ZDF Studios’ Markus Schäfer / Seven.One Studios International’s Tim Gerhartz Behind the Scenes of Soul Sucker / TV Formats Screenings Festival Recap
MARCH 2025
WORLD VIEW By Mansha Daswani.
UPFRONTS Spotlighting new content on the market.
ZDF STUDIOS’ MARKUS SCHÄFER The president and CEO of the German content powerhouse talks distribution trends.
SEVEN.ONE STUDIOS INTERNATIONAL’S TIM GERHARTZ A conversation on franchise management with the managing director of the ProSiebenSat.1-owned distribution and production business.
BEHIND THE SCENES OF SOUL SUCKER Dori Media’s new horror comedy was unveiled at MIP London.
THAT’S ENTERTAINMENT! A recap of the TV Formats Screenings Festival.
TRENDING ON The most-viewed clips on our video portals for the last 30 days.
THE DECISION-MAKERS ITV’s Darren Nartey, Nickelodeon’s Lynsey O’Callaghan and Amazon Kids+’s Monica Sharma talked programming strategies.
AHEAD OF THE CURVE WITH AMPERE Olivia Deane, research manager at Ampere Analysis, outlined the challenges and opportunities facing kids’ IP owners.
MATTEL’S JOSH SILVERMAN The executive VP and chief franchise officer at Mattel discussed the toy giant’s treasure trove of iconic brands.
THE ENGAGEMENT GAME Emily Horgan led this conversation with pocket.watch’s Beck Canote and Kedoo Entertainment’s Olivier Bernard.
SUPER RTL’S DOMINIQUE NEUDECKER The VP of kids and family at Super RTL’s TOGGO received the TV Kids Pioneer Award.
FEELING BOOKISH ZDF Studios’ Oliver Grundel, Dandelooo’s Emmanuèle Pétry, Hidden Pigeon Company’s Kristofer Updike and Lion Forge Entertainment’s Jeremy Colfer shared insights on adapting book IP.
9 STORY MEDIA GROUP’S VINCE COMMISSO The president and CEO of 9 Story Media Group discussed its transformative deal with Scholastic.
GAME TIME Dubit’s David Kleeman talked gaming extensions with Wind Sun Sky Entertainment’s Catherine Winder and DeAPlaneta Entertainment’s Jimena Tormo.
BOAT ROCKER’S JON RUTHERFORD The president of global rights, franchise and content strategy outlined the company’s approach to leveraging new technologies and platforms.
SHAW ROCKET FUND’S AGNES AUGUSTIN Insights on trends reshaping the Canadian kids’ content sector.
TOON INNOVATION Composition Media’s Carl Reed and Cheeky Little Media’s Patrick Egerton shared their thoughts on animation innovation.
CARL THE COLLECTOR ’S ZACHARIAH OHORA Carl the Collector is the first series for PBS KIDS in the U.S. that is centered on a neurodiverse character.
Publisher
Ricardo Seguin Guise
Editor-in-Chief
Mansha Daswani
Executive Editor
Kristin Brzoznowski
Senior Associate Editor
Jamie Stalcup
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
Ricardo Seguin Guise
President
Mansha Daswani
Associate Publisher
Kristin Brzoznowski VP, Content Strategy
PROGRAM LISTINGS Highlights from several distributors.
BY MANSHA DASWANI
The View from London
Whether you were shuttling back and forth between the IET and The Savoy or traipsing to the 40-odd events across London last month, it was indeed a busy week for the global media business in the British capital.
The London TV Screenings organizers hailed a record 850 buyers. RX said that the inaugural MIP London had more than 2,800 delegates from 80-plus countries, including 1,000 registered buyers. Attendance was largely from Europe, followed by North America, with significant delegations from Asia, LatAm, MENA and Turkey. Over 70 companies took meeting spaces, including country pavilions from Belgium, China, France, Korea and Spain.
“It exceeded expectations,” Lucy Smith, director of MIP London and MIPCOM Cannes, told me. “Our goal was always to bring in more of the international audience and more people from across the value chain to what has become such a busy week for content in London.”
Inside The Savoy and the IET, the first two and a half days of the event were certainly busy. As the London TV Screenings schedule picked up, however, the halls of the two venues started to feel a little empty as buyers headed off to the disparate events taking place across the city. As such, feedback from distributors inside MIP London has been mixed. The conference schedule, however, with sessions focused on the challenges of the business today and how companies are course-correcting, was overwhelmingly well-received.
“The streaming wars are over,” said Evan Shapiro in his opening remarks. “We are now in what I would call the Great Media War. The Great Media War is not necessarily between entities. It’s between mindsets. It’s between the models that we can’t seem to let go of and keep trying to re-create in this new user-centric era and the ones we have to build while we’re operating the businesses we have.”
GMA Network
Crocodile Whisperer Book 2 / My Husband’s Wife
GMA Network’s Crocodile Whisperer Book 2 continues to follow the hero Lolong. After using a mystical gem to save his wife, her memory is erased, and he must return the gem before three high tides to prevent disaster. It “blends action, heroism and Filipino mythology, appealing to fans of adventure and fantasy worldwide,” says Rochella Ann Salvador, assistant VP of the Worldwide Division. In My Husband’s Wife, Cristy is kidnapped and presumed dead. Her husband marries her close friend, and a battle ensues when Cristy escapes and returns home years later.
Crocodile Whisperer Book 2
“GMA Network’s drama series have strong global appeal due to their universal themes, high-stakes storytelling and emotionally driven narratives.”
—Rochella Ann Salvador
Just For Entertainment Distribution
About Antoine / Counter Offer / Pour toi Céline
ComediHa! Distribution rebranded to Amuz Distribution two years ago, and now, the company has undergone another transformation as Just For Entertainment Distribution. It has also broadened its range of offerings. Among its program highlights, there are two seasons of the dramedy
About Antoine, an uplifting story of love and family triumphing over limitations. It explores life with a poly-handicapped child with authenticity, humor and sensitivity. Further highlights include the comedy Counter Offer and Céline Dion tribute concert Pour toi Céline.
Onza Distribution
Traffic Jam / The Sleeping Nymph / The Color of Love
On offer from Onza Distribution, Traffic Jam takes place on a single night in the middle of a traffic jam, with a different story taking place in each car. The Sleeping Nymph , a sequel to Flowers Over the Inferno , continues to follow Inspector Teresa Battaglia as she investigates a new murder. In The Color of Love , “the story unfolds between Angola and Portugal, bringing together the best of both cultures,” says Erika Gómez, sales manager. It centers on two people who are at odds over an inheritance but still fall in love.
“At Onza, we are constantly working in the production area not only for the Spanish market but also for the international market.”
—Erika Gómez
ZDF Studios
Weiss & Morales / Top End Bub / Buyers Upfront
At Series Mania, ZDF Studios is hosting a showcase for Weiss & Morales . On March 26 at 12 p.m., attendees can join the main cast, Miguel Ángel Silvestre and Katia Fellin, alongside broadcasters RTVE and ZDF and co-producers ZDF Studios, Portocabo and Nadcon, as they present a first look at this police investigation series set amid the Canary Islands. There’s a showcase for Top End Bub on March 25 at 12:15 p.m. ZDF Studios’ The Puzzle Lady has been selected as one of ten finalists at the Series Mania Buyers Upfront, taking place March 24 at 2:20 p.m.
