World Screen MIP London and TV Screenings Edition - February 2025 by World Screen

Celebrating

our 40th Anniversary

FEBRUARY

2025 EDITION

DE PARTMENTS

WORLD VIEW

By Mansha Daswani.

UPFRONTS

New content on the market.

FACTS OF LIFE

A recap of our recent TV Real Screenings Festival.

TRENDING ON

SPECIAL REPORT LONDON CALLING

Distribution executives talk expanding revenue opportunities, the role of AI and adjusting to a world post-peak TV.

IN THE NEWS

BBC STUDIOS’ JANET BROWN

As president of global content sales, Janet Brown leads a unified distri bution team at the British content powerhouse.

MARKET TRENDS

NIGHT TRAIN MEDIA’S HERBERT L. KLOIBER

Five years since setting up Night Train Media, Herbert L. Kloiber shares the company’s journey so far and strategy ahead.

SPOTLIGHT

BOAT ROCKER’S JON RUTHERFORD

A conversation with the company’s president of global rights, franchise and content strategy.

BEHIND THE SCENES

THE AMERICAS’ MIKE GUNTON

BBC Studios Natural History Unit’s creative director of factual shares insights into the making of the ambitious The Americas

ONE-ON-ONE

NHK’S NOBUO INABA

As Japan marks 100 years of broadcasting, the president of the country’s public broadcaster discusses how it is evolving with the times and ramp ing up its international content activities.

THIS TARGETED MAGAZINE APPEARS BOTH INSIDE WORLD SCREEN AND AS A SEPARATE PUBLICATION:

TV KIDS

SUPER RTL’S DOMINIQUE NEUDECKER WHAT’S NEXT?

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

Anna Carugati

Executive VP

Mansha Daswani

Associate Publisher

Kristin Brzoznowski VP, Content Strategy

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VICKY MCCLURE

MICHAEL WEATHERLY & COTE DE PABLO

Vicky McClure

Barley Nimmo

BY MANSHA DASWANI

A Time for Transformation

Countries across Asia ushered in the Year of the Snake with lavish celebrations this month; according to the Chinese zodiac system, this is a time of rebirth, renewal and transformation—all things the global content industry seems to need right now.

Omdia’s Tony Gunnarsson has described 2024 as a year of “reassessment.” And everything was reassessed, from content spending to business models, sources of talent—and whether the city of Cannes needed two international television gatherings a year.

In pulling together our inaugural London TV Screenings and MIP London issue, we set out to hear from content producers and distributors about how they are making sense of what has been a turbulent few years for the global media business post-Covid. While remaining pragmatic, the executives we spoke to across the board—even in the battered kids’ sector—are feeling hopeful that 2025 brings the potential for new models, ways of making content and engaging with audiences— some of whom are spending a lot of their time outside of the traditional video ecosystem.

AVOD and FAST emerged as bright spots in our conversations, even though FAST growth has slowed. The jury is still out on what AI means for us—preferably that it doesn’t put everyone out of business—but its potential to make production processes easier and, crucially, less expensive came up in several of our interviews, including with Night Train Media’s Herbert L. Kloiber and Boat Rocker’s Jon Rutherford.

social video has done to the traditional kids’ television ecosystem; its full impact on the content business is still to come. Hub Entertainment Research recently found that among the 13-to-24 set, 21 percent of screentime is on non-premium video (TikTok, YouTube, etc.), with just 16 percent on traditional TV shows. “The next generation of TV consumers recognize the difference between ‘premium’ and ‘non-premium’ content,” said Jon Giegengack, Hub’s founder and co-author of the study. “They just don’t see premium as inherently ‘better.’ Either one is a legitimate way to spend the time you have available to watch TV.”

2025 brings the potential for new models, ways of making content and engaging with audiences.

“We are having discussions around how we’re using it, where we’re using it, where we’re not using it and how to make sure that if we do use it in a valuable way, we can pass that on to the buyers,” Janet Brown, BBC Studios’ recently installed president of global content sales, told me.

Staying ahead of the technological curve was a key theme of our Q&A with Nobuo Inaba, the president of Japan’s public broadcaster NHK, which has a range of initiatives this year to mark the 100th anniversary of broadcasting in the country. The innovations highlighted by Inaba include the ﬁlming techniques used in Deep Ocean: The Kingdom of the Coelacanth, which captured some never-before-seen behavior of the ancient ﬁsh. We also heard from BBC Studios Natural History Unit’s Mike Gunton about the drones that enabled his team to deliver up-close footage of animals in NBC’s The Americas series.

This edition also surveyed producer-distributors of varying sizes to understand how they’re preparing for the year ahead and navigating this time of transformation. Smarter solutions, data-driven decision-making and ﬂexibility were recurring themes. The pace of change will only get faster. We’ve already seen what

Contending with the creator economy is one of the MIP London conference themes, alongside a spotlight on Asian creativity. I was in Singapore for the Asia TV Forum in December and was inspired by some innovative models used there for short-form dramas and branded entertainment. In all the headlines about global SVOD scale-backs, it’s often forgotten that Asia’s streaming economy is still growing. Video industry revenues in the region will rise from $145 billion in 2024 to more than $165 billion by 2029, according to Media Partners Asia, with streaming set to overtake television in 2027. Markets across Asia are on a very different trajectory regarding the shifts happening in the business. The region is slightly behind in the transition to streaming—pay TV is expected to be a healthy business across the region into the 2030s, according to Omdia’s Gunnarsson—but, in some places, well ahead on social video engagement and new content models.

“As the world is becoming so polarized and divided, it is becoming more and more difficult for one country or region alone to solve problems,” Inaba said in our interview with him. And the content industry does need to deal with its social video conundrum, for the viability of the sector and, as Channel 4 chief Alex Mahon articulated recently, for the good of society.

“The way Gen Zers get their information is creating immense issues for them,” Mahon said at a Channel 4 and Royal Television Society event. “The combination of extended plasticity of views and the personalized information ﬂow has had profound effects…. Gen Z faces growing uncertainty in who and what to trust.”

Mahon said it’s incumbent upon trusted media organizations to respond. “[Ask] yourself what you can do to keep us together with them in one cohesive, shared society. If not us, who? If not now, when?”

Albatross World Sales

A Year Among Wolves / Liberation Diaries / Amnesia—When the Brain Suddenly Goes on Strike

Albatross World Sales is heading to MIP London with A Year Among Wolves, providing a window into the lives of a wolf pack. “Through the eyes of a painter and photographer who spent a year immersed in their world, the documentary presents stunning visuals and a profoundly moving narrative,” says Anne Olzmann, managing director. “A must-watch for nature lovers and wildlife enthusiasts, it’s a breathtaking exploration of the untamed wilderness.” The slate also features Liberation Diaries, exploring Europe’s post-WWII transition through the diaries of three women from Milan, Paris and Berlin. Amnesia—When the Brain Suddenly Goes on Strike, meanwhile, blends personal storytelling with scientiﬁc exploration and is narrated by a neurologist who experienced transient global amnesia.

Artist View Entertainment

Catch the Wind / A Murder Between Friends / The Neon Highway

Starring Colin O’Donoghue, Jim Belushi, Anna Popplewell, Archie Panjabi and Miranda Raison, Catch the Wind leads off Artist View Entertainment’s MIP London highlights. The movie follows as a traveling Irish comedian and New York City barmaid ﬁnd love amid the urban chaos and must choose to either embrace life or succumb to despair. A Murder Between Friends follows a group on a weekend getaway at a grand castle owned by a legendary TV detective, played by Joan Collins, but one of the guests is murdered. The Neon Highway, starring Beau Bridges, Rob Mayes and Sam Hennings, is about a singer-songwriter who crosses paths with a former country music legend whose glory days are behind him. “Each title showcases exceptional production values, top-tier direction and outstanding performances,” says Scott J. Jones, president.

Eccho Rights

Safe Harbor / I Am Mother / Beneath the Surface

Eccho Rights is bringing a slate of U.K., European and Turkish drama to buyers during the London TV Screenings week. On the European and English-language side, the company is continuing its campaign for Safe Harbor, which buyers first glimpsed at MIPCOM. The international cast includes Alfie Allen and Jack Gleeson, both known for their roles in Game of Thrones. From Turkey, I Am Mother has already been a strong performer in the international market, and Eccho Rights is eyeing further potential for the drama in Western Europe. Also from Turkey, the drama Beneath the Surface is available in a 10x45-minute format, which the company believes makes it an attractive proposition, particularly for streamers and broadcasters looking to test Turkish series for the first time.

“These programs captivate international audiences with their compelling storytelling, fresh perspectives and themes that transcend cultural boundaries.”

—Anne Olzmann

“Our 2025 slate kicks off with a well-balanced mix of thriller, drama and adventure.”

—Scott J. Jones

I Am Mother

Catch the Wind

A Year Among Wolves

Electric Entertainment

The Librarians: The Next Chapter / The Ark / One Big Happy Family

Electric Entertainment’s The Librarians: The Next Chapter serves as a spin-off to The Librarians and centers on a Librarian stuck in the present who inadvertently releases magic across the continent. The Ark takes place on a spacecraft where a catastrophic event causes mass destruction and the remaining crew members must fight to survive. The film One Big Happy Family, starring Linda Lavin (No Good Deed) and Lisa Brenner (Say My Name), follows as a woman goes on a journey of self-discovery alongside her Jewish mother. “Both of these series and the film have diverse casts and plot lines,” says Sonia Mehandjiyska, head of international distribution. “We always provide high production val ue and believe that our programs and films help give viewers a brief reprieve from their everyday lives.”

FilmRise

The Next Chapter

“We are eager to experience this new market and see what exciting developments the industry has to offer.”

—Sonia Mehandjiyska

Forensic Files / Beyond Belief: Fact or Fiction (X-Factor) / Z Nation

FilmRise is showcasing the long-running true-crime documentary series Forensic Files, in which evidence and interviews with experts help solve real crimes, disease outbreaks and accidents worldwide. “Forensic Files is a total hit, with its compelling true-crime stories and easy-to-binge format, making it perfect for viewers everywhere,” says Melissa Wohl, executive VP of global distribution partnerships and sales. Beyond Belief: Fact or Fiction (X-Factor) features supernatural mysteries and lets the audience decide what is fact or ﬁction. “Its global cult following can’t get enough,” Wohl says. The scripted sci-ﬁ series Z Nation follows a group of survivors in the wake of a zombie apocalypse. “Z Nation is a zombie lover’s dream, keeping horror fans around the world hooked and coming back for more,” says Wohl.

FOX Entertainment Global

Going Dutch / Extracted / Yellowstone to Yosemite with Kevin Costner

The FOX Entertainment Global slate features Going Dutch, a Denis Leary-led comedy that takes place on a U.S. Army base in the Netherlands. A new survivalist competition series is on offer, with Extracted seeing families play pivotal roles in their relatives’ fates. “What sets it apart is the emotional component—family members controlling the fate of their loved ones—bringing an unpredictable and dramatic twist,” says David Smyth, executive VP of content sales and partnerships. Yellowstone to Yosemite with Kevin Costner sees the actor retrace President Theodore Roosevelt and John Muir’s journey that culminated in a more structured U.S. National Park System. “This limited series combines stunning cinematography, rich history and Costner’s unmistakable passion for the American wilderness,” Smyth notes.

“We want to collaborate even more with content rightsholders who are eager to harness our extensive digital reach to maximize revenue in U.S. and international markets.”

“FOX Entertainment Global remains focused on delivering diverse, high-quality programming with universal appeal.”

—David Smyth

Yellowstone to Yosemite with Kevin Costner

Z Nation

The Librarians:

—Melissa Wohl

Inter Medya

Heartstrings / Valley of Hearts / Deception

On offer from Inter Medya, Heartstrings centers on hardworking mother Mahinur, who discovers that Bade, the beloved little girl she was raising, is not her biological child. Her actual biological daughter, Derin, has been raised by her millionaire boss. Bade’s illness forces the families to unite. In Valley of Hearts , grown twins Nuh and Melek discover that the mother who abandoned them as newborns is married to a prominent, wealthy ﬁgure, and they seek to confront her. Deception, meanwhile, follows a family court judge whose seemingly perfect life is far from it. Her entire family has been lying to her—her husband has a secret second family, her daughter has decided to move to the U.S., and her son is in deep trouble after losing money entrusted to him.

Leading Distribution Partners

Christmas with the Singhs / Hanukkah on the Rocks / The Girl Locked Upstairs: The Tanya Kach Story

Two Hallmark holiday titles, Christmas with the Singhs and Hanukkah on the Rocks, and a Lifetime thriller, The Girl Locked Upstairs: The Tanya Kach Story, lead off the slate from Leading Distribution Partners. “Christmas with the Singhs and Hanukkah on the Rocks are both wonderful holiday romance movies, with unique, fun and original perspectives that highlight how, regardless of how different we are, celebrating the holidays is universal,” says Gavin Reardon, president of global distribution. Meanwhile, Reardon calls The Girl Locked Upstairs: The Tanya Kach Story “a terrifying true story about one girl’s desperate ordeal.” He adds, “It was the number one ﬁlm on Hulu the month of January.” Ultimately, Leading Distribution Partners plans to deliver eight to ten titles across all TV-movies genres every year.

NBCUniversal Global TV Distribution

All Her Fault / Devil in Disguise: John Wayne Gacy / Suits LA

At the London TV Screenings, NBCUniversal Global TV Distribution has a bevy of titles to showcase, including the dramas All Her Fault, Devil in Disguise: John Wayne Gacy, Suits LA and Grosse Pointe Garden Society. All Her Fault, starring Succession’s Sarah Snook, is based on the novel of the same name by Andrea Mara. Devil in Disguise: John Wayne Gacy is a scripted drama inspired by the 2021 Peacock docuseries produced by NBC News Studios. “Exploring the grief, guilt and trauma of the victims’ families and friends, buyers will not want to miss out on this compelling series that exposes the systemic failures, missed opportunities and societal prejudices that fueled his reign of terror,” says Michael Bonner, president. Suits LA comes from the producers behind Suits, which continues to be a global success.

“We couldn’t be more excited to bring our premium content to this year’s London TV Screenings.”

—Michael Bonner

“Over the past year, Leading Distribution Partners has seen remarkable growth in the global market, successfully bringing our TV movies to new audiences across continents.”

Hanukkah on the Rocks

—Gavin Reardon

All Her Fault

NHK Enterprises

Revisiting Grandpa’s War / Decoding the Chinese Document Leaks / Behind the Scenes: Detective Conan

NHK Enterprises has factual program highlights that commemorate the 80th anniversary of the end of WWII, including Revisiting Grandpa’s War. The title looks into one U.S. photographer’s experience of WWII, with exclusive use of his photos taken during and after the war. “We look back to that war 80 years ago through the compelling personal stories that have yet to receive focus,” says Akiko Nakano, senior sales manager. “The big topics may have been covered extensively during the intervening decades, but it seems that compelling personal stories are relevant today when we look around and see that war cannot be said to have been a thing of the past.” Further highlights from the company include Decoding the Chinese Document Leaks and Behind the Scenes: Detective Conan

Nicely Entertainment

“These titles can be noted for the incredible access accorded to NHK on a wide range of topics with international appeal.”

A Wedding for Belle / Saving the Christmas Ranch / Love at Lookout Lake

Nicely Entertainment’s A Wedding for Belle follows a wedding blogger who travels to her hometown to marry her ﬁancé, only to reconnect with her high school boyfriend and realize she is engaged to the wrong man. In Saving the Christmas Ranch, an accountant makes off with a family’s Christmas lodge money, leaving Carrie two days to come up with nine months of missing mortgage payments to save it. When a charming developer who has been calling Carrie from afar shows up, he makes an enticing offer that she can hardly refuse. Love at Lookout Lake follows “a gossip columnist’s journey to uncover the identity of a reclusive mystery author [and] weaves nostalgia, discovery and love into a delightful story,” says Scott Kirkpatrick, executive VP of distribution and co-productions.

