that there has been a significant change in the way consumers are subscribing to multiple streaming services: previously, they would often stack multiple subscriptions to gain access to a wider range of content, but they are now becoming more selective in their choices and opting for a more focused approach to their streaming subscriptions. In this landscape, how can niche platforms such as Flixxo, OUTtv, Qalbox, Acorn TV, and Kocowa survive and stand out from streaming giants like Netflix or Disney+?

AMC Networks’ streaming strategy has always been focused on offering specialized and targeted services that appeal to fans of specific genres or types of content. “Our AMC+ service, for example, is built around the kind of high-quality scripted dramas that have defined the AMC brand for years, going back to shows like ‘Mad Men,’ ‘Breaking Bad,’ and ‘The Walking Dead.’ But we also have Shudder, which is the best and most comprehensive streaming service for horror fans in the world; Acorn TV, for fans of international dramas and mysteries; and HIDIVE, for those looking for the best in anime. We really drill down into these various content categories and offer fans exactly what they are looking for, with a level of depth and authority that can’t be matched by larger services that need to offer something for everyone. We want each of our services to do one thing better than anyone else, and fans have responded,” Courtney Thomasma, Executive Vice President of Linear and Streaming products for AMC Networks, stated.

Qalbox offers global Muslim lifestyle content that is anchored on the Islamic faith. "We offer niche content that resonates with diverse Muslim

cultures, including films, series, documentaries, and educational content in multiple languages. In addition, we also include Quranic recitations, lectures, and teachings from respected global scholars to cater to spiritual needs," Junaidah Said Khan, Head of Content at Qalbox, stated.

"Flixxo stands out by offering a decentralized, community-driven streaming experience that goes beyond the algorithms of traditional platforms. Our content is short-form, independent, and comes from creators worldwide, providing a fresh and diverse range of stories often overlooked by mainstream services," Adrián Garelik, CEO at Flixxo, said. "Flixxo also empowers users through its tokenized economy. Creators and viewers can earn Flixx tokens, turning content interaction into a rewarding experience," he added.

COURTNEY THOMASMA

JUNAIDAH SAID KHAN

OVERVIEW

There are a few notable differences between Kocowa+ and the major streaming platforms. "We are a specialized channel focused solely on the best Korean content that caters to a specific audience

segment," KunHee Park, CEO at Kocowa, explained. "As a tech-entertainment platform, we have set ourselves apart by strategically curating over 40,000 hours of the best Korean entertainment from K-Dramas, K-Variety Shows, and K-Pop, and we are constantly adding more," he added. Another key differentiator is Kocowa+ unique content scheduling method. "We don't release entire series at once. Instead, we localize premieres in real-time and release episodes as they roll out in Korea," he explained.

KUNHEE PARK

Focusing on LGBTQ+ content, OUTtv is the world's leading premium service provider for that community. "What makes OUTtv unique is our audience and how we produce content. While other platforms offer some LGBTQ+ content as part of their slate, we exclusively focus on this community and make deliberate choices for what best serves it specifically," Brad Danks, CEO of OUTtv, commented. "Our original and acquired programming is not just about the LGBTQ+ people and perspectives; it is also written, produced, and starred in LGBTQ+ creators both on and behind the camera, telling their stories authentically," he completed.

BRAD DANKS

ENGAGING SUBSCRIBERS

Retaining the platforms' subscribers and getting new ones is a big challenge for niche streaming services. Flixxo does that by focusing on its niche: independent, short-form content that resonates with younger audiences who value community and discovery over commercialized media. "Our upcoming 'Ticket 3.0' model, using NFTs for exclusive access, adds an innovative edge that appeals to users interested in owning a piece of the content experience. Partnerships

with telecom carriers and integrations with Web3 platforms will further enhance user reach, making Flixxo accessible, engaging, and rewarding in ways that major streaming services do not offer," Garelik explained.

ADRIÁN GARELIK

Junaidah Said Khan mentioned that Qalbox encourages its users to share their stories, experiences, and content, fostering a sense of community. "With our interactive features such as livestream, we are also inviting our users to engage with the scholars or influencers," he said.

AMC Networks’ focused approach to each of its services allows them to break through with authority and credibility in a crowded marketplace. “Shudder, for example, released its top five movies of all time in the last year, and these were also some of the biggest films in the entire horror genre for the year. Acorn TV, HIDIVE, and Sundance Now also brought new shows and films to subscribers that rank among the most popular ever for each of those platforms. Because we are doing one thing and doing it in a better and more comprehensive way than anyone else, we are able to build community around each specific genre or content category. That is a rare and powerful thing fans understand and appreciate, even in a noisy and competitive environment,” Thomasma stated.

Kocowa is pursuing the 'Kocowa Everywhere' strategy as a specialized K-Wave content brand. "K-Content " has become a widely consumed genre with mainstream audiences across many countries. Accordingly, while maintaining the neutrality of our service, we communicate the message that KOCOWA is 'the K-Content brand' through both B2C and B2B partner platforms," Park declared.

Brad Danks mentioned that the key to all platforms is creating great content that keeps audiences returning. "We have seen users that leave OUTtv often coming back

OVERVIEW

and resubscribing for a new season of their favorite show. We're continually working to understand what our viewers are looking for and creating as many projects as possible that will engage and surprise them," he expressed. Regarding retaining existing subscribers, Danks revealed that the platform continues that relationship via social media and email marketing, as well as programming shoulder seasons of shows so that they continuously have interesting content at their fingertips.

PRODUCTION AND ACQUISITIONS

Flixxo's approach to content acquisition and production is decentralized and creator-focused. "Unlike major streaming services that often gatekeep content through high-budget productions and exclusive contracts, Flixxo embraces a more inclusive model. We empower creators with blockchain-based monetization tools, allowing them to maintain control over their work while earning directly from their audience," Garelik commented. "Additionally, our emphasis on tokenized access offers creators unique ways to engage fans and generate revenue without relying on traditional subscription fees, making Flixxo a more sustainable platform for diverse and independent voices," he completed.

"Our approach to content acquisition and revenue distribution is quite different," Kocowa's Park commented. "Instead of focusing solely on original content, we have adopted a business model that shares revenue with IP holders, ensuring a win-win scenario where both parties split the earnings for each piece of content. To support that strategy, a transparent settlement process is essential, and the data collected for these settlements and the content consumption on our platform in various market segments is processed and analyzed to provide valuable insights to our Program and Content Providers to assist in curated content production," he added.

OUTTv offers a mix of original programming with popular acquisitions, but they're unique in super-serving

queer content to LGBTQ+ audiences and aiming to do so both through programming and also by nurturing LGBTQ+ talent. "Since we are a targeted service, our audience

expects us to deliver content that is truly original and authentically queer. Therefore, both of these criteria drive our production and acquisition decisions. We actively seek out programming you could only find on OUTtv, whether because it's outrageous, telling previously untold stories, or amplifying new and upcoming voices. While acquisitions are an important element of our programming, it's still hard to find authentically queer content that has already been made, so commissions are vital. Another point of difference compared to other, larger streaming services is that we challenge producers to hire and cast LGBTQ+ talent, making our programming authentic and honestly portrayed," he expressed.

Courtney Thomasma explained that AMC Networks takes a very careful content curation, at the heart of all of its streaming services. “The way we focus on specific categories allows us to make and acquire shows and films that appeal to superfans of the genres we focus on, in a way the bigger and broader services can’t. They just have too much ground to cover in trying to deliver something to every member of a household as opposed to focusing on passionate fans of some specific thing. We sometimes say we’re not trying to offer something for everyone, we’d rather our services represent everything to someone, and that mindset drives everything we do around our streaming products and why we’ve been growing, successful and distinct in a crowded environment,” she explained.

Qalbox focuses on global Muslim lifestyle content acquisition and production, differentiating it from larger streaming services. "We prioritize understanding the specific needs and preferences of diverse Muslim communities globally by conducting surveys and engaging with community leaders to gather insights. And with that, we tailor our content to reflect the cultural nuances of different regions, ensuring representation from various backgrounds," Khan explained. "We also collaborate with local and international scholars, Muslim filmmakers, writers, and influencers who can provide us with authentic perspectives. That not only enhances credibility but also fosters community trust. The stories we highlight are from different sects, ethnicities, and cultures within the Muslim world to ensure a broad representation," she finished.

By Romina Rodriguez

AMAZON MGM STUDIOS DISTRIBUTION: A YEAR OF GROWTH AND NEW HORIZONS

CHRIS OTTINGER , HEAD OF WORLDWIDE DISTRIBUTION AT AMAZON MGM STUDIOS, DESCRIBES THE DIVISION'S FIRST YEAR, WHICH AIMS TO STRATEGICALLY WINDOW CONTENT TO EXTEND ITS LIFECYCLE.

Amazon MGM Studios Distribution has marked its first year. The division, which functions as the in-house studio for Amazon's streaming platforms, has successfully balanced content supply to these services while licensing shows and films to third-party outlets globally. Chris Ottinger, Head of Worldwide Distribution, Amazon MGM Studios, spoke with Señal News and explained that the division's core mission is clear: "Generating license fees, which

help finance production. We also help strategically window content to extend its lifecycle."

This new approach has allowed the studio to broaden its content's global reach, benefiting not only customers but also creators and talent. Ottinger emphasizes the importance of extending the content lifecycle through licensing. "The longer lifecycle benefits the customer, series creators, talent, and our business by giving it a broader reach. We have been working on this project for nearly two years now, and we needed to overcome many operational challenges," he stated.

One of the main hurdles was organizing key materials like music cue sheets, unit stills, and metadata, assets required by thirdparty licensees. "Our teams worked hard to build new work processes and organize the information so that it would be ready to give to our licensees when the time came," Ottinger acknowledged.

Amazon MGM Studios sees a great opportunity in licensing local original titles to global markets. Ottinger highlighted the success of several series that originated in the UK but have found new audiences worldwide. "Clarkson's Farm" and "The Grand Tour" are standout examples, licensed in territories ranging from France to Israel. Ottinger also mentioned licensing other notable shows, such as "Sebastian Fitzek's Die Therapy" and "Un Asunto Privado,"

showing the division's commitment to expanding its footprint in the international market. "In the next year, we are working to grow this business area significantly," Ottinger noted.

As the division matures, Ottinger envisions it playing a pivotal role in content greenlighting decisions, particularly regarding international appeal and long-term viability. "I see licensing becoming a part of the conversation, ideally in the greenlight process," Ottinger said. This evolution could make the division a key selling point for talent and creators looking for a long shelf life for their work.

MIPCOM LAUNCHES

Looking ahead, Amazon MGM Studios Distribution is attending Mipcom with the launch of several highly anticipated titles. Leading the pack is "Earth Abides," a limited series adaptation of George R. Stewart's sci-fi novel starring Alexander Ludwig and Jessica Frances Dukes. The division will also offer films like "Mercy," starring Chris Pratt and Rebecca Ferguson, and "Crime 101," featuring Chris Hemsworth and Barry Keoghan. Rounding out the lineup is "The GOAT," a competition reality show where 14 reality superstars compete for the title of "Greatest Of All Time."

