Samsung TV Plus’s Jenn Batty / Lightning International’s James Ross / WildBrain’s Lara Ilie pocket.watch’s David B. Williams / Candlelight Media’s Scott Wiscombe
wedotv’s Philipp Rotermund / AACA’s Michael & Fiona McKay / GoQuest Media’s Jimmy George
WORLD VIEW By Mansha Daswani.
SAMSUNG TV PLUS’S JENN BATTY The director of content partnerships for Europe and the Middle East at Samsung’s FAST service talks about the strengths of the offering.
LIGHTNING INTERNATIONAL’S JAMES ROSS The CEO highlights the global growth prospects for the company’s bouquet of FAST channels.
KIDS GO FAST WildBrain’s Lara Ilie shares the company’s strategy to feed its ever-growing FAST offering.
FAST HEROES pocket.watch’s David B. Williams delves into its superhero summer and the value of themed programming stunts on FAST.
FEEL-GOOD FAST Candlelight Media Group’s Scott Wiscombe on providing feel-good, advertiser-friendly content for FAST.
MOVING FAST wedotv’s Philipp Rotermund highlights the company’s innovations and growth in the FAST space.
ASIAN CREATIVE EXCELLENCE Michael and Fiona McKay talk about the mission of the Asian Academy of Creative Arts.
TAKING AIM GoQuest Media’s Jimmy George on bolstering the co-pro strategy and acquisition teams to fuel growth.
TRENDING ON The most-viewed clips on our video portals for the last 30 days.
TV KIDS SUMMER FESTIVAL RECAP All the action from the TV Kids Summer Festival, including keynotes with Paramount’s Ramsey Naito, Hasbro Entertainment’s Olivier Dumont, Disney Branded Television’s Alyssa Sapire, pocket.watch’s Albie Hecht, TV Kids Pioneer Award honoree Adina Pitt, acclaimed creators Keith Chapman and Marc Brown and industry consultant Nina Hahn; panels on acquisition strategies, co-production models, known IP and windowing approaches; a behind-the-scenes look at Cyber Group Studios and a data insights session with Dubit’s David W. Kleeman and kids’ media expert Emily Horgan.
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
Editor, Spanish-Language Publications
Elizabeth Bowen-Tombari
Production & Design Director
David Diehl
Online Director
Simon Weaver
Sales & Marketing Director
Dana Mattison
Sales & Marketing Manager
Genovick Acevedo
Bookkeeper Ute Schwemmer
TV REAL FESTIVAL RECAP
All the sessions from the inaugural TV Real Festival, with keynotes from Warner Bros. Discovery’s Kathleen Finch, NBCUniversal Entertainment’s Corie Henson and Rachel Smith, filmmaker Dawn Porter, Snowman Productions’ Michael von Würden, A. Smith & Co. Productions’ Arthur Smith and presenter Mary Beard; panels on factual and format trends, wildlife, crime docs and factual FAST channels; and a session on commissioning trends with Ampere Analysis.
LISTINGS Highlights from several distributors and channel operators.
Ricardo Seguin Guise
President
Anna Carugati
Executive VP
Mansha Daswani
Associate Publisher & VP of Strategic Development
BY MANSHA DASWANI
The entertainment and media (E&M) industry worldwide hit a value of $2.8 trillion in 2023, a 5 percent gain, with a 3.9 percent compound annual growth rate projected for the next five years, reaching $3.4 trillion in 2028, according to PwC.
Advertising is a key growth area, with spend projected to top $1 trillion in 2026. “With advertising accounting for 55 percent of total E&M industry growth over the coming five years, it is poised to become a more important part of companies’ business models—even for those that had previously avoided ad revenues,” PwC says. “For strategic reasons, all participants in the E&M industry need to become more proficient at selling ads— and more effective at making them generate value for all participants in the ecosystem,”
We’ll be highlighting the growth opportunities in AVOD as we convene the second edition of the FAST Festival this week. The PwC report spotlights the connected TV advertising opportuni ty, which is expected to double from $20.5 billion in 2023 to $41.2 bil lion in 2028.
PwC also urges companies to reinvent business models amid the plateauing of streaming service revenues. By 2028, PwC projects global subs of 2.1 billion, up from 1.6 billion in 2023. “This plateauing effect is already pushing leading streamers to reshape their business models and find new revenue streams beyond subscriptions,” PwC says. This includes hybrid tiers, with PwC highlighting that advertising will account for about 28 percent of global streaming revenues by 2028, up from 20 percent in 2023. Bundling will be key to the streaming economy going forward.
By Kristin Brzoznowski
Sa msung’s FAST service, Samsung TV Plus, launched in Europe five years ago and now boasts over 1,500 channels across 16 European markets, covering entertainment, news, sports, movies and more. It recently made its foray into the Middle East, with a footprint in three countries so far. Global expansion and localization are top of mind as Samsung TV Plus navigates the competitive FAST landscape, as are aligning with best-in-class partners and enhancing content discoverability. Jenn Batty, director of content partnerships for Europe and the Middle East, talks to World Screen about the strengths of the offering .
WS: How does Samsung TV Plus differentiate itself in the FAST market?
BATTY: The last year has been really exciting in the FAST industry, with the explosion of new platforms and the quality of the content increasing. One of the areas that differentiates us is that we are the television. Samsung TV Plus comes preloaded on a number of our devices, from tablets to mobile phones to TVs. We have an audience that is [made up of] loyal Samsung users that have multiple Samsung devices and TVs. It’s very exciting for them to have another area within their television or mobile phone where they can consume content, and they’re able to consume it for free on their favorite brand. Samsung has been the number one manufacturer of televisions for the last 18 years globally. We have a pretty good brand following out there.
WS: How do you determine the size of the lineup?
BATTY: The number of channels is something that we talk a lot about internally. We look at each country individually. It’s important to look at the number of devices, the population and what people are consuming. We’re not about having hundreds and hundreds of channels; it’s very difficult to find content then. We see the sweet spot at 120, 130, 140 channels for the territories we’re in. We look at the content that we have and what our viewers are consuming and build on that. Discoverability is key. If you have hundreds and hundreds of channels, you get a bit lost. So, we like to have a sweet spot of less than 150.
WS: What types of content are you looking for?
BATTY: It’s different depending on the individual countries. Local is very important. We look at ourselves as a global but local business. In one country, we might be having more of a drive for movies, and in another one, it might be comedy. It is about what is driving consumption in those individual countries. We’re also looking to try new things, new content, something that hasn’t been tried in the territory before. It could be a genre, a TV series, a single IP or a mixed genre. One of the exciting things about FAST channels is that you have the ability [to try new things]. We acquire content that we put on our owned-and-operated channels to see how it works, and if it’s something that’s popping for us, we can do a pop-up channel. The cost to launch a FAST channel is significantly less than what it was to launch a pay-TV channel. Our eyes are open to pretty much anything.
WS: How important is exclusivity?
“We look at ourselves as a global but local business.”
BATTY: “Exclusivity” is one of those words people talk about a lot. It’s very important. It’s important to have a reason for somebody to come to Samsung TV Plus. We want people to go, Oh, I want to watch this because it’s only on Samsung TV Plus. So exclusivity is important, but it doesn’t have to be every single show. It doesn’t have to be every single channel that we have. It’s a nice mix that we look for that gives our viewers and the people who own Samsung devices that extra quality.
Lightning International has carved out a position for itself as an Asia-Pacific and global representative for programming, channels and content of all types. In the FAST space, it has curated a portfolio that runs the gamut from music to movies, entertainment to news, and has a reach far beyond AsiaPac. James Ross, CEO, tells World Screen about the global growth prospects for the bouquet.