The Color of Love
Weiss & Morales
Markus Schäfer ZDF Studios
By Mansha Daswani
From rolling out a suite of FAST channels to driving innovative multi-country co-production models, ZDF Studios is deploying various strategies to navigate the realities of the post-streaming-wars content economy. As Markus Schäfer, president and CEO of ZDF Studios, tells World Screen, the landscape is still challenging, but there are signs of optimism for the remainder of 2025 and 2026. He tells World Screen about ZDF Studios’ approach to the marketplace today.
WS: How do you assess the state of the content distribution business at present?
SCHÄFER: We are still navigating a recessive market environment, primarily driven by an oversupply of completed productions and development projects initiated during the boom years leading up to 2024. These legacy projects need to cycle out of the market to create space for new content, which will likely be produced at a reduced pace as part of the ongoing market correction. At the same time, buyers are reassessing their spending habits and reevaluating the volume of content required to remain competitive. While 2024 was characterized by considerable ambiguity around budgets, there are signs of improvement in the distribution outlook as we move into 2025.
WS: We heard a lot about AVOD and FAST last year; what opportunities are you exploring in that space?
SCHÄFER: Both segments represent promising business models with significant growth potential, and we are actively involved in them. FAST has established itself as a surprisingly strong and viable new pillar of media consumption. We believe that AVOD will likely outperform it in the long run. We now have 16 FAST channels in different territories, and the offer continues to grow. Later this year, we will launch an H2O & Friends channel on
“There are signs of improvement in the distribution outlook as we move into 2025.”
Samsung in five territories. We take pride in our substantial position in this quickly growing market. However, when looking at more mature territories like the U.S., we need to be aware that this market might face saturation in the midterm. Nevertheless, we maintain a comprehensive, tiered distribution strategy and aim to remain active in all segments as long as they are consistent with and enhance our overall strategy.
WS: What trends are you seeing in licensing fees?
SCHÄFER: Due to market circumstances, linear customers want to spend less money on content and, at the same time, want more rights and holdbacks to protect themselves from the competition
from streamers, YouTube, FAST, etc. Taking the latter into account and given the general cost situation on the production side, fees should be increased. Thus, negotiations will be tough, but due to our long-standing relationships with our customers, we have always been able to find satisfying solutions for both sides. Overall, we anticipate linear revenues to remain more or less stable in the short term, but a longterm decline is likely as the market continues to shift toward nonlinear consumption. In the VOD sector, we expect significant growth in AVOD. In the SVOD sector, we think that the platforms have underspent recently and will have to make up for this. Thus, we also expect to see some growth.
WS: Are you seeing a rise in co-production opportunities?
SCHÄFER: Yes, it is a trend. Just think of initiatives like the European Alliance, New8 or Global Doc. We now have streamers working with broadcasters, sometimes in the same territory, as well as production hubs in the entertainment sector to share costs and new financing models through sponsorship. Co-production opportunities are a natural market response in times of shrinking budgets, as they allow investment risk to be mitigated. In the linear space, we expect an increased openness to co-productions as a practical solution. The same goes for streamers, which theoretically benefit from adding exclusive programming to their platforms. Co-productions could be a good fit for this
The ZDF Studios drama slate includes Top End Bub from Goalpost Pictures.
goal, providing innovative splits of rights, windows and costs.
However, many streamers are now focusing on “local for local” strategies, prioritizing hyper-local content. This approach poses a challenge for coproductions, as such projects require an organic link that unites different countries or cultures and ensures relevance to the local audiences of all co-production partners if they come from different territories. If local broadcasters and streamers enter co-production talks on local projects, the questions of exclusivity and windowing quickly become pivotal. But we have already seen and been involved in smart solutions when the co-production partners believe in co-opetition.
In summary, while the demand for co-productions will likely grow, identifying viable and relevant approaches for successful collaborations will become more complex.
WS: There was much talk about AI last year; what impact is it having on your business now, and how do you see it affecting your business in 2025?
SCHÄFER: We see AI primarily impacting production processes rather than fundamentally changing the end product. While mod els such as Sora promise the potential to create synthetic filmed entertainment, we do not yet see a significant disruption to the traditional business model. However, we must be aware of the exponential growth of AI’s capabilities; thus, there is a very strong need to stay in close touch with its development.
The horror series Hameln tells the story of the return of the famous Pied Piper.
Tim Gerhartz Seven.One Studios International
By Mansha Daswani
With the Davina McCall-fronted U.K. edition arriving on BBC
One this year, Stranded on Honeymoon Island has quickly become one of the buzziest options among the formats on offer from Seven.One Studios International. In the always-indemand dating category, the series hails from the same team behind Mar ried at First Sight, a megabrand that recently landed its own FAST channel in Australia. Mining franchise potential and tapping into new revenue opportunities are key priorities for Seven.One Studios International, Tim Gerhartz, managing director, tells World Screen.
WS: What’s your view of the distribution business today?
GERHARTZ: The market is experiencing a phase of consolidation, reflecting broader economic trends and shifting market dynamics. With the ongoing global uncertainty, broadcasters are becoming more selective and favoring high-quality, standout
WORLD SCREEN 3/25
projects over mid-level content. There is a growing demand for content that performs well across multiple platforms: successful formats like Married at First Sight offer compelling story telling and universal appeal that translates effectively across different markets and viewing habits. As the industry adapts, distributors and content creators must prioritize innovation and originality to stay competitive.
“Broadcasters are becoming more selective and favoring high-quality, standout projects over mid-level content.”
WS: What opportunities are you exploring in AVOD and FAST?
GERHARTZ: Players across the board aim to capitalize on the growing demand for free, ad-supported content while broadening reach to new audiences. 9Network acquired every existing season of every English-language version of Married at First Sight and committed to acquiring all further Englishspeaking seasons produced– with which they have launched a Married at First Sight FAST channel on 9Now. In the AVOD landscape, long-running, high-volume series such as Married at First Sight perform exceptionally well, offering a wealth of episodes that drive viewer engagement and maximize ad revenue opportunities. These big brand formats offer a strong foundation for building viewer loyalty and attracting consistent advertising interest.
Versions of Stranded on Honeymoon Island arrive in the U.K. and Australia, among other markets, this year.
WS: Given the slowdown in commissions, have you seen a pickup in acquisitions?
GERHARTZ: Definitely. Buyers are increasingly focused on cost-effective acquisitions of library content due to tighter budgets. Networks are more selective across all genres and business models, whether acquisitions or commissions. However, despite budget constraints, there’s still a willingness to invest when the right content aligns with their programming needs. High-quality, compelling content like Stranded on Honeymoon Island continues to attract substantial investment. We launched the format at the London TV Screenings 2023, and it remains a hot property, with three new commissions in late 2024, bringing the total number to nine. 2025 is set to be another blockbuster year with four new local versions of the format launching, including in the U.K. with BBC One, Australia with Seven Network, and Denmark and Swe den on Max. It’s the perfect example of buyers prioritizing value over volume. Strategic spending on the right content will always be a priority in the industry.