By Federico Martínez

Chris Ottinger

 "Earth Abides"

FIRAT GULGEN, FOUNDER AND CEO OF CALINOS ENTERTAINMENT, HIGHLIGHTS THE GLOBAL APPEAL OF "HIDDEN GARDEN," THE COMPANY'S NEW DRAMA, WHICH IT IS LAUNCHING AT MIPCOM.

Calinos Entertainment is launching "Hidden Garden" at Mipcom, a premium drama produced by TMC Film and starring Ebru Sahin and Murat Yildirim. As the company's headliner for the market, it features a story of extraordinary love, loss, and buried secrets. Señal News spoke with Firat Gulgen, Founder and CEO of Calinos Entertainment, to understand the show's global potential and describe the company's growth strategy.

How would "Hidden Garden" appeal to global audiences?

"With its internationally recognized cast and engaging storyline, "Hidden Garden" has all the elements needed for international success. The compelling storyline delves into complex relationships and emotional journeys, drawing audiences into the characters' lives and struggles. It showcases diverse personalities, allowing viewers from different cultures to find relatable characters. Its exploration of universal themes resonates across cultural boundaries, fostering a deep emotional connection with the audience. Moreover, the high

“WE ARE STRENGTHENING OUR GROWTH THROUGH COPRODUCTIONS”

production quality, featuring stunning visuals and meticulous attention to detail, enhances the viewing experience. Overall, "Hidden Garden" combines universally relatable themes with cultural nuances, making it accessible to diverse audiences and ensuring it captivates viewers with its drama, romance, and intrigue blend."

How do you analyze the neverending growth of Turkish drama?

"The growth of Turkish drama worldwide can be attributed to several key factors. First, the storytelling is rich and multifaceted, incorporating universal themes like love, family, and social issues that resonate with diverse audiences. High production quality, characterized by stunning visuals and well-crafted narratives, also plays a significant role. The rise of streaming platforms has made these dramas more accessible to international viewers, while the popularity of Turkish actors has helped expand their reach."

How would you define Calinos' global expansion strategy?

"International audiences have specific expectations, often seeking compelling themes such as love, loss, and family secrets. Strong female lead

characters and engaging storylines involving children are also crucial. Additionally, a wellknown cast significantly boosts a series' appeal. As we acquire distribution rights, we prioritize these elements to ensure our selections resonate with viewers and maximize their potential for success across various markets. We are also expanding our catalog by incorporating award-winning, highly-rated non-Turkish series. This strategic move highlights our commitment to offering diverse, high-quality content that connects with global audiences. By adding these acclaimed titles, we aim to enrich our offerings and enhance our competitive position in the international market. Moreover, we are strengthening our growth through co-productions with several global companies and distributing local adaptations of our Turkish series."

What business models offer the best global growth opportunities?

"We are working on a Spanish remake of a Turkish series from our catalog. Additionally, we have started working on a script for an epic drama series for a platform in the United States. We have also started working on a film based on a book inspired by a true story after obtaining the rights of a famous author whose books are best sellers in Europe. We are planning co-production projects by developing stories in Turkey, Europe, and the United States. Having our stories made abroad and distributing them will bring us new global growth."

By Diego Alfagemez

Firat Gulgen

"WE WILL DEVELOP BROADER COPRODUCTION OPPORTUNITIES"

Last September, Abacus Media Rights was acquired by Sphere Media following the conclusion of Amcomri Entertainment's sale of the company, resulting in the creation of Sphere Abacus. Jonathan Ford, Sphere Abacus' Managing Director, and Bruno Dubé, Sphere Media's CEO, spoke with Señal News about what this merger means and the future of the Sphere Media group.

The executives explained that Sphere Abacus's goal is to continue operating exactly as it did before. "We will keep working with a wide range of independent producers and continue to license a wide range of scripted and non-scripted content to buyers across all platforms and broadcasters. Now, through the ownership of Sphere Media, we can extend our relationships with Canadian production partners and



JONATHAN FORD, MANAGING DIRECTOR OF

THE NEW SPHERE

ABACUS,

AND BRUNO DUBÉ , CEO OF SPHERE MEDIA, DESCRIBE THE

REASON AND STRATEGY BEHIND THE RECENTLY MERGED COMPANY.

broadcasters both within Sphere Media and externally," Ford and Dubé stated.

Talking about the company's new role as Sphere Media's distribution arms, they added: "Even before the transaction, we were working closely with Sphere Media and selling a number of their titles (scripted and non-scripted), and this is how the two parties got to know one another. So now, as Sphere Abacus, we will develop broader co-production opportunities with international buyers across multiple genres and languages."

Looking ahead, Ford and Dubé agreed that investments in productions from independent producers remain a key and significant source of programming: "We will continue to work on

co-production models, putting forward distribution advances and securing pre-sales. Several new investments will be announced in the run-up to Mipcom."

Another key is content diversification in order to appeal to different audiences and markets. In this case, the executives depicted the process behind that strategy: "We carefully assess every title that we acquire, checking that sales opportunities match the investment being made. That is why we look for a broad range of programming across many different genres, ensuring we cover a significant portion of the international market and audiences," they explained. In that broad range of content, both highlighted an increased importance of locally relevant programming, as the market goes back to being locally-led as opposed to streamer-led: "Our focus has moved to funding programming that is relevant for numerous territories, making certain it has as broad an appeal as possible."

During Mipcom, the company will launch three new dramas, including "Scrublands: Silver," the sequel to "Scrublands," which has proved to be a huge success. It will also launch a range of documentaries and non-scripted series, including "Gunpowder Seige," "The Last Musician of Auschwitz," "Breaking Bird: The Rise and Fall of Twitter," "Billy and Dom Eat the World," and "The Titan Disaster" (w/t).

By Federico Martinez

"Murdered at First Sight"

"Stopping the Steal"

THE CEE REGION: BUSINESS OPPORTUNITIES FOR LINEAR, FAST, AND STREAMERS

NEM DUBROVNIK WAS THE EPICENTER OF DISCUSSION ON THE MAIN BUSINESS MODELS OF AN EVOLVING REGION. LEADERS OF THE CONTENT INDUSTRY EXPLAIN THE POTENTIAL AND CHALLENGES FOR THE SHORT AND LONG TERM.

NEM Dubrovnik celebrated a new edition in June, gathering representatives from more than 260 global companies, including more than 150 buyers and a record number of exhibitors. The prevalence of linear TV in the CEE region was a hot topic during the event. The stillgrowing number of TV households with old habits of viewers and localization creates opportunities for channel owners to expand their reach and tap additional revenues via linear offers. Nicolas Eglau, Managing Director EMEA, APAC & Global Distribution of Moonbug, explained that the company's strategy reversed the traditional model by expanding from YouTube to premium streaming services like

from YouTube, making our linear channels top performers globally. We are now focusing on expanding into Central Eastern Europe, a region with strong traditional TV viewership, to continue growing our linear channel presence," he stated.

Robert Šveb, General Director at Croatian Radiotelevision (HRT), asserted that the media landscape in Croatia and Eastern Europe is evolving, but traditional Netflix, Amazon, and Hulu, eventually to local streamers and linear TV channels. "This approach capitalized on brand recognition

like sports. "Despite the growing popularity of streaming, linear channels continue to attract significant audiences. This trend highlights the significance of timing and content selection in linear viewing habits," he said.

Kenechi Belusevic Warner Bros. Discovery

Kenechi Belusevic, VP of Business Development and Distribution at Warner Bros. Discovery, commented that linear TV remains strong in many regions due to its established presence and familiarity with older demographics. "However, streaming services present new opportunities and challenges as they grow. If the popularity of linear TV declines, exploring and investing in streaming services becomes essential. Market dynamics vary geographically, and successful adaptation hinges on understanding these nuances," she recommended.

Robert Šveb

Croatian Radiotelevision

TV, particularly free-to-air channels, remains strong. "In Croatia, linear channels are still popular, especially in sports and entertainment, maintaining high ratings," he said. Furthermore, Adrian Ježina, President of the Management Board at Telemach Croatia, affirmed that linear TV remains a dominant viewing format in the country, especially for flagship programs and events

"Linear channels help to establish franchises and brands, as we did with 'Paw Patrol' or 'Sponge Bob,'" affirmed Bernhard Schwab, Senior Vice President, Content Licensing at Paramount Global Content Distribution. "The strength of content drives both linear and digital viewing habits, and successful franchises are essential for maintaining and growing audience engagement," he said.

Müge Akar ATV

Moreover, Müge Akar, Head of Global Sales at ATV, offered an overview of Turkey's market and affirmed that it is still predominantly linear, but there's a noticeable shift towards digital consumption. Turkey's primary product for distribution is longrunning TV series, which are very

Nicolas Eglau Moonbug

popular in regions like Central and Eastern Europe, where linear TV is still dominant. "This demand aligns well with Turkey's production strengths. Audiences on digital platforms often seek different types of content compared to linear TV, such as historical series with higher budgets, shorter series, or unique formats," she explained. The trend indicates that digital consumption will continue to rise. "Preparing for this shift involves creating and curating content that appeals to digital viewers while maintaining a strong presence in linear TV," she affirmed.

FAST AND STREAMING GROWTH

Complementing FAST Channels with the existing TV business was another critical point in better understanding the CEE region's current landscape. "Different models are working or being experimented with, which can also be applied to the CEE region. It's about what works for your business model and market and how we

streamers are joining forces and offering their launches through new business models and streaming partnerships.

Maria Rua

can participate," asserted Victoria Davies, Managing Partner of Davies, Stoychev & Partners. "FAST channels are just additional great content that telco operators can add to their offerings, and they can do it for free," added Iza Piotrowska, Director of Affiliate Sales and Business Development of Mega Max Media. "Telcos have to integrate FAST channels to their EPGs naturally, where people watch that content anytime," said Karina Rompa, Business Development and Partnerships at Rakuten TV. Something unthinkable in the past years has happened:

Aguete, Executive Director, Technology Fellow at Omdia, mentioned that there are 6,000 streaming video services worldwide today. "It's impossible for all of them to survive," she admitted. Moreover, Vanda Rapti, EVP of Viaplay Select & Content Distribution at Viaplay Group, added that the company offers core directto-consumer growth in the Nordics and the Netherlands. "We create growth for us and partners around the world, and that model is, in essence, using our strengths with our leverage on acquisition and commissioning to provide a kind of premium test of European content offering to streamers and aggregators worldwide," she said.

