GUIDE 2 0 24/2 0 25
A Note from the Editor
Publisher Ricardo Seguin Guise
Editor-in-Chief
Mansha Daswani
Editor-at-Large
Anna Carugati
Executive Editor
Kristin Brzoznowski
Senior Associate Editor
Jamie Stalcup
Associate Editor
Alexa Alfano
Production & Design Director
David Diehl
Online Director
Simon Weaver
Sales & Marketing Director
Dana Mattison
Sales & Marketing Manager
Genovick Acevedo
Bookkeeper
Ute Schwemmer
Ricardo Seguin Guise President
Anna Carugati Executive VP
Mansha Daswani Associate Publisher
Kristin Brzoznowski VP, Content Strategy
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A Note from the Editor
Mansha Daswani
The centerpiece of the Edinburgh TV Festival, this year’s James MacTaggart Memorial Lecture was delivered by British playwright and dramatist James Graham.
Graham, whose credits include the acclaimed Sherwood , The Way , Quiz and Dear England , explored the role and responsibility of TV drama in shaping the political agenda and illuminating social injustices. “In these difficult and divided times, culture and the arts have never been more important,” Graham said. “TV moments can still bring a nation together through shared viewing experiences. I’m keen to look at the wider role that drama, storytelling and culture can play in politics, society and, in particular, left-behind communities.”
The address comes at a time of upheaval for the business at large as scripted producers come to grips with the end of peak TV. With content spend contracting, the key for producers will be convincing commissioners to take bets on big, bold ideas. Known IP may be safe, but viewers, especially younger ones, are starting to feel franchise fatigue.
Even still, Samba TV’s latest The State of Viewership report, which tracked consumption trends in the first half of this year, found that franchise-based streaming originals were among the drivers of viewing. According to the report, drama leads streaming consumption, accounting for 68 percent of the top 50 shows. Of note, all of the top ten most-streamed shows were based on known IP, including Netflix’s Fool Me Once and Max’s House of the Dragon . “The dominance of original content in the streaming landscape showcases the power of leveraging existing IP to engage audiences and drive streaming success,” the report notes.
This edition of the TV Drama Guide contains a mix of scripted series, with some being brand-new, original concepts and others inspired by real lives, based on books or spun off from an existing success.
INTERVIEWS
Russell T Davies
Showrunner
Doctor Who
TV DRAMA: Why did you want to come back to Doctor Who?
DAVIES: I’ve always loved it. I’ve been thinking about this show since I could think. It was my first memory of television. It’s been in my head since I was 3 years old. When I was 11, I was drawing cartoon strips about this show. When I wrote Queer as Folk in 1999, which revolutionized the depiction of gay men on television—never mind that, I put a Doctor Who fan in there! [ Laughs ] It was really important to me. And then I brought [the show] back in 2005. I never stopped thinking about it. In 2021, the BBC was already looking at the property and thinking, Let’s move this forward to the next stage. Let’s look at those international streamers. What if it stepped up in production, visuals, style and broadcast to become a show that drops internationally? I loved that ambition. I already thought that was what Doctor Who should be. So, it was a great meeting of minds.
TV DRAMA: What were some of the things you had to keep in mind for the new season?
DAVIES: I’m not here to reinvent the wheel. The show brings a lot of love from the old days, and no one loves the old days more than me. I’m not here to chuck away the companions or set it all on Mars and make the Doctor a professor with a pet beetle or something! The fundamentals of the show are the same, but the difference is it’s 2024. Diversity is the name of the game now. I don’t mean that in a trivial, superficial way. It’s a very important thing, and I’d like to think I’ve been part of increasing the importance of diversity on television in the other shows I’ve done. I’m a passionate believer in it. It brings in new audiences; that’s very important. It’s no good to keep relying on the people who have been watching Doctor Who for decades. You widen the audience and the stories become richer, the talent becomes richer, the pictures become richer.
Mark Gatiss
Writer & Director
Ghost Stories
TV DRAMA: What made you want to be part of the BBC’s Ghost Stories Christmas tradition?