WS: What trends are you seeing in licensing fees?
GERHARTZ: As the market consolidates and shifts its focus to fewer, more exceptional shows, budgets are being directed toward those high-value titles—both big-brand formats and premium drama such as Vienna Blood, which recently launched its fourth season and has already traveled to over 100 territories internationally, 22 WORLD SCREEN 3/25
including the U.K., U.S. and France. This “premium for premium” approach reflects this strategy of investing in standout content that delivers strong audience engagement and long-term returns. In this evolving landscape, only the most compelling content will secure significant investment.
Seven.One Studios International’s premium doc slate includes If Pigs Could Talk.
WS: How do you see AI impacting your business?
GERHARTZ: There is significant interest in AI-focused content. We recently launched the premium documentary If Pigs Could Talk, which follows an in-depth scientific investigation using AI technology to decode pig communication. The film has generated considerable buzz, and we are excited about its international potential. Additionally, we are exploring how AI can enhance our internal operations, such as improving efficiencies in subtitling international content and other workflows.
WS: What’s your forecast for 2025?
GERHARTZ: As the market recalibrates and platforms refine their strategies, we can expect a steady resurgence of creativity and higher ambitions across the industry. The evolving landscape demands a more strategic, focused approach, but as platforms gain clarity on their long-term goals and audience demands, slowly but surely, we anticipate a renewed commitment to bold storytelling, innovative formats and high-quality production.
UDIEEN YO MOV AUDIEN Y
Soul Sucker Behind the Scenes of
By Mansha Daswani
Dori Media Group used MIP London to launch the new horror comedy Soul Sucker to the global market. Following a screening of the first episode—which received an effusive response for its sharp, blunt take on family trauma and motherly ties—Bat Hen Sabag, creator, writer and star, together with director Daphna Levin and script editor Aharon Keshales, took attendees behind the scenes in a conversation I had the great pleasure of moderating.
Soul Sucker was commissioned by HOT in Israel, with Dori Media handling worldwide sales. “It is inspired by my family, based on a true nightmare—the universal fear of every woman: that we will become our mothers,” Sabag quipped. “I come from a Romanian family with gypsy roots and a legacy of dominant, a little toxic, women.”
From left: Daphna Levin, Bat Hen Sabag, Aharon Keshales and Mansha Daswani.
Sabag, creator and star of the Dori Media hit Dumb, approached Keshales about the project about two years ago. “I’m attracted to horror,” Keshales said. “She said she wanted to do Twin Peaks in Ashkelon [a coastal town in Israel], and I said, That’s a great pitch! We started talking about ideas. I immediately fell in love with [Sabag’s character], a washed-up reality star. And then she told me
“I love challenging the audience. ”
—Bat Hen Sabag
about another character I fell in love with, the policewoman. We talked about making it with two investigations,” one involving a family curse and the other a potential murder.
On the tonal shifts in the show, Sabag said, “I love challenging the audience. I love to surprise; when you think it’s going one way, it goes another. I insisted this be a combination [of genres].”
Levin’s long list of credits includes the critically acclaimed In Treatment. “I thought the storyline was amazing,” she said on what attracted her to Soul Sucker. “And I know [Bat Hen] as an actress and as a writer, and I thought, She’s great. The cast here is such a delight because they are all so special to us.”
On the significance of the Ashkelon setting, Sabag referenced its importance to her life and added, “Every country has that stinky backyard that you don’t want to go back to. This is the last place you want to come back to. And this is the only place you have.”
Sabag is already at work on a second season of Soul Sucker.
That’s Entertainment!
Uplifting factual entertainment, scalable talent competitions and engaging game shows dominate the latest edition of the TV Formats Screenings Festival.
ABC Commercial is touting the strengths of its factual-entertainment lineup, led by the six-part Eat The Invaders. “Eat The Invaders is more than just ‘shock TV,’ ” says Karen Quinn, manager of content sales for the U.S., Canada and Latin America. “It tackles a critical environmental issue: invasive species. This format blends environmental awareness with captivating storytelling, a winning combination for today’s audiences.” Quinn also highlights I Was Actually There, which has been optioned in France, Canada and Israel; and Maggie Beer’s Big Mission, an award-winning format that “highlights the power of purpose-driven programming, setting a benchmark for entertainment with social impact.”
As MIPFormats convened in London for the first time, the event served as a key platform for new concept launches—with a bevy coming from Japan. TV Asahi arrived in the British capital with SONG vs DANCE, co-produced with Smart Dog Media in the U.S. “This new show will have performers
com pete in head-to-head battles in a video gameinspired format, leaving only one winner and answering the question: Which is better, song or dance?” says Megumi Shirokawa, co-director of the international business department at TV Asahi.
FOX Entertainment Global showcased a diverse lineup at its London TV Screenings event and sponsored the MIPFormats Pitch at MIP London. Among its key offerings is the brand-new Extracted , “a high-stakes survivalist competition series that redefines the genre,” says David Smyth, executive VP of content sales and partnerships. “With the worldwide appetite for innovative reality formats, this series brings an intense, strategic layer where family members play a pivotal role in their loved one’s fate. It’s a unique twist on survival that has already captured the attention of buyers looking for the next prime-time entertainment format.”
Family is also at the heart of ABC Commercial’s The Role of a Lifetime, albeit in a very different way. “Imagine parenthood with a user manual,” says Isabella DelGrande, sales executive of format sales, New Zealand, global transport and non-theatrics.
“It’s a relatable, groundbreaking series tackling modern parenting challenges like anxiety, burnout and social media.”
DelGrande also touts Muster Dogs, which has been optioned in the U.S. and the U.K.
Eat The Invaders
Muster Dogs
Trending On
The most-viewed clips on our video portals in the last month.
Extracted
In this survival competition, it’s not just the wild environment contestants must worry about—their families are in control of their fate from headquarters. (FOX Entertainment Global)
Role of a Lifetime
This series tackles modern parenting dilemmas with a twist. Australian comedians bring these challenges to life through witty, scripted sketches. (ABC Commercial)
Celebrity Fight Club
Two fun-loving celebrity friends each recruit 25 fans and compete in an epic entertainment showdown. (TV Asahi Corporation)
Hameln
Eight centuries after the insidious Pied Piper abducted 130 children from the German town of Hameln, he returns, seeking revenge. (ZDF Studios)
Behind the Scenes: Detective Conan
A rare look into the world of Gosho Aoyama, creator of the global hit manga series Detective Conan, also known as Case Closed. (NHK Enterprises)
TV Kids Festival 2025 Recap
UDIEEN YO MOV AUDIEN Y
CONTENTS
THE DECISION-MAKERS The fifth edition of the TV Kids Festival kicked off with our signature session on acquisition and programming strategies, this time delivering intel from ITV’s Darren Nartey, Nickelodeon’s Lynsey O’Callaghan and Amazon Kids+’s Monica Sharma.