By Kristin Brzoznowski
WS: How has Lightning’s FAST channels business grown over the last year?
ROSS: Our business [over the last year] has doubled. FAST growth around the world has led to hugely improved revenues despite some ups and downs in the advertising world. We’re very pleased with where it is at the moment. We’re also very pleased with the growth of the number of channels we’re placing on platforms and the number of platforms. We’re dealing with three or four times the number of platforms we had last year.
WS: What’s the approach to international platform partners for Lightning’s FAST channels?
ROSS: We look very carefully at what works well on individual platforms. We have a bouquet of channels that includes documentary, news, music, entertainment and movies, and we look at what our audience is watching on those platforms. There’s a discussion between us and the platform as to what’s likely to work. Our music channels—NOW 70s, NOW 80s, NOW Rock and NOW 90s—work well on platforms where
music has captured people’s imagination. Music is one of those genres that people switch on and leave on. In the FAST world, we want stickiness; we want people to watch our channels, keep watching them and leave them on in the background. Then, the ads get served, and we all make revenue.
Similarly, we found that news also works because people want to know what’s going on. We have GB News from the U.K. and NewsWorld, which has different perspectives from eight different news channels from around the world. It’s sticky; people put the channels on and leave them on.
Equally, there are people who want movies or entertainment. We specialize in classic movies and have about 3,000 classic movies that we curate our channels from. We have Action Hollywood Movies and RCM featuring golden movies from the ’60s, ’70s and ’80s. In the documentary genre, we have both Docsville linear and SVOD services, as well as channels like Pet Club TV, which focuses on pets, and our travel channel, Globetrotter. It really is a case of looking at each platform, what works for them, how that works with the channels we’ve got and which brands would best resonate in that territory.
“In the FAST world, we want stickiness.”
WS: Talk to me about discoverability in streaming. Does FAST facilitate this?
ROSS: The lean-back experience is one of the great positives of FAST and linear TV. It lets the programming, to some extent, discover itself—as a viewer you put on the channel and wait for it to come by. Of course, it’s so important for audiences to be able to find what they want to watch, and narrowing the choice, to some extent, is what’s required because people’s minds get blown if there’s too much content thrown at them and they’re scrolling through rails of individual videos or channels. That is a challenge for all of us. There is a tendency when something is successful to jump on the bandwagon, push it as far as you can and see what you can get out of it. We don’t want to kill the golden goose, and we are in danger of doing that if we confuse audiences with too much content. We all have to work harder to ensure that the content we deliver is consistently good, i.e., quality, entertaining and gripping.
By Jamie Stalcup
As a leader in the kids’ FAST space, WildBrain has over 100 channels across leading platforms worldwide for IP such as its own Teletubbies and Strawberry Shortcake, as well as third-party content—more than any other player in the space. It continues to launch channels to serve the growing appetite for FAST content, evidenced by the growth of minutes watched on its channels from 502 million in 2019 to 7.5 billion in 2023.
“One of the most compelling elements of FAST for kids is that it’s a safe, lean-back viewing experience,” says Lara Ilie, VP of AVOD and FAST. It is also a compelling offer for parents and caregivers. “The most successful FAST channels are built around a single property—a single IP means audiences know exactly what they’re going to get, making it an easy choice for parents.”
This also means that well-loved brands with large content libraries, which otherwise may not have been licensed by a linear broadcaster, have found a second life on AVOD and FAST, where viewers have access to entire franchises.
However, the technical hurdles can be challenging for newcomers. “Because we were early to the game, our team has developed deep expertise in programming and launching channels, along with direct relationships with all key platforms and integrators,” Ilie says.
Today’s kids watch content fluidly across platforms on multiple devices. “Brands need to build an omni-channel approach into their engagement and growth strategies,” says Ilie, “and FAST needs to be part of that equation to reach today’s audiences.”
pocket.watch’s David B. Williams delves into its superhero summer and the value of themed programming stunts on FAST. By Alexa Alfano
Pocket.watch has become a defin itive source for creator content in the kids’ space. Leading into the wide release of Ryan’s World The Movie: Titan Universe Adventure , the company is supercharging its FAST channels with superhero programming all summer.
pocket.watch’s Rya n ’s World The Movie: Titan Universe Adventure .
“It goes back to Ryan [Kaji] and the 2016 YouTube debut of his superhero alter ego, Red Titan,” explains David B. Williams, senior VP and general manager of channels. As superhero content has become a popular programming staple throughout the pocket.watch FAST offering, it has “helped drive the rapid expansion of the channel to eight leading platforms, along with explosive viewership growth,” Williams notes.
In this vein, pocket.watch is leveraging its array of assets to create maximum superhero excitement for fans this summer in the lead-up to the film’s debut. Viewers can expect endless superhero-themed content from Ryan and a range of the platform’s other sanctioned kids’ and family creators.
Williams says that the stars are what make the Ryan and Friends brand popular with its target audience. “Kids see these stars as peers,” he says. “Their popularity is rooted in an emotional connection that’s typically deeper and stronger than we’ve seen with traditional content brands.”
The mantra of pocket.watch is to be everywhere kids are. “FAST is a good business on its own, but we also see it as a great way to build value across diversified lines of business,” explains Williams. “What makes our superhero summer so notable is how it functions as the ultimate expression of this multiplatform strategy.”
Candlelight Media Group has been operating in the FAST space since 2021, and its business has grown exponentially in the last year alone. Just one year ago, the company had nine channels across various territories and platforms but now offers over 30, with more in the works.
Candlelight’s Passport to Love .
The company’s flagship channel, SparkTV: Light & Love, branded in some European countries as SparkleMovies and localized in Latin America as SparkTV: Luz & Amor, focuses on offering “advertiserfriendly romances and family movies,” says Scott Wiscombe, senior VP of streaming operations at Candlelight. “It’s important to us that anyone can feel comfortable watching our channel with a child sitting next to them. With regard to new content, whether licensed or produced ourselves, it is critical that it fits into that vein.”
Candlelight is always looking to maintain a high refresh rate to keep viewers engaged, and its upcoming pipeline includes Passport to Love, about a travel blogger who feels a spark with a travel publishing company’s marketing rep, and Beauty and the Billionaire: Bali , taking viewers on a romantic journey through the Indonesian islands. The upcoming offering also includes Enchanting Christmas and Love Switch, along with so much more.
In order to best serve its viewers, Candlelight provides titles in Spanish and Portuguese on its Latin American channels, where “fully dubbed content is preferred to content with English audio and localized subtitles,” Wiscombe explains. And the company is “regularly evaluating new opportunities, whether that be additional genres of channels, territories or platforms.”
By Alexa Alfano
The worldwide OTT entertainment and sports streaming network
wedotv is available across all devices and platforms and has achieved a strong presence in key territories around the globe, with expansion ongoing.
Co-CEOs Philipp Rotermund and Chris Sharp have a long history of running free- and pay-TV channels, along with a wealth of experience in the SVOD space. “We took all this know-how to create wedotv—a platform-agnostic, free sports and entertainment network, which covers all aspects from linear to on-demand across all genres,” notes Rotermund. “It’s almost like a legacy media company but fully digitalized.”
Also involved in the traditional distribution business, wedotv was an early adopter of ad innovation and dynamically delivered advertising. “We understood very early on that we need to control the key elements of our business,” says Rotermund. To this end, the company has developed an in-house backend and “partnered up with best-in-class tech partners to work on scheduling software, playout and ad serving,” he adds.