Regarding Viaplay's partnerships in the CEE Region, Rapti highlighted its collaboration with Pickbox in Croatia. "In every market, we want to find who is faster in holding hands with us, so our partners vary, they can be telcos or public broadcasters," she said. For Igor Draguzet, Chief Content Officer at CME, telcos are critical players in the content ecosystem and one of the most essential partners a broadcaster or streamer could have. Levente Málnay, EVP/ MD, AMC Networks International, referred to the thousands of

streamers launched globally and affirmed that AMC has decided to prioritize linear television. "That's not going to change. We strongly believe that in the Central and Eastern European region, linear still works well to the largest satisfaction of consumers. Traditional linear television is still a great value proposition in the region," he said. Moreover, Maria Valenzuela, former Sony and Movistar Plus+ executive, added: "The proliferation of services and subscription options has led to an overwhelming amount of information for consumers. This overexposure has made it difficult for people to choose between different packages. The competition among services has resulted in price cuts, which has been surprising given the premium content offered at lower prices. This intense competition has created consumer fatigue, with people feeling they are constantly paying, even though overall costs may not be higher than previous cable or satellite subscriptions. The industry needs to address this consumer fatigue and ensure that the consumer remains at the center of their propositions," she explained.

By Romina Rodriguez

Iza Piotrowska Mega Max Media

Vanda Rapti Viaplay Group

Karina Rompa Rakuten TV

Levente Málnay AMC Networks International

Maria Valenzuela Sony and Movistar Plus+

Victoria Davies Davies

Igor Draguzet CME

ANA

BUSTAMANTE, GENERAL DIRECTOR AT MEDITERRÁNEO, MEDIASET ESPAÑA GROUP, REVIEWS THE COMPANY'S ACHIEVEMENTS AND GOALS, AFTER CELEBRATING ITS FIFTH ANNIVERSARY IN 2024.

After celebrating its fifth anniversary in the international arena,

Mediterráneo, Mediaset España Group is focused on its ability to create distinctive, high-quality projects that captivate diverse global audiences. Ana Bustamante, General Director, talked with Señal News about the strategy for staying relevant in a competitive global market.

How do you define Mediterráneo's international strategy after celebrating the company's fifth anniversary?

"Mediterráneo's international strategy revolves around a balance between creativity and strategic business partnerships. Over these five years, we've positioned ourselves as a significant player in the industry, overseeing a vast catalog with thousands of hours of content across diverse genres while also managing the activities of the production companies under the Mediaset España umbrella. Home to some of Spain's most renowned production houses, Mediterráneo focuses on creating exclusive content, developing original projects with international reach, and distributing them globally. We've consistently prioritized diversifying our catalog with projects that resonate with the audiences while maintaining

"WE'VE POSITIONED OURSELVES AS A SIGNIFICANT PLAYER IN THE INDUSTRY"

strong relationships with channels, streaming platforms, and production companies worldwide. Looking ahead, our approach to expanding our footprint centers on evolving our production and distribution models to meet global demands, fostering long-term relationships with key market players, and adapting to the changing media landscape."

What critical business factors will maintain and increase Mediterraneo's global footprint?

"As the industry evolves rapidly, especially with the rise of streaming services, our ability to anticipate market changes and adjust our strategies is crucial. Not only is flexibility essential, but so is the strength of our partnerships. We've built trustbased relationships with streaming platforms and international buyers, allowing us to create tailored distribution strategies that maximize each project's potential. By staying agile and maintaining this collaborative approach, we can continue expanding our presence and meet the demands of a constantly changing global market."

What are the most crucial elements for building a diverse and robust catalog for global audiences?

"Our content must stand out; that's the key to staying relevant in a competitive global market. It is also essential to maintain consistency in production, recognizing that this is a long-term business where success relies on collaboration with multiple partners. If one part

fails, the whole project can be affected, so the goal is to develop profitable projects for creators and the industry. Mediterráneo has always been highly aware of the significance of extending the longevity of our catalog, trying to find the right combination of business models and distribution windows to give maximum longevity to both new releases and older catalog titles."

Spanish content has become a global focus; what are the challenges and opportunities around that trend?

"The global appetite for Spanish content represents both a tremendous opportunity and a set of challenges. The global success of Spanish titles has undeniably opened up new possibilities and audience segments for Spanish titles. The demand is clear, and it's an exciting time for the Spanish audiovisual industry. However, this opportunity has boosted competition with increasing production companies within and outside Spain, while global budgets tend to be constrained. Budget cuts from global players contrast with the thriving Spanish audiovisual landscape, making it even more essential for our productions to stand out through differentiation and excellence. We need to ensure that our productions are not only distinctive in storytelling but also in production quality, as this will set us apart in a crowded market. Therefore, Mediterraneo is focused on creating premium titles that align with the global appetite for Spanish-language content."

By Diego Alfagemez

 Ana Bustamante

Mirjam Strasser

MIRJAM STRASSER , HEAD OF SALES & ACQUISITIONS, HIGHLIGHTS THE COMPANY'S KEY FACTUAL PROJECTS, EMPHASIZING THOSE WITH LATIN AMERICAN APPEAL AND EXPLAINING THE CO-FINANCING STRATEGY BEHIND SOME TITLES.

Autentic Distribution's catalog features diverse global topics, addressing worldwide issues while featuring stories and protagonists from different countries. "This commitment to variety is reflected in our latest lineup, with a strong selection of documentaries focusing on Latin America, Spain, and the USA," Mirjam Strasser, Head of Sales & Acquisitions at Autentic Distribution, stated. The key titles for these territories include Terra Mater Studios' "Jaguar Beach," filmed on a secluded beach in Costa Rica, and "San Diego – America's Wildest City," which uncovers the unexpected wildlife thriving in a highly human-controlled environment, and "Wild Mediterranean," produced by Spain's Docu Producciones, focuses on the diversity of Mediterranean species. Additionally, the fourth season of "Hot Roads – The World's Most Dangerous Roads," currently available for pre-sale, will feature episodes set in Chile and Colombia, bringing thrilling South American adventures to viewers. History documentaries like "Rum & Revolution – History of Havana," "Sun & Splendor – History

"THE

COMMITMENT TO

VARIETY IS REFLECTED IN OUR LINEUP"

of Marbella," and Paradise & Parties –History of Ibiza" are also highlights for Mipcom.

While Strasser acknowledges that Spanish-speaking clients were not Autentic Distribution's primary focus in the past, they've continually built strong relationships within these territories. "In Spain, we've had long-standing collaborations with RTVE, TV3, AMC, and other local broadcasters. We've also established solid partnerships with key broadcasters in Mexico, Brazil, and Colombia, as well as the Spanish-speaking U.S. market, with HITN and VME," Strasser noted. "From our experience, content that performs well in Spanish-speaking markets tends to fall within the genres of travel & adventure, science, and wildlife. Notable examples of programs that have sold successfully include 'Our Body & Mind,' 'The Science of…,' and '42 – The Answer to Almost Everything'," she added.

CO-FINANCING STRATEGY

Autentic is not only involved in the development, production, and distribution of factual content but also in co-financing projects. "We're always on the lookout for the next big thing, a series with a standout USP, an exclusive location, a never-before-told story, or a topic we know will resonate with our wide range of clients. We focus on genres like ancient history, big science & tech, and blue-chip nature, particularly those

showcasing groundbreaking animal behavior," Strasser explained.

"We're especially interested in projects with a local broadcaster or streamer on board and where our co-financing can help bring the project to life. Our team likes to get involved editorially from the early stages to ensure the content appeals to an international audience. We're also open to serving as an executive production company on projects that align with our vision," Strasser added.

As FAST, AVOD, and YouTube continue to raise their footprint, Autentic Distribution has adapted its strategies to the evolving digital landscape. "We've embraced the shift towards digital platforms by expanding our distribution efforts beyond traditional licensing. Over the past two years, we've rolled out six FAST channels. This summer, our three international FAST channels (Autentic History, Autentic Travel, and Adventure Earth) debuted in the United States, marking an exciting expansion into this key market," Strasser stated.

"Additionally, we launched our first YouTube channels this year, starting with Autentic Documentary and Autentic Nature. These channels represent a significant step forward in our strategy to engage a broader audience. By partnering with platforms and establishing our own digital presence, we ensure our content reaches viewers wherever they are while continuing to explore new ways to expand our global reach," Strasser said.

By Romina Rodriguez

INNOVATING ITALIAN TV AND EXPANDING IT GLOBALLY

CASA DIVA ENTERTAINMENT WAS LAUNCHED THREE YEARS AGO AND HAS SINCE CONSOLIDATED ITS POSITION AS A STRONG PLAYER IN THE AUDIOVISUAL INDUSTRY. MASSIMO RIGHINI, CHIEF CREATIVE OFFICER, REVEALED HOW THEY ACHIEVED THIS MILESTONE.

Italy's Casta Diva Group launched Casta Diva Entertainment three years ago as a new business arm for its content production unit. The division was created to develop new original formats and find the best existing formats to present to Italian and foreign broadcasters and international OTT platforms. "Our first challenge was gaining customer credibility. Casta Diva Group is 20 years old, with eleven offices around the world, but it hasn't yet ventured into the entertainment sector. My goal was to open this new business unit, which was a huge challenge for me. However, it became immediately clear that customers wanted something new, even though I've been working in TV for almost 30 years," Massimo Righini, Chief Creative Officer at Casta Diva Entertainment, explained.

Casta Diva Entertainment launched in January 2021, and just three months later, its first food show was already airing on Discovery. "Discovery placed much trust in us, and we continue to

work closely with them. In our third year, we proudly started working with RAI, and now we produce daily shows and documentaries for them. Our first primetime show will be coming soon," Righini added.

Casta Diva Entertainment's primary focus is original formats. "I'm proud to have produced the weekly dating show 'Mi Presento ai Tuoi' for RAI 2, a show born within Casta Diva and shared with RAI's channel manager," Righini explained. "We've also established ourselves as the

production company behind 90% of the food shows on the road for Food Network. Just in 2024, we're producing eleven different food shows. We recently began collaborating with RAI Documentaries with a coproduction project alongside a London company," he added. These milestones reflect the company's prolific and original ideas. "Diversifying genres is fundamental. I love dating shows (in 2023, 'Back to Love' was presented at Mipcom), but we're also working

extensively on documentaries. I'm passionate about cooking shows, but this year, we're also venturing into unscripted production with a project for RAI Fiction. Moreover, we're even planning to release two films in 2025," Righini emphasized. "We're pushing Italian creativity across more genres and platforms because I've built a solid team, and we're not stopping," he added.

GLOBAL EXPANSION

After three years, Casta Diva Entertainment holds a strong position in the Italian content market, but its sights are set on becoming a global player. To achieve that goal, Casta Diva Entertainment is collaborating with a London-based company and an American partner to produce international documentaries. "We don't want to limit ourselves to Italy. Documentaries are a genre that works and sells worldwide. We've already started collaborating with China, which is more challenging. We're also working on proposing original formats to international distributors through partnerships with global companies," Righini said. After two years of investment, Casta Diva Entertainment will start producing its first three unscripted products for primetime. "For a business unit born three years ago, I think it is a great achievement," Righini concluded.

By Romina Rodríguez

 Massimo Righini

FRENCH DOCS CONTINUE TO THRIVE DESPITE GLOBAL CHALLENGES

FRENCH DOCS CONTINUE TO THRIVE DESPITE GLOBAL CHALLENGES

ALTHOUGH SALES OF FRENCH AUDIOVISUAL SHOWS SLIGHTLY DECLINED FROM 2022 TO 2023, INTERNATIONAL DEMAND FOR DOCUMENTARIES REMAINS STRONG. REPRESENTATIVES FROM LUKARN, ONLY DISTRIB, AND JAVA FILMS ANALYZE THIS TREND.