AHEAD OF THE CURVE WITH AMPERE Olivia Deane, research manager at Ampere Analysis, outlined the challenges and opportunities facing kids’ IP owners with a deep dive into commissioning trends.
MATTEL’S JOSH SILVERMAN Josh Silverman, executive VP and chief franchise officer at Mattel, discussed the toy giant’s treasure trove of iconic brands and shared the latest developments at Mattel Television Studios.
THE ENGAGEMENT GAME Kids’ media expert Emily Horgan led this conversation on engagement and discovery with pocket.watch’s Beck Canote and Kedoo Entertainment’s Olivier Bernard.
TV KIDS
PIONEER AWARD: SUPER RTL’S DOMINIQUE NEUDECKER Dominique
Neudecker, VP of kids and family at Super RTL’s TOGGO, discussed her editorial strategy at the German kids’ network before receiving the TV Kids Pioneer Award in recognition of her contributions to the industry.
FEELING BOOKISH ZDF Studios’ Oliver Grundel, Dandelooo’s Emmanuèle Pétry, Hidden Pigeon Company’s Kristofer Updike and Lion Forge Entertainment’s Jeremy Colfer shared insights on adapting book IP.
9 STORY MEDIA GROUP’S VINCE COMMISSO Vince Commisso, president and CEO of 9 Story Media Group, discussed the way forward for the company now that it has closed its transformative deal with Scholastic.
GAME TIME Dubit’s David Kleeman moderated this session on the importance of gaming extensions with Wind Sun Sky Entertainment’s Catherine Winder and DeAPlaneta Entertainment’s Jimena Tormo.
BOAT ROCKER’S JON RUTHERFORD Jon Rutherford, president of global rights, franchise and content strategy at Boat Rocker Studios, outlined the company’s approach to leveraging new technologies and platforms.
SHAW ROCKET FUND’S AGNES AUGUSTIN As the president and CEO of the Shaw Rocket Fund, Agnes Augustin offered up insights on trends reshaping the Canadian kids’ content sector.
TOON INNOVATION From the game-changing developments presented by Unreal Engine to the impacts of AI, Composition Media’s Carl Reed and Cheeky Little Media’s Patrick Egerton shared their thoughts on animation innovation.
CARL THE COLLECTOR’S ZACHARIAH OHORA Carl the Collector, created by illustrator Zachariah OHora, is the first series for PBS KIDS in the U.S. that is centered on a neurodiverse character.
Ricardo Seguin Guise
Publisher
Mansha Daswani
Editor-in-Chief
Kristin Brzoznowski Executive Editor
Jamie Stalcup Senior Associate Editor
David Diehl Production & Design Director
Simon Weaver Online Director
Dana Mattison Sales & Marketing Director
Genovick Acevedo Sales & Marketing Manager
Ute Schwemmer Bookkeeper
Ricardo Seguin Guise President
Anna Carugati Executive VP
Mansha Daswani
Associate Publisher
Kristin Brzoznowski VP, Content Strategy TV Kids
©2025 WSN INC.
401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A.
Phone: (212) 924-7620
Website: www.tvkids.com
The TV KIDS SUMMER FESTIVAL is a four-day must-attend virtual event taking place a week prior to Annecy/Mifa.
Set to be held from June 3 to 6, 2025, the fifth edition of the TV KIDS SUMMER FESTIVAL will feature keynotes and panels with leading executives and creatives discussing the major trends in the children’s programming business. It will be streamed live and available on-demand for two months on TVKidsSummerFestival.com. For sponsorship opportunities, please contact Ricardo Guise at rguise@worldscreen.com, Dana Mattison at dmattison@worldscreen.com or Genovick Acevedo at gacevedo@worldscreen.com.
val
THE DECISIONMAKERS
The fifth edition of the TV Kids Festival kicked off with our signature session on acquisition and programming strategies, this time delivering intel from ITV’s Darren Nartey, Nickelodeon’s Lynsey O’Callaghan and Amazon Kids+’s Monica Sharma.
The difficulty that we’re all having to grapple with in our industry is the migration of kids from linear to YouTube, TikTok and a lot of those social media platforms. That was part of the reason why CITV closed. With ITVX, we found an opportunity to widen out what we were doing.”
—Darren Nartey
Older kids are transitioning to other platforms at a younger age, so we’re looking for how to find content that keeps [them] engaged. For preschoolers, we have a healthy mix of entertainment and edutainment, shows that nurture curiosity and learning . ” —Monica Sharma
We are open to flexibility and using strategies like holdbacks and windows where we can in certain territories to get things made. In certain territories, we are looking for wider pay and free rights. Paramount+ has added a level of looking for broader rights.” —Lynsey
O’Callaghan
AHEAD CURVE AMPERE OF THE WITH
Olivia Deane, research manager at Ampere Analysis, outlined the challenges and opportunities facing kids’ IP owners with a deep dive into commissioning trends.
Children are not a major motivating factor for consumers when deciding to subscribe to a service. However, they still play an important role in subscriber behavior. Households with children are not only more likely to have more viewing devices, but they also make up a large proportion of Netflix viewing activity. While children’s content isn’t enticing people to sign up, it is stopping them from leaving. While streamers are limiting their budget for new, original and exclusive children’s content, they are acquiring large volumes of existing children’s content. While Amazon, Netflix and Disney all commissioned a much lower volume of children’s content, the number of acquired children’s titles on their platforms all grew. Not unlike the early days of streaming, where acquisition was a focus over commissioning, the big studio names are at the forefront of content sales. This is where we will start to see revenue flowing back into the marketplace for children’s content. Most of the content is still sourced from independent producers.”
Mattel’s JOSH SILVERMAN
Josh Silverman, executive VP and chief franchise officer at Mattel, discussed the toy giant’s treasure trove of iconic brands and shared the latest developments at Mattel Television Studios.
We have our best-in-class global distribution partners across streaming and linear. We have an incredible team that focuses on YouTube and social content. Our goal is to create great content and make sure that we place it on platforms where people can experience it. We believe in theatrical, streaming, short-form and social content. G reat content is what we endeavor to develop. The distribution is robust, and it falls into that multiplatform approach…. Our content has to connect to our fans. We try to be thoughtful and strategic about how we develop and ultimately propel our franchise flywheel. We want to ensure that our shows deliver the creative and the heart that we put into them. In some cases, we want to superserve our superfans, so we develop something that connects to them. Sometimes, we want to create a whole new audience. We don’t reverse engineer content to sell products and toys. We create great content [with the] goal to engage our fans and extend those narratives.”
THE ENGAGEMENT GAME
Kids’ media expert Emily Horgan led this conversation on engagement and discovery with pocket.watch’s Beck Canote and Kedoo Entertainment’s Olivier Bernard.