Onza Distribution

Trafﬁc Jam / The Color of Love / Iberia & Savannah: One Wildlife

Leading Onza Distribution’s catalog, Traffic Jam sees a massive traffic jam disrupt the plans of thousands of drivers and tells stories of love, comedy, hope and even terror. “ Traffic Jam is creating great interest not only as a ready-made but also as an adaptation for other territories,” says Erika Gómez, sales manager. “If there is something that happens everywhere in the world, it is a traffic jam.” The Color of Love follows a romance that takes place across Angola and Portugal when a mysterious inheritance brings two families together. “Not only [will] the love story catch the audience but also murder, family lies and a lot of tension until the very end,” Gómez says. The documentary Iberia & Savannah: One Wildlife follows an Iberian lynx and an African leopard to adulthood.

“Nicely Entertainment is excited to showcase the signiﬁcant growth of our original productions business.”

—Scott Kirkpatrick

“We’re hoping to make new connections, catch up with buyers and get to know what’s new in the industry.”

Iberia & Savannah: One Wildlife

A Wedding for Belle

—Erika Gómez

—Akiko Nakano

Behind the Scenes: Detective Conan

TV Asahi Corporation

SONG vs DANCE / Obocchama-kun / Private Banker

TV Asahi Corporation is bringing to MIP London the new format SONG vs DANCE, pitting singers against dancers. The company will be hosting a panel session for the format at MIP London to “explore our co-production project in depth [and] discuss the creative process, the challenges encountered and our aspirations for the show’s success,” says Megumi Shirokawa, co-director of the international business department. The slate also features Obocchama-kun, a new adaptation following the adventures of Chama, co-produced with Sony Pictures Networks India. In Private Banker, a skilled private banker navigates financial and personal issues for wealthy clients. “Given its universal theme of money and family conflicts, we believe this title holds significant appeal for drama remakes worldwide,” Shirokawa says.

Vision Films

Altered Reality / DinoGator / Agents

In Vision Films’ Altered Reality, starring Lance Henriksen, Tobin Bell and Edward Asner, a man is given a mysterious miracle drug from the future worth billions. As he oversees his new business, he neglects his family, and his young daughter disappears. DinoGator sees a gigantic mutated reptile get loose. The scientist who created it, a big-game hunter and a group of tourists must team up to stop it from devouring their city. Agents begins when a priceless artifact is stolen, and the agent responsible for its safekeeping is forced to work with a Chinese operative to track it down. The thief, unfortunately, has an army at his disposal and moles in the police force. These three titles “are actionpacked with some [talented] casts,” says Lise Romanoff, managing director and CEO of worldwide distribution.

ZDF Studios

Weiss & Morales / Fateful Planet / Dinomite & Lucy

Weiss & Morales, part of the ZDF Studios offering, sees BKA agent Nina Weiss visit her German expat mother in the Canary Islands. She ends up getting involved in a murder investigation with Civil Guard sergeant Raúl Morales, and their contrasting investigative styles leads to a successful resolution of the case. The docuseries Fateful Planet explores Earth’s history, delving into the solar system collisions, asteroid impacts, volcanic eruptions and mass extinctions that have shaped the planet over 500 million years. The kids’ animated series Dinomite & Lucy centers on dinosaur inventor Dinomite and his human friend Lucy, whose diverse strengths and contrasting personalities create a perfect balance. Other titles from the catalog include the drama The Zweiﬂers and the history program Unearthed—The Mystery of the Shaman Woman.

“TV Asahi Corporation delivers top-rated dramas, enduring animation series and high-quality variety shows.”

—Megumi Shirokawa

“Our goals are to maintain good communication with our buyers and to announce our newest ﬁlms to the world.”

—Lise Romanoff

Weiss & Morales

SONG vs DANCE

Altered Reality

VickyMcClure

Season two of Trigger Point landed some 30 million streams on ITVX, with the Jed Mercurio-produced thriller becoming the second most-watched drama for U.K. broadcaster ITV last year. Distributed worldwide by All3Media International, Trigger Point was recently greenlit for a third season, with Vicky McClure set to reprise her starring turn as bomb disposal officer Lana Washington. McClure, who previously worked with Mercurio on six seasons of the megahit Line of Duty, tells World Screen about what’s in store for her character and discusses the work she’s done helping dementia patients in the U.K., most notably creating Our Dementia Choir, an initiative chronicled in her BBC documentary of the same name.

WS: What made you want to say yes to Trigger Point? I understand the role was written with you in mind.

MCCLURE: Apparently so, which is always a huge compliment to any actor. That’s what we all hope and dream would be the scenario, but you never expect it. Jed [Mercurio] did approach me and said, “We’ve got this show in development, and we’d love you to attach yourself.” The biggest attraction for me was it was a world I knew nothing about. With terrorism, you don’t tend to think too much about the people behind it because the event itself takes over. When you do start to learn what they do and the technical side of it, it’s a lot. And the characters behind it. Who’s brave enough to be in control? Who’s brave enough to do that job? And also the female side of it—females are less likely to be in that position.

WS: You mentioned the technical side. What kind of research did you have to do to get into character?

MCCLURE: The technical side of it comes down to a team we have. Joel [Snarr, a consultant on the show] is an EXPO [a bomb disposal advisor]; he has been for many years. He’s an expert in the field, and he was able to work with us in a way that you need somebody to work in this job. We need to have a bit of artistic license because this is telly. Joel would say, If we were doing this for real, you’d be looking at this device for five hours—that’s not very entertaining for anybody! It’s all about trying to find a balance. We meet with Joel before we start shooting, and he talks us through devices. From what we see in the news, we know that these devices can be simply made. As we’ve gone on, the devices have become more complex

By Mansha Daswani

because there are only so many people who want to watch me snapping some wires. The collar bomb in series two was the most harrowing of all. It’s just trying to be inventive in entertainment and ensuring that we’re keeping it as real as possible. I’ve learned an awful lot about bomb disposal devices, more than I ever expected to know.

In terms of the psychological side of it, that always comes down to lots of reading. I have friends and people like Joel who have worked in the forces and the police. That gallows humor is important to have that light relief. It’s also to make it as relevant as we can and authentic. Lana is not going to be shocked every time she sees a bomb or be scared. It’s all about trying not to seem like you’re reacting how I would.

WS: As a viewer, you feel the tension from those scenes; I imagine you don’t want it to feel like that on set! How do you switch off, as it were, in between takes or when you leave for the day?

MCCLURE: For me, music is a massive part of it. I’ve got connections with Our Dementia Choir and Day Fever [a daytime disco] and other bits of my life. Music breaks up the energy and steps you away from what you are doing. And at home, I use the telly—I put on something like The Traitors; telly that is easy to watch. I like to be on the phone with my mates and my family. Nothing exciting!

WS: Having come off playing a police officer in Line of Duty , were you concerned about taking on another lawenforcement type role for fear of being typecast?

MCCLURE: It crossed my mind. What I ﬁnd quite frustrating about telly in general is—and I’m looking at this from a producing point of view now because I’ve got my own production company—[commissioners will say] “We’ve already got a show set in the Midlands.” And I’ll say, “Well, you can have more than one when we’ve got I don’t know how many cop shows running at the same time!” That can apply to an actor’s perspective as well. There are actors out there where you’d be gutted if they weren’t portraying the role we love to see them do. What excites me more than anything is working with people that I like. Having connections as I do with people like Jed makes me feel comfortable knowing that I’m going into a show that will be well managed, produced and written. That was a big part of it. Also, she’s not a copper, so I can be less legal about things. Lana doesn’t stick to the rulebook all the time. There was much more movement for me and more character behind the scenes. You see Lana away from work much more than we would Kate Fleming, so there was much more for me to play with. The comparison was there, and it was on my mind, but it didn’t stop me from it. And I don’t think it should stop anyone. We should all be grateful to grab the jobs that we can.

WS: I know it’s still early, but what can you tell us about the recently greenlit third season of Trigger Point?

MCCLURE: We’re still in a bit of development with some of the scripts, but we’re returning to Lana, and the only thing that will keep her going is her job. It’s the one thing that destroys her at the same time. It’s that constant push and pull that she’s battling. She’s lost so many people around her, including her family and friends at work. It’s within her heart and desire to ensure she saves as many people as possible. We will see Lana continue the battle of her mental health. It is on the ﬂoor now. She’s hit a point where she’s got to try and continue in the role. She has to prove to the powers that be that she’s capable. At the same time, she’s got to prove to her team that she can run it. She’s got to hide a lot of stuff by doing that. What we see is that lonely battle she’s having. She’s trying many different methods and

things that will help keep her level, but it won’t last, and people will be lost in the process.

WS: Being at the top of the call sheet, what kind of atmosphere do you try to foster on set?

MCCLURE: Let’s just enjoy it. This is not real. We’re not in this actual situation. We are blessed to be in the positions and the jobs that we’re in. I want there to be a happy set. I know that’s not always realistic, but if people have a problem, they can say it. It’s always about an open ﬂoor. Whatever set you’re on, it always comes down from the top. If your execs and producers are present and happy to have the discussions and want to make it a happy place to work, you will have a happy shoot. As an exec, I’m happy to let all the professionals do their jobs. I don’t want to step on toes and start picking the scripts and shots apart. My role is to lead by example, have a laugh and enjoy it. We have some brilliant directors and writers; they want people to get into the bones of their characters. We can cut lines here and there where we feel like they’re not needed. Then, the actor feels like they belong to the character and have a bit of ownership over it. For me, it’s just the human side of it. There’s nothing nicer than a crew. They all want to help each other and get the job done. We’re in a good place.

WS: Is there anything else about Trigger Point or other projects brewing that you can tell me about?

MCCLURE: With Trigger Point, we’ve been blessed to see the reaction to [the announcement of] season three; people were buzzing. Coming up for me next is [the release of] a Kenneth Branagh movie [The Last Disturbance of Madeline Hynde], which I loved doing. Build Your Own Films is a working-class production company, and we’re ﬁghting hard to get these productions out there and get distributors and channels to take risks. We’re trying to break the mold by putting on stuff that feels authentically working class.

WS: I want to talk to you about your work with Our Dementia Choir and how that has created a new avenue of expression for you, personally and professionally.

MCCLURE: I’ve managed to build a platform and a proﬁle where I feel like it has a purpose, and I might as well put it to good use. The work that I do with Our Dementia Choir and dementia in general, there’s such a long way to go, but me turning up at 10 Downing Street or Our Dementia Choir performing in a space that you wouldn’t usually see people with dementia performing feels like we’re progressing. The millions of people who are dealing with dementia see very little being done. Diagnosis is such a long and tricky road. Our Dementia Choir shows that you can live well with it. We have to make sure we’re there for people, especially for those that don’t have families. There’s so much more that we should be doing. I don’t mind being the spokesperson for that where I can. And the choir, my God, they are their own stars now. It doesn’t require my presence at these performances. People are desperate to watch them sing and are uplifted by them. The science behind it says everything, and people should be given this advice about music when they go to their GP. It really can make a difference to that person’s day or week.

Vicky McClure is star and executive producer of Trigger Point, which is sold by All3Media International.

Michael &

Weatherly Cote de Pablo

NCIS is among the world’s most successful television franchises, with more than 300 million viewers around the world across all platforms, including broadcast, cable, streaming and syndication. A new addition to the megahit NCIS universe sees Cote de Pablo and Michael Weatherly reprise their roles as Ziva David and Tony DiNozzo, respectively, and reunites them on screen for the first time in more than a decade. NCIS: Tony & Ziva is coming to Paramount+ later this year, answering questions fans have had about the fates of these beloved characters—and raising some new ones. Weatherly and de Pablo talk to World Screen about what it’s like to step back into these fan-favorite roles. By

WS: Where does NCIS: Tony & Ziva pick up the story of your characters?

DE PABLO: It picks up in Europe. These two characters are trying to make things work for the sake of their daughter, Tali. Something happens where Tony gets involved with some people through his security company. They get into trouble. The security of their daughter is compromised. They have to go on the road and defend themselves and make sure that their daughter is safe, and they encounter a lot of problems. There’s intrigue, there’s mystery, there’s adventure, and, throughout all of it, a little bit of romance. They get to see how they feel about each other. At times, one is feeling more, and the other one’s not, then one [pulls] away. So, it’s the rekindling of something.

WEATHERLY: One of the big things we wanted to pay attention to was that missing time and the story of what happened during the last however many years—it’s been a little while! We use a device that is a sort of time wheel to go forward and backward and bounce around. It’s a bit nonlinear; we’re jumping around through time. That allows us to have the present time. We’re chasing the bad guy but getting chased by other bad guys, but then it turns out, are they one and the same? We’re also going back in time and looking at when Ziva ﬁrst comes back into the family fold. How does that work, and how does that feel? Was Tony seeing other people possibly? Is there a secret that Ziva hasn’t shared besides all the other secrets? It’s about how these characters can trust each other when there’s fundamentally this sense of, not necessarily distrust, but unease.

DE PABLO: These are two people trying to make it work but also withholding a lot of things for the sake of trying to make it work. The complication of that and how it unfolds is really interesting. What is the breakdown in communication, and how does that affect the relationship? What is honesty in the relationship, and are we being honest? That’s where the idea of

Anna Carugati

trust comes in. How much do we trust each other? How much are we willing to tell?

WEATHERLY: The show itself can be an unreliable narrator. Even the audience is wondering, do we trust that character? Do we trust that Tony and Ziva are telling each other the whole truth? Does Tali trust her parents? Tony and Ziva had complicated upbringings, and they became law enforcement. So, they have to learn to communicate better and make that [relationship] better—but in the middle of a Category 5 hurricane of emotions, danger and all this other stuff.

WS: How does it feel to step back into these roles?

WEATHERLY: I absolutely love coming back to this character. Getting back into DiNozzo was really fun and interesting. The last time we saw him, he just found out he was a dad. He was going through this storm in his head and heart about what to do. I love that he listened to his instincts, and he immediately went to take care of Tali and try to ﬁnd Ziva. Then, we didn’t know what happened—so I didn’t know what happened! When we started shooting, I was wondering, who is he going to be? He’s a guy who runs a very successful security company. He’s been a devoted father for years, raising a daughter by himself. I got to see that Tony DiNozzo had become a man who is more evolved, mature and serious. At the same time, he’s irrepressible with his optimism and charging into situations. Then he has this “realist” as his partner.

DE PABLO: I felt like if I was ever going to do this, I wanted to do it with Michael. We wanted to explore this together. We felt like there was something that had not yet been told in this particular relationship with these two people. We talked a lot during the pandemic, long distance on the phone, about what we think happened. We’d go off on these tangents. I’m just very grateful that we get a chance to do it.

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LONDON CA L

As the content business convenes for the inaugural MIP London, Mansha Daswani checks in with a range of distribution executives about expanding revenue opportunities, the role of AI and adjusting to a world post-peak TV.

At press time, some 1,700 content executives from 60-plus territories have conﬁrmed their participation at MIP London, RX’s new event taking place at the same time as the London TV Screenings. The multi-genre market and conference was unveiled last year as the company pulled the plug on the long-running MIPTV, with that event having seen its attendance erode amid seismic shifts in the business.

“We felt it was time to make a rapid change,” RX’s Lucy Smith tells me. “Let’s face it, London in February has become the biggest week in content in the ﬁrst quarter. We believe that beyond the existing screenings, there’s so much more potential business that can be done during that week to help get a head start on 2025.”