GATISS: I loved them as a kid. Lawrence Gordon Clark’s 1970s ones were an absolute tradition in my house. I’ve always loved Christmas and ghosts and the whole package. In 2013, I was asked by the BBC to do a documentary about M. R. James. It was one of the busiest years of my career. I said I’d do it on one condition, which is I write and direct another story. And they said yes. I’ve done one every year since. It’s always a struggle. The problem is it’s an extinct format. It’s essentially a television play. It’s a half-hour. They are being grouped together now, and it becomes an anthology. But doing it once a year for half an hour, it’s very difficult to find the money. In the last few years, BBC Arts has come through.
TV DRAMA: How would you describe the scripted landscape today?
GATISS: It’s very exciting because it’s all changing. It’s scary. What’s happening at the moment, some of it is a natural reaction to the fact that post-Covid, it was like the Wild West out there. It was unsustainable. So, this is a corrective. It hasn’t gone back to normal; it’s gone sub-normal. It’s going to pick up soon. But the larger picture is interesting. Some of it is terrifying. A friend sent me an AI version of my voice. It was me talking. It was petrifying. But I truly believe it’s a bit like the arts and crafts movement at the turn of the 20th century or 3D—AI will go to an extreme, if we don’t all blow ourselves up, and then people will react against it because they want something tangible. The evolution of it is endlessly fascinating. The talkies were the death of the silents; television was the death of cinema; we’ve been here many times. It tends to come back, doesn’t it?
Daisy Haggard
Actor
Boat Story, Back to Life, Breeders
TV DRAMA: How did you get into the headspace of your character, Janet, in Boat Story?
HAGGARD: Where Janet is in her life, it’s set up very clearly that everything is dreadful for her. She’s at complete rock bottom. It’s such an in-the-moment show, the main thing is you feel like she feels, and then the show is happening to her. Everything that happens in it, you’re on this ride, and you can’t get off it. It’s a lovely engine that happens to your performance. There’s this energy behind it that’s propelling and fun to play. It means that you can’t plan ahead because you don’t know what’s going to happen. You’re just going on the journey with them, which means that you have to be relaxed, open and instinctive and play the scenes as they come.
TV DRAMA: Tell us about working with Jack and Harry Williams.
HAGGARD: They don’t have massive egos, which really helps with the creative process. You can say things to them. It’s an open, lovely dialogue with them. Can I say it like this? Does it feel more natural? They’ll say no if not, yes if so. They know what they want. They know what they’re doing. They’re also open to listening, which is crucial when you’re making something. I love working with them. And they’re super creative. Some elements of [Boat Story] happened later. Oh, there’s a voice-over? They’re always wanting to make things more interesting and better, constantly challenging themselves, and they don’t settle.
TV DRAMA: The media business appears to be in a period of uncertainty. How do you see the landscape?
HAGGARD: I’ve just been locked away in a room trying to write a new show, so I try to ignore how hard it’s going to be to get that show made! [Laughs] I’m currently just in a very extreme state of denial! I haven’t been out in the world in things since Boat Story and Breeders. I’m about to poke my head up and realize that it’s tough out there. So maybe I’ll just keep writing and hope for the best! [Laughs]
Sally Lindsay
Actor,
Writer & Creator
The Madame Blanc Mysteries
TV DRAMA: What was the drive in creating The Madame Blanc Mysteries?
LINDSAY: My company and I are always looking for female-led projects. Years ago, I met this amazing woman on holiday in Spain who was really funny and lovely, and she was an unbelievable antiques dealer. She was almost Sherlockian in her knowledge. She goes all over these little towns in the south of France and swaps [antiques]. I remember thinking this was amazing. We came up with the town and the characters first, and then I built the world around this little town in the south of France, which doesn’t actually exist—but it does in my mind. Then, I had to find a way of getting her there. The story was that her husband was driving to one of these towns to get some antiques and he was in a car crash. She finds out that he actually had another life. Everything she has is mortgaged away; she owns nothing, and she has to start again. That’s how we met Jean and the gang.
TV DRAMA: Did you know from the start that you wanted to have a hand in writing it as well as star?
LINDSAY: I created this treatment of the world and the characters, and Acorn TV wanted a script. For love or money, I couldn’t get anyone to do it, so I thought, I’ll write it myself. My friend Su e Vincent, who plays Gloria in The Madame Blanc Mysteries, and I had only written comedy before. I didn’t know if I could do mystery. You never know what you can do until you try. I was so entrenched in Sherlock Holmes and Agatha Christie; I have been a major fan since I was little. It all came out that way. It was always going to be a vehicle for me [to star in], but I also wanted it to be a big ensemble piece. One person in every scene is sometimes quite dull. I really like an ensemble piece. So, I rang up friends and said, I’ve got this thing, do you fancy being in it?