[On Netflix], YouTube IP preschool dominates, and YouTube IP within preschool has a really strong footprint.” —Emily Horgan
Hulu, Disney+ and Peacock are such important places to be. That badge of quality gets you more in a mindset of marketing opportunities. You can’t 360 on your own. That stamp of authenticity and quality on YouTube content does still come at times from these traditional broadcasters and bigger names.” —Beck Canote
Each platform has its own silo. They have different audiences; therefore, you need to analyze the data of each platform and make sure that you’re actually answering for that audience. We don’t look at it in a global way. We’re focusing on each platform and the audience within the platform. You need to have an overview of what the market does and where it goes. On the weekly, daily and quarterly analysis, you need to understand what’s happening on each platform. ” —Olivier Bernard
TV Kids Pioneer Award: Super RTL’s DOMINIQUE NEUDECKER
Dominique Neudecker, VP of kids and family at Super RTL’s TOGGO, discussed her editorial strategy at the German kids’ network before receiving the TV Kids Pioneer Award in recognition of her contributions to the industry.
Next to linear TV, we invested heavily in building a proper kids’ web business to distribute our content via our digital platforms and apps, as well as the major third-party platforms. We launched a radio channel for kids and families. We travel through various German cities with our TOGGO Tour. We have a footprint in retail through our strong consumer-product business. Our motto is: Wherever the kids go, we are there with the TOGGO brand, being the number one go-to destination. We are the only German player to serve such a broad range of platforms. In the TV sector, we have been the market leader among kids aged 3 to 13 for many years, including in 2024, even though the German market is highly competitive with KiKA and competitors like Disney and Nickelodeon. In the digital space, we’ve also seen strong growth. TOGGO now represents RTL Deutschland’s unified children’s offering. It’s instantly recognizable. When parents see us, they immediately know it’s a safe digital space for their kids.”
FEELING BOOKISH
ZDF Studios’ Oliver Grundel, Dandelooo’s Emmanuèle Pétry, Hidden
Pigeon Company’s Kristofer Updike and Lion Forge Entertainment’s Jeremy Colfer shared insights on adapting book IP.
It all starts with a willingness to understand what made the original beloved and ensuring that the essence, themes and spirit of the source material are carefully preserved in the adaptation. Then you can start to make adjustments and update it.” —Oliver
Grundel
When you bring a book to broadcasters, they know immediately what you’re talking about. You can gain two or three years because you go straight into development. It’s valuable timing-wise.”
—Emmanuèle Pétry
We’re close to the creators. When you speak to them, you realize they’re limited by page count, by panels per page, all of that. There is a wealth of story and information that never made it onto the page.”
—Jeremy Colfer
I think we have another year or so of this kind of content being very much in demand. 2025 is a year of IP and brands.”—Kristofer Updike
9 Story Media Group’s VINCE COMMISSO
Vince Commisso, president and CEO of 9 Story Media Group, discussed the way forward for the company now that it has closed its transformative deal with Scholastic.
We see this broadly as a marriage between IP and capabilities. Scholastic Entertainment has great literarybased IP and development capabilities to turn that IP into TV and feature film content. 9 Story has tremendous capabilities in production and development, which are now combined under Scholastic Entertainment, and merchandising and licensing that we can bring to bear to control the IP more directly within the Scholastic family. We can extend high-quality IP into books, television, movies and YouTube and support that underlying IP and the relevant extensions. Breaking through takes work and distribution capacity—and no one has better distribution capacity for literature for kids than Scholastic. If we support that with YouTube and with the development of a TV show, you can build a robust content IP that the audience becomes aware of quickly. Once you distribute on those platforms, you can engage more fully, create more content and then extend in terms of your broader IP strategy.”
GAME TIME
Dubit’s David Kleeman moderated this session on the importance of gaming extensions with Wind Sun Sky Entertainment’s Catherine Winder and DeAPlaneta Entertainment’s Jimena Tormo.
We survey seven countries, and in virtually all of them, between a fifth and a quarter of kids’ time is spent on digital activities. Once, linear led the way and games were an ancillary way to engage. Now, a lot of IPs launch game-first, and there are a lot of models for show-to-game and game-to-show. Most children’s media companies see themselves as multiplatform franchise-builders. They’re all working to ensure that their content is aligned with young people and how they watch, engage and play.”
—David Kleeman
The gamification of content is something that fans, players and IP lovers are looking for. I think more games are going to become story worlds and more story worlds are going to become gamified. The merging of these gaming platforms and narrative storytelling is going to continue to deepen.” —Catherine Winder
Gaming spaces have become social spaces. Kids are not only playing but also hanging out, going to concerts and having more social experiences than ever.” —Jimena Tormo
Boat Rocke r ’s
JON RUTHERFORD
Jon Rutherford, president of global rights, franchise and content strategy at Boat Rocker Studios, outlined the company’s approach to leveraging new technologies and platforms.
We have a well-diversified portfolio. Within our kids’ and family slate, we do original IP and we’ve had long-running series that continue to do well for us, global sales across a vast catalog and service animation work. We’re looking at where there’s opportunity and not just following traditional ways of doing business…. We’ve always had a philosophy to look at different ways to greenlight production. Our development comes in so many different shapes and sizes from internal creatives and external partners in different countries. That allows us to think differently in terms of the opportunities that exist. We play a role in the financing of so many of the productions. Being rooted in Canada, we’ve always had to put financing together from multiple sources. It’s not just how we develop a great piece of property, but how we get it into production and to an audience.”
Shaw Rocket Fund’s AGNES AUGUSTIN
As the president and CEO of the Shaw Rocket Fund, Agnes Augustin off ered up insights on trends reshaping the Canadian kids’ content sector.
There was a commitment to children’s television when everyone decided children needed access to meaningful and important content for who they are as people and who they will be in the world. That got lost over the years. We had a robust children’s industry when the business made sense. When the business didn’t make sense, the children’s genre was not prioritized. We need to ensure that there’s a priority for children and that we take a look at the world they’re in today. We’re recommending that 20 percent of all spending on Canadian programming is for children’s content, regardless of platform. That is the number one answer. All the other things come under that. While kids are driving the content and generating it, they still need good narratives and direction. We know that kids need to be able to be given content to help shape their lives. It’s a commitment to children and then making sure that we have the financial resources to create great, strong, meaningful content.”
TOON INNOVATION
From the game-changing developments presented by Unreal Engine to the impacts of AI, Composition Media’s Carl Reed and Cheeky Little Media’s Patrick Egerton shared their thoughts on animation innovation.
We have three principles that we follow for integrating any tool, especially AI. Accelerated—if it’s not making us faster, why not just do it the old-fashioned way. Adaptable—we have to be in control. Artist- driven—we need to have these tools in the hands of our artists in order to not start from scratch. That’s how we decide which tools we use. [The tools are] speeding things up remarkably and affecting what an independent studio can do from a cost/time perspective.”
—Carl Reed
We are still taking a similar amount of time to make a show in Unreal as we were using a traditional pipeline. We’re not making shows at half the price. However, we are making shows at a higher level of production quality in the same time. You could argue it is probably more efficient and cheaper, but we’re still taking the same amount of time to turn a show out.”