The company is proud to have the wedotv offering free to consumers. “In the SVOD world, there is massive competition; the free space is not as crowded yet,” Rotermund explains. “The economic environment today does not provide for the average consumer to spend hundreds of dollars per month on entertainment. The free space is our sweet spot.”
“We originally planned to be AVOD-only, but when we had the opportunity to launch our first FAST channels years ago, we took the chance,” Rotermund says. Today, wedotv runs over ten channels across 12 markets and has successfully launched on linear, digital and hybrid platforms.
By Mansha Daswani
Asia’s lea ding producers and distributors will be convening again to celebrate the diversity of the content produced across the region at the Asian Academy Creative Awards (AACAs) this December. Across 41 categories, content from 17 countries in the Asia Pacific will vie to be crowned the best in the region, but, as Michael McKay, founder and president of the AACAs, notes, the event and the broader goals of the Asian Academy of Creative Arts go beyond a golden statuette.
“Our mission is to promote AsiaPac content and creatives to the rest of the world,” Michael says. “It’s important that people understand it’s not just about a glittering trophy, it’s about business. And it’s a great time for Asia to drive that business now.”
As part of those efforts, Michael and his partner, Fiona McKay, CEO of the Asian Academy of Creative Arts, have been staging an array of networking events across the region, including in Taipei, Jakarta, Tokyo, Kuala Lumpur, Bangkok and Manila. “We want to be able to connect with each of the different nations that are part of the Asian
Academy,” Michael says. “These networking events allow us to do that. They’ve also been important in bringing the local industry together.”
Elite members of the Asian Academy of Creative Arts are automatically invited to the organization’s networking events, which feature “a curated list of guests,” Fiona says. “There is a roundtable discussion about local production and the challenges and opportunities.”
Beyond networking and the awards, the Academy also hosts an annual Producers Summit and Masterclass. This year’s editions streamed online on July 18 and 19. At the Producers Summit, past winners discussed their projects, while the Masterclass sessions focused on the theme of “What’s Next?”
“Last year, everyone just wanted to talk about AI, and that’s part of what’s next,” Michael says. “There’s a fear in the industry, and we’re all wondering what’s over the hill. We’re all marching up there but don’t know what’s there. It’s about equipping our industry with the knowledge of what’s next. Everybody is still going to need content. There’s a rearranging of the deck chairs right now. But it’s not the Titanic! We’ll emerge, as we have from every other time of change. This one is perhaps more profound than before, but people will still need content. How is the industry making money from that?”
“Our mission is to promote AsiaPac content and creatives to the rest of the world.”
—Michael McKay
The team is now shifting all their focus to this year’s Awards ceremonies. Entries close on August 1, with the national winners from each country to be announced on Facebook at the end of September. On December 3 and 4, the AACAs head to their new home: the Capitol Theatre in Singapore. New for this year are scripted and non-scripted divisions in key categories like format adaptations, cinematography and best streaming original, as well as a special discounted rate for startups, students and nonprofits looking to enter the short-form category.
“In places that are used to having an academy, people understand their value,” says Michael. “There’s skepticism because the track record for awards locally has not been wonderful. But I think people are starting to embrace what it means to have an award that is properly voted for, to an international standard. What’s judged the best wins.”
The primary focus for GoQuest
Media this year, in addition to sales, has been the launch of its co-production business. Its first foray, Kuma (The Other Wife), is already in production and was screened at NATPE Budapest.
By Kristin Brzoznowski
“We’re currently in conversation with channels in multiple territories and are looking to make announcements soon,” says Jimmy George, VP of sales and acquisitions. “We’re also in advanced talks with other producers for our next projects.”
GoQuest has further increased its acquisition efforts this year, starting with a plan to “acquire a more extensive and valuable program library,” says George. “Along with conversations with our existing content partners, we have added Deep Hegiste to lead our acquisitions team.” Hegiste has experience in content licensing, partnerships and distribution across linear and new media, with eight years at Star India focusing on Hotstar specials, operations, content monetization and global launches. He previously led licensing efforts for Star India across multiple regions.
For acquisitions, GoQuest is eyeing Hollywood catalogs and content from Turkey, Europe and Latin America. It is also looking to diversify into long-shelf-life content genres such as factual, infotainment and movies.
The company has also tapped for its team Debkumar Dasgupta, who brings with him more than 35 years of experience in the media and entertainment space from his leadership positions at the Turkish company Merzigo, as well as
at Viacom18/IndiaCast Media and India’s Catvision. “He has one of the strongest track records in improving efficiencies and increasing revenues in the industry,” George says. “At GoQuest Media, he is responsible for partnership and group strategies, with a key remit of leading the team toward delivering revenues, expanding both the business and our market share.”
As GoQuest has bolstered its team, it is looking to further sales in new territories as well. George notes solid sales for scripted programming as of late, “with dramas from different territories now entering the international market. Latin America, parts of Asia and CEE markets have been contributing to the regular growth of this sector. Additionally, newer markets in Asia are gradually opening up to dramas.”
In particular, a pair of titles from Poland’s TVP, Erinyes and Crusade , have been strong performers. Erinyes has already been licensed in Estonia, Greece and Lithuania, and there’s news coming soon about Crusade . Two formats, Troll Farm and Divorce in Peace , have been licensed in India. “We’re really looking forward to how the local adaptations will shape up,” George says.
“We’re in advanced talks with other producers for our next projects.”
—Jimmy George
Besides completing more presales for Kuma ( The Other Wife ), GoQuest is focusing efforts on two titles from Telekom Srbija that feature “intense action, drama, top production values and excellent casts,” according to George. South Wind is about a drug lord from Belgrade who is in conflict with Red, the powerful state curator of the Serbian criminal world. Absolute 100 follows as Sonja, an archer with Olympic dreams, protects her family from a criminal’s wrath, leading to a cycle of violence. There’s also a new series from Slovenia, Bridges of Us. From Pro Plus, the show follows as Kristjan returns to his hometown, sparking secrets and love entanglements, confronting his family and the past, amid picturesque backdrops. Rounding out the slate is a new season of the romantic drama Secrets of the Grapevine from Telekom Srbija.
The most-viewed clips on our video portals in the last month.
Time is everywhere. But what is it? This film explores different ideas, showing each as a timeline from then to now. (ZDF Studios)
Leo, Lola and Babù travel to fantastic places to teach children how to face everyday challenges, fostering inclusion and autism acceptance. (VISMANIMATION)
After her truck breaks down while moving across the country, a woman finds help from a kind rancher and love where she least expects it. (Candlelight Media Group)
Explore a world where food comes to life in massive proportions, and five kids are about to set off on an unforgettable adventure. (Dandelooo)
Twelve couples compete in a renovation competition to win a new, fully appointed home worth $700,000. (Zone3 International)
BUYER BRIEFING The fourth edition of the TV Kids Summer Festival kicked off with a session featuring KiKA’s Sebastian Debertin, M6 Group’s Coralie Boitrelle-Laigle, RTÉ’s Suzanne Kelly and Sandbox Group’s Ellen Solberg discussing their programming strategies.
PARAMOUNT’S RAMSEY NAITO The president of animation for Paramount Animation and Nickelodeon Animation, Ramsey Naito, weighed in on the strengths of Paramount’s animated output across television, film and digital and the keys to franchise-building.
IN THE KNOW WITH DUBIT Dubit’s David W. Kleeman showcased new research on kids’ content trends and discussed the challenges of discoverability and brand-building in conversation with children’s media expert Emily Horgan.