David Hadda
Creator & Writer
The Zweiflers
TV DRAMA: Tell us about the origin of The Zweiflers and why you wanted to make it.
HADDA: If you look at Jewish stories coming from Germany, there is a certain narrative of [being] victims. We wanted to change that narrative to tell something that is empowering. The story of Symcha, a survivor of the Holocaust who came to Germany and took whatever he needed in order to continue with life, was empowering. That was a new narrative. This was from an insider’s perspective; not in a docu-realistic way but in a stylized way where we created a universe and told this family story.
TV DRAMA: Did you envision this as a limited series, or do you think there are more stories to tell within this family for additional seasons?
HADDA: The concept for the show has always been for four seasons. For me, it has to do with the Jewish life circle. The circumcision is season one. You have the bar mitzvah, which is like a communion. You have the wedding. After you die, you [are] buried within 24 hours, and then there is a seven-day mourning period. The idea is that each season focuses on one of these events.
TV DRAMA: What is your approach to working with onscreen talent?
HADDA: The [aim] was always to do a story from an insider’s perspective. I had actors who have their own stories and experiences that they bring to the table. I wanted to use that in the most collaborative way. The writing process never stopped. It was the biggest gift to have the opportunity to write while casting was happening. This influenced the language, storylines and little details that shaped the story and the complexity of the characters. It was a collaborative process throughout the shoot.
Katie Keenan
Group Director, Acquisitions, U.K., Ireland & Europe Sky
TV DRAMA: What have been some of your breakout acquired successes over the last year?
KEENAN: Our acquired content has always been a key USP for Sky. We seek to offer our customers “the best of the U.S.” in terms of programming, alongside our strong slate of original TV series and films. Over the last year, we’ve had great success with several new acquisitions, including the comedy TED, a spin-off from Seth MacFarlane’s very successful film, and the standout CBS procedural Fire Country, which ignited our viewers on Sky Witness. We’re also incredibly proud to [have brought] The Walking Dead, along with its spin-off shows The Ones Who Live, Daryl Dixon and Dead City, to our customers this year.
TV DRAMA: How did 2023’s U.S. strikes impact your acquisition strategy?
KEENAN: Our schedules were relatively unimpacted by the strikes. With clever planning, we were able to offer a seamless supply of quality content across our acquired and Sky original titles. It’s impressive to see so many shows go back into production so quickly after the strike, but where we have seen the impact was on the number of finished pilots available to screen in L.A. this year. We’re keen to see them and put them in the mix when making any decisions on what may or may not be suitable for Sky.
TV DRAMA: How do you view the state of the international distribution market at present?
KEENAN: It’s clear the distribution business has gone full circle, with more content coming back into the marketplace for buyers after the contraction we witnessed in recent years. As was the case before the launch of the streamers and studio DTCs, it was rare for a show to only ever have one home. The content ecosystem can’t survive like that; we’ve sadly seen that result, with many shows never seeing the light of day or disappearing from services in the last 12 months.
Tom Misselbrook
Senior VP, Scripted Sales & Development Cineflix Rights
TV DRAMA: What are you hearing from your clients about their needs?
MISSELBROOK: In a time of market contraction and less risks being taken, we’re seeing demand for more tried-and-tested genres, such as crime and thrillers, that channels and platforms know how to market effectively to drive big audiences. We always seek originality in our scripted slate, so it’s about finding a good balance of series that will excite our buyers but also feel distinct and fresh.
TV DRAMA: How is Cineflix Rights filling these demands?
MISSELBROOK: Our focus has been on returnable and limited series, particularly in the crime and contemporary thriller genres, and projects with strong appeal to young adults. We’re presenting a fantastic mix of series, movies and a 90-minute special this year that will work for a variety of audiences and appeal to both broadcasters and streamers alike.
TV DRAMA: Are you seeing more opportunities for multicountry co-productions in the scripted space?