The jury is still out on RX’s London experiment, with the 800-plus registered buyers also having a wealth of other events to attend via the neighboring London TV Screenings, but amid the game-changing developments still roiling the content business, the distributors surveyed here are feeling cautiously optimistic about the year ahead.

“We are still navigating a recessive market environment, largely driven by an oversupply of completed productions and development projects initiated during the boom years leading up to 2024,” says Dr. Markus Schäfer, president and CEO of ZDF Studios. “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.”

Tim Gerhartz, managing director of Seven.One Studios International, also points to buyers being more selective, favoring “high-quality, standout projects over mid-level content,” he says. “There is a growing demand for content that performs well across multiple platforms. Successful formats like Married at First Sight offer compelling storytelling 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 in an evolving landscape.”

David Smyth, executive VP of content sales and partnerships at FOX Entertainment Global (FEG), sees the market as being in an “exciting phase of evolution.” Challenges notwithstanding, “there is a growing emphasis on efficiency, adaptability and partnerships. Linear TV is still a critical driver for global audiences, and the rise of AVOD and FAST has opened up new revenue streams, especially in speciﬁc verticals. The key is striking the right balance between high-value original programming and cost-effective distribution models that cater to a wide range of platforms and territories.”

“The ﬁlm and TV business is coming out of a tough year,” observes Vanessa Shapiro, CEO and founder of Nicely Entertainment. “Add in the overall slowdown from international sales, and several companies were hit quite hard. Nicely performed quite well in 2024, and we’re optimistic as we ramp up in 2025.”

AVOD is helping to power that optimism for Nicely, Shapiro says, referring to it as an “important component” of the company’s overall distri bution strategy. “The revenue from the U.S. has become signiﬁcant,” Shapiro explains. “We’ve dramatically reworked our U.S. TV-to-AVOD windowing strategies. In some cases, we’ve opted for an AVOD-ﬁrst

premiere, as we did in Q4 with The Christmas Brew and A Heart for Christmas , as it was more ﬁnancially advantageous. FAST is a different animal because it requires a lot of titles to start your own channel and make an impact. FAST is also a highly competitive space. We’re viewing FAST as a licensing opportunity; we’d rather license our titles to an existing FAST channel than get into the game of launching and managing our own from the ground up.”

For Albatross World Sales, “AVOD and FAST are now essential pillars of our revenue strategy and offer opportunities for well-loved library titles to gain recognition with new audiences again,” says Anne Olzmann, managing director of the specialist factual distributor. “While we are seeing consistent growth, it’s evident that achieving similar revenue levels to linear sales often depends on higher content volume. These platforms, however, offer exciting potential for documentaries with long-term appeal, such as natural history. But despite the sector’s expansion, the market is increasingly

saturated with channels offering overlapping programming. Moving forward, we expect platforms to focus more on exclusive, premiumquality content to stand out.”

ZDF Studios’ Schäfer sees “signiﬁcant growth potential” in AVOD and FAST, adding, “FAST has established itself as a surprisingly strong and viable new pillar of media consumption, and we believe that AVOD is likely to outperform it in the long run.”

Seven.One sealed a deal with Australia’s Nine Network covering all English-language versions of Married at First Sight for a 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 sustained viewer engagement and maximize ad revenue opportunities,” Gerhartz says. “These big brand formats offer a strong foundation for building viewer loyalty and attracting consistent advertising interest.”

FEG’s Smyth sees AVOD and FAST as “transformative opportunities” for IP owners.

“We’ve been proactive in curating content for these platforms, focusing on evergreen movies, specialist entertainment and factual strands that resonate across platforms. These opportunities provide new outlets for our library content and an ideal space for experimenting with niche programming and expanding our audience base.”

AI REVOLUTION

AI is proving to be the next business-altering development producers and distributors need to track. Understanding how to use it, and where, is an area of experimentation for many today. And it can’t be ignored.

“AI is one of those technologies that instantly sticks,” Nicely’s Shapiro says. “Other trends come and go, but they never truly take a foothold. I don’t think there’s a person on the planet who isn’t blown away by ChatGPT and the others. Like all new technologies, there are pros and cons. Internal workﬂows, data processing and organizational tasks are made extremely easy with such technology. Some of the ﬁlm and TV applications that have been promised, such as seamless voice dubbing, still have a ways to go, but in time, they’ll be very efficient. Where AI can be very helpful is during production with advances in virtual production techniques, potential reduction of costs and better quality VFX. 2025 is likely to be a turning point as we see more companies creating entire movies with AI from script stage, including ‘deepfakes’ but also legitimate virtual actors. The next few years will be critical to see the effects on the industry, which is at the same time exciting and intriguing.”

“Currently, we see AI primarily impacting production processes rather than fundamentally changing the end product,” says Schäfer at ZDF Studios. “While models such as Sora promise the potential to create synthetic ﬁlmed entertainment, we do not yet see a signiﬁcant disruption to the traditional business model. But we must be aware of the exponential growth of the capabilities of AI—thus, there

FOX Entertainment Global’s slate features several comedies, including Denis Leary’s Going Dutch, which was shot in Ireland and premiered on FOX in the U.S. this year.

Seven.One Studios International’s acclaimed period drama Vienna Blood is in season four.

is a very strong need to stay in close touch with the development of AI.”

For his part, Gerhartz at Seven.One sees strong 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.”

FEG’s Smyth is of the perspective that AI will be a valuable tool in the content distribution game. “We’re using AI to analyze audience data, optimize licensing strategies and even package content more effectively for speciﬁc markets. Looking ahead to 2025 and beyond, I

see AI playing an even larger role in automating routine tasks, such as dubbing and subtitling, and enhancing personalization for end users. However, the human touch remains crucial, especially in building relationships and ensuring content aligns with cultural nuances.”

“AI is already impacting content distribution, particularly in automating workﬂows and analyzing market trends,” says Olzmann at Alba tross. “Tools for audience data analysis, subtitling and dubbing are streamlining operations. In 2025, AI will continue to revolutionize content creation and personalization. However, storytelling and creativity will remain the cornerstone of factual content, ensuring the human element is irreplaceable.”

While producers and distributors mull the impact of AI as both a revenue-creating and cost-cutting tool, the business of trying to cobble together budgets and expand monetization

opportunities continues. While acquisitions are trending up amid a weaker commissioning landscape, licensing fees are largely not.

BACK TO BASICS

“Buyers are increasingly focused on costeffective acquisitions of library content due to tighter budgets,” says Gerhartz. “Networks are becoming more selective across all genres and business models, whether acquisitions or commissions. However, despite budget constraints, there’s still a strong willingness to invest when the right content aligns with their programming needs. High-quality, compelling content, like our dating format Stranded on Honeymoon Island , continues to attract substantial investment. 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.”

Gerhartz adds, “In this evolving landscape, only the most compelling content will secure signiﬁcant investment.”

Asked his view on trends in licensing fees, ZDF Studios’ Schäfer says: “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 actually be increased. Negotiations will be tough, but we take pride in the fact that due to our long-standing and trustful 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, which will drive our revenues in this business segment. In the SVOD sector, we

Nicely Entertainment continues to fare well with holiday TV movies like Socked in for Christmas

A YA series commissioned by ZDFneo from REAL FILM, Don’t Panic Films and Red Sun Films, Hameln is a new off ering available from ZDF Studios.

think that the platforms have underspent recently and will have to make up for this. Thus, we also expect to see some growth.”

Smyth is optimistic that FEG can capitalize on the current market need for “tried-andtested IPs and versatile formats that are adaptable to local tastes,” but notes that “licensing fees are under pressure as buyers carefully manage budgets. However, the appetite for premium, high-quality series remains strong. Global buyers continue to prioritize content with broad appeal and the ability to engage viewers across cultural boundaries. This demand for premium programming reinforces the value of wellcrafted U.S. series as a cornerstone of licensing strategies, even in a cost-conscious market.”

Albatross has seen sales pick up since 2023, Olzmann explains, but the “process is now slower and has grown more demanding, with stricter guidelines and requirements. Many broadcasters are now prioritizing ‘online-ﬁrst’ strategies, meaning content must truly stand out amid the vast selection available on FVOD and catch-up platforms. This has created a delicate balance for distributors—meeting the need for economical packages while still ensuring the premium quality of standout one-offs.”

Olzmann has seen pressure on licensing fees in the factual space, especially linear, but “AVOD and FAST platforms are gradually entering with licensing offers as they solidify their presence. While the fees remain modest, the higher volume of sales helps balance the equation to some extent.”

Nicely’s Shapiro adds, “License fees are a bit askew in a negative direction when compared to the costs required to produce original content. We’ve seen license fees stagnating with some clients and shrinking with others. This is true globally. On the domestic side, not only have license fees essentially hit a plateau, but the payment schedules have also been

stretched. So, not only are several clients paying less, but they’re doing so over a longer period of time. On the international front, the overall number of clients a distributor can license content to has eroded. The win is that we’ve gotten creative with how we’re getting ﬁlms ﬁnanced. We’ve also been able to rework windowing strategies to boost our per-title ROI.”

FUNDING JIGSAW

Of course, no IP owner can rely solely on a back library of content, and to get shows made today, everyone is looking to get creative and tap into a newfound willingness to collaborate.

“Just think of initiatives like the European Alliance, New8 or Global Doc,” says ZDF Stu dios’ Schäfer. “Streamers are working with broadcasters, sometimes in the same territory, and we have 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 coproductions as a practical solution. The same goes for streamers, which beneﬁt from adding exclusive programming to their platforms. In case local broadcasters and streamers enter into co-production talks on local projects, the questions of exclusivity and windowing become pivotal. We have already seen and been involved in smart solutions when the coproduction partners believe in the idea of ‘coopetition.’ While the demand for co-pros is likely to grow, identifying viable and relevant approaches for successful collaborations will become more complex.”

Smyth adds, “ Co-productions and cofinancing have become essential strategies in today’s market, enabling us to share risks and resources while producing content with greater global appeal. At FOX Entertainment

Global, we’ve prioritized building partnerships with like-minded broadcasters, producers and platforms. These collaborations allow us to create culturally nuanced yet universally engaging content, making it easier to secure broad international distribution.”

“Co-productions and co-financing models are definitely a talking point we’re having with several firms and partners,” Shapiro says. “It makes sense—each partner gets to focus on content that will work for them while neither party has to foot the entire bill. Such deals only work if all parties are getting precisely what they need in the process.”

FUTURE FORECAST

Uncertainty notwithstanding, there are glimmers of hope that 2025 will be a better year for the industry than 2024.

“We expect 2025 to bring more growth opportunities and improvements compared to recent years, but the market as a whole will remain challenging,” Schäfer says. “Macroeconomic and political factors continue to pose signiﬁcant hurdles and contribute to a high level of uncertainty. Nevertheless, we are optimistic that 2025 will be a positive year.”

Seven.One’s Gerhartz adds: “As the market continues to recalibrate and platforms reﬁne their strategies, we can expect a steady resurgence of creativity and higher ambitions across the industry. The evolving landscape is demanding 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 highquality production.”

“While challenges remain, the industry’s adaptability has been remarkable,” says Smyth. “I anticipate continued growth in AVOD and FAST alongside a resurgence in co-productions and licensing activity. The emphasis will be on delivering content that’s scalable, ﬂexible and platform-agnostic. We’re well-positioned to thrive in this landscape by focusing on partnerships, innovation and a diversiﬁed content slate that caters to both emerging and established markets.”

Albatross’s Olzmann also highlights the sector’s ability to adapt. “Budget constraints will most likely persist. However, technology will continue to drive efficiencies, particularly in how we analyze and meet audience demand and streamline workﬂows. At the same time, the importance of libraries will continue to grow as platforms rely on evergreen content to retain viewers. The market will demand innovative, compelling stories that cater to both global and local audiences. Flexibility and collaboration will be the keys to navigating this evolving landscape.”

Albatross World Sales arrives at MIP London with new docs like Burrowing Owls—A Love Story

2025 Trend Watch / TV Kids Pioneer Award: Super RTL’s Dominique Neudecker

A Special Thanks to

Engagement Games CONTENTS

There were over 461,000 hours of children’s content available to watch on streaming platforms or TV in the third quarter of last year, according to Ampere Analysis.

FEATURE WHAT’S NEXT?

After a tumultuous year in the kids’ media business, leading distribution executives share their thoughts on what’s to come.

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

As Olivia Deane, a research manager at the company, said in unveiling that research at the TV Kids Festival, that is a “staggering” amount of television to get your head around, noting it would take someone 52 years to watch all of it—not accounting for sleep. And that number doesn’t even factor in everything available to young ones outside of the “traditional” ecosystem. Social video has already eclipsed “traditional” content as the preferred choice for audiences 13 to 24, according to a study from Hub Entertainment Research, reﬂecting a contentious pain point in an industry still coping with SVOD’s new heavily reduced investment levels.

So what’s an IP owner to do? I surveyed a range of executives about how they are managing the crisis in kids’ television in this edition and the overarching message was to get creative, because we’re going to be dealing with these shifts for a while.

“We are on the pointy end of media, and we don’t get enough credit for that because any shifts that are happening in the audience or in the landscape start biting us ﬁrst,” kids’ media consultant Emily Horgan said at MIPJunior. “Any cuts in budgets also hit us ﬁrst.”

INTERVIEW DOMINIQUE NEUDECKER

The VP for kids and family at Super RTL’s TOGGO is being honored with the TV Kids Pioneer Award.

Ricardo Seguin Guise

President

Anna Carugati

Executive VP

Mansha Daswani

Associate Publisher

Kristin Brzoznowski

VP, Content Strategy

TV Kids

401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A.

Phone: (212) 924-7620

Website: www.tvkids.com

Children and family is the second most-impacted genre when it comes to commissions, Ampere says, falling 13 percent from the ﬁrst half of 2023 to the ﬁrst half of 2024, mainly driven by streamers. Per Ampere’s data, the number one consideration for consumers to sign up for an SVOD service is sports, followed by price and available TV shows. “Only 15 percent of SVOD consumers in Q3 2024 reported signing up for a service because it had content their children wanted to watch.”

They haven’t abandoned this segment, Deane stressed, noting, “While streamers are limiting their budget for new, original or even exclusive children’s content, they are also acquiring large volumes of existing children’s content to appease this still very important consumer group.”

Meanwhile, pubcasters continue to support the Euro pean animation sector, with collaboration and new ﬁnancing models proving to be bright spots in what remains a challenged segment. We explored all of these trends and more in the ﬁfth edition of the TV Kids Festival, which is now available on-demand. Mansha Daswani

9 Story Media Group/Scholastic Entertainment

The Magic School Bus: Mighty Explorers / Juno The Jellyfish / Momoguro

Highlights from the 9 Story Media Group and Scholastic Entertainment joint development slate include both established and new IPs and serve a variety of age demographics. The Magic School Bus: Mighty Explorers is a CGI spin-off for preschool viewers based on the iconic Scholastic book series. Juno The Jellyfish is a CG-animated family sitcom for ages 3 to 6, done in partnership with Crayola Studios, about a 6-year-old jellyfish. “With universal themes of self-discovery, a magical underwater setting and the combined brand power of Crayola and Scholastic, we see Juno The Jellyfish as a unique opportunity in the kids’ space right now,” says Alix Wiseman, senior VP of distribution and acquisitions at 9 Story. Momoguro is a new action-based 2D series for 6- to 11-year-olds based on Baobab Studios’ popular Roblox game.

Aardman

“We have a strong slate of content that we’re presenting in early 2025 across new shows in development, new acquisitions and new seasons of returning favorites.”