KNOWN IP As platforms and audiences alike clamor for known properties, Sesame Workshop’s Kay Wilson Stallings, Tiger Aspect Kids & Family’s Tom Beattie and ZDF Studios’ Oliver Grundel shared tips and tricks for maintaining long-running franchises and rebooting beloved classics.
HASBRO ENTERTAINMENT’S OLIVIER DUMONT As president of Hasbro Entertainment, Olivier Dumont leads the unit tasked with adapting the toy giant’s beloved brands across multiple mediums.
BETTER TOGETHER Serious Kids’ Genevieve Dexter, Dandelooo’s Emmanuèle Pétry, DeAPlaneta Entertainment’s Carlos Biern and The Co-Production Company’s Doug Schwalbe discussed the ins and outs of co-productions.
TV KIDS PIONEER AWARD: ADINA PITT For her outstanding contributions to the children’s media business, Adina Pitt was presented the TV Kids Pioneer Award as she shared her approach to acquisitions and co-productions.
KEITH CHAPMAN The creator of such iconic brands as Bob the Builder and PAW Patrol, Keith Chapman talked about navigating the kids’ content landscape today.
WATCHING WINDOWS As exclusivity needs change, we spotlighted successful windowing strategies being used to maximize the long-tail value of content with HARI’s Sophie “Kido” Prigent, PBS Distribution’s Joe Barrett and Thunderbird Entertainment’s Richard Goldsmith.
POCKET.WATCH’S ALBIE HECHT The chief content officer of pocket.watch, Albie Hecht, offered up his views on the keys to success in the creator economy.
DISNEY BRANDED TELEVISION’S ALYSSA SAPIRE Alyssa Sapire showcased what’s driving the success of The Walt Disney Company’s preschool service, Disney Jr.
CYBER GROUP TOONS IN An inside look at Cyber Group Studios’ approach to animation innovation with Dominique Bourse, chairman and CEO; Raphaëlle Mathieu, COO; and Pierre Belaïsch, chief creative officer.
NINA HAHN Industry veteran Nina Hahn, a Nickelodeon alum who has now founded the consultancy Luna Bean Partners, articulated her thoughts on where the kids’ media business is headed.
MARC BROWN Creator Marc Brown, behind the long-running success Arthur , shared the message of celebrating uniqueness in his new show Hop
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The fourth edition of the TV Kids Summer Festival kicked off with a powerhouse opening session featuring KiKA’s Sebastian Debertin, M6 Group’s Coralie Boitrelle-Laigle, RTÉ’s Suzanne Kelly and Sandbox Group’s Ellen Solberg discussing their programming strategies.
An absolute prerequisite is strong box-set rights for our VOD player. We’re also trying to build our brand significantly on YouTube.”
—Suzanne Kelly
It is not about giving kids a written manual or a handbook, but some kind of smaller or bigger solutions for their daily lives and their future.”
—Sebastian Debertin
We want the content to inspire kids to discover new hobbies and to go out and do things outside of the app and TV.”
—Ellen Solberg
We are taking exclusive rights where possible and wherever we can, but it always depends on the IP, and we’re open to discussing things case by case. ”
—Coralie
Boitrelle-Laigle
Ramsey Naito, the president of animation for Paramount Animation and Nickelodeon Animation, weighed in on the strengths of Paramount’s animated output across television, film and digital and the keys to franchise-building in this keynote address.
You have to be focused on marketing campaigns that reach audiences and know where kids are and speak to kids. You have to tell stories that are relevant with characters that feel authentic and fresh and that kids can identify with and see themselves in. And then how are you going to make everyone know you have these great characters and great stories? You’ve got to go to TikTok, Instagram and YouTube.”
Dubit’s David W. Kleeman showcased new research on kids’ content trends and discussed the challenges of discoverability and brandbuilding in conversation with children’s media expert Emily Horgan.
Preschool is much easier to concentrate on and figure out what will work for a broad audience. You get to 6 to 9 and you’ve got your gamers, your TV kids, your YouTube kids, and they have di ff erent hobbies. It can be really hard to gain traction at that age. We talk about 6 to 9, and a little bit of 9 to 12, as the ‘middle kingdom.’ ”
—David W. Kleeman
Discovery in streaming is having a major crisis. Back on linear, we knew how to program. Streaming interfaces are built up from the EPGs of the past, and there’s nothing less engaging than an EPG. The discovery mechanism that streaming is based on doesn’t really service the audience. With platforms like YouTube and, to a certain extent, Roblox, the discovery algorithms are much more tactile. They can communicate much more seamlessly with a potential viewer of that content.”
—Emily Horgan
As platforms and audiences alike clamor for known properties, Sesame Workshop’s Kay Wilson Stallings, Tiger Aspect Kids & Family’s Tom Beattie and ZDF Studios’ Oliver Grundel shared tips and tricks for maintaining long-running franchises and rebooting beloved classics.
You can put a book on a broadcaster’s table and they can see that there’s some backing and maybe a small audience behind it, and therefore feel a bit more comforted that it exists as a brand before they dip their toes in and join that IP.”
—Tom Beattie
A lot of distributors are looking for content that’s got that known IP, so they have something that audiences will automatically be familiar with and gravitate toward.”
—Kay Wilson Stallings
Typically, when we assess the risk of a brand, established IP versus the new content, we look at several factors: historical data, audience recognition and international appeal. Does it travel? Does it have the chance to be a franchise on multiple platforms?”
—Oliver Grundel
As president of Hasbro Entertainment, Olivier Dumont leads the unit tasked with adapting the toy giant’s beloved brands across multiple mediums.
You need to surround the consumers with diff erent pieces of content that reinforce the ethos of your franchise messaging. This includes core long-form content supplemented by digital content created specifically for YouTube and social media platforms. And finally, of course, digital gaming content on Roblox or Fortnite. This is a much more extensive undertaking than the way to reach kids before, which would have been linear entertainment. That means you need to place your bets very carefully. This is where research and insights become critical. Hasbro has significantly increased its content research budget to ensure that the concepts we output meet the consumers’ wants and needs.”
Serious Kids’ Genevieve Dexter, Dandelooo’s Emmanuèle Pétry, DeAPlaneta Entertainment’s Carlos Biern and The Co-Production Company’s Doug Schwalbe discussed the ins and outs of co-productions.
Any show needs to be driven by only one boss. ” —Doug
Schwalbe
It’s too complicated to finance outside of the European model. In this difficult time, you focus on what you know best: your own broadcasters and your nearby neighbors.”
—Emmanuèle Pétry
When you co-produce, it market tests your IP…with the opinions of people in other countries as to whether it creatively passes the test.”
—Genevieve Dexter
We are in a time when coproductions make more sense than ever. We are not only putting together budgets that make sense and are reasonable for our traditional investors, but we are also in a time when technology and talent are the keys. ”
—Carlos Biern
For her outstanding contributions to the children’s media business, Adina Pitt was presented the TV Kids Pioneer Award as she shared her approach to acquisitions and co-productions.
To those of us who have dedicated our careers to the kids’ industry writ large, it’s a calling. We are part of a community that stays through the good, the bad and the ugly, all in service of the greatest audience: kids. They always say what they think and mean what they say. That’s a tough audience because they will let you know in real time what they like and don’t like. There’s something refreshing about that honesty. And it keeps us all innovating because they expect us to up our ante with everything we do. As the world becomes even more complicated, there is no greater time to serve this audience with safe, entertaining, memory-making content.”
The creator of such iconic brands as Bob the Builder and PAW Patrol, Keith Chapman talked about navigating the kids’ content landscape today.