In 2023, sales of French audiovisual programs remained robust, reaching €203.4 million, marking a slight decline of 5.3% compared to 2022. "This is the third time in 30 years that they have surpassed the €200 million threshold," said representatives from CNC and Unifrance. Within this context, documentaries continued their impressive international sales, totaling €47.2 million. Programs reflecting current events and hybrid works combining various genres, such as science and history, were particularly successful. Sandrine Frantz,

Managing Director at Lukarn, confirmed that historical content with factual narration remains the top-selling documentary genre, adding that "biopics" also perform well. Laurene Voilliot, Head of Sales & Acquisitions at ONLY DISTRIB, mentioned that clients increasingly request science programming, followed closely by nature topics with an ecological angle. Meanwhile, Kathryn Bonnici, Co-Director of Operations, Sales, and Acquisitions at Java Films, noted that the most in-demand documentaries are those directly relevant to audiences, such as topics on how AI will change the world or stories that help people understand major current events like Gaza or the American elections. “Ideally, these documentaries include some exclusive or new element,” she asserted.

The demand for documentaries has evolved over the years. Today, "broadcasters are more selective due to decreasing budgets," stated Voilliot. Bonnici agreed, explaining that "buyers are much

less willing to take risks, whether in pre-sales or by licensing films that aren't seen as directly relevant to their audiences." Voilliot added that broadcasters are increasingly seeking highproduction-value documentaries with stunning CGI, famous hosts (especially in lifestyle content), and minimal use of traditional sit-down interviews in favor of more dynamic footage. Bonnici also highlighted the growing demand for documentaries that perform well on digital platforms, especially with younger audiences. Frantz echoed this, noting a high demand for VOD rights, including FAST channels, but emphasized that the business models mostly rely on revenue shares. "When we receive exploitation reports, 90% of the programs generate less than €100 per year," she pointed out. Traditional broadcasters continue to impose holdbacks on VOD rights, fearing competition, which Frantz argues is not a genuine threat, at least not in the documentary market.

Hôpital Al-Shifa Gaza

"Rafale" "Eating the power to save the ocean"

KEY CHALLENGES

Distributors face several burdens when bringing new content to international markets, where documentaries are no exception. Frantz noted that French productions often face archive and music rights issues, with rights typically cleared only for the French territory. "As French productions are often underfunded, producers don't clear the rights for international markets. We, as distributors, have to convince producers to invest in such rights to allow for global distribution," she explained. Bonnici highlighted the challenge of shrinking production budgets as commissioners are becoming less willing to take risks, often demanding films with a strong local angle, making them harder to sell internationally. "It's a tough time for many producers, and this affects both the quantity and quality of films," she said. Voilliot added that the main challenge is creating a documentary with a topic that resonates both with French broadcasters and international audiences. She also pointed out the high localizing costs, which can be necessary when targeting certain territories.

Java Films is currently promoting "Israel: Ministers of Chaos," produced by Yuzu Productions, which investigates Israeli ministers Itamar Ben Gvir and Bezalel Smotrich and their strategy of

sowing chaos to advance their agenda of imposing Jewish law on "Greater Israel." Other key titles include "Gaza: Trapped in Hell" by Slugnews, which follows 29-yearold Gazan journalist Shrouq as she recounts the ongoing situation in Gaza, and "Haiti: The Iron Grip of the Gangs" by France 24, detailing the reality of a country dominated by gang violence. Additionally, "International Adoptions: A Global Scandal" by Tangerine Productions exposes decades of deceit in the world of international adoptions.

Only Distrib is highlighting "Eating: The Power To Save The Ocean," described by Voilliot as the perfect documentary for Earth Day, raising awareness about ocean preservation. Other key titles include "Polyamory," a series exploring polyamorous relationships, and "Lights Off," a science documentary about light pollution and its impact on biodiversity. Lukarn's offerings include "Is This Love: The True Story of Bob Marley," chronicling the reggae legend's life through archive footage and testimonials, and "The Golden Years of The Automobile," which explores 130 years of industrial innovation. Other key titles include "Discount: Paying the Price," a behind-the-scenes look at retail business models, and "Behind The Iron Mask: Only Science Knows."

THE FUTURE OF DOCUMENTARIES

As the audiovisual industry faces uncertain times, distributors continue to adapt. "The old model of a long theatrical or festival window, followed by exclusive TV sales and then digital, no longer works," Bonnici explained. Now, distribution strategies are more flexible and tailored to each title's needs. Depending on the territories, some may follow the traditional release model, while others may launch digitally alongside or before other platforms. Bonnici fears that there will be fewer independent distributors in the future, limiting producers' options. Frantz agreed, noting that while broadcasters remain interested in documentaries, they prioritize fiction in their budgets. "Major streamers are not yet willing to invest heavily in documentaries, and small platforms that demand this genre lack the funds for significant acquisitions. Distributors have to invest time and money with the hope of recouping their investments someday," she said. Despite the challenges, Frantz added that documentaries remain a popular genre. "Few are ready to invest in high-production-value content, creating intense competition between distributors," she explained. Voilliot echoed these sentiments, emphasizing that while the documentary distribution landscape constantly changes, distributors are also evolving.

By Romina Rodriguez

"WE UNDERSTAND THE NEED FOR PROGRAMMING TO RELATE TO AUDIENCES LOCALLY"

FOCUSING ON HIGHQUALITY PROGRAMMING THAT APPEALS TO LOCAL AND GLOBAL AUDIENCES, ESCAPADE MEDIA CONTINUES TO DELIVER INNOVATIVE AND COMMERCIALLY VIABLE CONTENT. NATALIE LAWLEY, MANAGING DIRECTOR, SHARES INSIGHTS ON THE COMPANY'S STRATEGY AND NEW PROJECTS.

Escapade Media has always endeavored to offer projects that are fresh and have a unique point of view while remaining highly commercial. "We understand the need for programming to relate to audiences locally, so we strive to get involved in projects that can appeal globally. It's not always easy to achieve this, but given the vast number of projects in development, we seek out those that best fit this vision," Natalie Lawley, Managing Director of Escapade Media, said. "Over the years, one of our biggest challenges has been leaning towards highly localized content. That reminds us of the need to offer content that genuinely appeals to local audiences," she added.

The Australian distributor is

bringing three key new projects to Mipcom. One of them is "Debriefing The President," a political actionthriller limited series that revolves around a man's relentless quest for truth, a nation's messy campaign of revenge, and the bonds between fathers and sons. "It's "Zero Dark Thirty' meets 'Frost/Nixon' in tone "Stiggy"

and tells, for the first time, the intimate story of two men at the heart of one of the 21st century's most formative conflicts," Lawley described. "We are looking to close further pre-sales on this project, as pre-production has begun, and it will be ready for delivery in August 2025," she confirmed.

Another new project is "Follow the Rain," where world-famous fungi hunters Stephen Axford and Catherine Marciniak invite audiences on a unique expedition into the wilderness of Australia. "It's a pioneering fungi safari as you've never seen before, with breathtaking imagery that reveals the foundations of life down under," Lawley shared. "Follow the Rain" premiered on Netflix Australia & New Zealand in September 2024. "We're excited to discuss this exquisite documentary with our clients during Mipcom," she added. The third project is "Stiggy," the story of the man behind the curtain, Stigwood. "Mipcom will be the official launch for this global story, which is a musical," Lawley revealed.

EVOLVING STRATEGIES

Lawley emphasized that the company's approach to content has shifted significantly in recent years, particularly regarding financing. Escapade Media is known for securing pre-sales and commissions for scripted and non-scripted projects, making this a central part of their financing strategy. "We aim to deliver premium production values while working within a budget that clients can afford, often involving innovative financing plans and exploring alternative revenue sources," she explained. To enhance its content offering, Escapade Media has collaborated with international partners. Their exclusive agreement with StoryFirst provides a steady flow of premium scripted projects. "We are bringing these projects to our global clients and, more importantly, greenlighting them for production," Lawley said. "These projects are developed by highly accredited teams with creatives and cast attached, which leads to strong buy-in from our clients," she added.

The company has also worked with producers from India, the UK, the United States, and Australia on non-scripted projects and is open to new collaborations as long as they align with their model. Looking ahead to 2025, Escapade Media has set clear objectives. "We're excited to offer 'Debriefing the President' to those clients who weren't able to pre-buy when it delivers next year, and we look forward to greenlighting more scripted projects while continuing to innovate in content and finance as technology evolves," Lawley concluded.

By Romina Rodriguez

 Laura Rhodarmer

I“GRABBING THE AUDIENCE’S ATTENTION QUICKLY HAS BECOME CRUCIAL”

LAURA RHODARMER , HEAD OF BRAND PARTNERSHIPS, AMERICAS AT ITV STUDIOS, DESCRIBES THE GLOBAL JOURNEY OF THE "STILL STANDING" FORMAT AND THE COMPANY'S FUTURE PRODUCTIONS.

TV's "Still Standing" continues to achieve remarkable success worldwide, already commissioned in 21 countries, with a noteworthy surge in its popularity across Latin America. This year alone, new and recommissioned versions have been launched in Argentina, Brazil, Chile, Ecuador, Mexico, Uruguay, and the U.S. Hispanic market. Ahead of Mipcom, Laura Rhodarmer, Head of Brand Partnerships, Americas at ITV Studios, talked with Señal News about the format's journey across the globe and the company's future productions. In Chile, "Still Standing" captured a significant market share, and the audience grew by 56% since its first episode in March, with a 73% growth in the commercial demo. Additionally, the format premiered on Brazil's Record TV, gathering outstanding ratings. Canal 4 in Uruguay recently produced a kid's version that performed well, with a market share of 29%, similar to the regular version. Later this year, the series will debut in Greece on SKAI and return for its 10th series in Italy. "'Still Standing' has a unique blend of elements that generate excitement and fun, making it more than just a game show; it's prime-time family entertainment. When introducing the format to new markets, our primary focus is on adapting it to locally resonate while preserving its core appeal, which results in new ideas and opportunities instead of challenges," Rhodarmer explained. She also mentioned that the format's key to success is that it is universally appealing. "It offers something for everyone; it's true family entertainment. The combination of trivia knowledge and random chance makes the show exciting and unpredictable, which resonates with viewers across cultures," she added.

Furthermore, Rhodarmer analyzed the current scope of the content industry. "Grabbing the audience's attention quickly has become crucial, and we see this trend across all types of content. To do that, we focus on designing formats to capture and maintain viewer interest from the very first moment," she stated. ITV Studios aims to lead the evolution of international TV formats. "Whether it's optimizing costs through centralized production hubs, adapting our shows to engage younger demographics, or minimizing our environmental impact through remote editing, ITV

Studios consistently evolves in step with market trends," Rhodarmer stated.