—Alix Wiseman

Shaun the Sheep / The Very Small Creatures / Mojo Swoptops

Aardman has on offer a seventh season of Shaun the Sheep , bringing the total number of episodes up to 190. “The broad appeal of the series across generations, with pure comedy and character at the heart of each episode, makes it a fan favorite around the world,” says Alison Taylor, director of licensing and distribution. The Very Small Creatures has a third season available, taking the full episode count to 61. Since the series has no dialogue, it feels “authentic to each country it is shown in,” Taylor notes. Another title on offer, Mojo Swoptops, “delights the audience through action and comedy, with a look and feel that is distinctive and somehow familiar and welcoming, with a message of friendship and kindness at its heart,” she explains.

“We’re prioritizing our focus on supporting our third-party producers and building key Aardman brands.”

—Alison Taylor

BBC Studios Kids & Family

The Primrose Railway Children / Bluey Minisodes / Horrible Science

The Primrose Railway Children , a BBC Studios Kids & Family feature-length family drama, is based on Jacqueline Wilson’s novel of the same name. Adapted by Tom Bidwell ( The Velveteen Rabbit , The Irregulars ), it is a modern reimagining of E. Nesbit’s classic. There are also 20 shortform Bluey Minisodes featuring Bluey and Bingo. “Bluey is a global TV phenomenon that broke viewing records last year with its extended episode ‘The Sign’ and was the number one most-watched series on streaming in 2024 among total viewers in the U.S., with nearly 56 billion minutes watched,” says Katharina Pietzsch, VP of content sales at BBC Studios Kids & Family. The slate also features Horrible Science, a live-action sketch comedy coming on the back of the hit Horrible Histories.

“We

are excited to bring an array of content to market with a mix of genres that have both multigenerational and universal appeal.”

—Katharina

Pietzsch

The Magic School Bus: Mighty Explorers

The Primrose Railway Children

Shaun the Sheep

Boat Rocker

Dino Ranch: Island Explorers / The Next Step / Stomp! Stomp! Rhinos!

Continuing the success of Dino Ranch, Boat Rocker’s Dino Ranch: Island Explorers spin-off taps into the preschool set’s interest in cowboys and dinosaurs. “Combining themes of teamwork, friendship and exploration with action-packed stories, this new series appeals to kids’ dino-sized imaginations as they discover the jaw-dropping new island backdrops—both under and above water—created for Dino Ranch fans,” says Gia DeLaney, senior VP of global sales for kids and family. There’s a tenth season of The Next Step, continuing to follow the ups and downs of a group of dancers at the Next Step dance studio. The animated Stomp! Stomp! Rhinos! is an edutainment franchise promoting childhood emotional development. It follows rhino siblings as they tackle emotional outbursts and learn practical tools to manage their feelings.

Dandelooo

“We remain passionate about producing entertaining content with stories that audiences love, that resonate around the world and become global hits.”

—Gia DeLaney

The Upside Down River / What’s up Eesha? / Hold on Gaston!

The serialized series The Upside Down River, adapted from Jean-Claude Mourlevat’s successful books, is a lead offering from Dandelooo. The story features Tomek and Hannah’s meeting on the way to the Qjar River, the drops from which are believed to prevent death. What’s up Eesha? is a new production by TeamTO slated for delivery to France Télévisions by the end of 2026. “This beautiful CGI comedy series about social-emotional situations highlights a unique new concept that hasn’t been shown until now: the necessary need to be alone from time to time,” says Emmanuèle Pétry, producer and head of international at Dandelooo. Hold on Gaston! is based on a book collection and follows a unicorn whose rainbow mane changes colors according to his emotions.

Mattel

Barney’s World: I Love Me Too / Hot Wheels

“The Upside Down River series stands out for the quality of the underlying book story, unique design and endearing characters and their fantastical quest.”

—Emmanuèle Pétry

Let’s Race / Barbie & Teresa: Recipe For Friendship

The offering from Mattel, which is celebrating its 80th anniversary this year, features a range of new titles for some of its most popular brands. This includes Barney’s World: I Love Me Too, a special with characters from Barney’s World, the company’s revival of Barney & Friends. A third season of Hot Wheels Let’s Race, bringing the toy car brand to life, is on offer as well. Additionally, the Barbie brand has a new special: Barbie & Teresa: Recipe For Friendship . These “titles are packed with adventure and fun while also delivering empowering messages like friendship, love and community,” says Josh Silverman, chief franchise officer. “It’s all about spreading hopeful messages of kindness and resilience, and for us at Mattel, it’s really about connecting with fans across generations.”

“We focus on making every project feel familiar yet fresh to global audiences, with the goal of deepening fans’ emotional connections to our brands and characters.”

—Josh Silverman

Barbie & Teresa: Recipe For Friendship

Stomp! Stomp! Rhinos!

The Upside Down River

NJ World

Nelly Jelly

As NJ World celebrates Nelly Jelly’s 15th anniversary in 2025, the company is presenting the series to international markets throughout the year. “The show’s distinctive sevenminute format is ideal for young, modern audiences with shorter attention spans while still delivering rich and memorable experiences,” says Simona Krasauskienė, CEO. “It seamlessly integrates themes like kindness, problemsolving, inclusion, diversity and emotional intelligence with vibrant animation and engaging characters, ensuring broad appeal across cultures and markets.” Later in the year, NJ World plans to debut a pilot CGI episode within the Nelly Jelly universe in partnership with 3Megos, a move that “will elevate the brand, offering a fresh, vibrant look to its already rich storytelling,” Krasauskienė notes.

“Our vision is to bring Nelly Jelly’s heartwarming universe to children globally while continuing to delight and inspire our loyal fans at home.”

—Simona Krasauskienė

Studio 100 International

Gifted / Jungle Book: Cub Club Adventures (w.t.) / DINO MATES

Studio 100 International’s Gifted, a live-action series for ages 8 to 14, “promises a unique blend of adventure, mystery and comedy in a compelling coming-of-age story,” says Dorian Buehr, head of global distribution. It was ﬁlmed on location in Scotland. Jungle Book: Cub Club Adventures (w.t.), inspired by Rudyard Kipling’s The Jungle Book stories, explores an earlier part of Mowgli’s life, focusing on the adventures he went on before he turned 11. DINO MATES, based on a theme park family attraction at Europa-Park in Germany, “transports kids to a magical world where they tackle everyday challenges like social interaction, problem-solving and helping others,” Buehr explains. “With its engaging stories and relatable characters, DINO MATES empowers young viewers to explore their strengths and embrace the power of imagination.”

ZDF Studios

Superhero Academy / Sam & Julia / Spellbound

ZDF Studios is highlighting Superhero Academy, which has a second season in production. The series welcomes viewers to Superhero Academy, where the gifted learn not just how to save the world, but how to navigate growing up. It celebrates diversity and features a mix of action-packed slapstick and character-driven comedy. ZDF Studios is also presenting Sam & Julia. Coming from a distant island, Julia, a cute and speedy little she-mouse, moves into a residential building (aka “The Mouse Mansion”), where she feels a bit like a stranger. She gets to meet Sam, a welcoming, crafty little he- mouse who also lives there, and they become good friends. The slate is rounded out by the live-action series Spellbound, which follows a ballet student in France who discovers her magical heritage and faces her nemesis.

“Gifted stands out due to its high production values, engaging storytelling and the breathtaking city of Edinburgh that serves as its backdrop.”

—Dorian Buehr

Sam & Julia

Nelly Jelly

Gifted

UDIEEN YO MOV AUDIEN Y

TV KIDS PIONEER AWARD

Dominique Neudecker Super RTL

By Kristin Brzoznowski

It was only a few months ago that Dominique Neudecker joined Super RTL, taking on the role of VP of kids and family for TOGGO, but her experience in the children’s programming industry runs deep. Her previous tenures include The Walt Disney Company in Germany, TV-Loonland and EM Entertainment. Neudecker’s remit at Super RTL sees her with editorial and creative responsibility for the roster of kids’ content under an expanded TOGGO brand that now covers demographics 3 to 13. She talks to T V Kid s about the strategy that positions Super RTL for success in an increasingly competitive kids ’ and family market. Neudecker, Super RTL and TOGGO have been recognized with the TV Kids Pioneer Award.

TV KIDS: TOGGO has been a cornerstone of Super RTL for years. How has the brand evolved to meet the changing needs of its young audience?

NEUDECKER: We are super happy that kids love and accept our brand continuously. As you know, kids are very picky and have a strong sense of what they like or don’t like. At TOGGO, we have a highly professional team of passionate kids’ experts who are always connected with our audience. They know the market inside and out and have been following trends closely for many years. The team stays ahead of new developments, such as trends and zeitgeist phenomena, and reacts to them quickly.

We’ve always adapted our offerings to reﬂect the changing habits and preferences of kids. Recently, for example, we responded to the growing enthusiasm for gaming. With TOGGO GG, we created a format that’s perfect for gaming fans, and TOGGO Hypezeit is our new weekly trend news show. This format covers everything from inﬂuencers to pop culture and social media topics.

Thanks to our team’s innovative ideas and quick implementation, TOGGO continues to deliver exactly the con tent young audiences want. It is about tailor-made content suitable for our audience. That is how we continue meeting our audience’s needs. Since TOGGO’s launch almost 25 years ago, TOGGO has become so much more than just a TV umbrella brand.

TV KIDS: How does the current strategy at Super RTL position it to be better suited to doing business in an increasingly competitive market?

NEUDECKER: Our strategy follows a broad multiplatform approach. Next to linear TV, we invested heavily in building a proper kids’ web business to distribute our content via our own digital platforms and apps as well as the major third-party digital platforms. We also launched a radio channel for kids and families. We travel through various German cities with our TOGGO Tour, and we have a footprint in the retail business through our strong consumerproduct business. Our motto is wherever the kids go, we are there with the TOGGO brand, being the number one go-to destination for kids.

Competition is ﬁerce out there, but we are the only German player to serve such a broad range of platforms, and we will continue to do so and believe in its growth potential. Our recent performance success proves that we’re on the right track. In the TV sector, we have been the market leader among kids aged 3 to 13 for many years, including the full year 2024, even though the German market is highly competitive with KiKA as a big public broadcaster as well as internationally renowned competitors like Disney and Nickelodeon. In the digital space, we’ve also seen strong growth. Over the past 12 months, for example, our social media followers have increased by 130 percent.

TV KIDS: What was behind the strategy to fold Toggolino into TOGGO?

NEUDECKER: We said goodbye to Toggolino as a brand for the very young target group because we strongly believe that a “one-brand” strategy for TOGGO is the best way to succeed in a fragmented and complex market. Kids get to know and love the brand early on and can rely on TOGGO for guidance in today’s complex variety of content at every stage of their age.

TOGGO now represents RTL Deutschland’s uniﬁed children’s offering. It’s instantly recognizable—whether on our own TOGGO platforms or, for example, on our streaming service RTL+. When parents see us there, they immediately know it’s a safe digital space for their kids. They know that we stick to our brand promise that the content is carefully curated by our team of kids’ experts.

TV KIDS: Within the demographic that Super RTL and TOGGO serve, what’s the sweet spot, and how are you going after the elusive older end of the demographic?

NEUDECKER: We offer entertainment for all kids between the ages of 3 and 13. We think as broadly as possible and don’t focus on a classic “sweet spot.” We are always interested in programs across all genres. Having strong brands in our lineup is far more important than focusing on speciﬁc age groups.

For preschoolers, we rely on well-established brands like PAW Patrol and Rubble & Crew. For kids, we offer iconic brands like SpongeBob SquarePants and Angelo Rules and owned IPs such as our beloved puppet format Woozle Goozle. At the same time, we invest in new, state-of-the-art animated projects. We also invite the kids to actively participate across platforms with interactive offerings, like games or contests. For older kids, our focus shifts more toward liveaction formats—both ﬁction and factual. For example, we have kids-targeted spin-offs based on popular RTL brands, such as Uferpark—Gute Zeiten, wilde Zeiten, a familyfriendly offshoot of the daily series Gute Zeiten, schlechte Zeiten, and the game competition show Ninja Warrior Kids Our multiplatform content team works hard to produce strong in-house zeitgeist formats. We bond with this very demanding age group through collaborations with popular content creators by tapping into current trends like sports and more—for example, based on American football, TOGGO Touchdown or, based on the gaming hype, TOGGO GG

TV KIDS: Walk me through the programming breakdown between animation and live action.

NEUDECKER: Animation is the core of our programming. At the same time, we’re steadily expanding our portfolio with live-action content. We see live action as a growth area, especially when it comes to reaching preteens, the elusive ones. That’s why live action is increasingly an important part of our strategy.

TV KIDS: What is the general breakdown for originals compared to acquisitions?

NEUDECKER: We believe in the relevance of both originals and acquisitions—as long as everything mirrors the daily life of today’s kids. On the one side, original content with local relevance is a great way to stand out from competitors and offer young audiences something unique, exclusively accessible on our TOGGO-branded platforms, such as

Woozle Goozle and Ninja Warrior Kids. Exclusive TOGGO originals also play a key role on our digital platforms. We developed, for instance, TOGGO GG and TOGGO Hypezeit specifically for our on-demand platforms and YouTube— and both have been huge successes. The incredible response has inspired us to broadcast the formats on linear TV for the first time this year. Additionally, RTL+, our streaming service, has opened up exciting new opportunities, with bigger budgets allowing us to produce more highquality originals. A great example is our fiction preteen series Uferpark—Gute Zeiten, wilde Zeiten

TV KIDS: What’s on your wish list for programming?

NEUDECKER: At the top of our wish list are ﬁction series, mainly animated, but, as I mentioned before, we are also increasingly focusing on live action. We very much favor brand-based concepts, but at the same time, we are always open to a strong, convincing original idea. Content should be fun! Characters must be authentic and relatable with distinct personalities. Genres like comedy and big adventures remain a key priority. We believe in building cultural bridges through strong, diverse and optimistic storytelling. We are always open to getting inspired and impressed by all those passionate and highly talented producers out there, and we are so happy and grateful to collaborate with so many of them.

TV KIDS: How important is local content in keeping German kids engaged?

NEUDECKER: Keeping kids engaged is a promise we take very seriously. Our main priority is to offer our audience the best content that resonates with kids in general—whether it’s developed nationally or internationally is secondary. For us, it is always about strong and meaningful storytelling and charming and distinct characters. However, with

Mattel’s Monster High is available on Super RTL’s TOGGO.

live-action formats, whether fiction or nonfiction, there are a few advantages to local content. We believe local content can help kids identify more strongly with our program offering and the TOGGO brand. Local formats and shows enable kids to interact and bond more; for example, when they meet the protagonists in real life at our TOGGO Tour or get in touch and interact with our TOGGO GG and TOGGO Hypezeit faces via our digital platforms. So, the goal is to have a convincing and competitive mix of relatable content offerings. The final decision is always based on a case-bycase evaluation.

TV KIDS: How is the team expanding the touchpoints for Super RTL and TOGGO?

NEUDECKER: First and foremost, within our multiplatform approach, linear TV plays a key role for us, but we have various crucial touchpoints. There are still a signiﬁcant number of kids who love watching TV, and we want to engage them with our multiple content offerings. We’ve always been very ambitious, and we still are. Our goal is to maintain the highest market shares in the industry through a competitive content strategy. We also use TV’s broad reach to strengthen our entire ecosystem by promoting our other various touchpoints for kids, such as the TOGGO App, TOGGO Radio and the TOGGO Tour—and vice versa. We fully believe in synergies [across] all different touchpoints. In the digital space, for instance, our team is constantly working to expand our technical reach and make our products available on even more platforms. At the same time, it is obvious that kids love short content and games, so another part of our strategy is to create content speciﬁcally designed for digital consumption to reach new audiences and increase opportunities to bond with the brand.