I can get in the door with my track record, but it’s still tricky to get a show greenlit. For a young creator, it’s a tough world to come into. There are so many more people doing it than when I started. They’re all pitching to the same broadcasters, but the broadcasters are swamped. Their slots are filled because the budgets are spent. You have to be determined and stay in it for the long game. You’re spending money and time on these things, and if they don’t get picked up, it’s money wasted. Everybody is doing it because they love what they do. That’s the most important thing: You have to love what you’re doing. And just hope that you get a lucky break.”
As exclusivity needs change, we spotlighted successful windowing strategies being used to maximize the long-tail value of content with HARI’s Sophie “Kido” Prigent, PBS Distribution’s Joe Barrett and Thunderbird Entertainment’s Richard Goldsmith.
Broadcasters are conscious of the fact that you need to build brand awareness. They are less worried about YouTube and the effect that it will have on their viewership because they understand that it actually benefits them.”
—Sophie “Kido” Prigent
The release approach needs to be a multiplatform strategy, and having your content on multiple platforms with tightening budgets tends to lend toward non-exclusivity. ”
—Joe Barrett
A platform that has traditionally, or at least in the last ten years, said, ‘We need global rights,’ has now said, ‘It’s OK if you bring in a partner in a couple of territories and we can give them a first window.’ That allows us to bring in co-production partners and do a couple of presales.”
—Richard Goldsmith
Albie Hecht, chief content officer of pocket.watch, off ered up his views on the keys to success in the creator economy.
We make what we call ‘TVready compilations.’ We take those snackables, put them into half-hour shows, curate them and enrich them with original content. They’re long-form series of the best of [creators’] YouTube content, with original packaging and content to go with it. TV wants half-hours, and we can distribute that around the world. You see our content on over 40 platforms, from Hulu to Peacock to Sky in the U.K.”
Alyssa Sapire showcased what’s driving the success of The Walt Disney Company’s preschool service, Disney Jr.
Disney Jr. is the preschool brand for The Walt Disney Company and the first touchpoint for that lifelong relationship with Disney. We are careful about making sure that our stories are filled with signature qualities: magic, wonder, adventure and heart. We ensure that our characters are relatable and funny. We want young viewers to connect to our stories, to see themselves in our characters—who have a range of real emotions and experiences that kids can relate to—and also get a window into how others navigate relationships and emotions. Our characters are largely curious, optimistic and joyful; that’s a real reflection of where preschoolers are.”
An inside look at Cyber Group Studios’ approach to animation innovation with Dominique Bourse, chairman and CEO; Raphaëlle Mathieu, COO; and Pierre Belaïsch, chief creative officer.
—Dominique Bourse
We are at the forefront of various trends coming from the video game industry to the production of linear content with real-time rendering technologies. We are also heavily investing in research and development in three main areas: real-time production, AI and machine learning. We do not see AI creating in lieu of artists. We see AI as enabling artists to go further and demonstrate their talent and creativity more.”
Having a large, diverse library is a strong asset to be able to propose content worldwide to a wide variety of potential buyers. ”
—Raphaëlle Mathieu
It’s about listening to the market. But on the other hand, [it’s crucial to] bring your own creativity and approach because that’s what makes the content diff erent.”
—Pierre Belaïsch
Industry veteran Nina Hahn, a Nickelodeon alum who has now founded the consultancy Luna Bean Partners, articulated her thoughts on where the kids’ media business is headed.
Chaos allows you to agitate and think diff erently. It allows you to be über-innovative in a world where the deals are confusing and hard to find, and you’ve got to be super resourceful. Genius comes out of that creative freedom. It’s important to look at how we make content, what we’re making and who we’re making it for in a way that is half startup mentality but also half absolute resourcefulness. A diff erent lens will allow you to look at content in another way, whether it’s the length of it, the end user, where you’re doing it, how you’re funding it or how close you are working with the commercial side. The ingenuity and entrepreneurial aspect of chaos as it attaches to creative is a fantastic runway.”
Creator Marc Brown, behind the long-running success Arthur, shared the message of celebrating uniqueness in his new show Hop.
We felt that we could offer children something that’s helpful and hopeful. That’s what we wanted Hop to do. We see the plots as simple but grounded in big emotions. We want to know how characters feel about an event. The way they feel about something is almost as important as the event itself.”
THE BIG PICTURE The inaugural TV Real Festival kicked off with our factual superpanel featuring BossaNova’s Paul Heaney, Off the Fence’s Bo Stehmeier, Albatross World Sales’ Anne Olzmann and ZDF Studios’ Nikolas Hülbusch.
THAT’S ENTERTAINMENT! Fremantle’s Vasha Wallace, Banijay’s James Townley, BBC Studios’ André Renaud and All3Media International’s Nick Smith discussed trends in non-scripted formats.
WARNER BROS. DISCOVERY’S KATHLEEN FINCH As chairman and CEO of U.S. networks at Warner Bros. Discovery, Kathleen Finch oversees a bouquet of leading channel brands, among them Discovery, HGTV, Food Network and Investigation Discovery.
THE VIEW FROM NBCUNIVERSAL ENTERTAINMENT This powerhouse session showcased NBCUniversal Entertainment’s strategy across game shows, talent, reality, lifestyle and true crime with Corie Henson and Rachel Smith.
JUST THE FACTS WITH AMPERE Ampere Analysis’s Fred Black provided TV Real Festival viewers with detailed insights on the factual commissioning landscape.
TIME TO GO FAST? Autentic’s Patrick Hörl, Blue Ant Media’s Jamie Schouela and Cineflix Rights’ Mike Gould shared the keys to rolling out successful factual FAST channels.
DAWN PORTER The founder of Trilogy Films, Dawn Porter, whose credits include Deadlocked: How America Shaped the Supreme Court, showcased her approach to impactful documentary filmmaking.
MICHAEL VON WÜRDEN As managing director of Snowman Productions, Michael von Würden has created an array of successful reality formats, among them the megahit Married at First Sight.
GETTING WILD ORF-Enterprise’s Armin Luttenberger, PBS Distribution’s Joe Barrett and Terra Mater Studios’ Berend Dreier offered up their insights on trends in the distribution of natural history and wildlife docs.
CRIME PAYS GRB Media Ranch’s Sophie Ferron, TVF International’s Poppy McAlister and Woodcut Media’s Kate Beal (who also chairs the Association of True Crime Producers) on achieving success and driving innovation within the true- crime genre.
A. SMITH & CO. PRODUCTIONS’ ARTHUR SMITH A keynote from Arthur Smith, whose extensive stable of shows at A. Smith & Co. Productions includes Hell’s Kitchen and American Ninja Warrior.
MARY BEARD A classicist who specializes in ancient Rome, Mary Beard’s latest project, Meet the Roman Emperor with Mary Beard from Lion Television, aired on BBC Two earlier this year.
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The inaugural TV Real Festival kicked off with our factual superpanel featuring BossaNova’s Paul Heaney, Off the Fence’s Bo Stehmeier, Albatross World Sales’ Anne Olzmann and ZDF Studios’ Nikolas Hülbusch.
The peaks and amplitudes in factual are much smaller than in scripted and other genres. ”
You have to listen to what the buyers tell you. That’s gold for the producers. Sometimes they develop in a vacuum. Our job is to help the ones that we think can deliver on brief, on budget and on schedule.”
—Paul Heaney
—Nikolas Hülbusch
Factual is starting to see a renaissance because it’s a fastmoving genre. If you’re a streamer, you can hyperlocalize and get emotional stories on the screen faster at a much more manageable price point.” —Bo Stehmeier
A lot of producers want to be on public channels. They need the big audience. That’s a bit restricting for alternative financing.”