GLOBAL GOALS

Rhodarmer explained ITV's global expansion goals, where Latin America has a particular focus. "Our primary goal in the region is to expand the reach of our formats. We believe our content can be successfully adapted to resonate with audiences throughout the region. The key to this is partnering with local buyers and producers. These collaborations are crucial in ensuring that our formats are introduced and thrive in new territories," she added. Regarding partnerships, Rhodarmer highlighted some of the latest deals they are working on. "By leveraging our strong partnership with Canal 4 in Uruguay, we facilitated an additional production for Argentina, utilizing the existing infrastructure of the Uruguayan version," she explained. Lastly, Rhodarmer teased some of the upcoming ITV Studios' productions: "Among our priority shows is 'Double the Money,' a real-world game that challenges pairs of contestants to double their money in a thrilling race for a significant cash prize. 'My Mum Your Dad' continues to gain momentum, with new adaptations confirmed in Poland and French Canada, and discussions are underway for a Latin American version. 'Love Island' remains a dominant force, recently achieving a record-breaking sixth season on Peacock in the U.S., where it was the most-watched streaming original reality series with over 1 billion minutes viewed. We're also excited about 'Shark! Celebrity Infested Waters,' an adventurous new format where celebrities confront their fears by facing off against nature's most terrifying underwater predators, and 'A Party to Die For,' a thrilling reality game where celebrities play detectives in a murder mystery party. In addition, 'Song of My Life' has seen remarkable success, with a second season ordered in Belgium and new commissions in five countries. Meanwhile, 'The Voice' continues its global domination, being named 'Franchise of the Year 2023' by K7 Media with the most active versions worldwide, and being set to return to Mexico," Rhodarmer explained.

By Federico Martinez

"SPANISH SPEAKERS REMAIN UNDERREPRESENTED ON MOST GLOBAL PLATFORMS"

GUILLERMO BORENSZTEIN, SVP OF INTERNATIONAL CONTENT LICENSING AT TELEVISAUNIVISION, DESCRIBES THE COMPANY'S STRATEGY WITHIN THE CONTEXT OF CHANGING BUSINESS MODELS AND THE SIGNIFICANT STAGE SPANISH-LANGUAGE CONTENT PRODUCTION IS GOING THROUGH.

TelevisaUnivisión is the world's largest producer of Spanish-language content. With the launch of its VIX platform two years ago, the company has solidified its global position as a leading worldwide producer and distributor. Guillermo Borensztein, SVP of International Content Licensing at TelevisaUnivision, talked with Señal News about the company's international content licensing strategy.

How would you describe TelevisaUnivision's global distribution strategy?

"TelevisaUnivision owns leading broadcast channels in Mexico and the United States (targeted to Spanish speakers), maintains a significant regional pay-TV business, and launched ViX, the company's streaming platform, two years ago. ViX has a unique value proposition, being the only service 100% in Spanish content, focusing on the United States and Latin America. Our content licensing strategy is outlined and redefined within this ecosystem based on three pillars. First, we maintain leadership in the international distribution business with our telenovelas and have a constant production volume under the Televisa brand, a global and iconic reference for the genre. This pillar primarily applies to broadcast television channels in Latin America and extends to the rest of the world for traditional linear clients, now also including other

 Guillermo Borensztein

platforms. Second, the +40 original annual productions from ViX complement and enhance Televisa's telenovelas' successful distribution and reach, both with long-standing clients and new partners, and even new business models. Finally, and crucially, we are proud of what we do and represent: the best of our culture and talents. We own our content and define the exploitation cycles within our ecosystem and when approaching distribution strategies with third parties."

What are the most essential business models for reaching global expansion today?

"Third-party content, traditional licensing, primarily with the content we produce for our own ecosystem in Mexico, is the foundation of TelevisaUnivision's international content licensing strategy. Because of the volume, recognition, and global brand positioning, Televisa's telenovelas are essential for ensuring territorial reach and long-term business continuity. The melodrama genre has defined us as key players representing the Latin American culture globally for several decades. In this scenario, two years ago, we added the international distribution of all ViX original content, which complements and strengthens our catalog. In addition to traditional licensing of our catalog and the constant volume of annual premieres, our strategy of pre-sales and co-productions has been vital in this expansion process, which today exports more than 100,000 hours annually."

What is the value of Spanish-speaking productions in the global arena?

"Last year, during the interview with you, we mentioned that Spanish-language content was entering a new globalization phase. Today, we continue to go through this process with plenty of room to grow. The latest data on global platform consumption shows that Spanish-language series, telenovelas, and films are among the most-watched content beyond their countries of origin. That is an unstoppable global trend, a legacy of the historical place Mexican telenovelas hold on linear channels worldwide. Spanish speakers remain underrepresented on most global platforms, including those focused solely on the United States. In this context, TelevisaUnivision has a unique competitive advantage to continue expanding, allowing our content to travel worldwide."

By Alan Levy

N“FROM

DAY ONE, WE’VE BEEN THINKING OUT OF THE BOX”

SCOTT KIRKPATRICK, EVP, CO-PRODUCTIONS AND DISTRIBUTION AT NICELY ENTERTAINMENT, DESCRIBES HOW THE COMPANY COPES WITH A CHALLENGING GLOBAL MARKETPLACE AND HIGHLIGHTS THE VALUE OF THE AVOD/FAST BUSINESS.

icely Entertainment attends Mipcom after reaching the 100 film library milestone. During 2024, the company continued producing and releasing content, including our Great American Media originals “The Christmas Post,” starring Merrit Patterson, and “A Christmas Castle Proposal: A Royal in Paradise 2,” with Rhiannon Fish, the sequel to the 2022 global hit “A Royal in Paradise.” Nicely Entertainment also brokered a great deal with Hulu for the “Christmas on the Ranch” film. Señal News spoke with Scott Kirkpatrick, EVP, Co-Productions and Distribution, to describe the company’s growth path.

As Nicely Entertainment approaches its fifth year, what are its most significant accomplishments and challenges?

"We're not quite at the fifth anniversary just yet; we'll certainly make some noise in early 2025. But it's amazing how much Vanessa Shapiro, Nicely's Founder and CEO, has accomplished in such a short period of time. She started Nicely in January 2020; the first year is

tough for any new company, but the Covid-19 pandemic was certainly a unique challenge. From day one, we've been thinking out of the box, persevering, and growing the company successfully."

The 2024 marketplace has been challenging globally; what are some of the moves Nicely has made to navigate these challenging times? "It's a quagmire: the market needs more content, yet license fees are dropping. Rather than wait around, we decided to go all in on Nicely Productions, our in-house production arm. We produced six original Nicely Entertainment films on spec, which will be showcased at Mipcom: our fun romance 'Technically Yours,' 'Heartstrings Attached,' and 'A Country Music Christmas.' The three will be available in 2025, being released at MIP London. We've also just finished our latest romance movie, ' A Wedding for Belle,' starring Ella

Cannon, which will premiere at Mipcom."

How important is it to constantly reinforce the catalog in this challenging context?

"We've put a major emphasis on acquiring new content, which has helped our catalog grow. In addition, we're putting a major effort into dubbing our library into critical international languages, namely French and neutral Latin American Spanish. We're seeing massive growth in the VOD space, including Latin America, so we're taking this unique market opportunity to get a foothold into some critical regions. International sales have shifted recently, but we're still going strong. Rachel Siegenthaler, our VP of International Sales, based in Paris, has brokered some solid deals, including securing several Nicely titles with Sky UK, ITV, RTL, TV2, C8, and FTV Prima."

 Scott Kirkpatrick

Have the 2023 Union Strikes significantly impacted Nicely's business model?

"Yes, but more so in the sense that the strikes had a massive impact at the studio level, which inevitably rippled across independent space and the international market. Most indie distributors and prodcos are dealing with very similar issues across the board: fewer commissions from broadcasters and streamers, increased production costs and a rapidly changing distribution verticals. Nicely's undoubtedly experienced all of these marketplace realities, but because Vanessa Shapiro has always kept Nicely independent, we've been able to pivot nimbly whenever new opportunities arise. We're growing our library, production capacity, and digital reach. The market will constantly change from one year to the next, but our growth curve will continue as long as we have a solid catalog and keep our programs in front of consumers and clients."

FAST, AVOD, and cord-cutting continue to dominate, overtaking traditional linear TV sectors in several critical territories; how has Nicely changed its business models in relation to the digital space?

"We've embraced AVOD. I've always been very bullish about the ad-supported market, and it's really booming in the United States. Internationally, however, the numbers fluctuate greatly from one region to the next. In the United States, we're in a position to produce original films specifically for the VOD market, as we did for QVC+ with our Nicely Production, 'The Christmas Recipe Files,' starring Asley Simpson. When we broker an exclusive deal with a broadcaster, we're much more focused on windowing the VOD rights for maximum exposure. What's great about the TV movie

business is that by and large, they're a more economical content format to develop and produce, and they retain a solid shelf-life, especially for Holiday movies. For new distribution verticals, such as FAST and AVOD, we can experiment with new channels and platforms more freely. We're also excited about where the space is heading. Consolidation will cause a few FAST channels to spike. I can only foresee that we'll be in a very structured programming world in relation to FAST (as we were back in, say, the 1990s on the traditional linear side) within the next few years. Also, with AI dubbing, once a few years pass and the quality improves, we'll play in an entirely new arena."

How is Nicely preparing for 2025 and beyond?

"In truth, we're simply keeping our eyes and ears as wide open as possible. The media distribution business has evolved so much in

the past 10 years, and yet again in just the past two or three, that there's no telling where we'll be this time next year. That said, Nicely Entertainment really just focuses on producing high-quality, feel-good entertainment that delivers great stories. Don't forget we have our edgier genre vertical, Darkly Entertainment, where we get to dabble in alternative genres as well, like our disaster movies 'Super Cyclone' and 'Horror Slasher Bad Connection.' Technology and means by which audiences consume media will change forever, but audiences will still need great romance films and uplifting, feel-good stories. I'm just going to go out on a limb and say that the Christmas season will come again next year, and Nicely Entertainment will be ready to deliver a new slate of Christmas romance titles, a few of which we might be brokering at Mipcom."

By Diego Alfagemez

SPAIN, A STRATEGIC SPOT FOR THE KITCHEN'S STRATEGY

AS SPAIN TAKES CENTER STAGE AS MIPCOM'S "COUNTRY OF HONOR," THE KITCHEN KEEPS THE MOMENTUM AND HIGHLIGHTS ITS NEW HUB IN MADRID. DEENY KAPLAN, MIGUEL ÁNGEL BURGOS, AND MAX WYNEN EXPLAIN ITS VALUE TO EXPAND THE COMPANY'S FOOTPRINT IN EUROPE.

The opening of The Kitchen's hub in Madrid not only strengthens its presence in Europe but also strategically coincides with Spain being named "Country of Honor" at Mipcom 2024. "The opening of our Madrid hub, in a year where Spain is being honored at Mipcom, is a pivotal moment for us," Miguel Ángel Burgos, Executive Director of Global Language Services at The Kitchen, said. "It's a perfect opportunity to showcase our services and reinforce our commitment to the growing European market," he added.