MISSELBROOK: The door to multi-territory co-productions has been open for a long time, but there has been a noticeable increase in the past few years. In the first instance, it’s about finding projects that work creatively in more than one territory through story and character, and, in doing so, offer value in those territories. It’s imperative a series feels authentic and that a story naturally translates and does not in any way feel forced. Our new series So Long, Marianne is a good example. The themes that run through the series can connect with a wide audience, so this felt like a natural opportunity to bring on multiple partners at an early stage, including Crave (Canada), NRK (Norway), ITVX (U.K.), NDR (Germany), Cosmote TV (Greece), VRT (Belgium), SVT (Sweden), DR (Denmark), Yle (Finland) and RÚV (Iceland), as well as Movistar (Spain) and SBS (Australia) more recently.
O (90-212) 354-3701
w www.atvdistribution.com
m info@atvdistribution.com
KEY CONTACTS:
Müge Akar, Head, Sales
Gözde Dinç Özcan, Sales Deputy Manager
Sena Kul, Sales Assistant Specialist
Doruk Yenihayat, Sales Assistant Specialist
PROGRAMS:
The Nightfall: 45 min. eps., drama; Safir: 89x45 min., drama; Street Birds : 173x45 min., drama; The Father : 224x45 min., drama; For My Family : 443x45 min., drama; The Ottoman : 528+x45 min., drama.
“atv Distribution is thrilled to introduce its latest project, which showcases rich storytelling and captivating drama elements. The Nightfall is a mesmerizing tale of impossible love, set against the breathtaking views of Pamukkale and Istanbul’s Asaf Bey mansion. Its stunning narrative and outstanding cast have already begun to capture the hearts of audiences.
Another successful TV series, Safir, takes viewers on an emotional journey through the lives of Feraye and the Gülsoy family in the unique setting of Cappadocia. With complex characters and unexpected twists, it keeps audiences on the edge.
Committed to delivering high-quality dramas that engage both local and global audiences, atv Distribution aims to solidify its position as a leading TV channel with compelling content.”
—Müge Akar, Head, Sales
Cineflix Rights
O (44-20) 3179-5050
w www.cineflixrights.com m sales@cineflix.com
KEY CONTACTS:
James Durie, Head, Scripted
Tom Misselbrook, Senior VP, Scripted Sales & Development
PROGRAMS:
Virdee: 6x60 min., crime/thriller, Magical Society, BBC One, U.K.; Wynonna Earp: Vengeance : 1x90 min. special, supernatural/fantasy, Cineflix Studios/SEVEN24 Films, Tubi, U.S.; Heart Attack : 8x60 min., dystopian thriller, Skybound Entertainment/ROBOT, Fuji TV, Japan; So Long, Marianne : 8x60 min., drama, Redpoint Productions/Tanweer Productions/ C3 Media/Buccaneer, NRK, Norway/SVT, Sweden/DR, Denmark/Yle, Finland/Crave, Canada/ITVX, U.K./Cosmote TV, Greece/Star Channel, Greece/Movies Best HD, Cyprus/NDR, Germany; In Memoriam : 8x60 min., psychological drama, PassezGo/Bell Media/C3 Media, Crave, Canada; Last King of The Cross : S1-2 18x60 min., crime/drama, Helium Pictures, Paramount+, Australia; Reginald the Vampire: S1-2 20x60 min., supernatural/fantasy, Great Pacific Media/Modern Story/ December Films/Cineflix Studios, SYFY, U.S.; Whitstable Pearl: S1-3 18x60 min., procedural/crime/drama, Buccaneer, Acorn TV, U.K.; Men Up : 1x90 min., drama/comedy, Quay Street Productions/Boom, BBC One, U.K.
“Cineflix Rights is the U.K.’s largest independent TV content distributor to broadcasters and streamers worldwide, with a catalog of standout scripted series and movies as well as mustwatch, long-running factual brands.