In addition to TV and digital TOGGO platforms, we have the kids’ section of RTL’s streaming platform, RTL+. This is also a very important touchpoint based on an SVOD business model, offering new opportunities to engage with kids. We’ve created TOGGO Radio, an award-winning station that accompanies families throughout their day. With the TOGGO Tour, we even have our own “festival,” which tours ten German cities during the summer months. Other important touchpoints are realized by our team at RTL Consumer Products. They ensure that TOGGO fans can bring the beloved characters from our series into their homes through toys or other licensed products. Our consumer products business also includes audiobooks, which we can produce ourselves through an in-house audio label.

TV KIDS: Where do you see Super RTL and TOGGO in the next ﬁve years, and how will they continue to shape the German kids’ TV landscape?

NEUDECKER: We’ll continue to closely monitor our market, including all opportunities and challenges in the entertainment industry, which are undoubtedly quite complex. It will be all about agile and open-minded thinking and anticipation, and we will respond early to any trends we see coming. Besides that, we already have a quite promising and robust programming lineup for next year and beyond. We are conﬁdent that with high-quality content, we will maintain our market leadership in linear TV and extend our reach and success on digital platforms. The synergies between TOGGO and RTL+ play an increasingly crucial role, positioning us as the national streaming champion for kids in the digital space. We may also need to be brave and take investment risks, but all of this together enables us to shape the future of kids’ entertainment in a positive and recognizable way.

WHAT’S NEXT?

Dandelooo’s

Max & Bunny

After a tumultuous year in the kids’ media business, leading distribution

executives share their thoughts on what’s to come with Mansha Daswani .

The mantra for many in the international distribution business last year was “survive till ’25,” on the assumption that 2024’s recalib ration would pave the way for better market conditions. The kids’ sector is kicking that can down the road a little bit, well aware that an industry in this much transition needs a lot more time to get back to anything feeling like normal.

In its offer to acquire the Cyber Group Studios assets, United Smile, a toy company, maintained that the “industry needs to reinvent itself and integrate the ability to produce ﬁlms and series for children, to broadcast them on the platforms on which children spend most of their free time and to develop video games, connected toys and immersive experiences in augmented and virtual reality.” Committing to investing up to €5 million over the next few years to get Cyber Group Studios back on track, United Smile said it wanted to prepare the business for “the upturn expected in 2027.”

The downfall of Cyber Group and fellow French powerhouse TeamTO were among several signs of the industry’s travails in 2024.

“Last year, the kids’ content industry felt the ramiﬁcations of market shifts, with declining budgets in general and the lack of streamer investment in kids and animation taking its toll,” explains Delphine Dumont, chief commercial officer at Banijay Kids & Family. “Overall, funding in this genre is an ongoing challenge and one that makes smaller labels particularly vulnerable. Subsequently, we anticipate increased collaborations, co-productions and consolidations in our space.”

Sophie “Kido” Prigent, head of distribution at HARI, expresses a similar perspective, noting, “Some major platforms shifted much of their focus to growing their general entertainment business. The U.S.-based linear channels bought a lot less and the overall impact contributed to an already slow market.”

French outﬁt Dandelooo, on balance, had a fairly good year, reports Emmanuèle Pétry, producer and head of international, citing three greenlights: Max & Bunny for CANAL+, Billy the Cowboy Hamster season two for France Télévisions and Hold on Gaston! for TF1. “Having said that, international sales revenue did decrease by roughly 10 percent, mainly because of the linear channels’ budget restrictions and because of some screens disappearing,” Pétry adds.

With the big-budget global SVOD commissions now few and far between, IP owners are relying on old-school coproduction techniques to get shows funded.

“It felt like 2024 was simply a continuation of the previous few years where production companies were faced with tight funding budgets and decreased levels of content buying,” observes kids’ media consultant Jonathan Abraham. “This just meant that producers had to get creative in pulling together the ﬁnancing, and it is truly amazing to see how

many were able to handle such a shift in the entire content ecosystem. The challenge the industry has faced over the past few years has been met with an incredibly ambitious and relentless group of people.”

Having a track record of being able to cobble shows together is certainly beneficial, Dumont notes. “Since there are fewer opportunities to source singular funding without having to sacrifice our rights position, I anticipate another year of creative financing deals, working with multiple partners across multiple markets. One of our core strengths is that our footprint spans key territories where tax credits and incentives are in play, meaning we can directly access these benefits to get projects off the ground.”

Tax credits continue to help underpin the viability of the French animation ecosystem, Pétry explains. “In France, the virtuous system of original program production quota obligations is increasing, which means that there should be more commissions happening and helping the industry develop and produce more high-end programs. We are thankful to our lobbying experts who actively protect our production model.”

Public broadcasters, too, remain at the heart of the indus try, “and their commitment has been consistent despite market disruptions,” Prigent says. “In addition, our initial commercial partners are now the established homes of IPs such as Grizzy & the Lemmings, beneﬁting from its success and growth. It’s a virtuous circle, as their support helps us sustain and expand the franchise, maintaining momentum in a shifting funding landscape.”

Prigent also stresses the need to ﬁnd additional revenue streams, namely in L&M. “This requires mass exposure, making YouTube a key platform. And while FAST platforms aren’t acquiring as many kids’ channels as they once did, they represent opportunities for both exposure and revenue in this evolving landscape.”

THE DISCOVERY GAME

As Prigent explains, being on YouTube and FAST and anywhere else kids may be spending time is imperative for solving the discovery conundrum. Amid a sea of options, getting kids to ﬁnd your show remains a herculean task.

“The way we approach each piece of content is different, but we will continue to pursue a multiplatform approach to our IP wherever possible to reach increasingly disparate audiences,” Dumont says. “This could be through marketing, with smart activations like those we did in 2024 with Totally Spies! and Super Happy Magic Forest on Roblox, or through distribution, retaining the rights to widen the reach of our content through the likes of YouTube and FAST channels.”

Kids are naturally curious, Dandelooo’s Pétry adds, “and caring parents foster this intelligence in their children to make them stronger for their challenging future. This means we think that there is still a space for discovery.

Eyeballs love to watch the same programs over and over again, but there is a moment when kids need to grow into other universes to feed their need for change. This demonstrates the importance of choosing the right thumbnail images, which are tiny (but huge) teasers that grab the viewer’s attention and encourage them to click.”

“Linear broadcasters and SVOD platforms remain essential to the discovery of a show,” HARI’s Prigent says. “Their unparalleled expertise in selecting, nurturing and programming content, coupled with their extensive reach into households, ensures that new series connect with broad audiences. Additionally, parents trust these platforms to provide high-quality, age-appropriate content, making them a cornerstone for building lasting audience relationships.”

Prigent continues, “At the same time, kids are increasingly watching their most loved series on connected TVs, which makes FAST channels and YouTube critical in growing both brand exposure and loyalty. It’s always about being where kids and families are. Licensing deals with their favorite retailers and restaurants will not only help discovery but also help build brand affinity. TikTok and Instagram are key for engaging with kids and parents. What’s most important t oday is delivering across a complementary mix of media. Developing and executing a multiplatform, multiwindow, multidevice and multilocation presence ensures we meet audiences wherever they are and creates deeper and longer-lasting connections.”

Abraham refers to YouTube—kids’ preferred platform across the globe—as “a blessing and a curse to the business. YouTube and social media platforms must be a part of your content plan, and while many have found new revenue streams for their library content, it has taken a large demographic away from the content houses that production companies rely on to help ﬁnance their productions. This is especially true for animation and the older kids demo.”

Understanding how best to use YouTube will remain top of mind for IP owners as the kids’ market continues to twist and turn this year.

“As the kids’ business continues to futureproof, we’ll most likely see wider market consolidation,” Banijay Kids & Family’s Dumont predicts. “And, with significant shifts in cable TV and subsequent changes to the landscape, we will continue to diversify our business to counter these headwinds. We benefit hugely from being part of a wider group and are investing in complementary areas like

brand licensing and digital innovation so we can leverage our brands, amplify their presence across multiple sectors and platforms and cater to shifting market demand.”

Dumont is also keeping an eye on how AI will reshape the sector and continues to see demand for known IP, “but as always, there are still opportunities to launch original shows.”

FUTURE FORECASTS

At Dandelooo, the team is emphasizing the curation of a stable of “ ‘must-have’ projects and programs that complement not only our own slate but also ﬁll in the needs of broadcasters,” Pétry says. “We cannot (and don’t want to) compete with the top brands and CGI action-adventure shows. We want to continue to pursue our own route with meaningful programs that drive strong social-emotional topics. Our distribution team only takes on projects that are close to our heart because our sales endeavors need to be sincere, enthusiastic and unique. We also have to widen our horizons because, realistically, we must close more ‘small’ deals to keep the objectives aligned with the previous numbers.”

In line with those widening horizons, Dandelooo established two new divisions last year, one for animated feature ﬁlms and one for animated shorts for those 15-plus.

HARI has been laying the foundations to drive gains across L&M, YouTube and FAST, Prigent explains, relying on its known brands. “ There is a market requirement for big franchise shows such as Grizzy & the Lemmings, so we’ll prioritize their expansion and focus on the sales of previous seasons, providing a high volume of established and popular series. Our core expertise lies in creating original series and growing these into franchises. Grizzy & the Lemmings is a great example, and Mystery Lane is well on its way. We are conﬁdent that our future IPs, such as The Weasy Family, will follow a similar path, even if it takes more time in today’s market. Content is king, and we use our established franchises as ﬂagships to drive the development of new properties with equal potential.”

On major trends she sees impacting the sector, Prigent highlights continued demand for social gaming with more platforms emerging. “The industry’s preference toward big franchises will likely mean we see more big consumer product partnerships with key retailers and entertainment outlets. While some things change, some stay the same. Kids will continue to be a most discerning audience, craving quality content that makes them laugh and that they can relate to.”

The Weasy Family is a new CGI series from HARI for France Télévisions and Super RTL.

Janet Brown BBC Studios

By Mansha Daswani

Unv eiling its most recent annual report last summer, BBC Studios revealed it was on track to meet its five-year commitment of £1.5 billion in returns to the pubcaster by 2026/27. That roadmap has encompassed scaling investments and restructuring, including centralizing its global sales e ff orts under Janet Brown last fall. As president of global content sales, Brown leads the distribution of BBC Studios’ powerhouse catalog to broadcasters and platforms across the globe. Ahead of BBC Showcase, Brown caught up with World Screen to discuss her new remit and how she is navigating the opportunities and pitfalls in the global media business today.

WS: Tell us about the importance of having a centralized, global structure for BBC Studios’ sales efforts.

BROWN: Right now, it does feel like a moment to be looking at things globally. Many of our largest buyers globally are streamers. When it comes to how you’re going to invest in a piece of content, looking at the whole picture globally simpliﬁes it. Historically, it was easy to end up with regional sales teams that just do their thing. It’s been a conscious effort to increase communication. This reorg and having global sales under me conﬁrms a process and a way of working that we were already moving to.

WS: 2024 was a challenging year for everyone. As you head into BBC Showcase, what are you hearing from your clients about their needs in this climate, and how is BBC Studios positioned to meet them?

BROWN: It is challenging. In these times, you either rise to the occasion or don’t. We feel this is our moment. We have huge volume and breadth of high-quality content. That is a fortunate position to be in. We work with some of the best producers in the world, telling stories that spark conversations and change people’s perspectives on the world. We have this incredible library and an amazing selection, which is a great starting point but not enough. Buyers change all the time. Sometimes, they aren’t able to say what their budgets are. Or all of a sudden, they know the budget, but it’s here today, gone tomorrow. People’s roles are changing. You’re dealing with a lot of change. On top of our fortunate position of having such incredible content is our ability to use the data and analysis to surface why certain content might make sense. The data-led approach is stronger than ever because people have limited budgets and need to know that this content will work. We’re also leaning into our general spirit of experimentation and innovation because you have to work with your buyers and partners. We focus on being an adaptable and ﬂexible partner. It helps to have an amazing amount of content, but it’s not only what you have but how you use it.

WS: How important are deals like the one you have with ZDF Studios? Are you looking for other such alliances with like-minded broadcasters and studios?

BROWN: We are a storied brand and a long-standing part of the global media landscape, together with other studio peers who also share a lot of history. We didn’t get there by not valuing partnerships. Those partnerships change over time. Walking in here two and a half years ago, one of the things that struck me was just how strong we are at building those partnerships, maintaining them and growing them. You mentioned ZDF; we have a long-standing relationship with them for factual content, and we just renewed our scripted partnership with them. A Good Girl’s Guide to Murder was part of that, where we worked closely with ZDFneo as co-producers. We have multiple touchpoints and value them so much, not only as a commercial partner but as a creative one. If you step back and look at the broader landscape of public broadcasters, we have a similarly long and productive relationship with France Télévisions. We’re co-producing Walking with Dinosaurs with them, among others.

There is our relationship with PBS, which just marked its tenth anniversary. Look at how much has come out of that relationship; there are landmarks, but also things like Fight the Power: How Hip Hop Changed the World. Again, these aren’t just commercial relationships; they are creative relationships, and they are dynamic.

That’s within the public-broadcaster common ethos. Beyond that, we have so many valuable partnerships in Asia. We have spent a lot of time in that market. We just

did an MOU with KOCCA to co-develop, co-produce and distribute factual content with local Korean producers. We have also just completed a significant agreement with Shanghai Media Group (SMG) to screen landmarks such as Kingdom, Blue Planet III and Hidden Planet on SMG’s Dragon TV. These are complex markets with multiple players. It’s figuring out who to partner with, what to partner with them on and how to structure that relationship. I would be remiss not to mention our partnerships with streamers. Disney is a huge one for us with Doctor Who and Bluey (the TV series and the upcoming movie). We have A Good Girl’s Guide with Netflix and multiple shows with Amazon.

WS: The streamers used to want everything everywhere, and we’ve seen that model change. As you look at a piece of IP, how do you determine the best route to market?

BROWN: Certainly, in the boom time, it was almost an assumption that if you partnered with a streamer, they would be taking world rights. What’s interesting now is sometimes it’s not obvious. When we started on A Good Girl’s Guide, we had the partnership I mentioned with ZDF, a relationship in Australia and the BBC initially commissioned it, so global was off the table. Netﬂix came in for the remaining territories, and it was an incredible success for them. It debuted as the number one English-language TV series in the world on Netﬂix.

Not all content works equally well in all countries. You might start with it in a particular country and then expand if it works. Or streamers are saying, I only want it for this territory; I’m trying to fill a hole here. Sometimes, having some budget constraints helps you be quite targeted and tactical.

WS: From your vantage point, how do you see the AVOD and FAST segments as revenue-generating sales windows?

BROWN: I’m glad you said AVOD and FAST because, across the industry, people do sometimes mix the two. We do see them as different. Call it what you want, but it feels a lot like TV syndication. Technology gives you different abilities,

so you don’t have the same cost to get the channel up. It does allow you to experiment more to see what’s working. We view it as a syndication window and program it as such. In the syndication glory days, you weren’t seeing lots of single-IP channels. In FAST, you can have single-IP channels and thematic channels. Not all channels work in all places. We are privileged to have channels that work in so many places, whether Top Gear or Antiques Roadshow. But then we’re looking at speciﬁc channels that will only work in the U.S. or EMEA. I do see it as a valuable syndication window. The traditional syndication windows have diminished in value, but we’re seeing FAST start to compensate, which is exciting.

WS: What trends are you watching as you look at the uncertain climate?