—Anne Olzmann
Fremantle’s Vasha Wallace, Banijay’s James Townley, BBC Studios’ André Renaud and All3Media International’s Nick Smith discussed trends in non-scripted formats.
People are seeking nostalgia. They’re still also looking for new shows, but they want the scale of a prime-time slot with the budget of a secondary slot.”
Sometimes it’s not just about the show; it’s about having production solutions in place and having a story that will convince them to get them over the line.”
—Vasha Wallace
—André Renaud
The new IP world needs as much help as it can get. We’re really keen to get behind those embryonic ideas that we feel have international potential.”
—James Townley
Broadcasters and platforms need local content. There is a risk-aversion.
That’s the challenge. But on things that work, there are still definitely buyers that are willing to push the button.”
—Nick Smith
As chairman and CEO of U.S. networks at Warner Bros. Discovery, Kathleen Finch oversees a bouquet of leading channel brands, among them Discovery, HGTV, Food Network and Investigation Discovery.
We are pushing the boundaries to make sure that even the formatted shows don’t look just like traditional studio formatted shows. We’re also getting creative with our spin-offs, being careful to make sure that we don’t overdo a franchise. In the true-crime space, we’re going for big, buzzy, loud opportunities. It’s [about] always finding shows that will get in front of an audience in a new way, in a different way—still staying true to the genre, but finding a way to get a new hook, a new interest and a new audience to sit up and pay attention.”
This powerhouse session showcased NBCUniversal Entertainment’s strategy across game shows, talent, reality, lifestyle and true crime with Corie Henson and Rachel Smith.
Particular genres are due for a refresh. I’d love to see a modernization of the studio game. I would love the emphasis to be on creativity and taking big swings. We all still have budget constraints and mandates, but I would love for everyone to be able to stretch their wings more within the invisible rails that we have to give from the commissioner seat.”
—Corie Henson We are in a risk-averse moment. It’s a crowded landscape. There are economic imperatives. When you get too focused on that, it can kill the creativity. You have to take risks. You’ve got to be open, excited and curious. Zag where everyone’s zigging. I’m looking forward to a time when it doesn’t have to be [known] IP, and we can take a chance on something new. With all this proliferation of content, the standards are so high. The storytelling has to be excellent. That’s good for everybody.”
—Rachel Smith
Ampere Analysis’s Fred Black provided TV Real Festival viewers with detailed insights on the factual commissioning landscape.
Public broadcasters are starting to focus on some of the themes that we might more typically associate with streaming services. In particular, true-crime content. Most are somewhere along the journey toward streaming-first business models, and they need to attract viewers to these new VOD platforms. True crime has proven to be a very reliable, bingeable streaming hit elsewhere. Secondly, they need to start making content with greater resale value. These crime and thriller commissions are not only for the benefit of their own video-on-demand platforms, they also have one eye on future distribution to other platforms as well.”
Autentic’s Patrick Hörl, Blue Ant Media’s Jamie Schouela and Cineflix Rights’ Mike Gould shared the keys to rolling out successful factual FAST channels.
We’re beyond the point now with FAST where platforms are happy with just the same content swimming non-exclusively across dozens of channels. You’ve got to have something unique in order to get distribution deals on the right platforms.” —Mike Gould
It’s very clear that established brands give you a head start against everybody else in the market. The difficult thing is how to place the exploitation of our piece of content on FAST amid all the other monetization streams that we want to utilize.” —Patrick Hörl
It’s the Wild Wes t on data right now. We’re on many platforms. I often joke that it’s apples from one platform and bananas from another. We make a fruit salad out of it an d try to understand the whole view. ” —Jamie Schouela
The founder of Trilogy Films, Dawn Porter, whose credits include Deadlocked: How America Shaped the Supreme Court, showcased her approach to impactful documentary filmmaking.
I’m seeing smaller budgets, longer time to ‘yes’ and less money for social justice projects. It’s harder to make films that are about art or politics that are not sensational. We’ve got to be more creative. We’ve got to be good partners.
We’ve got to watch those budgets. We have to do what we’ve always done, which is roll up our sleeves, get creative, be clear about the story you’re telling and the quality that you’re making. We also need to diversify. We’re looking at doing museum projects or projects that are more commercial, so we’re not just dependent on the commission of the broadcaster or streamer.”
As managing director of Snowman Productions, Michael von Würden has created an array of successful reality formats, among them the megahit Married at First Sight.
We know that the people who participate in Married at First Sight are not the [usual] attention-seeking persons. It’s actually the everyday Joe and Jim and Jane and Joanne who are looking for love. We have a big [team] around them in terms of psychologists and duty-of-care personnel to keep in touch with them during and after shooting and especially when we are on-air. We recommend that every territory has an aftercare program for each participant so that we make sure they have a ‘safe landing’ afterward. It’s highly emotional; they are opening their heart to the public. So, we need to be very careful in managing their emotional stages.”
ORF-Enterprise’s Armin Luttenberger, PBS Distribution’s Joe Barrett and Terra Mater Studios’ Berend Dreier off ered up their insights on trends in the distribution of natural history and wildlife docs.
FAST has allowed a much broader audience to view nature documentaries because they’re largely censor-friendly and family-friendly. It’s been a wonderful platform for nature to be rereleased.”
—Joe Barrett
Remote cameras help to get the viewer into the scene and experience elusive animals like never before. The downside of that is that you get a lot of footage. I hope that AI will help with the a rchiving and tagging, making this content more available for future exploitation. ”
—Berend Dreier
We’re involved in almost all of the projects of our flagship program, ORF UNIVERSUM, from the very beginning or at a very early stage. We support it directly through financial contributions, but also by off ering and seeking new co-production partners. Well-made nature and wildlife programming is expensive.” —Armin Luttenberger
GRB Media Ranch’s Sophie Ferron, TVF International’s Poppy McAlister and Woodcut Media’s Kate Beal (who also chairs the Association of True Crime Producers) on achieving success and driving innovation within the true-crime genre.
It’s dramatic scripted narrative in the unscripted world. You have the tension, the build, the characters, the ‘oh my goodness’ moments, the twists and turns and the rabbit holes.”
—Kate Beal
Viewers like to binge on true crime, but they don’t want to feel like they’re exploiting the victims in any way. The cases are often so salacious that you don’t need to go into the details of the gory realities. You can look at other ways to tell the story. ”
—Poppy McAlister
We are looking at FAST channels, and if we had enough true crime, we would do a true-crime channel. There is no end to this genre. Everybody wants it. But not everybody wants the same level. Some are more in-depth, some are more cookie-cutter and some are more celebrity-driven.”
—Sophie Ferron
A keynote from Arthur Smith, whose extensive stable of shows at A. Smith & Co. Productions includes Hell ’s Kitchen and American Ninja Warrior.
The episode orders [in streaming] are smaller. We do a fairly chunky order with Hell ’s Kitchen and American Ninja Warrior—20 to 30 hours. You don’t see those orders anymore; they are usually ten or eight. When you’re planning a show, you benefit from a budget standpoint from the amortization of doing a lot of episodes. Now, when you’re planning a big show, you’ve got to figure out how the math works divided by eight or ten.”
A classicist who specializes in ancient Rome, Mary Beard’s latest project, Meet the Roman Emperor with Mary Beard from Lion Television, aired on BBC Two earlier this year.