Our scripted slate features the new crime drama Virdee, based on the best-selling books by A.A. Dhand, for BBC One; the return of an international cult sensation with a Wynonna Earp: Vengeance special for Tubi; the dystopian thriller Heart Attack for Fuji TV; the 2024 Series Mania official selection So Long, Marianne, inspired by the love story between Leonard Cohen and Marianne Ihlen, for NRK and Crave; and the award-winning psychological drama In Memoriam for Crave. These new titles join the latest seasons of Paramount+ Australia’s crime drama Last King of The Cross ; Irvine Welsh’s Crime , with Dougray Scott in his International Emmy Award-winning role, for ITVX/BritBox; and more of Acorn TV’s cozy crime procedural Whitstable Pearl.” —James Durie, Head, Scripted
Eccho Rights
O (46-8) 5560-9380
w ecchorights.com
m info@ecchorights.com
KEY CONTACTS:
Handan Özkubat, Director, Turkish Drama
Adam Barth, Director, Co-Productions, Acquisitions & Development
PROGRAMS:
Safe Harbor: 8x50 min., drama, Submarine/Night Train Media, Videoland, Netherlands/Streamz, Belgium; Kalpazan: drama, O3 Medya, Show TV, Turkey; Those About to Die: 10x60 min., drama, High End Productions/AGC Studios, Peacock, U.S.; Fallen: 8x50 min., drama, Silver Reel/Night Train Media; I Am Mother: S1-2 199x45 min., drama, O3 Medya, Show TV, Turkey; Behind the Veil : S1-2 160x45 min., drama, Film Yapım Merkezi, Kanal 7, Turkey; Winds of Love: S1-2 499x45 min., drama, Unik Film/Rains Pictures, Kanal 7, Turkey; Golden Boy : S1-3 363x45 min., drama, OGM Pictures, Star TV, Turkey; Redemption : S1-3 749x45 min., drama, Karamel Yapım, Kanal 7, Turkey.
Eccho Rights is a development agent and distributor of drama series. Through our offices in Stockholm, Istanbul, London and Madrid, each year we license in the region of 17,000 hours of international drama to platforms, broadcasters and clients worldwide. We invest in development, marketing and distribution to give producers the value they deserve. Our approach is transparent and modern, with a target to get the series greenlit while carefully and successfully managing the intellectual property. Headlining the Eccho Rights lineup this October is Safe Harbor, a huge international drama thriller from Mark Williams, the co-creator of Netflix’s Ozark. As ever, Eccho Rights also returns to MIPCOM with a slate of the most successful Turkish drama series, a number of which are returning for new seasons, including international sales hits I Am Mother and Golden Boy. Eccho Rights has headquarters in Stockholm and is majority owned by Night Train Media.
GMA Network
O (632) 8333-7633/34
w gmaworldwide.tv
m gwi@gmanetwork.com
KEY CONTACTS:
Rochella Ann S. Salvador, Assistant VP, Worldwide Division
Maryjoe Pascua, Sales Specialist, Worldwide Division
Oliver Bucar, Sales Manager, Worldwide Division
PROGRAMS:
Widows’ War : 38x45min., crime/drama, GMA Network Entertainment Group, GMA Network, Philippines; My Husband’s Wife: 40x45 min., drama/romance, GMA Network Entertainment Group, GMA Network, Philippines; Luv Is: Love
At First Read: 18x45 min., romance, GMA Network Entertainment Group, GMA Network, Philippines; Makiling : 36x45 min., drama/crime, GMA Network Entertainment Group, GMA Network, Philippines.
“GMA Network aims to continue to champion Filipino content worldwide, with a particular focus on strengthening our presence in the MENA and European markets. We have consistently showcased the rich storytelling and unique perspectives of Filipino content, and we’re committed to deepening our impact in these regions. This continuous effort is part of our broader vision to solidify our position as the leading advocate of Filipino content on the global stage.”
—Rochella Ann
S. Salvador, Assistant VP, Worldwide Division
GoQuest Media
O (91-22) 495-591-00
w www.goquestmedia.com
m contact@goquestmedia.com
KEY CONTACTS:
Vivek Lath, Founder & CEO
Jimmy George, VP, Sales & Acquisitions
PROGRAMS:
Kuma (The Other Wife): 100x60 min., romance/drama, GoQuest Media/VIP 2000 TV/Stellar Yapım, Turkey; South Wind: On the Edge : 12x50 min., crime/action, Telekom Srbija/Archangel Studios/Režim, Telekom Srbija, Serbia; Absolute 100 : 6x50 min. , crime/thriller, Telekom Srbija, Serbia; Secrets of the Grapevine : S1-3 113x50 min., romance/drama, Telekom Srbija, Serbia; Bridges of Us: 150x45 min., romance/drama, Perfo Production, POP TV, Slovenia; Erinyes: 12x45 min., crime/period, Telewizja Polska (TVP), Poland; Crusade: 13x45 min., crime/police, Telewizja Polska (TVP), Poland; Aggeliki: 154x60 min., drama, Alpha Satellite Television, Alpha TV, Greece.