BROWN: One of the things we are seeing is the success of British content. In the ﬁrst half of 2024, four of the top shows on Netﬂix were British, and two were ours ( Baby Reindeer from BBC Studios’ label Clerkenwell Films and The Gentlemen from Moonage Pictures, in which BBC Stu dios has a minority stake). I don’t think it was just because of the strikes. The strikes were a factor, but they don’t explain everything.

We’re seeing a ﬂight to quality; buyers want to have a guarantee of the kind of content that’s coming. British content is powering great viewing. There is more of a leanback vibe and comfortable viewing, and we do that in spades. We are excellent at crime procedurals. One of the things that also has been talked about is returners. Buyers want to have efficiency in terms of how they market things. A returning series does give you some efficiency in terms of audience awareness. We were very excited to announce the second season of A Good Girl’s Guide. We’ll have a second season of Am I Being Unreasonable? with Hulu. And AI is another trend we are watching and having discussions around—how we’re using it, where we’re using it, where we’re not using it and how to make sure that if we do use it in a valuable way, we can pass that on to the buyers.

Several pubcasters are co-production partners on the Walking with Dinosaurs remake from the BBC Studios Science Unit.

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Herbert L. Kloiber Night Train Media

By Mansha Daswani

In early 2020, on the eve of the pandemic and at the height of the streaming wars, Herbert L. Kloiber unveiled Night Train Media, tapping into his experience at Tele München Group to develop scripted projects that would appeal to the then-voracious appetite of SVOD services globally. Scaling up the business, Night Train Media acquired Eccho Rights to serve as its international distribution arm and diversified, acquiring a stake in Paul Heaney’s BossaNova Media and investing in factual indie Curve Media. Those investments have proven to be smart bets amid the challenges of the Englishlanguage scripted sector. BossaNova’s thriving commission ing and distribution business, Eccho Rights’ booming Turkish drama trade and increasing opportunities in film financing and digital are key growth areas for Night Train, Kloiber tells World Screen in this wide-ranging interview.

WS: How do you see the international distribution landscape today?

KLOIBER: On the distribution side, we have four buckets. We have the English-language scripted shows we gap finance through Night Train and then distribute through Eccho Rights. We have the Turkish dramas financed and distributed by Eccho. We have the non-scripted side with BossaNova Media. The fourth is film, where we always work with third-party distribution partners on a case-by-case basis because we only have one or two a year. They all behave quite differently from each other. They have different buyer groups. The Turkish side has been performing quite well. We are the biggest distributor of Turkish drama outside of Turkey, which benefits both producers and buyers and leverages our sales team into territories that usually don’t buy Turkish, like France, Scandinavia and Germany. The non-scripted side is doing very well—we’re happy with how that distribution business has been growing. We see the biggest challenge around English-language scripted drama. When I started Night Train, you had the streaming wars. So many platforms were trying to establish themselves and spending so much money on content. We were very successful in those first two or three years. With the pullback of the streamers and the reduction in ad revenue spending for linear channels, we have seen a shrinking market. A lot of our shows are being commissioned in the U.K., as well as in Australia, New Zealand and South Africa. We always focused on bringing in a big chunk of what we estimated in terms of sales from the U.S. The U.S. has certainly become a smaller market for these types of shows. Some players just disappeared; others are focusing heavily on big talent and U.S.-centric shows. At the same time, we are seeing more willingness to co-produce, so we are going more toward that model. We want to have a partner in early from the U.S. who doesn’t necessarily need rights worldwide. That has been an adjustment in our strategy. We generally also focus on shows with bigger names that are more recognizable or valuable to U.S. buyers, as well as standout programs that are less run-of-the-mill crime shows in the low-budget bracket. Those tend to have a harder time. So, we’re pivoting in terms of what we’re investing in.

WS: Drama has a long lead time, and the market changes quickly. Given the uncertainty, how are you curating a slate of development projects?

KLOIBER: We’ve reduced the amount we are spending on development. We’re developing less in-house. We are looking for strong IPs with high-proﬁle attachments or partners. We would co-develop with bigger production companies, showrunners from the U.S. or more high-proﬁle writers. The package quality needs to be more compelling and better for us to come in on a development project. Three years ago, we were happy to spread a bit around in safe genres and see what emerged. Now, we’re scrutinizing more and are more selective.

WS: How will AI impact your business in the next few years?

KLOIBER: The most immediate impact we’ll see in two to three years is on the dubbing side. We’re looking at that closely because we’re dubbing so much of our Turkish-

and English-language content. AI is not very competitive in that space yet. You still need to do a lot of manual labor adjustments. The lip-synching isn’t very good, but I can see how rapidly this is developing. In three years, we will have a different landscape on that front. That’s going to reduce costs for us and producers immediately. We often must absorb those costs upfront to bring shows into markets like France, Italy and Germany. So, that’s going to be meaningful. At the same time, AI will reduce some of our administrative and legal costs. On the creative side, I don’t see [an impact] that soon. We have used AI if we need to create images, for example, for a pitch deck to visualize what a screenplay or show should look like.

WS: You mentioned a shift toward more co-pros earlier. Are you seeing new ﬁnancing models emerge?

KLOIBER: It’s less of a model than a jigsaw puzzle. It’s trial and error in trying to ﬁnd matching partners. It’s matching people and projects together. On the non-scripted side, BossaNova successfully does that on Development Days, where we put producers in front of commissioners. These networks are rating the pitches and selecting what they’re interested in. You can see which shows have at least four interested buyers. Let’s ﬁnance them and get some of these people on board early. It gives you better intelligence on where to put your money. On the scripted side, it’s a lot harder to do that. But you can understand which partner is looking for which genre and what type of audience they are trying to serve, so you try to match them with a particular project.

WS: How are you leading your companies amid all the changes happening in the business? What priorities are you remaining focused on?

KLOIBER: I focus on risk assessment and trying to control risk across the group. Part of that is the diversification of our product mix and where we invest. You can’t put all your eggs in one basket in this environment. Part of that is finding more partners earlier on. Initially, we were taking riskier bets. We are still in a very choppy situation in the market. I said this a year ago, and it hasn’t dramatically improved, at least not on the scripted side. At the same time, we know things go through phases and waves. Scripted is a long game. Whatever we invest in now is going to monetize in two years. You want to stay slightly ahead of the curve but with caution. It’s hard! At the same time, we’re still looking to invest. It’s not only the product itself we’re investing in. We are constantly looking at companies. We’ve bought three over the last two years, which helped us in that diversification effort. We look at opportunities strategically in terms of where we have holes in our value chain and where we can grow adjacent areas like digital, building new channels and managing products for third parties. That is also part of managing risk and growth.

WS: Eccho Rights has scaled up its YouTube business. How do you see YouTube and AVOD as an additional monetization tool for your library?

KLOIBER: We have scaled that up. We hired Caitlin Meek-O’Connor from Little Dot Studios to lead that and rebranded it as Night Train Digital because we are now servicing third parties, not only monetizing our content. It grew out of our exploitation of Turkish drama series on YouTube. Last year alone, we had 4.5 billion views on YouTube. It’s substantial, even though a lot of the viewership for that comes from territories with low CPMs. We’re focusing on increasing our average CPM by adding English-language content and channels to the product mix. We’ve established a romantic movie channel. We have built various factual channels. We acquire content from partners to build those channels or manage theirs. We’ve partnered to produce the Michael Parkinson podcast in AI. Deep Fusion Films and Michael Parkinson’s son are working with us to bring him back to life as an AI interviewee with celebrities today. So, we’re managing the YouTube channel with all the old shows with him and, at the same time, building out the new podcast. There are also big studios with content their teams are not necessarily exploiting as much anymore because they have so much new stuff all the time, so we’re taking over some of these catalogs and monetizing for them.

WS: Are there other initiatives you’re working on across Night Train Media, Eccho Rights or BossaNova that you can share with us?

KLOIBER: Because we bought Eccho Rights and BossaNova, we spent quite a lot of time integrating them, building a new structure: one finance for everyone, one legal for everyone, etc., and we have appointed a new COO for the group, Charlotte Johnson, who is amazing.

We’re also shifting more toward film, given the difficulties we’re seeing in English-language scripted drama. Initially, we always deficit-financed a full film and found the right distributor to sell it. We are also now going into mezzanine financing on bigger films. We’re coproducing The Beast, a big Samuel L. Jackson action film that we would never finance by ourselves because it has a high budget, but we are coming in with other partners to finance the mezzanine loans. We are always on the lookout for other attractive spaces to deploy money, even if it’s not what we’ve done in the past.

From Mark Williams, co-creator of Ozark, Safe Harbor, financed by Night Train and produced by Submarine and Zero Gravity, is an English-language thriller being rolled out by Eccho Rights.

Jon Rutherford Boat Rocker Studios

By Kristin Brzoznowski

erving as a creative engine, Boat Rocker Studios creates, produces and distributes content and franchises across all key genres through its scripted, unscripted and kids and family divisions. It has aligned itself with a diverse roster of top global creators and has been rewarded for doing so with a stable of award-winning shows and brands that go on to live across multiple touchpoints. As president of global rights, franchise and content strategy, Jon Rutherford oversees kids’ projects such as the hit Dino Ranch , which has a spin-off in the works with Dino Ranch: Island Explorers , as well as the sale and exploitation of all Boat Rocker-owned or -managed IP and brands worldwide. Rutherford talks to World Screen about going after opportunities in the marketplace.

WS: How does Boat Rocker’s kids and family division align with the overall vision of the company?

RUTHERFORD: Boat Rocker has a broad array of different types of content and strategies within the company. K ids and family shares the same overall message and strategy as our oth er genres across scripted and unscripted. That is primarily to work with the best creators out there, help support that creative vision, tell great stories and get them to audiences around the

world. We’re a global entertainment company. We do all parts—cre ative, production, distribution, brand. 2024 was an interesting year. There were a lot of changes and a lot of challenges in the industry. We’re fortunate we have a well-diversified portfolio, not just across all the genres I mentioned but within our kids’ and family slate. We do original IP and have long-running series that continue to do well for us, global sales across a vast catalog and service animation work. I’m happy to say that the most recently posted results that we’ve had as a public company had an increase year over year from the last one. Like everybody right now, we’re looking at where there is opportunity and going after that opportunity. We’re not just following traditional ways of doing business but really thinking about all different avenues where you can succeed—until it pivots again, and then you start to monitor that and adjust.

WS: How is Boat Rocker adapting to the rise of new technologies, such as AI-driven content and interactive media?

RUTHERFORD: AI is a hot topic at the moment, and there are all sorts of different polarizing views of it. It’s important for us to understand it, how to use it and how to harness the opportunities. We believe in its strength as a tool. We certainly don’t want it to replace human creativity, which is so fundamental to storytelling, but we can’t ignore it. It’s powerful as a tool to use across a number of avenues within an organization like Boat Rocker and many other companies like ours.

What’s exciting is when the creative community uses it as a [means] for exploration. It can be really powerful. Some of the creative team, including at Industrial Brothers and Jam Filled Entertainment, have explored things like ChatGPT, Midjourney and some of those text-to-image prompts and are exploring the capabilities. Every month, a new piece of software comes out that could help in that space. We have to be mindful of it. We have to be cognizant of how it works. There are obviously legal issues that we’ve got to be aware of, with copyright and making sure that we are not using anything that’s not ours. At the same time, when the tools are used in the hands of the artists, there’s truly something magical that is unfolding. How do we support that? How do we harness that? If I use it myself to create something, that’s not good, but when Matt [Fernandes, co-founder and creative director at Industrial Brothers] takes it and uses it as a proof of concept for ideas…. It’s not to say that we’re using it in any areas beyond what that exploration is right now, but it’s a tool to put in a creative artist’s hands that’s really powerful. There’s a lot of exploration happening, as so many oth er companies are doing, and you can’t ignore what will become a large part of the industry in years to come.

Mike Gunton The Americas

By Kristin Brzoznowski

Sh owcasing the wonders of the world’s greatest supercontinent, The Americas debuts this month on NBC. The landmark ten-part series, narrated by Tom Hank s and featuring music by composer Hans Zimmer, was five years in the making, with 180 filmed expeditions. It hails from the renowned BBC Studios Natural History Unit, creator of the multiEmmy Award-winning Planet Earth and Blue Planet , in association with Universal Television Alternative Studio. Mike Gunton, creative director of factual at the Natural History Unit, whose long list of credits includes Life , Planet Earth II and Dynasties , is exec utive producer. He tells World Screen about the logistics of this “massive undertaking” and the technology enabling natural history filmmakers to get clo ser to subjects than ever before.

WS: What was the seed of the idea that blossomed into The Americas?

GUNTON: As a wildlife ﬁlmmaker, you’re always looking for new stories and new things to do. I was thinking that a lot of the world has been covered. Bits of America have been covered, bits of South America have been covered, but nobody had ever looked at this entire landmass. You think of it as separate, but it’s not; it’s all connected. Animals don’t care about national boundaries; to them, it’s an ecosystem. I thought, This is a story that should be told. And then I thought, Why has nobody done this before? Because it should have been! Then you realize, it is a huge undertaking. You’re effectively trying to tell stories that run from the Arctic Circle in Canada all the way down to Patagonia, which is almost in the South Pole. It goes across the equator and the tropics. The range of habitats is unparalleled. Logistically, it’s a huge undertaking. You can’t just buy one coat. [Laughs] You have to have stuff that can cope with all these different environments and have crews that can ﬁlm in all of those different environments.

WS: When faced with the breadth and scope of something like this, how did you conceptualize the narrative structure for such a vast and varied landmass?

GUNTON: One of the reasons I wanted to do it was because I thought, Imagine if you could take the ultimate safari on Earth. That would be to take a journey across this supercontinent and go to all the top hot spots of this place. That’s how we started with it. We asked, Where are the ten greatest locations on this supercontinent? Where are the places that have the best animals, the best habitats, the best landscapes, the most exciting stories—the A-listers of the natural world? When we started looking at it, it did work out that there were ten. Each of these has a unique personality, a unique signature. They’ve got to [pass a] namecheck: the Amazon, the Wild West, the Frozen North, the Andes—all these places have an evocation. You think, I know a bit about that but would like to know more, or, I’d like to go and explore that. Part of what we’re promising the audience is a vicarious expedition. You’re coming with us. We’re doing all the hard work. We’re doing all the dangerous stuff for you. But come with us, and we’ll show you the wonders of this place, and you can experience it with us.

WS: Tell us about the technology used to capture footage in ways that were not possible in the past.

GUNTON: We are fortunate. Another reason I wanted to do this now was that you’re looking for a moment where the stars align and the technology and scientiﬁc knowledge all come together. From the technology perspective, it was the evolution of drones. We’ve been using drones for a while. On a couple of series before this, we were using drones and knew it was clearly going to be a powerful tool. We had lots of extraordinary drone pilots

who could fly these things all over the place. But you also need the cinematographers, the natural historians, the people who understand the field craft of how to get close to animals. That took time to evolve. It came together for The Americas. We had an army of these extraordinary, brilliant pilots and natural historians or field craft people who could get the camera not just into extraordinary places but film the animals doing the things that we wanted to see them doing. What a drone can do that has always been so difficult in the past is get you physically close to animals. If you’re a human being running around trying to get close to the animal, it runs away. A drone can immediately get close to the animal. It gives you flexibility and the ability to get into places that no human being with a camera could ever get. That has been an absolute revelation. It has shown us things and gotten us places that we literally could not physically go. It’s been amazing. The Americas showcases that.

WS: How did the team manage the coordination and organization of such a massive shoot across multiple locations, particularly in terms of safety, cultural sensitivity and working with local communities?