Television viewers concentrate much too much on the lead presenter and not enough on all the people who make the television programs possible. I have some ideas about what I would like to do, what point I would like to get over. Good directors and producers can help you say that and make it real. They have a sense of what works visually. I have learned a huge amount, but I’ve done it through endless discussions. How would we make that point? Where would we go? The whole process for me has been hugely enjoyable, but it’s also been a learning process.”
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Enchanting Christmas (Christmas romance, 1x91 min.) Ben, a single dad and ice sculptor, creates a sculpture of an ice princess who becomes real and brings joy to his and his daughter’s life.
Love Across Time (Romance/drama, 1x97 min.) While visiting an English estate, Chelsea discovers a portal through time that connects with its late 1700s owner.
Enchanting Christmas
Romance on the Ranch (Romance/drama, 1x88 min.) After her truck breaks down while moving across the country, a woman finds help from a kind rancher and love where she least expects it.
Beauty and the Billionaire: Bali (Romance/drama, 1x91 min.) An American doctor in Bali clashes with her clinic’s billionaire benefactor until an accident brings them together to see past first impressions. Love Switch (Romance/comedy/drama, 1x88 min.) A married couple on the brink of divorce mysteriously switch bodies and gain respect and understanding as they live each other’s lives.
Mythica: Stormbound (Action/adventure/fantasy/ drama, 1x104 min.) Several years have passed since the world was saved by Marek. Now, new unlikely heroes are fated to face the threat of evil. A Toast to Love (Romance/comedy/drama, 1x91 min.) Bree, a marine archaeologist, uncovers sealed wine in an old shipwreck and seeks to find its origins with the help of a charming vineyard owner.
Valentine’s Town (Romance/comedy/drama, 1x84 min.) Former high school sweethearts Jude and Melissa reconnect when they face off over a new resort Jude wants to build in town.
Looking for Dr. Love (Romance/comedy/drama, 1x85 min.) Jenny learns that her old college beau Liam is Dr. Love, a radio DJ she listens to, and seeks to rekindle their spark.
Passport to Love (Romance/drama, 1x88 min.)
Nicole, a travel blogger, and Kade, a publishing rep, meet while traveling. Will their connection last when Kade’s boss tells him to thwart Nicole’s business?
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Lalola (Comedy, 10x30 min.) Lalo’s life changes when he breaks Romina’s heart and she goes to a witch to teach him a lesson. He wakes up as Lola and will learn to be a woman while seeking to reverse the spell.
Amia (Political/action drama, 8x45 min.) A Mossad agent hooks up with a local Argentinean journalist to find those responsible for a terrorist attack.
Indal (Action drama, 8x45 min.) A group of Ethiopian Israeli youth decide to kidnap the police officer who peppered their adolescence with abuse and eventually murdered their closest friend, resulting in a massive national protest movement against police violence and for equality.
Yum Factor (Cooking competition) Flips the script on culinary competitions. This isn’t about the professionals; it’s about the everyday culinary maestros.
Power Couple (Reality format) Eight couples face challenges that will test how well they know each other.
(Drama, 10x30 min.) Three Latina women in Los Angeles decide to take charge of their destiny and open their own cleaning services business.
The Best of All (Game-show format) Is the average answer from a large group of people always closer to the right result than the answer of one?
Nehama (Dramedy, 8x60 min.) A father of five children loses his wife in an accident and is forced to face raising his children and the dream that he now seeks to fulfill: conquering the world of stand-up.
Shtisel (Drama, 33x45 min.) A bachelor Haredi (ultraOrthodox) and his widowed father share an apartment, a cynical sense of humor and a quest for love.
El Buscador (The Browser) (Interviews) Faceto-face interviews triggered by web content that anyone can easily access online.
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Willie Nelson 90 (Music, 1x180 min. & 1x90 min.) A star-studded concert film celebrating Willie Nelson’s 90th birthday.
Phoenix (Drama, 7x30 min.) Plane crash, loss of memory, targeted for elimination—what is Jane Doe’s next step in finding the truth?
Kick It (Doc., 10x30 min.) How did football start? This series takes us back to the grassroots of the game, featuring some legends.
The Coach Can Cook (Reality, 6x30 min.) Gavin Gleeson works with a guest in each episode to devise a workout routine and meal plan to achieve his/her goal.
Illustrated Man (Doc., 1x60 min.) The rise of the tattoo into the mainstream of pop culture, fashion trends, branding and social influence.
Flipped (Reality, 10x30 min./format) Ellie G, the “Flippin’ Queen” from Selling Sunset , is about to transform and make people’s dreams come true.
Fly Brother (Travel/lifestyle, 10x30 min.) Travel with Ernest White II on a journey to friendship and connection around the world.
On the Edge of Chaos (Doc., 1x60 min.) Follow a Hong Kong restaurant group as it embarks on a mission to breathe new life into The Magistracy, Hong Kong’s former Supreme Court.
Noel Gallagher’s High Flying Birds (Music, 1x90 min.) Thirty-thousand fans gathered at Wythenshawe Park, Manchester, for his biggest-ever solo concert.
One Small Visit (Short, 1x30 min.) An immigrant Indian family passes through the tiny hometown of Neil Armstrong during 1969 and ends up on his doorstep.
NEW ID
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BINGE Korea (CTV app) Korean TV all day, every day, all free.
NEW KMOVIES (Movies, 300+ hrs.) Offers a curated selection of Korean films across various genres, including all-time box-office hits.
NEW KPOP (Music, 1,000+ hrs.) The only 24/7 TV channel airing top K-pop shows, music videos, concerts, performances and variety shows every day.
NEW KFOOD (Food/lifestyle, 180+ hrs.) Spotlights Korean cuisine with cooking recipes, ASMR and mukbang, featuring mouthwatering dishes and the latest takeout food trends from Korea.
ROMCOM K-Drama (Drama, 300+ hrs.) Swoon, laugh and cheer as underdogs find their happily ever after in this realm of love and laughter.
Toony Planet (Kids, 200+ hrs.) Features various genres such as sing-along, adventure, education, comedy and more. It’s the best place for unlimited, imaginative fun.
My Little Pet (Lifestyle, 50+ hrs.) Spend the day with adorable pets on the only pet vlog channel. World Billiards TV (Sports, 130+ hrs.) The world’s first professional billiards channel featuring top Euro pean carom players and tournament games. essential; (Music, 100+ hrs.) Enjoy curated tracks and trendy visuals for every season: emotional dawn tunes, upbeat anthems, cozy cafe vibes and winter’s cool essence.
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Gold: A Journey with Idris Elba (Doc., 1x90 min.)
Join Idris Elba on an adventure that explores gold’s meaning and how it has shaped cultures, religions and entire economies around the world.
Building Icons (Doc., 4x60 min.) Exploring the great buildings of the world, from those constructed to worship to those built to exert power or protect their owners.
Churchill’s Forgotten War (Doc., 1x60 min.)
Charts the actions of Winston Churchill at the beginning of World War II, when the fear of a “fifth column” of Nazi spies was at fever pitch.
Prince George: A King for the Future (Doc., 1x60 min.) Uncovering the secrets of Prince George, including his education, the royal rituals he must learn and how his upbringing will lead the royal family into the modern age.
Kate and the King: A Special Relationship (Doc., 1x60 min.) Celebrate the bond that has grown between the royal pair.
Red Flag (Crime/investigation, 8x60 min.) Tells the stories of people who have been catfished, gaslit and deceived.
Help! We Bought a Hotel (Fact-ent., 6x60 min.)
Tells the stories of people who have given up their jobs and homes to chase that dream in some of the prettiest locations in Europe.