“GoQuest Media’s MIPCOM slate includes our first-ever co-production, the Turkish romantic drama Kuma (The Other Wife), in which a young woman framed for murder must become the second wife (‘kuma’) of the victim’s brother. We have two exciting new dramas from Telekom Srbija: Absolute 100, in which, after fatally shooting a criminal linked to a powerful politician to protect her brother, a gifted young athlete finds herself on the run; and South Wind: On the Edge, which follows the fierce conflict between Belgrade drug lord Petar Maraš and the powerful criminal curator Red, set against the backdrop of the high-stakes ‘South Stream’ Russian gas project. A new season of the romantic melodrama Secrets of the Grapevine is on the slate, as are our ever-popular TVP crime dramas Erinyes and Crusade . We also have two poignant dramas, Bridges of Us and Aggeliki, in which protagonists return to places they had long left to confront the people and situations that led them to leave in the first place.”
—Jimmy George, VP, Sales & Acquisitions
Inter Medya
O (90-212) 231-0102
w intermedya.tv
m info@intermedya.tv
KEY CONTACTS:
Hasret Özcan, President
Sinem Alışkan, Senior Sales & Communication Manager
Pelin Koray, Senior Sales, Acquisition & Strategy Manager
PROGRAMS:
Deception: 222x45 min., drama, TIMS&B Productions; Love and Pride : drama, MGE/Inter Medya/Yeşil Yapım; Poison Ivy : 83x45 min., drama, TMC Film/Alim Yapım; The Trusted : 74x45 min., drama, TIMS&B Productions; Tuzak: 82x45 min., drama, Acun Medya/Fabrika Yapım; Leylifer: 120x45 min., drama, Caracol Television/Alim Yapım; Like There Is No Tomorrow: 4x35 min., romance/drama, CB Media/GAIN; Another Chance: 138x45 min., drama, BKM; Last Summer: 93x45 min., drama, O3 Medya; The Ivy: 16x60 min., drama/crime/mystery, TOD Originals.
Inter Medya is a dynamic media powerhouse founded in 1992. From being a film distribution company operating within the domestic market, we have grown into an international entity distributing content in over 160 countries. Our products range from TV series and telenovelas to reality and game shows. As part of our ongoing expansion, we have ventured into production, with our own production department launching in 2019. Today, we stand not just as a successful content distributor but also as a powerful business developer and consultant with significant experience in the industry.
Kanal D International
w kanald.international m kdisales@kanald.com.tr
KEY
CONTACTS:
Elif Tatoğlu, Distribution Strategy & Sales Director
Çağla Menderes, Sales Manager, CIS, Greece & Italy
Canan Koca, Sales Executive, CEE & Baltics
Sibel Levendoğlu, Sales Manager, LatAm, U.S., Iberia & Africa
Yasemin Keskin, Sales Manager, MENA, AsiaPac, Global
Inflight, Entertainment Distribution
PROGRAMS:
The Family Burden: 44 min. eps., drama, Süreç Film, Kanal D, Turkey; Secret of Pearls: 44 min. eps., drama, BKM, Kanal D, Turkey; A Father’s Promise: 67x44 min., drama, Pastel Film, Kanal D, Turkey; Daylight: 45x44 min., drama, D Media, Kanal D, Turkey; Farewell Letter: 76x44 min., drama, Most Production, Kanal D, Turkey; Three Sisters : 277x44 min., drama, Süreç Film, Kanal D, Turkey; That Girl: 79x45 min., drama, Content House, Kanal D, Turkey; Love and Hope: 285x53 min., drama, Focus Film/Content House, Kanal D, Turkey; Love and Hate: 61x44 min., romance/comedy, D Production, Kanal D, Turkey; Twist of Fate : 58x43 min., romance/comedy, ARC Film, Kanal D, Turkey.
“At Kanal D International, we are dedicated to reinforcing our position as a global leader in distributing premium drama content. Our success is built on delivering captivating stories that resonate with audiences worldwide. Evergreen titles like Forbidden Love, Fatmagül and Price of Passion continue to enchant viewers, while our latest series, Secret of Pearls, consistently tops ratings in Turkey and garners international acclaim.