GUNTON: It was a massive undertaking, with 180 different filming expeditions. Each time we went to a new location, it was like setting up a whole self-contained expedition, with all the logistical, medical and health [aspects]. In the really remote places, how do you even cook a meal? One of the things we did on this series, in part driven by the fact that it happened during Covid and we couldn’t always go to some of these locations, was work with a broader network of local crews, which had a lot of benefits. One is that we were then able to film things, but also, they brought their own sensitivities, perceptions and perspectives to the shooting. These are their animals. This is their world. They see it in a slightly different way, which was valuable. With cultural sensitivities, being outsiders was useful because we didn’t come with any sense of “ownership” of any of this land. We had nothing proprietary about it. We were trying to reflect what we saw objectively rather than subjectively. It’s important that the landscapes, animals and people speak for themselves.

The Americas , and what do you hope viewers take away from the series?

GUNTON: An ideal wildlife documentary should have all those elements in it. It should have some education—but that’s education with a very small “e,” where you’re learning rather than being formally educated—and, of course, enter tainment. The best teacher you ever had at school was the most entertaining teacher you had at school. The two things go hand in hand. This series is less of a factual exposition as it is much more about experience. It’s about what it’s like to be with these animals and what their lives are like, and you put yourself in their shoes. You [view] their lives as a reflection of your own life. It’s very empathetic in that respect. It’s a glorious and joyful journey. In the background, you can’t ignore the fact that the world is changing fast, and that has impacts. It had an impact on what we filmed. Behavior is becoming more unpredictable. Migration patterns are changing. Weather patterns are changing. It’s important for us to reflect that. We decided to take the position that if you want to protect something, you have to love it and care about it. If you understand it and love and care about it, you’re much more likely to protect it. That’s been our subliminal underpinning. A few stories feature some of the challenges that animals face. There’s some [that show], in particular up in the Frozen North, how the melting of the ice is affecting animals significantly. What I think you perhaps don’t realize is it is the most incredible place on Planet Earth. You’re so lucky to have this. The variety, the diversity, the sheer abundance of life there. That can make it feel like it’s not under any threat; it can make it feel inexhaustible or immutable, but it’s not. It is fragile. We hope that people have a wonderful experience, that they come to love their country and maybe look at it with new eyes and want to experience it more, but also that they realize that they need to make sure that they do their bit to protect it for themselves, their children and their children’s children. It is such a precious part of the planet and our lives.

WS: How do you balance entertainment with education in

Distributed by NBCUniversal Global TV Distribution, The Americas is set for NBC’s primetime schedule.

UDIEEN YO MOV AUDIEN Y

By Mansha Daswani

he Great Kanto Earthquake that struck Japan in 1923 laid bare the need for a nationwide information system to keep citizens safe. Two years later, stations in three cities—Tokyo, Osaka and Nagoya—began the country’s first radio broadcasts and, a year later, would come together to form the first incarnation of NHK. The country’s public-service broadcaster has transformed with the times, but its remit to serve its citizens with trustworthy, reliable information remains at the heart of the organization,

NOBUO INABA NHK

Nobuo Inaba, its president, tells World Screen. Internationally, NHK is delivering its content via the channel NHK WORLD-JAPAN, while NHK Enterprises is bringing a diverse slate of drama, documentaries, entertainment and kids’ fare to broadcasters and platforms worldwide. Driving gains at its commercial arm and bolstering co-productions are key mandates for the pubcaster as it navigates an evolving ecosystem, alongside continued R&D into elevating the viewing experience, all while retaining the trust of audiences.

WS: Tell us about NHK’s positioning today as it marks 100 years of broadcasting in Japan.

INABA: On March 22, 1925, 100 years ago, the first radio broadcast came out in Japan. NHK did not exist at the time—the first broadcast was conducted by stations in Tokyo, Osaka and Nagoya. These three stations were unified the following year to become NHK. The broadcast that started in 1925 had a significant impact on the development of Japanese society. The need for a broadcast system was compelled by the Great Kanto Earthquake in 1923. At the time, people were not able to get the necessary information, and there were a lot of rumors spreading, causing social confusion. These circumstances led to a decision to establish a broadcaster in order to spread reliable, accurate information and protect the lives of people.

Since the start, to this day, be it earthquakes or tsunamis, political, economic or social issues, NHK has prioritized transmitting accurate and reliable information and has continued to stand by the people in times of turbulence while documenting the Japanese people’s resilience. This role and position in society as a public broadcaster has not changed since its start and will continue. As we stand at the starting point of the next 100 years, NHK will strive to transmit accurate and fair information while offering a variety of content that will enrich people’s lives.

WS: How have you progressed in your three-year plan for NHK? Where are you on the key strategic initiatives you set when taking on the position, and what shifts have you made given the evolving media landscape?

INABA: One big evolution is regarding NHK’s activities in the internet space. In May last year, the Japanese Broadcasting Act was revised, making NHK’s internet operations an imperative duty, enabling NHK to better meet the demands of the audience. As of October this year, NHK will be able to offer via the internet the same value of what we offer through broadcasting. This is a historic moment for NHK. The reliable information and rich content currently being offered to our audience mainly on broadcast will be accessible through the internet, thereby further enriching the lives of people.

At the same time, our responsibility as a public-service media organization becomes even heavier. As the internet space is more susceptible to what is known as the attention economy, there is a greater possibility for misinformation, disinformation and sensational,

neg ative content to stand out, and this can lead to the creation of a biased information space. Our mandate is to continue to provide reliable and accurate information in the hope of serving as a reference point for the people, and this mandate is becoming more important than ever.

And now that the world is becoming even more polarized with so much social confusion going on, it is important that we join hands with our partners around the world and work together, not only to tackle disinformation and misinformation, but to also find ways to enhance dialogue and mutual understanding.

WS: What are some of your key programming initiatives for 2025, especially as it relates to the milestone anniversary of Japan ese broadcasting?

INABA: We will be airing many programs to celebrate the centennial throughout the year on all channels. One key initiative is the annual period drama (the Taiga drama) that has continued since 1963. Each year, the life story of a historical ﬁgure is depicted through 50 episodes, covering everything from epic samurai battles to Japan’s era of rapid modernization. Over the years, the Taiga dramas have featured some of Japan’s most celebrated actors, including Ken Watanabe, Hiroyuki Sanada and Toshiro Mifune.

Last year’s Taiga drama was Dear Radiance, which depicted the life of Murasaki Shikibu, the author of The Tale of Genji, considered to be the world’s oldest novel by a female writer. The drama brought in a fresh breeze and succeeded in attracting new viewers. This year’s 64th installment is Unbound , which depicts the life of Tsutaya Juzaburo,

the “King of Media” of the Edo era. Set in the 18th century, this is the story about a man who was the driving force behind Japan’s cultural renaissance, discovering worldrenowned ukiyo-e artists like Sharaku, Utamaro and Hokusai. Starting his career from his humble book rental shop, he progresses to set up a publishing house, where he delivers one hit after another. It is an epic tale that chronicles the life of a man who blossomed Japanese culture, laid the foundations of Japan’s media industry and pop culture and relentlessly pursued beauty and freedom. This entertainment drama is the perfect tribute to mark the centennial of broadcasting.

We plan to air a documentary series, currently in production, called Neo-Japonism (w.t.). Japanese manga, anime, J-pop, cuisine and traditional crafts have garnered widespread popularity across the glo be. This series will explore the vibrant movements surrounding Japanese culture worldwide, capturing interactions with local people and cultures. It will also delve into Japan’s history to uncover the roots of the culture that captivates the 21st-century world. I believe it is a series that offers global audiences an opportunity to reﬂect on culture and society through the lens of Japanese culture.

WS: How have you invested in new technologies to ensure you continue to entertain and educate Japanese audiences and serve them across platforms?

INABA: A good example is our coverage of natural disasters, which is one of our important missions rooted in the origins of NHK. We have continued to upgrade our equipment and facilities and reinforce our coverage system to offer vital information to help save

people’s lives. To quickly convey the situation in disaster-stricken areas, NHK has installed 850 robot cameras and 15 helicopters throughout Japan. During the Great East Japan Earthquake in 2011, NHK put these to full use to provide live coverage of the tsunami situation as it unfolded.

Furthermore, we are incorporating the latest innovations into our disaster reporting. In the series Disaster Big Data , which was produced after the Great East Japan Earthquake, we utilized various sources, such as the movement of hundreds of thousands of people in the disaster-strick en areas, driving records from car navigation systems and 180 million social media posts sent out in the first week after the disaster, uncovering the full picture of how people reacted that day. Programs like these will offer people lessons for survival in the future when new major disasters occur and are also important for disaster prevention and mitigation.

Over the years, our investment in broadcast technology has enriched other aspects of our content production. NHK is a pioneer of HD and was the first to launch an 8K channel. We have always striven to incorporate new technology for new styles of visual expression. For example, in 2012, NHK, NHK Enterprises and the U.S.-based Discovery Channel succeeded in capturing the world’s first-ever video images of a giant squid in its natural deep-ocean habitat. We developed a special ultra-sensitive high-definition camera to enable operation at great depths. The camera used a special light with a specific wavelength invisible to the sensitive giant squid eye. Culminating ten years of research with the National

Snowman Race , which chronicles the grueling marathon in the Himalayas, is being produced with Bhutanese pubcaster BBS.

Museum of Nature and Science of Japan, the project succeeded and brought us messages of how global warming was reaching even the deep sea.

The “Deep Ocean” team, which is known for its success in capturing on film the giant squid, has succeeded in filming another world first. This time, in collaboration with ZDF, ARTE and OceanX, the team headed to the sea of Indonesia in hopes of unraveling the ecology of the mysterious and ancient phantom fish, the coelacanth. NHK’s research and planning for the filming started six years ago. The project developed a special ultra-high-sensitive 8K deep-sea filming system, and by collaborating with scientists from around the world, they conducted the

world’s first 72-hour consecutive filming expedition. They were able to capture a school of coelacanths hiding under a steep cliff. Coelacanths are considered to be a solitary species, and previous observations had not revealed any behaviors indicating awareness of other individuals. However, in this expedition, the team was able to document numerous instances of interactions between coelacanths, suggesting a connection to reproductive activities. This is the first time in the world that footage of coelacanth behavior possibly linked to reproduction was filmed, and it marks a significant step forward in understanding the behavior of these ancient fish. Footage will be shown in Deep Ocean: The Kingdom of the Coelacanth , a co-

produc tion with ZDF, ARTE and OceanX, in collaboration with the Coordinating Ministry of Maritime Affairs and Invest ment (CMMAI) of Indonesia.

WS: How are you positioning your commercial arm, NHK Enterprises, and where do you hope to see gains in the year ahead?

INABA: I have high expectations for NHK Enterprises and our other affiliate companies for their potential of diverse activities that go beyond NHK’s remit as a public broadcaster. As commercial entities, NHK’s affiliates can be more ﬂexible in collaborating with other private companies.

Last fall, I heard from NHK Enterprises that a special program from the “Professionals” series, Hayao Miyazaki and the Heron, was released in theaters in Taiwan, Italy, France and more. This is a two-hour documentary that chronicles the making of the Oscarwinning The Boy and the Heron, ﬁlmed with exclusive access to Studio Ghibli across seven years. Additionally, some of our popular dramas were distributed on global platforms. For example, Shrink: Psychiatrist Yowai is a heartwarming drama based on a manga series of the same title. Another is The Science Club, a drama about a mysterious science teacher and his students at a night high school with vastly varied backgrounds. Inspired by a true story, the class works to re-create a “Martian crater” to present at an academic conference. NHK Enterprises’ role is important in sharing NHK content with the world, transcending country borders and media.

Japan has produced great ﬁlmmakers and visual creators such as Yasujiro Ozu, Akira Kurosawa and Osamu Tezuka. Being a group of content creators, NHK values the rich

NHK Enterprises is driving NHK’s co-production efforts, which includes lining up partners for the two-part doc Hidden Japan

Deep Ocean: The Kingdom of the Coelacanth captured exclusive footage of the ancient fish.

cin ematic heritage built by these predecessors and continues to produce content with deep respect for this tradition. In recent years, we are seeing a growing appetite for diverse voices and local storytelling, and I hope that NHK will continue to create quality programs that resonate with audiences worldwide.

WS: How important are co-pros and other international collaborations for NHK?

INABA: International co-productions are very important for NHK for several reasons. The greatest beneﬁt is that we are able to bring together budgets, talent and resources to create impactful programs. This is becoming ever more important in an age when public media around the world is facing budget constraints. Viewer expectations for grandscale programming remain high, and NHK is always looking for new styles of storytelling and event programs with new discoveries and big impacts on a global scale. Also, co-production is becoming vitally important in tackling global issues. Now, as the world is becoming so polarized and divided, it is becoming more difficult for one country or region alone to solve problems that affect all of us, such as climate change and global conflict. It is all the more important that like-minded broadcasters and media companies around the world join hands to look for seeds of resolution. That is one of the reasons why NHK has joined Global Doc, an initiative led by France Télévisions where public media companies join forces to support and co-

finance ambitious documentary projects with universal appeal.

As the media industry becomes more diverse and fragmented, we believe that these partnerships play an important role in making sure that aspiring filmmakers are supported and that well-researched, high-quality content is made and delivered to the public. One example is Snowman Race, which will follow the world’s toughest trail race, covering [about] 186 kilometers of mountainous terrain in the Bhutanese Himalayas over four nights and five days. NHK, in collaboration with Bhutan’s national broadcaster BBS, was the first broadcaster in the world to provide exclusive and complete coverage of this extraordinary race. This program, set against the mystical grandeur of the Himalayas, will portray the aspirations and endeavors of runners while conveying the stark realities of climate change through their eyes. Hidden Japan is a two-part series depicting nature from the uniquely Japanese perspective called “en,” a word often translated as “connection” or “relationship” in English, but it carries a deeper, more nuanced meaning: the bonds or fateful connection between people. The first episode is set in ancient Japanese cities such as Kyoto and Nara. The second is set in the forests that gave birth to nature worship. It depicts the intimate relationship between humans and the creatures nourished by the forests. The film has attracted a great deal of interest from overseas producers from the development stage and will be co-produced internationally with European producers.

WS: What are some of your other key strategic goals and initiatives for NHK in the 12 to 18 months ahead?

INABA: For the past 100 years of broadcasting, NHK has continued to offer a diverse array of programs that have enriched the lives and hearts of people. In October this year, integrating our internet operations to offer values equal to what we offer on our broadcasting services is an important step for NHK. The mission and responsibility to provide accurate and reliable information, as well as diverse content that enriches people’s lives, not only through broadcasting but also tailored to the unique characteristics of the internet, will become heavier. We aim to ensure the integrity of the information space, including the internet, and aspire to contribute to the advancement of democracy in Japan and around the world. 2025 also coincides with the 80th [anniversary of the end of] WWII. With a focus on youth, we aim to examine war and peace within the context of the contemporary world. One of these initiatives is the creation of anime content that resonates with many generations. cocoon is a new anime based on the manga of the same title by Machiko Kyo. It will delicately portray the war through the eyes of a girl living on an island and will be produced by for mer Studio Ghibli animation producer Hit omi Tateno. Bringing together the talents of both young and veteran animators, the project aims to deliver a film that inspires people of all generations to reflect on and rethink the concept of war.

Unbound is NHK’s high-profile Taiga costume drama this year, depicting the life of Tsutaya Juzaburo, a prominent publisher in 18th-century Japan.

ZDF Studios’ Time: A Journey Through Thousands of Years

FACTS OF LIFE

Stunning natural vistas, archive-rich history, deep-dive biographies and insightful factual entertainment feature in the latest edition of the TV Real Screenings Festival in time for London TV Screenings and the inaugural MIP London.