Strip (Fact-ent., 6x60 min.) Explores the glamorous, aspirational world of strippers at the Crazy Horse III Gentlemen’s Club in Las Vegas.
Pet Psychic (Fact-ent., 4x60 min.) Explores the world of a real-life Dr. Dolittle.
Big Miracles (Fact-ent., S2: 7x60 min.) Follows Australian couples and singles as they navigate the road to parenthood through assisted reproduction.
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Ryan’s Mystery Playdate (Live-action, 90x22 min.)
In the top-rated, Emmy-nominated series, kid video superstar Ryan Kaji, along with his parents and animated friends, work together to identify a mystery guest.
Toys and Colors Kaleidoscope City (Liveaction/CGI, 10x22 min.) Starring global sensation
Toys and Colors, a magical world where kids learn to see the world through new perspectives.
Love, Diana (Animation/live-action, 13x22 min.)
Real-life vlog superstar siblings Diana and Roma take viewers on a magical adventure.
Ryan’s World Specials (Live-action/animation, 193x22 min.) Kid video superstar Ryan Kaji, along with his family and animated friends, play games, make crafts, learn science and go on adventures.
Toys and Colors Ultimate Mishmash (Live-action, 90x22 min.) YouTube’s number one kids ensemble learn life skills, letters, numbers and more through musical and pretend play adventures.
Kids Diana Show Ultimate Mishmash (Liveaction, 45x22 min.) Join family vlog superstar Diana, aka the Princess of Play, and her brother Roma on their pretend play adventures.
LankyBox Ultimate Mishmash (Liveaction/gameplay, 60x22 min.) YouTube’s number one gamers, LankyBox is Justin and Adam, two best friends who love playing Roblox and making funny videos with sidekicks Foxy, Boxy and Rocky. Onyx Family Ultimate Mishmash (Live-action, 45x22 min.) Follow YouTube’s most popular AfricanAmerican family creators as they sing, try fun challenges and investigate mysterious occurrences.
Onyx Monster Mysteries (Animation, 8x22 min.)
The Onyx family comes to cartoon life in epic adventures to save monsters.
Kid City Ultimate Mishmash (Live-action, 30x22 min.) Play along with DadCity, MomCity, Lil’ Flash and Ava as they do challenges, DIY projects and play all sorts of kids’ games.
Beat the Channel (Game-show format, S1-6: 48x120 min.) Two popular TV presenters are given
the chance to win a 15-minute live broadcast slot where anything goes.
Stealing the Show! (Game-show format, S1-5: 29x180 min.) This format gives contestants the chance to literally steal the show.
Married at First Sight (Dating/reality format) Singles put their hearts in the hands of a team of experts to select their perfect partner.
Stranded on Honeymoon Island (Dating/reality format) Couples matched by experts are stranded on a deserted island.
Reality Backpackers (Reality format, 16x25 min.) Reality stars are sent back to basics.
Vienna Blood (Crime drama, S1-3: 3x90 min./6x45 min. each) A thrilling crime drama set in 1900s Vienna from screenwriter Steve Thompson. Forgiven (Drama, 4x60 min.) Based on Laura Manni nen’s best-selling novel Kaikki anteeksi, a series about love, domestic violence and shame.
66 North Precinct (Crime drama, S1: 8x60 min., S2: coming soon) Mixes crime and black humor with the trials and tribulations of family life.
The Laws of Man (Drama, S1: 8x60 min., S2: 8x60 min., S3: coming soon) Set in Helsinki’s courtrooms and law offices, explores cases involving family and marriage.
Those Who Stayed (Drama, 6x30 min.) Drama anthology inspired by true stories from Kyiv during the first weeks of the Russian invasion in February 2022.
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Badjelly (7-11/family 2D fantasy/adventure/comedy, 13x22 min.) The tale of Badjelly the Witch is a ripping yarn of two curious kids whose futures are in the balance after their beloved cow is cow-napped.
Red Rocks (Tween/teen live-action family drama, 8x24 min.) Twelve-year-old Jake is drawn into a world of mythical creatures and adventure when he finds a sealskin hidden on the rocky shores of his father’s seaside home in Wellington, New Zealand.
Boy & Dragon (Kids 2D comedy, S4: 23x2 min.)
In a boundless notebook world lives a brave young knight and his oafish pet dragon. Together, they go on bizarre adventures and wreak magical mayhem, all the while avoiding the wrath of the Evil Wizard.
Tata & Kuma (Kids 2D comedy, S2: 52x2.5 min.)
Follows the lives of genius inventor dog Tata and his laid-back, sock-loving cat friend, Kuma.
Fireman Sam (4-7 CG action/adventure, S16: 26x10 min.) Follow the adventures of the Pontypandy Rescue Team, who are now operating from their spectacular new Fire Station and Mobile Command Unit.
Polly Pocket (Kids 2D adventure, S6: 38x11 min./19x22 min. & 1x66 min.) Polly Pocket and
friends are traveling our world and dimensions beyond, from Brazil to Unicorn World to Skatesville.
Malory Towers (Kids/tween live-action adventure, S5: 20x22 min.) Darrell, Felicity and friends return to Malory Towers with more mischievous pranks and secret adventures and a new Matron keeping them in check.
Ruby and the Well (Family live-action drama, S4: 8x44 min.) After a trip to Ireland, where Ruby learned the legends of ancient wells, she is more determined than ever to protect a secret of her own.
Sonic Prime (Kids CG action/adventure, 22x30 min. & 1x60 min.) Sonic attacks Dr. Eggman and accidentally creates a Shatterverse of bizarre parallel worlds that will scatter into oblivion—unless Sonic saves the day.
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The Zweiflers (Drama, 6x45 min.) Family patriarch Symcha Zweifler wants to sell his delicatessen empire when suddenly he is confronted with his past in Frankfurt’s red-light district.
We’re On It, Comrades! (Drama, 8x45 min.)
Investigators David and Vojta from the Institute of Paranormal Phenomena tackle mysteries like alien abductions, spontaneous combustion and monster attacks in Czechoslovakia.
Suplex (Drama, 4x42 min.) A peaceful small town is shaken by the horrific murder of Liam, a young and promising wrestler. In a dark and twisted mystery, secrets are exposed and trust is scarce.
Clan—Choose Your Destiny (Junior live-action, 10x25 min.) Fifteen-year-old Francesco from Naples’ Vele dreams of a better life away from the
Camorra’s grip after meeting Maddaloni’s clan and the inspiring Ginevra.
Klincus (Junior animation, 26x22 min.) During Umghard’s centennial, Sir Graylock’s feast facilitates Klincus’s escape to find his parents.
Time: A Journey Through Thousands of Years
Surviving Summer (Junior live-action, 18x25 min.) Brooklyn teen Summer Torres is exiled Down Under to live with ambitious young surfer Ari Gibson and his family.
Time: A Journey Through Thousands of Years (Science/knowledge, 2x50 min.) We go beyond clocks and calendars and talk to global experts who connect the dots between past and present and jump through time with amazing effects to amaze and educate the audience.
Skydive Quiz (Ent./quiz show, 1x45 min./1x50 min./format) Six brave contestants face simple questions while plunging from a plane at 15,000 feet.
Wild Talk (Wildlife/nature, 5x50 min.) Delves into animal communication, uncovering their complex languages through cutting-edge research, technology and scientists’ efforts to understand creatures.
The Lost Women Spies (History/bio, 6x50 min.)
Vera Atkins was a key figure in the SOE, the British organization that sent undercover agents to Nazioccupied Europe. After the war, she embarked on a quest to find out what happened to her missing agents.