We are thrilled to announce an upcoming project that will bring together the internationally renowned actors Bergüzar Korel and Mehmet Günsür in a compelling story destined to captivate global audiences.
Our focus remains on strengthening our presence in core regions such as MENA, LatAm and CEE through both traditional broadcast and digital media. Simultaneously, we are expanding into new territories, including Northern Europe and Asia, as we continue our commitment to bringing beloved actors and unforgettable stories to the international stage.”
—Elif Tatoğlu, Distribution Strategy & Sales Director
Nicely Entertainment
O (1-323) 682-8029
w nicelytv.com
m info@nicelytv.com
KEY CONTACTS:
Vanessa Shapiro, CEO
Scott Kirkpatrick, Executive VP, Distribution & Co-Productions
Rachel Siegenthaler, VP, International Distribution
PROGRAMS:
Technically Yours: 1x90min., romance, Nicely Entertainment, U.S.; A Christmas Castle Proposal: A Royal in Paradise 2 : 1x85 min., holiday/romance, Jaggi Entertainment/Nicely Entertainment, Great American Family; A Christmas Post : 1x90 min., holiday/romance, Jaggi Entertainment/Nicely Entertainment, Great American Family; Christmas On the Ranch: 1x86 min., holiday/romance, Very Merry Entertainment, Hulu, U.S.; A Country Music Christmas: 1x86 min., holiday/ romance, Nicely Entertainment, U.S.; Heartstrings Attached: 1x84 min., romance, Nicely Entertainment, U.S.; Holly and the Hot Chocolate: 1x90 min., holiday/romance, QVC, U.S.; The Christmas Brew : 1x89 min., holiday/romance, Traverse Family, U.S.; A Christmas in New Hope: 1x94 min., holiday/romance, Rolling Reels Productions, U.S.; A Heart for Christmas : 1x90 min., holiday, Mo-Tivation Unlimited, U.S.
“Based in Los Angeles and founded in 2020, Nicely Entertainment brings over 20 brandnew ‘feel-good’ TV movies to the global market each year and has built a library of over 100 films. Although Nicely’s main focus has been producing original romance and Christmas films for the U.S. and worldwide broadcasters, the company has expanded to include scripted TV series, including the holiday series The Christmas Checklist for CBC Canada and the YA Netflix original series Dive Club and Gymnastics Academy: A Second Chance. Nicely has developed several projects as international co-productions and continues to work with all the major U.S. outlets such as Lifetime, Hulu, Netflix, Roku, AMC, UPtv and Great American Family. In 2023, Nicely launched its genre and theatrical sub-label Darkly Entertainment, bringing premium drama and theatrical movies to audiences around the world.”
—Vanessa Shapiro, CEO
OGM UNIVERSE
w www.ogmuniverse.com m info@ogmuniverse.com
KEY CONTACT:
Ekin Koyuncu Karaman, Global Distribution & Partnership Director
PROGRAMS:
Dilemma : 8x45 min., drama/thriller, OGM Pictures, Prime Video; Lost In Love: 85x45 min., drama, OGM Pictures, Star TV, Turkey; Stickman: 88x45 min., drama, OGM Pictures, Star TV, Turkey; Miracle of Love: 38x45 min., drama, OGM Pictures, Star TV, Turkey; Broken Destiny: 121x45 min., drama, Stellar Yapım, Star TV, Turkey.
“OGM UNIVERSE, powered by OGM Pictures, was established in 2022 to centralize and distribute top Turkish drama series globally. Through partnerships and collaborations, it aims to connect with international buyers, offering a diverse portfolio of Turkish content. Additionally, we’re excited to announce that our catalog now includes OTT series from popular streaming platforms like Netflix and Amazon’s Prime Video. Expanding into new markets is one of the company’s goals, as well as collaborating and co-producing with global partners in the future. With this move, the company is strengthening global ties, fostering direct relationships and positioning itself as the world’s go-to source for Turkish drama.”