—Patrick Egerton
Carl the Collecto r ’ s ZACHARIAH OHORA
Carl the Collector, created by illustrator Zachariah OHora, is the first series for PBS KIDS in the U.S. that is centered on a neurodiverse character.
[We set out to find] as many people on the spectrum and autistic people that we could put in all parts of the production, including the writers’ room. Why try to tell someone else’s story? We always encourage people to pull from their own childhood and their own experiences and come up with story premises, and then we build them out from there. If the character is autistic, the actor is also autistic. Kai [Barham] and Maddy [McIlwain], who voice Carl and Lotta, are both autistic. They were not professional voice actors before; they are now. It was important to get as many neurodiverse voices in all levels of the production. Our director, Lisa Whittick, has a grown son who is autistic. We have autistic people on the production, and we also have people who have close family members who are autistic or neurodiverse. That was a really important thing that we knew from the beginning that we needed to do.”
THE LEADING SOURCE FOR PROGRAM INFORMATION
IN THIS EDITION APC Kids
APC KIDS
O (33-1) 8508-7022
m lionel.marty@apckids.com w www.aboutpremiumcontent.com
Isadora Moon (Kids 2D, 52x11 min.) Isadora is a fairy vampire who doesn’t realize just how special she is. She might have a lot to learn about the human world.
Jade Armor (Kids CGI, 52x22 min.) Lan Jun suddenly becomes a legendary hero thrust into actionpacked adventures with the help of her friends and the mystical Beasticons.
Lana Longbeard
Lana Longbeard (Kids 2D, 52x11 min.) Lana, a fearless 12-year-old, sails the Ten Realms with her Viking dad’s diverse crew, chasing adventure while battling impulsiveness, curiosity and a love for pancakes.
High Hoops (Tween live-action comedy, 10x26 min.) Aoife moves to another town and joins a struggling basketball team.
Hawa & Adam (Tween live-action sci-fi, 13x24 min.) What if the world could only be saved by two teens who have never seen or met each other but communicate through a magic diary?
Angelo Rules (Kids CGI, S1: 78x7 min., S2-4: 52x13 min. each, S5: 46x11 min.) Thanks to his arsenal of clever planning, irreverent attitude,
rebellious nature and optimism, 11-year-old Angelo has a knack for getting out of trouble.
Nitso and the Very Hairy Alphabet (Preschool 2D, 26x7 min.) Nitso the little Yeti discovers the world of letters and languages with the young audience.
Stories from Backwoods (CGI comedy, 13x11 min.) Rooney, a city raccoon, has sniffed her way to Backwoods. There, she meets Hare, whose favorite thing to do is help people—kind of.
Walter’s Christmas: Keeper of the Forest (Family live-action fantasy/adventure, 24x26 min.)
Walter wants to prevent his family farm from being sold after holding one last Christmas market. When magical creatures from the forest show up, he realizes there is way more to save.
Zoe & Milo (6-9 2D, 52x7 min.) Zoe and Milo travel the world in a plane piloted by Alim, a knowledgeable hamster, meeting friends in diverse countries and learning about cultural differences.
CINEFLIX RIGHTS
O (44-20) 3179-5050
m sales@cineflix.com w www.cineflixrights.com
Series Mania: BS 05
Sunny Nights (Crime comedy, 8x60 min.) Two American spray tan entrepreneurs are dragged into Sydney’s underworld when a botched extortion attempt turns deadly.
Virdee (Crime thriller, 6x60 min.) Based on A.A. Dhand’s best-selling novels, a crime thriller following a Bradford-based detective with a chaotic personal life who must hunt down a serial killer.
Heart Attack (Thriller, 8x60 min.) In post-pandemic Japan, a Variant couple’s bond ignites a revolution,
but a hidden betrayal threatens their fight for freedom and survival.
Cape Carnage: Killer Catch (Fact-ent., 10x60 min.) Follows the Wildcard crew, handline fishers off the coast of northern Australia, as they race to reel in a million-dollar harvest worth every ounce of effort.
Sunny Nights
Help! We Bought A Village (Fact-ent., S1-3: 80x60 min.) Follows the supersized adventures of brave expats determined to breathe new life into Europe’s abandoned towns.
Vanished History (History, 10x60 min.) Uses an investigative approach to unlock some of the most enigmatic mysteries of all time.
Commando Missions (History, 4x60 min.) Featuring the firsthand accounts of those who were there, recounts World War II’s top-secret operations.
Crime Scene Investigators (True crime, 13x60 min.) A fresh take on true crime, where a homicide team meticulously pieces together a forensic puzzle to expose the killer.
Vikings: The Empire of the North Sea (History, 6x60 min.) An immersive journey that chronicles the epic rise and fall of history’s first and only Viking empire.
Alexander the Great (History, 3x60 min.) Retracing Alexander the Great’s destiny through the eyes of his lifelong friend, Hephaestion.
sitionedal iaiampcgnuon vidwith a dorlwedo@veacg Avic(edoveck dscorlwtison@tamd tison
GMA NETWORK
O (632) 8333-7633/34
m GWI@gmanetwork.com w gmaworldwide.tv
Crocodile Whisperer Book 2 (Action/drama, 53x45 min.) Lolong, a hero striving for equality, takes on the identity of Bangkil to protect his community. He embarks on a quest for the sacred gem Ubtao, which has healing powers.
My Husband’s Wife (Drama/romance, 66x45 min.)
A kidnapped wife returns after years of abduction but finds her husband remarried to her friend. A fierce battle unfolds as she tries to reclaim her family.
JUST FOR ENTERTAINMENT DISTRIBUTION
O (1-514) 405-3427
m info@jfedistribution.com w www.jfedistribution.com
Pour toi Céline (Concert, 1x47 min. & 1x64 min.)
Homage to Céline Dion. Artists include Isabelle Boulay, Corneille, Roch Voisine, Véronic DiCaire, Mario Pelchat, Bruno Pelletie, Camille Lellouche, Amir, Christophe Willem and more.
1995 (Movie, 1x119 min.) Ricardo Trogi, on the verge of quitting filmmaking, joins a competition
that reignites his passion and leads to self-discov ery during his travels.
Just For Laughs Gags (Variety/sketch, S1-25: 375x30 min.) There’s no dialogue but plenty of laughs when a crazy Quebec-based troupe uses the city as its stage and its inhabitants, or victims, as characters.
Abroad (Variety/sketch, S1-3: 26x30 min.) Unique sketch show blending humor, culture, unexpected adventures and unforgettable moments showcasing Filipino comedians in Canada.
About Antoine (Dramedy, S1-2: 20x30 min.) An uplifting story of love and family triumphing over limitations. Authenticity, sensitivity and humor explore life with a poly-handicapped child.
Just For Laughs Gags
Counter Offer (Comedy, S1-4: 48x30 min.) The family-run Levesque agency desperately tries to survive the highly unpredictable real estate industry.