The choice of Madrid as the headquarters for its European expansion was not made lightly. After carefully considering other potential hubs like London or Paris, the city emerged as the ideal location."For 23 years, we've operated from our headquarters in Miami, serving European and Asian clients, but we knew we needed our own hub in Europe. Madrid offered the perfect combination of local talent, economic opportunities, and cultural growth," Deeny Kaplan, Executive Vice President of The Kitchen, explained.

Max Wynen, VP of Global Operations, highlights that Spain, driven by major streamers, has experienced an audiovisual production boom, with budgets rising from modest sums to significant investments, making Madrid a key hub. "Spain used to produce films mainly focused on civil war and social dramas, but that changed when global platforms started investing large budgets," Burgos said. "Spain is now producing content with multi-million-dollar budgets, and Madrid has become a critical hub for international coproductions," he added.

In addition to the content industry's growth, The Kitchen's new hub plays a vital role in meeting the rising demand for Castilian Spanish dubbing, a trend that has been gaining momentum in recent years. "For so long, Latin American Spanish and Brazilian Portuguese were the most sought-after languages, but now, Castilian Spanish is right behind them in demand," Kaplan commented.

CONTENT LOCALIZATION

Wynen confirmed that requests for Castilian Spanish, alongside US English, continue to grow at exorbitant speeds. Burgos emphasizes that Madrid is even more attractive because of its dual role as both a target and source language market. "The fact that Spain is the 'Country of Honor' at Mipcom will translate into increased sales for us. There's much content coming out of Spain for other countries, and our business is more focused on localization for acquisitions from platforms and buyers worldwide," he highlighted.

As for the types of content that The Kitchen is localizing in Madrid, Wynen explains that it largely depends on the target territory. "In Europe, we see a growing demand for animation, especially high-quality content where music and dialogue are crucial. We work on many children's series and even kids' songs for platforms like Spotify," he explained. Meanwhile, American markets focus more on unscripted reality shows and longrunning soap operas, highlighting the differences between the hubs. Moreover, Kaplan affirmed that animation and anime productions are also on the rise in the United States. She also pointed out that The Kitchen's strength lies in its ability to work in multiple languages, enabling clients to continue dubbing series across seasons and expanding into new languages. "We've seen more clients return for seasons two, three, and even seven and eight of certain series. We are now dubbing season 27 for 'South Park,'" she added.

This ability to deliver personalized services is a core focus of The Kitchen's ethos. Burgos, Wynen, and Kaplan agree that being close to their clients in Madrid allows for better communication and collaboration, often leading to long-term relationships. "We value personal service. We're available to our clients almost 24 hours a day across time zones, and we pride ourselves on being there for them, whether they're a major studio or a new 22-year-old executive. That's what sets us apart," Kaplan remarked.

By Romina Rodriguez

“'CELEBRITY TEACHER' BLENDS EDUCATION, CELEBRITY CULTURE, AND POSITIVE REINFORCEMENT, ADAPTABLE TO LOCAL

MARKETS”

UMAY AYAZ, FOUNDER OF UDEA MEDIA AND THE FORMAT TV, HIGHLIGHTS THE GLOBAL POTENTIAL AND FIRST DEALS FOR "CELEBRITY TEACHER" FORMAT AFTER BEING RECOGNIZED AT THE RECENT NATPE BUDAPEST'S "PITCH & PLAY LIVE!"

During last year's Mipcom, Udea Media presented "Celebrity Teacher," an edutainment series created by director and producer Cetin Yılmaz, founder of Be Content. The company brought the show to the last NATPE Budapest, which resulted in the winner of the "Pitch & Play LIVE!" competition.

Umay Ayaz, Founder of Udea Media and The Format TV, spoke with Señal News to describe the show's global potential and first production deals.

What is the global potential of the "Celebrity Teacher" format?

"The show's global potential is immense, driven by a combination of factors that make it appealing across diverse markets and cultures. First, the universal appeal

of celebrities ensures the format's relevance across regions, as people worldwide are fascinated by iconic figures. The wonder of seeing celebrities assume the role of educators offers a fresh perspective and can be easily localized by featuring famous local personalities. This flexibility allows different countries to connect with their local audiences more effectively. The format also offers strong commercial and marketing opportunities. With the potential for branded merchandise, sponsorships, and educational tie-ins, 'Celebrity Teacher' provides a platform for global brands to engage with diverse audiences. Its interactive potential, especially on social media, extends beyond the TV screen, allowing for

engagement through challenges, polls, and Q&A sessions, further boosting global reach. Moreover, global trends in education and entertainment, such as the increasing focus on soft skills and mentorship and the rise of family-friendly edutainment in the streaming era, position 'Celebrity Teacher' as a timely and relevant format. The show's alignment with these trends makes it a perfect fit for platforms seeking positive, educational content. Finally, 'Celebrity Teacher' has strong global potential due to its ability to blend education, celebrity culture, and positive reinforcement while remaining adaptable to local markets. Its broad demographic appeal, cultural flexibility, and opportunities for international partnerships make it a format poised for success on the global stage."

How important is the educational factor inside the show?

"Educational value is a significant factor contributing to its global reach. The edutainment genre is growing, with increasing demand for programming that balances entertainment and learning. 'Celebrity Teacher' fits perfectly into this space, allowing children to explore various professions while learning from established experts.

 Umay Ayaz

This concept resonates with parents and educators worldwide, inspiring children and fostering an environment of career exploration. Furthermore, the show emphasizes positive reinforcement and pedagogy, offering a feel-good atmosphere that resonates across markets. Its focus on the process of learning rather than the outcome ensures emotional and educational sensitivity, appealing to parents and educators concerned with child development. This positive messaging aligns with the goals of international organizations, opening doors for meaningful partnerships. Pedagogically, the format focuses on customizable learning approaches, which emphasize the learning process rather than results, making it adaptable to different educational philosophies and local values. The focus on mentorship further enhances its appeal by building on the mentor-mentee relationship, a universally appreciated dynamic across many cultures. Visually, the show offers dynamic appeal with location versatility, allowing territories to showcase local landmarks, industries, and professions, adding unique cultural elements to the set design and visuals while maintaining the core structure of the format.

How would you define the show's advantages so that it can be easily adapted in different territories?

"The format's adaptability is one of its key strengths. 'Celebrity Teacher' can be easily localized, with each country featuring its celebrities and tailoring the professions and pedagogical approaches to match cultural contexts and education standards. Its flexibility in settings, based on the featured profession, keeps the format visually dynamic, ensuring it can be adapted to different regional environments. The show's cross-demographic appeal makes it ideal for family viewing, attracting children and adults with its unique combination of celebrity involvement and educational content. The show's broad marketability is another significant advantage, as it appeals to multiple audience segments, including children, families, and celebrity fans. That makes it easy to market across different territories, with the potential for targeted promotional campaigns featuring local stars. The format's multi-platform potential further enhances its adaptability, allowing for digital and social media campaigns tailored to regional audiences and maximizing marketing effectiveness. Additionally, the show's flexible production budget makes it

scalable, allowing territories to produce it with varying levels of investment. Whether choosing high-profile celebrities and largescale productions or opting for local talent and smaller setups, the adaptable production process ensures that the format remains accessible and maintains its integrity in large and smaller markets. The "Celebrity Teacher" format's flexibility, cultural adaptability, and strong family appeal make it a perfect candidate for international success.

What recent deals did you work on for "Celebrity Teacher"?

"Following the successful launch of "Celebrity Teacher" at Mipcom last year, we garnered considerable interest from various regions due to the format's strengths. However, we couldn't finalize any deals since the format was still in the paper stage. We've been in ongoing discussions with several production companies and broadcasters who have expressed a strong interest in the format, anticipating its launch. The turning point came when 'Celebrity Teacher' won first place at the NATPE Budapest 'Pitch & Play' competition. That brought another renewed visibility and validation to the format. Shortly after, we secured an option deal in Greece. The broadcaster there has been working diligently for months, ensuring they will deliver the best possible version of the show. As Udea Media, we are proud and excited to collaborate with a key player in Greece, a country that has taken the lead in producing the format. Their commitment will undoubtedly inspire and encourage other countries currently in talks to progress with production. Every country that options this format, which is built around fun, learning, and positive emotions, will be thoroughly pleased with the results."

By Diego Alfagemez

Natpe Budapest "Pitch & Play" Recognition

PRODUCTION

QUEBEC STORIES: A UNIQUE BLEND OF CREATIVITY AND CULTURAL RICHNESS

ALMOST FORTY PRODUCTION AND DISTRIBUTION COMPANIES FROM THE PROVINCE OF QUEBEC ATTEND MIPCOM, SHOWCASING STANDOUT PROGRAMS HIGHLIGHTING THE DIVERSITY AND INCLUSIVENESS AT THE CORE OF THEIR STORYTELLING.

The province of Quebec is making a strong statement at Mipcom with a contingent of nearly forty production and distribution companies, each showcasing content that reflects the region's vibrant and diverse storytelling tradition. These companies, brought together under the banner of Quebec créatif, are being supported by SODEC (Société de développement des entreprises culturelles), Quebec’s leading cultural agency. They aim to connect with the global market and highlight the province's creative output through networking, partnerships, and distribution opportunities.

The Quebec créatif Pavilion at Mipcom serves as the hub for these companies, providing a space for them to engage with potential buyers, broadcasters, co-producers, and distributors worldwide. The goal is clear: to expand the reach of Quebec's creative industries, foster international collaborations, and stimulate business growth.

SODEC plays a key role in promoting Quebec's audiovisual sector on a global scale, and this year's Mipcom includes a variety of strategic initiatives designed to enhance Quebec's visibility and international appeal. One of the most anticipated activities is an exclusive networking event hosted

by SODEC, where six selected Quebec producers will have the opportunity to meet with six international buyers specializing in youth content. Among these prestigious buyers are major players such as The Walt Disney Company Latin America, MTV Oy (Finland and Sweden), HITN from the United States and Latin America, Evision (Middle East and Africa,) Dreamia (Portugal and Africa,) and Spain's Corporació Catalana de Mitjans Audiovisuals - 3Cat. This tailored networking session will allow producers and buyers to explore potential partnerships, discuss trends in the youth content space. By facilitating these exchanges, SODEC ensures that Quebec's audiovisual offerings have every opportunity to reach a global audience.

In addition to the networking event, a group of Quebec producers will participate in the renowned Mipcom Drama Co-production Breakfast, where they will explore potential co-production opportunities in the world of high-end drama. This initiative underscores Quebec's growing reputation as a hub for compelling, world-class drama series that resonate with international audiences.