—Ekin Koyuncu Karaman, Global Distribution & Partnership Director
Turkish Radio Television Corporation
O (90-312) 463-2414
w www.trtsales.com
m isik.uras@trt.net.tr
KEY CONTACTS:
Mustafa Ilbeylı, Head, Sales & Advertising
Mustafa Aydogan, Sales Manager
Gokce Aydogdu, Sales Executive
Pınar Gedıkoglu, Sales Executive
PROGRAMS:
Fatih: Sultan of Conquests: S1 48x45 min./S2, historical/period drama, Miray Yapım, TRT, Turkey; Saladin: The Conqueror of Jerusalem: S1 99x45 min./S2, historical/period drama, Akli Film, TRT, Turkey; Legend of the Black Tree : S1 48x45 min./ S2, drama, Motto Prodüksiyon, TRT, Turkey; An Anatolian Tale : S1 110x45 min./S2 126x45 min./S3 129x45 min./ S4 125x45 min./S5, drama/comedy, Köprü Film, TRT, Turkey; The Shadow Team: S1 44x45 min./S2 114x45 min./S3 105x45 min./ S4 103x45 min./S5, thriller, TIMS&B Productions, TRT, Turkey.
“Our future plans involve expanding the international impact of our diverse drama portfolio. Flagship productions like Fatih: Sultan of Conquests and Saladin: The Conqueror of Jerusalem highlight our strength in historical period dramas, while Legend of the Black Tree offers a compelling narrative set in a rich historical era. All three series continue their journey with highly anticipated second seasons. We’re also proud of our family-oriented content, such as An Anatolian Tale, which deeply connects with audiences through its heartfelt storytelling and is currently airing its fifth season. On the action front, The Shadow Team delivers fast-paced, gripping drama and is also now in its fifth season. By diversifying our offerings across these genres, we aim to capture a broader global audience. Strengthening international partnerships and leveraging digital platforms will be key to expanding TRT’s global presence while maintaining a strong connection to Turkish culture.”
—Mustafa Ilbeylı, Head, Sales & Advertising
Viaplay Content Distribution
O (44-208) 742-5100
w www.viaplaycontentdistribution.com
m contentdistribution@viaplaygroup.com
KEY CONTACTS:
Vanda Rapti, Executive VP, Viaplay Select & Content Distribution
Alexandra Aldred, VP, Viaplay Select & Content Distribution
Suzanne Flowerday-Nilson, Senior Manager, Viaplay Select & Content Distribution
PROGRAMS:
Mafia: 6x45 min., crime/drama, Nexiko, Viaplay Group, Sweden; The Hunt : 6x50 min., crime/drama, Pupkin, Viaplay Group/ CANAL+ NL, Netherlands; Rebus: 6x45 min., crime, Eleventh Hour Films, Viaplay Group/BBC One, U.K.; Ronja, the Robber’s Daughter: S2 6x45 min., family/action/drama, Filmlance, Viaplay Group/Netflix, Sweden; Secrets : 8x30 min., drama, Monday Scripted, Viaplay Group, Denmark; Stayer: 6x30 min., drama, Monster, Viaplay Group, Norway; Chaos : 8x30 min., drama/comedy, Drive Studios, Viaplay Group, Denmark; Meaning of Life : 8x30 min., drama, FLX, Viaplay Group, Sweden; Little Did I Know: 1x90 min., drama, Bigster, Viaplay Group, Sweden; Listen Up!: 1x82 min., comedy/drama/LGBT+, Motlys, Viaplay Group, Norway; This is Not a Christmas Movie: 1x115 min., Halal, Viaplay Group/Amazon NL, Netherlands.
“At this MIPCOM, we’re presenting an exceptional slate of high-quality Nordic and European dramas and documentaries, boasting 18 award nominations and five wins. Leading titles include The Hunt, based on a real-life murder case that gripped the Dutch nation for over a decade; Mafia, set in 1990s Sweden, following Jakov’s rise to criminal power and the lone cop who sees the mafia threat lurking behind cigarette smuggling; and Ronja, the Robber’s Daughter season two, continuing the beloved family action-adventure. Other highlights include the Monte-Carlo Television Festival winner Little Did I Know, the LGBT+ drama Listen Up!, the family drama Secrets, the BBC One hit Rebus and the thought-provoking comedy-drama Meaning of Life. Our goal is to strengthen our position as a compelling, award-winning international content provider for broadcasters and streamers internationally, while supporting the profitable growth for local streamers and aggregators through Viaplay Select and our SVOD channels.”
—Vanda Rapti, Executive VP, Viaplay Select & Content Distribution