Larry (Dramedy, 10x60 min.) Larry, a former undercover police officer with a tarnished reputation, is now a security guard with an injured wife.
LOL—ComediHa! (Comedy, 154x30 min.) Unique comedy series of non-verbal sketches where versatile characters evolve in different scenarios.
The Clan (Dramedy, S1-2: 12x60 min.) Follows Yannick Moreau, a repentant criminal who lives hidden under a new identity in witness protection.
Valmont (Drama, S1: 23x60 min., S2-5: 24x60 min. each) A woman—mother, eldest of five sisters
Crocodile Whisperer Book 2
and devoted heir to the family farm—has her world turned upside down when her husband dies.
ONZA DISTRIBUTION
O (34-915) 620-671
m onza@onzadistribution.com w onzadistribution.com
Series Mania: Audiovisual from Spain
Traffic Jam (Comedy, S1-2: 6x25 min. each) As evening falls, a massive traffic jam disrupts the plans of thousands of drivers, leading to funny, crazy and emotional conflicts.
Mamen Mayo: At Her Will (Comedy, 8x30 min.)
Mamen Mayo, a brilliant probate attorney, resolves family conflicts over inheritances. Balancing humor and heart, the series explores reconciliation amid secrets and rivalries.
The Color of Love (Telenovela/drama, 120x50 min.) Eva inherits a wealthy estate in Angola, clashing with Talu, the rightful heir. As they fall in love, inheritance secrets and betrayal threaten their relationship.
The Sleeping Nymph (Crime/thriller, 6x50 min.)
Sequel to Flowers Over the Inferno . Criminologist
Teresa Battaglia investigates a cold case, uncovering macabre murders linked to “The Sleeping Nymph,” a painting made with a woman’s blood.
Cacao (Telenovela/drama/romance, 139x50 min.) Cacao finds out her real father is the owner of a wealthy farm, and she is his heir. Her beloved Tiago will protect her from her enemies.
Heart Keeper (Telenovela/drama, 120x50 min.)
Mariana returns home to protect her ailing mother, facing a manipulative foe, a rekindled love and buried secrets that threaten her family and future.
Heartless (Thriller, 8x45 min.) Criminal Haro is targeted by a most-wanted serial killer. He
offers help to the judge he seeks revenge on for imprisoning him.
Forever (Telenovela/drama, 205x50 min.)
Pedro’s life has always been shrouded in mystery. The investigation of his past leads him back to his hometown, only to find out that his first love is engaged to his biological brother.
Eighteen (YA drama, 6x30 min.) Cèlia and Moha fall in love despite class, race and migration struggles, but her troubled past threatens their relationship as they work toward a better future.
The Daughter (Drama, 6x50 min.) Inspired by true events, revolves around the legal and emotional battle between adoptive and biological parents, both fighting for custody of Maria Júlia.
ORF-ENTERPRISE
O (43-1) 87878-13030
m contentsales@orf.at w contentsales.orf.at
School of Champions (Drama, 16x45 min.) At Austria’s elite ski academy, freshmen navigate competition, love and loyalty while facing the challenges of downhill skiing and a manipulative coach in season two.
Glambitious (Comedy, 20x45 min.) As the world of two careful girls collides with the world of two
Heart Keeper
UDIEEN YO MOV AUDIEN Y
sitionedal iaiampcgnuon vidwith a
dscorlwtison@tamd tison MDan(taa
dorlwedo@veacg Avic(edoveck
erdscorlwise@ugrGudoaricR(ise e advvideo book a o ttusactonC Mnemvo s. ur ) omeen.crdsc ) omeen.crc ) t:tisemener ent!
rich troublemakers, chaos erupts and reveals unexpected twists and turns.
The Curious Cases of Gerti B. (Crime/comedy, 6x45 min.) Gerti Bruckner, a seasoned detective overlooked for promotion in favor of a younger colleague, continues to solve cases with her experience and wit.
School of Champions
Fast Forward (Crime, 78x45 min. & 4x90 min.)
Angelica Fast is a successful investigator in Vienna’s criminal investigation department. In season eight, she faces personal turmoil as she questions her identity and desires.
Days That Never Were (Drama, 8x48 min.) Four lifelong friends face personal struggles and secrets, but their bond is tested when a murder investigation disrupts their lives and trust.
Soko Linz (Crime, 47x45 min.) The “Soko Linz” team operates in Austria, Germany and the Czech Republic, solving cross-border crimes with skill and charm.
Above and Beyond—The First Female Aviators (History, 1x52 min./90 min.) Universum Histo ry explores the stories of some of the women whose creativity, perseverance and death-defying achievements shaped the earliest days of the human conquest of the skies.
Mothers of the Minotaur—Rise, Reign and Ruin of the Minoans (History, 1x52 min.) The Minoans of Bronze Age Crete have remained
mysterious, but recent scientific research uncovers new insights into this advanced, possibly female-centric civilization.
The Imperial Crown—Myth, Mystery and Majesty (History, 1x52 min.) The Reichskrone, a symbol of power in the Holy Roman Empire, remains mysterious. Scientists across Europe seek its origins, exploring 1,000 years of history.
Saalbach-Hinterglemm—Where Nature Comes Out On Top (Wildlife/nature, 1x52 min.) Saalbach-Hinterglemm, host of the 2025 Alpine World Ski Championships, is pioneering ways to balance human activity with wildlife conservation, benefiting various local species.
PBS DISTRIBUTION w pbsinternational.org
The American Revolution: A Film by Ken Burns, Sarah Botstein & David Schmidt (History, 6x120 min.) Explores America’s founding, highlighting key figures and ordinary people in the struggle for independence and the nation’s birth.
Women of World War II: The Untold Stories (History, 1x60 min.) Discover WWII’s hidden history through firsthand accounts of women codebreakers, pilots and builders who shaped victory and inspired future generations. Featuring exclusive interviews.
Building Stuff (Science, 3x60 min.) Engineering shapes our world. Watch creative experts design, build and test innovations that enhance our abilities and environment, inspiring the maker in all of us.
What are UFOs? (Science, 1x60 min.) UFOs, once ignored by scientists, are now under investigation. Some are drones or weather phenomena, but others remain unexplained. Experts explore the truth using cutting-edge technology.
World’s Greatest: Myths and Mysteries (Arts/culture, 3x60 min.) Explores legends, ancient wonders and unexplained phenomena, uncovering the history, science and folklore of iconic sites like Stonehenge and Pompeii.
Great Migrations: A People on the Move (History, 4x60 min.) Explores African American migration over the 20th and 21st centuries, examining its impact, motivations and the idea of a promised land.
We Want the Funk! The History of Funk Music (History, 1x120 min.) Explores funk’s evolution from African, soul and jazz roots to its impact on new wave and hip-hop, featuring James Brown, ParliamentFunkadelic, Labelle and Fela Kuti.
The (M) Factor: Shredding the Silence on Menopause (Current affairs, 1x60 min.) Exposes the menopause crisis, challenges societal and medical failings and advocates for a revolutionary approach to women’s midlife health.