The companies representing Quebec at Mipcom offer a wide range of content, from award-winning documentaries and inclusive, diverse stories to captivating dramas, youth programs that inspire and educate, and animated series that entertain. This year, the slate of projects

FULL HOUSE

T

he Canadian companies attending Mipcom under the Quebec créatif umbrella represent the full spectrum of Quebec's vibrant audiovisual sector. These include:

 Amalg a Créations Médias

 Apartment 11 Productions

 AQPM

 Attraction Distribution

 Avanti Distribution

 Avanti-Toast

 Bell Media

 Banque Nationale du Canada

 Demers Beaulne

 Duo Productions

 Echo Media Distribution

 Encore Télévision-Distribution

 Epic Storyworlds

 Filmoption International

 Fonds Québecor

 Groupe Fair-Play

 Happy Camper Média

 Ideacom International

 Image-in Atlantique

 KO Distribution

 Muse Distribution International

 Pamplemousse Média

 Picbois Productions

 Prestigo Storyverse

 Productions Avenida

 Productions Déferlantes

 Productions Pixcom

 PVP Distribution

 PVP Media

 Québecor contenu

 Rayon FX

 Raymond Chabot Grant Thornton

 Remstar Media

 Taïga Média

 Télé-Québec

 TORQ Le Groupe

 Trio Orange

 TV5 Québec Canada

 Untamed Productions

 Zone3

includes titles that reflect the region's unique creativity and cultural richness, content that has already captured the attention of audiences both at home and abroad.

By Romina Rodriguez

PRODUCTION

UNLOCKING MUSIC ROYALTY REVENUES FOR PRODUCTION COMPANIES

Savvy music licensing company Melodie is changing how television production companies view the music in their productions. In 2022, performing rights organizations (PROs) paid out €3.55 billion (approx USD $4B) in royalties from TV and radio broadcasts globally, up +11.4% from 2021. PROs are those affiliated music collection societies like PRS, ASCAP, and GEMA that clear territorial broadcast rights and juggle music cue sheets. They negotiate with broadcasters and streaming platforms to clear the 'performance' of music on these platforms, sharing that royalty income pro rata with composers and music rights holders based on metrics like time of play, type of usage, and the amount of music used.

"We're transforming what was once a music licensing cost into a profit line item, unlocking new revenue from a $4B annual opportunity for prolific producers

IN 2022, PERFORMING RIGHTS ORGANIZATIONS PAID OUT €3.55 BILLION IN ROYALTIES FROM TV AND RADIO BROADCASTS GLOBALLY, AN 11.4% INCREASE FROM 2021.

EVAN BUIST, FOUNDER AND MANAGING DIRECTOR AT MELODIE, DISCUSSES THE COMPANY'S "ROYALTY PARTNERSHIP" BUSINESS MODEL.

of factual and non-scripted television", Evan Buistsaid, Founder and Managing Director at Melodie, explained about their inventive royalty partnership model, where they share a portion of music royalties generated from partner TV shows.

Melodie is a tech-enabled music licensing solution. It combines white-glove music curation with simple licensing, intuitive search, and workflow tools, providing easy access to an exclusive library of fresh, high-quality, authentic music from an elite roster of composers. It's a business with a purpose: paying artists fairly and supporting a thriving creative community.

Since launching only six years ago, Melodie's multi-award-winning technologies ('Product of the Year at NAB Show 2024') have grown to include diverse search options, such as AI-powered search tools and search 'exclusions.' An automatic cue sheet tool was recently added, instantly generating PRO-ready cue sheets

from an EDL, XML, or TXT file exported from the edit. A sign of their fast-growing success and uptake is that the Melodie library has now seen more than 20 million minutes of music broadcast on free-to-air television and VOD platforms globally in shows like "Ninja Warrior," "Deadly Women," "The Amazing Race," and "Real Housewives," with music broadcast in almost every country in the world. As such, royalty income from Melodie's catalog of music rights continues to grow.

TURNING COSTS INTO REVENUE

As margins increasingly get squeezed, television production companies must find new ways to make 1 + 1 = 3. And that's where Melodie comes in. Melodie's royalty partnership model allows production companies to generate royalties from the music featured in their television shows without complex registrations, tracking, and collection audits. Melodie partner production companies use Melodie music in their programs, and Melodie takes care of the administration, paying partners a portion of global royalty income each year. "We work closely with our partners, ensuring the Melodie library is always fit for purpose, often acquiring new music for upcoming productions. We understand that outstanding, relevant creative must always drive decision-making in editing," Buist said. Melodie's innovative approach to music royalty partnerships enables production companies to turn what was once a music licensing cost into a high-growth revenue stream, driving quality and uniqueness while accessing part of a €3.55 billion annual royalty opportunity.

By Romina Rodriguez

 Evan Buist

JULIA NIKOLAEVA , GENERAL MANAGER AT ANIMOTION MEDIA GROUP, HIGHLIGHTS THE COMPANY'S RECENT DEALS AND INTERNATIONAL GROWTH OBJECTIVES.

UAE-based Animotion Media Group was launched a year ago to foster the production and distribution of top-notch animation. Julia Nikolaeva, General Manager, is in charge of content development and international business and spoke with Señal News about the latest company achievements and Mipcom launches. "In Animotion, we create characters that can live within any environment and resonate with children so that we keep having fun regardless of age, culture, or nationality," she affirmed. The company focuses on expanding its international broadcasting deals and enhancing its YouTube presence. "Streaming platforms remain the main way kids access video content, and we strive to strengthen the presence of our content in various languages," Nikolaeva said.

An example of that strategy is the deal reached with El Reino Infantil, boasting over 60 million subscribers, which has picked "Beardy Bodo" and "Tina&Tony." As part of the cooperation, "Tina&Tony" will get its channel to expand the brand's reach across the Spanish-speaking world.

Furthermore, GHI Media has picked up "The Fixies" and "PinCode" to launch and develop YouTube channels in Hebrew, further diversifying the brand's audience reach in the transmedia landscape.

TOP-NOTCH ANIMATION, READY TO REACH GLOBAL SCREENS

Animotion is also expanding its successful cooperation with WildBrain for French and Polish versions to complement the existing English, Spanish, and German channels. In addition, three seasons of "The Fixies" are now live on HappyKids in North America, and the animated series also landed on all Indosiar's platforms, free TV Indosiar and Mentari TV, Vidio platforms and Nex Parabola. BoClips also added the project to its library. "The show consistently confirms its educational value, which parents and teachers highly appreciate. Discovery Education's latest report indicates that the number of interactions with the content from students and teachers on the platform exceeds one million," she underlined.

An additional business line, Animotion Music, produces music and artists that target kids, teenagers, and families with its work. "Our label works with its catalog and helps develop the musical direction of other animation studios," Nikolaeva said. Animotion Music joined forces with 3Beep to work on the music for "BabyRiki." "The auditions just finished and we selected the voices for the upcoming albums. We aim to have the first 20 tracks ready by November," she said.

MARKET PREMIERE

Animotion Media Group will introduce "Detective Finnick," the new 3D TV series, at Mipcom. The successful launch of Finnick's first feature film in theaters of 50+ countries and the project's presence on leading platforms such as Hulu, Amazon, Vudu, beIN, and Etisalat allowed the company

to continue the development of the franchise. "We have two seasons and a second feature film is in production," Nikolaeva stated. The series is set in a seemingly quiet and calm town of Berg, full of secrets and mysteries. Absolutely unexplainable incidents constantly occur in it. Suddenly, all clocks stop working, or all the streets get filled with strange micro-dogs. Fortunately, the town is being watched by its invisible keepers - finns. They have the ability to see and hear everything that happens in it. If something mysterious occurs, the finns know precisely who to ask for help. The legendary savior of Berg will come to the rescue, mastering his very own "trial and error" methodDetective Finnick with his motley team of finns. Motley, not only because everyone has a different fur color but also because they know how to do something better than the others. Finnick is a rookie detective. He is full of unexpected and often paradoxical theories; not always does he make correct decisions, but he is ready to admit his mistakes and find a solution in every crisis. "Our animation catalog has also been expanded with another story for fans of investigations. Created especially for young puzzle enthusiasts everywhere, the dialogue-free 'Mr. Dogood' series features everything viewers love about detective stories: the mystery, the clues, the suspects, and that unexpected twist. Using his proprietary trial and error method, 'Mr. Dogood' not only unravels secrets and mysteries but does it all in a good mood," she concluded.

By Romina Rodriguez

 Julia Nikolaeva

SOLENE CREPIN, SALES

AND BUSINESS AFFAIRS

MANAGER,

HIGHLIGHTS THE COMPANY'S RECENT GLOBAL DEALS AND EXPANSION STRATEGY IN LATIN AMERICA.

Earlier this year, Mediatoon Distribution and producer Bayard Animation confirmed a new milestone in their longstanding partnership. Mediatoon Distribution now handles international sales for the second season of "Zouk" (52X11'), which is now in production and expected to be delivered in 2026. To describe the weight of the company's launches for Mipcom, Señal News spoke with Solene Crepin, Sales and Business Affairs Manager at Mediatoon.

What will be Mediatoon's main highlight for Mipcom?

"'Belfort & Lupin' is our highlight for Mipcom. Commissioned by France Télévisions, it follows the adventures of a duo composed of an aristocratic dog who's lost his sense of smell and a street-smart wolf, both surrounded by the exotic animals of a 17th-century royal. Aimed at 6-9 kids, the series is currently in production and

“MEDIATOON HAS SIGNIFICANTLY INVESTED IN DIGITAL DISTRIBUTION”

Solene Crepin

expected to premiere in the first quarter of 2025. Mediatoon has secured deals in several global territories with some long-standing partners, including Germany (SWR), Belgium (VRT, RTBF), Switzerland (RTS), Hungary (MTVA), Canada (RadioCanada), and TV5 Monde. We are confident that Mipcom will be an ideal platform to attract partners from other regions.

What are the expectations around the expansion of the "SamSam" brand?

"We will pursue our work on 'SamSam: Cosmic Adventures,' a series we launched during last year's Mipcom and is now available for delivery. After two seasons distributed in more than 120 territories, the famous character returns in a new series aimed at an older audience, upper preschool. The series stands out with a new premium 3D animation after the Studiocanal film, also based on SamSam's adventures."

What is Mediatoon's strategy for growing in Latin America?

"We are thrilled with Warner Bros. Discovery Latin America's recent acquisition of the first season of 'Zouk.' Following the comic adventures of a young witch in

training, Zouk is a creation by the same author as 'SamSam,' Serge Bloch. A new season is already in production, and we are excited to work with Warner Bros. Discovery for this first season, which is already available for delivery. Moreover, we are pleased to announce that 'Living With Dad' will soon be available in Latin Spanish. Finally, TV Cultura has just renewed its historical broadcasting partnership for 'The Adventures Of Tintin,' celebrating the channel's 55th anniversary. That deal emphasizes the significance of continuing to offer iconic and timeless content like 'The Adventures of Tintin,' 'The Garfield Show,' and 'Asterix,' amongst others, in our catalog."

How does the company adapt to the current industry's challenges in Latin America?

"Mediatoon has significantly invested in digital distribution, especially in Latin America. We know that Latin America is one of the strongest countries in the world in terms of digital consumption, with high engagement from active users. That not only allows us to boost our brands' visibility and revenue during times of quiet acquisitions but also strengthens our ability to convince traditional players through solid digital performances."