Trump’s Comeback (Current affairs, 2x60 min.)
FRONTLINE traces Donald Trump’s return to the presidency, overcoming unprecedented obstacles and opposition.
Torn: The Israel-Palestine Poster War on NYC Streets (Current affairs, 1x60 min./1x90 min.) Explores NYC’s “KIDNAPPED” poster battle, where pro-Israel and pro-Palestine activists clashed over Hamas’s October 7 hostages.
RIVE GAUCHE TELEVISION
O (1-818) 784-9912
m info@rgitv.com w rivegauchetelevision.com
Firefighting From The Sky—Where It All Began (Factual, 3x60 min.) Discover the origin of aerial firefighting, from vintage planes to modern heroes. This series follows the restoration of iconic planes and the brave teams fighting wildfires.
In Their Own Words (Bio., 6x60 min.) Documentary series exploring transformative figures like Jim my Carter, Elon Musk and Pope Francis, delving into their remarkable lives and minds through intimate stories and interviews.
Wild Odyssey (Wildlife/ecology, 3x30 min.)
Follow the flow of water across the Australian continent in an epic adventure across unique landscapes uncovering connections linking all creatures and humans on Earth.
The Case Against Cosby (Doc., 2x60 min.)
Access-driven special following the harrowing journey for justice driven by the only survivor whose case could be tried in a court of law: Andrea Constand.
Very Scary People (True crime, 60x60 min.)
Trace the twisted lives of some of the most frightening, diabolical characters, their crimes and evil deeds and how they were ultimately caught.
We Want the Funk! The History of Funk Music
Wild Odyssey
UDIEEN YO MOV AUDIEN Y
My Strange Addiction: Still Addicted! (Factual, 6x60 min.) Return to the compelling stories of people who are battling obsessive behaviors. Follow addicts as they reveal their strange addictions and meet with psychological experts.
Homicide Hunter (True crime, 142x60 min.) Lieutenant Joe Kenda and his Colorado Springs crimefighting team have a 92 percent solve rate. Trace of Evil (True crime, 78x60 min.) Explore and reconstruct intriguing criminal cases where technology changed the course of the investigations and brought the guilty to justice.
Evil Twins (True crime, 30x60 min.) Everyone is fascinated by twins—especially if they are evil. Follow real-life cases of evil siblings. Shocking stories of twins on the edge.
SERIOUS KIDS
O (44-20) 8771-7310
m leila.o@seriouskids.com w www.seriouskids.com
The Unreal (Live-action, 4x26 min.) Kevin is stuck in a boring holiday park with his family when he discovers a videotape from an obscure 1980s TV show. When he plays the video, he accidentally unleashes a strange creature known as the Pooka into the world. Happy Town (Preschool animation, 50x7 min.) In Happy Town, where everyone is happy and the “Happy Town” sign shines brightly, it only takes one person to feel unhappy and the sign fizzes out. This is where Pep the Hedgehog and his best friend Tabitha leap into action.
Style It Out (Live-action, 11x26 min.) A competition series in which nine young fashion designers (aged 10-14) compete to show their own collection at London Fashion Week.
Team Nuggets (Preschool animation, 52x7 min.)
Fast-paced primary school comedy starring an ambitious young chicken, Karla, and a band of volatile and diverse classmates.
Treehouse (Preschool live-action, 30x7/12 min.)
A celebration of nature, following as Squiggle and his friends navigate the world around them, exploring themes of kindness, inclusion and empathy.
The Sound Collector (Stop-frame/live-action, 60x5 min.) Short stories about sound, as heard through the ears of the Sound Collector, who has a passion for sound despite the fact that he is very hard of hearing.
Messy Goes to Okido (Animation, 104x11 min.)
Inquisitive and lovable monster Messy brings science to life as he adventures with his best friends Zoe and Felix through the colorful world of Okido.
Girls of Olympus (Animation, 26x24 min.) Three high school girls discover their true identities as reincarnations of Athena, Aphrodite and Artemis.
Tik Tak (Preschool live-action/animation, 104x5 min.) The use of non-verbal, non-narrative imagery, music and games focuses on colors, shapes, objects, animals and the context surrounding them. Operation Ouch! (Fact-ent., 175x26 min. & 30x15 min.) Helps kids combat their fears of hospitals by showing them how amazing the human body is at fixing itself.
The Unreal
ZDF STUDIOS
O (49) 6131-991-0
m info@zdf-studios.com w www.zdf-studios.com
Series Mania: Business Lounge
Weiss & Morales (Crime/suspense, 4x90 min./8x45 min.) BKA agent Nina Weiss visits her mother on the Canary Islands to investigate a German citizen’s death, working alongside Raúl Morales, the Civil Guard sergeant in charge.
Top End Bub (Romance drama, 8x30 min.) Lauren, a city lawyer, and her chef husband return to her tropical hometown in this comedy about keeping your marriage romantic while juggling family obligations and finding your place in a tight-knit community.
Hameln (Crime/suspense, 6x45 min.) Eight centuries after the Pied Piper abducted 130 children from the German town of Hameln, he returns, seeking revenge.
Ancient Apocalypse (History, S3: 3x50 min.)
Using expert insights, archaeological evidence and historical records, this series reveals the hidden fragility of even the mightiest civilizations and the unexpected forces that destroyed them.
Dino Birds (Science, 2x50 min.) CGI effects bring extinct birds and dinosaurs back to life while experts explore their plumage, colors, birdsong and wings.
Iconic Islands of the Indian Ocean (Wildlife/nature, 3x50 min.) Explores the Maldives, Seychelles, Mauritius and La Réunion’s fragile nature using drone and underwater technology. It features rare animals and coral reefs, while also addressing the threat of refuse washing up on beaches, dying coral reefs and mangroves and the protected Coco del Mar double coconut.
Magic Moves (Docutainment, 4x45 min.) Ten children with hemiparesis spend two weeks at a magic camp with the Ehrlich Brothers and a team of doctors, researchers and therapists. At the end of the camp, the kids demonstrate their newfound skills to their friends and family.
Clan—Choose Your Destiny (Junior live-action, 10x25 min.) Fifteen-year-old Francesco, born in Scampia and raised in Vele on the outskirts of Naples, has a fugitive father, a brother nicknamed Ninja and his family is affiliated with the Camorra, which educates him following its rules.
Labyrinth of Lies (Animation, 9x22 min.) In 1985, 12-year-old Paul is living in East Berlin with his grandmother and uncle after his parents were caught fleeing to the West and sent to prison. He makes friends with the new girl in class, Millie.
Top End Bub
Theodosia (Junior live-action, 52x26 min.) It’s 1905. Theodosia Throckmorton is the daughter of two Egyptologists, excavating in the Valley of the Kings. When Theo and her younger brother stumble on a hidden tomb and a mysterious artifact, she unlocks the power to see and perform true magic.
Klincus (Animation, 26x22 min.) Klincus flees Umghard to find his parents, believing they are alive. In Frondosa, he sees a balance between industrialization and nature. Perhaps this was what his parents sought?