By Romina

Rodriguez & Diego Alfagemez

"Zouk"

"Belfort & Lupin"

THE PATH TO REACH A WIDER AUDIENCE

FEDERATION STUDIOS IS EXPANDING ITS CONTENT OFFER WITH NEW ENGLISH-SPEAKING SERIES TO ATTRACT GLOBAL AUDIENCES. JEROMINE ADER DE LA VILLARDIÈRE , INTERNATIONAL SALES MANAGER, DISCUSSES THIS NEW DISTRIBUTION STRATEGY.

France's Federation Studios is increasing its catalog of English-speaking titles to cater to global audiences. This year, the company has launched "Rematch," a period psychological thriller that chronicles the historic battle between world chess champion Garry Kasparov and IBM's supercomputer Deep Blue in 1997. The drama, produced by Unité (Bruno Nahon) in coproduction with Federation and ARTE France, has been sold to major global platforms, including HBO Europe for Spain, Portugal, the Nordics, Iceland, the Baltics, Central Europe, Greece, and the Netherlands. Disney+ has acquired first-window rights for the U.K. and will air the series in France following its broadcast on Arte. "We are launching a new premium English-speaking series. It's the next step for the company, to reach a wider audience," Jeromine Ader de la Villardière, International Sales Manager at Federation Studios, stated.

One of the new titles acquired by Federation Studios to achieve its new goal is "Curfew," a drama

series produced by Vertigo and Evolutionary Films for Paramount U.K. The story follows veteran Detective Inspector Pamela Green, who suspects a man of a brutal nighttime murder. However, this seems impossible, as in this world, men are bound by a strict curfew from 7 p.m. to 7 a.m. and are tracked 24/7. Another English-speaking series added to Federation Studios' catalog is "Miss Austen," a period drama inspired by the novel of Gill Hornby, produced by Bonnie Productions, Masterpiece, in association with BBC and Federation Studios for BBC and Masterpiece PBS. "Miss Austen" explores the literary mystery of Cassandra Austen's decision to burn her famous sister Jane's letters, reimagining it as a fascinating, witty, and heartbreaking story of sisterly love while portraying Cassandra as a character as captivating as any of Austen's heroines. "We also have another period drama, 'Sherlock and Daughter,' which will be ready in 2025," Ader de la Villardière revealed. This new crime thriller, produced in association with The C.W. & Warner Bros. Discovery, features an older, less confident Sherlock Holmes, who finds himself unable to investigate a sinister case without endangering the lives of those closest to him. Meanwhile, young American Amelia learns her missing father may be none other than the esteemed detective following the shocking and unexplained murder of her mother.

NEW LAUNCHES

Federation Studios has recently launched the original drama series "Ça, C'est Paris!," produced by Mon Voisin Productions (Mediawan) and Federation Studio France, with participation from France Télévisions, in co-production with Butler Industries and Be-FILMS – RTBF for France Télévisions. "It's produced by the same team behind 'Call My Agent' and follows the life of the cabaret Le ToutParis," Ader de la Villardière said. The series centers on Gaspard Berthille (Alex Lutz), the manager of Le Tout-Paris, a renowned cabaret that perpetuates the myth of wild Parisian nights. However, unlike his father, Dary, the former director and legendary show leader, Gaspard has struggled to maintain the establishment's success. Ready to sell, Gaspard's plans are interrupted by the arrival of a new investor, whose presence and his son will forever change the future of the cabaret and its team. Ader de la Villardière also highlighted another Federation's critical project: "Day One," a drama series produced by Tetra Media Fiction for Canal+ platform OCS. Set on February 24, 2022, the day Russia launched its military attack on Ukraine, the series follows the story of Lieutenant Anaïs Collet, who is on leave at a surrogacy clinic in Donbass. She and her partner become trapped with other French couples. "The series was selected for the Festival de Fiction of La Rochelle 2024. The story is based on real events we closely followed in the press," Ader de la Villardière concluded.

By Romina Rodriguez and Alan Levy

"Rematch"

 Fanny Gilabert

FANNY GILABERT, VP OF INTERNATIONAL SALES AT GAUMONT, EMPHASIZES THE IMPORTANCE OF CREATING A COMPREHENSIVE 360-DEGREE STRATEGY FOR EACH IP GLOBAL DISTRIBUTION.

Gaumont attended Unifrance Rendez-Vous 2024, where Fanny Gilabert, VP of International Sales, outlined the company's upcoming plans, with a special focus on Mipcom. She highlighted the main shows in Gaumont's catalog and emphasized the value of creating a comprehensive 360-degree strategy for each of the IPs, ensuring their development across multiple platforms and markets.

What are the current main highlights of Gaumont's catalog?

"As we know, there will be no Miptv from now on, so Mipcom will become even more crucial. We are lucky to attend the Unifrance Rendez-Vous and Mipcom to develop a launch strategy for new shows spread across both events. It is the perfect way to start the year from September onwards. Regarding Gaumont kids' content, we are presenting our star IP, 'Do, Re & Mi.' It is a preschool show in CGI that is performing very well. Produced for Amazon Prime, the series has been sold to numerous global broadcasters, such as ABC Australia, Knowledge Canada,

“IT'S CRUCIAL TO UNDERSTAND HOW KIDS ARE SPENDING THEIR TIME

WATCHING CONTENT”

YLE Finland, BEIN in the Middle East, RTS Switzerland, Thai PBS Thailand, ViuTV Hong Kong, and MTVA Hungary. The three birdies are ready to land on many more channels!"

As a prolific animation producer, how important is creating a 360 strategy around the IP?

"It is important to create a 360 strategy because it is getting increasingly difficult to catch young audiences. TV channels and platforms now seek different ways to engage with kids. With 'Do, Re & Mi,' for instance, Gaumont and Amazon decided to produce sing-alongs in addition to the show. This way, preschoolers can enjoy episodes and sing-alongs on TV and listen to the songs on music apps. Amazon also published music books with the lyrics of the songs. It is a whole ecosystem surrounding the IP. It is an excellent strategy that has succeeded in catching buyers' interest and grabbing kids' attention."

What are the main challenges and achievements this year? What are your main goals for 2025?

"In 2024, we rebranded our YouTube channels with our partner Soupir. This successful partnership led to a fourfold increase in views in just a few weeks. In 2025, we will continue to look for new broadcasters for line-up titles, including 'Samurai Rabbit: the Usagi Chronicles.' Moreover, we will continue highlighting the wonderful titles from the Gaumont kids' catalog, which is an exciting challenge. Today, new shows are produced almost every week from all over the world. So, our job is to enable kids to enjoy evergreen IPS such as 'Galactik Football' and 'Robotboy.' We must find creative ways to do so, which is super fun. Regarding new productions, in 2025, we will focus on finding new broadcasting partners for our upcoming projects, including our comedy series 'Tiny Head.'"

By Romina Rodríguez and Alan Levy

‘Samurai Rabbit The Usagi Chronicles’

PHOTOGALLERY

NEM 2024

André Santos Silva, Carlota Vieira (SIC DISTRIBUTION)

Fernando Mendez Escandon (THE MEDIAPRO STUDIO)

Marina Garović (TELEKOM SERBIA)

Laura Sampedro Gutierrez (ATRESMEDIA)

Leos Morávek and Alexandra Bezpalcová (CESKA TELEVIZE)

Maria Rua Aguete (OMDIA)

Rocio Cachero (MEDITERRANEO)

Béatrice Nouh (ONZA DISTRIBUTION)

Hasret Ozcan and Sinem Aliskan (INTER MEDYA)

Aysegul Tuzun (MISTCO)

CONECTA FICTION 2024

Conecta opening event

EFD Spain launch at Conecta Fiction & Entertaiment

Fernando Gastón (CREEPY VAN), Mariano César (WBD), Luis Peraza (PYRUS MEDIA)

Leonardo Aranguibel (DISNEY), Geraldine Gonard (CONECTA), Mariana Pérez (DISNEY)

MAX keynote, moderated by Fernando Calviño from Señal News

Dimitri Papanikas (MONDO), Maria Bonaria Fois, Germán Groba (GREATGOOD MEDIA)

Patricia Louro (ENDEMOL SHINE PORTUGAL), Raquel Nunes (SHINE IBERIA PORTUGAL)

Pablo Ghiglione (GLOBO)

CONECTA FICTION 2024

Carlotta Rossi Spencer, Jaume Vilalta (BANIJAY)

Renato Martinez (ENDEMOL SHINE BRAZIL)

Maarten Meijs (TALPA)

Rachel Do Valle (PROJECTO PARADISO) Javiera Balmaceda (PRIME VIDEO) Paloma Mora (TV ON), Susanne Frank (ZDF)

Think Tank event

Alex Medeiros (GLOBOPLAY), Pablo Ghiglione (GLOBO) Geraldine Gonard (CONECTA)

NATPE BUDAPEST 2024

Gökçe Aydoğdu, Pinar Gedikoglu (TRT)

Muge Akar, Sena Kul (ATV)

Melis Nersesoğlu (MATCH POINT)

Faye Wiliams, Katie Pike, Iwona Pilgrim, Agata Liebig, Julie Aletti De Gely (PARAMOUNT)

Canan Koca, Elif Tatoğlu (KANAL D), Natasa Arbajter (PRO PLUS TV)

Hasret Ozcan, Sinem Aliskan (INTER MEDYA), Edina Balogh (TV2)

Aysegul Tuzun (MISTCO)

Claudia Marra (MEDIASET)

Gabor Samogyi, Julie Beneteau, Lajos Petro (THE KITCHEN)

Rosalind Rotundo (VIP 2000), Carlos Mesber (WE LOVE ENTERTAINMENT)

Ekin Koyuncu (OGM)

Carlos Mesber (WE LOVE ENTERTAINMENT, Rosalind Rotundo (VIP 2000), Manjyot Sandhu (ZEE)

Manjyot Sandhu (ZEE)

Rosario Cosentino (PARAMOUNT)

Patrick Phelan (LEONINE)

"Kuma" launch at NATPE Budapest

Pitch & Play Competition

Caglasu Senozan (KWANZA)

Brendan Acevedo, Ricardo Acevedo, Alessandra Corrao (TRISKELION PRODUCTIONS)

Umay Ayaz (UDEA MEDIA), winner at Pitch & Play

Akos Erdos (PAPRIKA), Sophie Ferron (GRB), Rodrigo Nascimento (GLOBO), Oben Budak (EPISODE)

THE GROWTH OF NON-ENGLISH CONTENT

FREQUENT VIEWING OF NON-ENGLISH CONTENT IN ENGLISH SPEAKING MARKETS GROWTH RATE OF GLOBAL STREAMERS INVESTMENT IN CONTENT AND EUROPEAN SHARE

SUPPLY VS DEMAND FOR NON-ENGLISH SERIES BY PLATFORM

GLOBAL SPENDING ON EUROPEAN ORIGINAL CONTENT

S ource: Parrot Analytics