The challenges in the global content sector have given rise to a newfound openness to collaboration, one that is on display in ZDF Studios’ new two-part Time: A Journey Through Thousands of Years, which “captures the type of fresh thinking about content and partners required to get co-production deals done,” says Ralf Rückauer, VP Unscripted. The co-production of ZDF with CMG, ARTE and ZDF Studios “is also a reminder that European, particularly German, public broadcasters are resilient funders of factual programs.” Rückauer also highlights the ﬁve-part

Fateful Planet, a ZDF Digital Medienproduktion for Curiosity Stream in association with ZDF Studios and ZDFinfo, which “explores the rise of humanity, reconstructs the major events that created our unique habitat and shows how life has bounced back after catastrophic events.”

Among the brand-new premium factual offerings from All3Media International is the 90-minute Becoming Madonna . Rachel Job, the company’s senior VP of unscripted, bills it as an “absorbing insight into her astonishing career, life and talent. With Optomen and Sky as creative partners, the show has delivered an utterly compelling view of the early years of someone who has become a cultural icon across the world.” Job also touts new series with the popular Monty Don and Guy Martin: the ﬁvepart Monty Don’s British Gardens and the two-part Guy Martin: Arctic Warrior. Capitalizing on the success of series like Yellowstone, Great American Land Listings from Bright North “offers exclusive access into the booming Wild West of ranchland real estate,” Job says. Rounding out the company’s selections is a new season of Getting Filthy Rich with Olivia Attwood.

The special Unearthed—The Mystery of the Shaman Woman has notched up a slew of award wins for its investigation into the mysterious

All3Media International’s Becoming Madonna

NHK Enterprises’ Decoding the Chinese Documents Leak

burial of a woman and her baby 9,000 years ago in Bad Dürrenberg. N ikolas Hülbusch, Director Unscripted at ZDF Studios, is also showcasing to the company’s clients the ﬁve-part wildlife and nature series Wild Talk. “Off the Fence has done it again by producing another brilliant series, beautifully ﬁlmed and full of intriguing stories,” Hülbusch says. “These documentaries are made for prime time to be enjoyed by all the family.”

NHK Enterprises arrives in London with a diverse factual slate, including the currentaffairs special Decoding the Chinese Document Leaks, exploring global misinformation tactics. Akiko Nakano, senior manager of international sales, also showcases the science and history doc FRONTIERS: Quest for the Ancient Sin City, referring to it as “a mix of archeology and astrophysics, and a story of trying to solve how an urban center from 4,000 years ago could have been destroyed, possibly at temperatures people of that age could not possibly have created themselves.” Behind the Scenes: Detective Conan , meanwhile, profiles the manga author Gosho Aoyama. “It is also a truly inspiring record of a creator who, after three decades, continues to wow his readers,” Nakano says.

Albatross World Sales’ Among the Wolves

ZDF Studios’ Wild Talk

Albatross World Sales is promoting several new wildlife properties, including the six-part series Beaches of Europe and the film Among the Wolves , “a deeply moving and philosophical story—not just about wolves but also about creativity, solitude and the beauty of nature,” says Lisa Anna Schelhas, sales director. O n the history front, the company is launching Liberation Diaries . “The stories of the female heroes that stayed home during the Second World War come to life in this title that beautifully crafts animations around the moving diaries of three women who couldn’t be more different, but all tell a story about survival, resilience and hope during especially dark times under patriarchy,” Schelhas says.

A production of Doclights in association with WDR and Terra Mater Studios, Welcome to the Forest rounds out ZDF Studios’ nature and wildlife highlights in the TV Real Screenings Festival. “Using cutting-edge technology, the series shows how forest creatures venture into sunny clearings to ﬁnd food,” says Margarita Garcia, Director Unscripted. “As climate change reshapes our world, we meet foresters and scientists working to increase biodiversity. Discover how we can protect, enjoy and beneﬁt from our forests for the future.”

NHK Enterprises’ Behind the Scenes: Detective Conan

All3Media International’s Guy Martin: Arctic Warrior

The most-viewed clips on our video portals in the last month.

Hameln

In medieval times, the Pied Piper kidnapped 130 children and young people from Hamelin. Now, after more than 700 years, he returns with them and brings horror and death to the city. Just the blind, the deaf and the lame can stop them. (ZDF Studios)

Race Across the World

An epic, hugely successful BAFTA Award-winning series that follows teams as they leave behind their smartphones, internet access and bank cards to travel across the world. (All3Media International)

Totally Spies!

Follows the hilarious, action-packed adventures of three Beverly Hills girls who were hired as secret agents by WOOHP (World Organization of Human Protection). (Banijay Kids & Family)

Kuma (The Other Wife)

In the rugged landscapes of eastern Turkey, Ceylan, unjustly accused of murder, becomes entangled in an intricate web of family obligations as the second wife, or “kuma,” of Karan, the man she loves, who is also the brother of the deceased. (GoQuest Media)

The Nightfall

Mahir, whose father was assassinated in the city of Denizli by Kürşat Kilimci, returns 20 years later as a police inspector, determined to avenge his father’s death. (atv)

UDIEEN YO MOV AUDIEN Y

IN THIS EDITION

9 Story Media Group

Aardman

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Albatross World Sales

Artist View Entertainment

BBC Studios Kids & Family

Dandelooo

Dori Media Group

Eccho Rights

Electric Entertainment

FilmRise

FOX Entertainment Global

HARI

Inter Medya

Leading Distribution Partners

Mattel Television

NBCUniversal Global

TV Distribution

NHK Enterprises

Nicely Entertainment

NJ World

Onza Distribution

pocket.watch

Seven.One Studios International

Studio 100 International

TV Asahi

Vision Films

ZDF Studios

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Dylan’s Playtime Adventures (3-5 animation, 52x11 min.) Dylan, a stripey dog who lives in Butter cup Meadow, takes on a new career—doctor, pizza chef, hair stylist or sea captain.

Let’s Go, Bananas! (3-6 animation, 52x11 min.)

Three sweet, silly, diverse families share each other’s lives, loves, triumphs and tantrums in relatable tales told by their five funny and fabulous kids.

Open Season: Call of Nature (6-11 animation, 52x11 min.) When Boog and Elliot discover an abandoned summer camp, they embark on an adventure, creating a place to live that welcomes animals of every kind.

A Kind of Spark (8-12 live-action, S1-2: 20x24 min.) Addie, a bright and sparky autistic girl encountering new friends and challenges, is determined to make the world a better place.

Lu & The Bally Bunch (2-5 animation, 75x5 min., 1x22 min., 25x1 min.) Lu and her new friends have just started preschool. Together, they

explore their brand-new social lives through play, music and big feelings.

The Woohoos (3-5 animation, 52x7 min.) Join Wynona, Iggy, Scotty and Ellie as they wander the natural world around them on Wise Island, where every moment is a new discovery.

Donkey Hodie (3-5 animation, S1-3: 150x11 min., 3x22 min. & 8x5 min.) Donkey Hodie lives in the land of Someplace Else, where everyone dreams big. Donkey spends her days pursuing her ambitions with gusto.

Hero Inside (8-12 animation, S1-2: 20x13 min.)

When cartoonist Scott mysteriously vanishes, 100 heroes from his 100 comic books are left scattered throughout the city.

Daniel Tiger’s Neighbourhood (2-5 animation, S1-7: 308x11 min., 3x22 min., 1x24 min., S4-6 interstitials) Daniel, a 4-year-old tiger, has fun while learning the skills necessary for school and life with help from his neighbors, family and friends.

The Singalings (2-4 animation, 26x5 min.) Extraterrestrials Melody, Harmony and Bop discover all they can about Earth. Whether a visit to the zoo, beach or a bus ride, they love to investigate.

AARDMAN

O (44-117) 984-8485

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Big Lizard (4-6 CGI comedy/adventure/science, 52x7 min.) The cosmic adventures of astronauts Cosima and her Dad as they explore prehistoric planet Proxima B—and meet a larger-than-life Big Lizard.

Dylan’s Playtime Adventures

Lí Ban (7-9 2D anime/adventure/action, S1: 13x11 min., S2-3: 26x11 min. each in dvpmt.) Transformed mysteriously from girl and dog into mermaid and sea otter, Lí Ban and her faithful Con explore the watery kingdoms of Celtic legend in their search for answers.

Mojo Swoptops (3-6 CGI comedy/action, 52x11 min.) Mojo and Bo are always ready to help and have fun in Swoppiton. Together, they can tackle any job with a swap of Mojo’s top.

Ready Eddie Go! (4-6 CGI learning/comedy, S1: 26x7 min., S2) Offers fun bitesize “how to” guides for an array of life scenarios such as dressing up, exploring new foods and playing a board game. Yukee (Mid-preschool 2D, 52x7 min.) Follow the tales of a 6-year-old ukulele-playing girl in a magical garden full of musical animal friends.

Quentin Blake’s Box of Treasures (Family 2D adventure, S1: 6x26 min., S2: 3x26 min.) A collection of handdrawn animated tales from the world-famous illustrator and master storyteller, voiced by a stellar cast.

Interstellar Ella (Upper preschool CGI adventure, S1: 52x11 min., S2: in dvpmt.) In the year 3021, on a faraway space station, Ella and her friends set out on interstellar adventures and discover the wonders of the universe.

Pop Paper City (Preschool 3D/mixed media, 52x11 min.) Focuses on creating adventures together, encouraging “doing as well as viewing” through lovable characters and adventures.

The Very Small Creatures (1-3 stop-frame, S1-3: 61x3 min.) Five curious friends explore a child’s playroom. Through play and discovery, they learn about themselves, each other and the world around them.

Shaun the Sheep (6-9 stop-frame comedy, 190x7 min., 1x30 min., 1x28 min., 15x1 min., 21x1 min., 8x1.5 min. & 8x4 min.) Aardman’s family favorite TV series is recognized the world over for its slapstick humor, distinctive look and strong, quirky characters and enjoyed across multiple media platforms.

ABC COMMERCIAL

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Eat the Invaders (Fact-ent./format, 6x30 min.)

Countries around the world are experiencing biodiversity loss due to invasive species brought by colonial ancestors. With the help of scientists, land carers, artists and chefs, this series attempts to turn unwanted ecological trash into desirable culinary gold.

Eat the Invaders

Shaun the Sheep

Role of a Lifetime (Fact-ent., 5x50 min.) This series tackles modern parenting dilemmas with a twist. Australian comedians rewrite the rulebook in a rapidly changing world, bringing these challenges to life through witty, scripted sketches.

ALBATROSS WORLD SALES

(49-341) 4428-2450

m info@albatrossworldsales.com w www.albatrossworldsales.com

Liberation Diaries (History, 1x52 min.) Through their diaries, three women from Milan, Paris and Berlin document Europe’s turbulent transition after World War II, revealing powerful stories of resilience, identity and survival.

Among the Wolves (Nature/wildlife, 1x90 min./52 min.) An award-winning film following a painter and a photographer living with a wild wolf pack for a year, capturing their hunts, bonds and survival through the seasons.

Burrowing Owls—A Love Story (Nature/wildlife, 1x52 min.) A determined biologist singlehandedly rescues a fragile population of burrowing owls amid the shadowy bunkers of a Cold War military depot.

Wild

Port

of

Europe (Nature/wildlife, 1x52 min.)

Portraits the various animals living in Europe’s largest and busiest port area, side by side with the shipping industry of Rotterdam.

Big City Starlings—Berlin’s New Winter Guests (Nature/wildlife, 1x43 min.) While the population of this once-ubiquitous bird is declining dramatically across Europe, a flock of Starlings has been spending their winters at Berlin’s Alexanderplatz.

The Truth About Invaders (Nature/wildlife, 1x52 min.) Many common species were once introduced as “aliens.” By challenging preconceived ideas, this film explores how these former “invaders” have enriched biodiversity and influenced evolution.

Amnesia—When the Brain Suddenly Goes on Strike (Science, 1x43 min.) Neurologist Magnus Heier’s sudden memory loss sparks a scientific journey exploring how the brain processes, stores and forgets experiences.

Beans—A Superfood Story (Science, 1x52 min.)

Researchers, gardeners and culinary experts are investigating the superfood potential and cultural significance of different varieties of the common bean. Eco Crimes (Science, 3x52 min.) Organized crime has expanded into a new area that experts consider just as serious as arms and drug trafficking: crimes against the environment.

Along Ancient Tracks (Destinations, 5x43 min.) Embark on a mesmerizing journey through picturesque landscapes and delve into the rich history of ancient train tracks and the people who live alongside them. New episodes travel to Sicily and Slovenia.

Liberation Diaries

sitionedal iaiampcgnuon vidwith a dorlwedo@veacg Avic(edoveck dscorlwtison@tamd tison

ARTIST VIEW ENTERTAINMENT

O (1-818) 752-2480

m sales@artistviewent.com

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Catch the Wind (Drama, 1x110 min.) A traveling Irish comedian and a barmaid find love in the urban sprawl of New York City. But fate takes a hand when these two lost souls are confronted with the decision to embrace life over death.

Catch the Wind

A

Murder Between Friends (Thriller, 1x90 min.)

A group of friends lease a castle owned by a legendary television detective. The fun-filled getaway takes a dark turn when one of the guests is found dead under mysterious circumstances.

The Neon Highway (Drama, 1x100 min.)

Wayne (Rob Mayes), a struggling singer-songwriter, crosses paths with Claude Allen (Beau Bridges), a once-famous country music legend whose star has long faded.

Oscar’s Eye (Drama, 1x112 min.) An eccentric repairman and a young boy who cannot speak are brought together by a broken film camera.

Scott and Sid (Drama/comedy, 1x95 min.) Scott and Sid set out to build bigger lives, launching businesses

before they’ve even graduated from school, braving gangsters and defying their own limits.

Faultline (Thriller, 1x91 min.) Paige and Jessie’s lives are shattered when their mother’s troubled personal life leads her to perpetrate a horrific crime.

Get Rich or Die Trying (Thriller, 1x90 min.) Nicole investigates her sister’s mysterious disappearance and comes face to face with the multi-level marketing mogul who’s holding her captive.

Killer in the Woods (Thriller, 1x90 min.) A single mother agrees to a camping trip suggested by her new boyfriend. When one of her teen daughters goes missing, she comes to learn this is all planned by a cult.

Cheat (Thriller, 1x100 min.) Battling to survive the unexpected consequences of her affair, Zoe must fight for both life and death to uncover the truth before it’s too late.

BBC STUDIOS KIDS & FAMILY

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The Primrose Railway Children (10+/family, 3x28 min./1x84 min.) Jacqueline Wilson’s updated retelling of the children’s classic for a new generation, set amid the dramatic beauty of the Scottish highlands.

Supertato (Preschool animation, S1-2: 52x7 min. each) Meet the world’s greatest potato superhero in this popular slapstick comedy animation set among the aisles of a supermarket.

Hey Duggee (Preschool animation, S1-5: 216x7 min.) Lovable Duggee and the Squirrels return with more educational fun and adventures.

Funny Talking Animals (Bridge live-action, 26x7 min.) Real wildlife footage, state-of-the-art animation and the candid voices of kids are combined to offer an endearing perspective on life through children’s eyes. Stan Can (Preschool animation, 52x7 min.) Meet Stanley, the can-do hamster who is always happy to help whenever a job needs doing. An animated series based on the books by William Bee.

Funny Talking Animals

Pickle Storm (Bridge live-action, S1-2: 10x22 min. each) A fish-out-of-water sitcom about a girl and her family from a parallel universe who find themselves in the U.K. struggling to adjust to suburban life.

Horrible Science (6-9 live-action, 15x30 min.)

The team behind multi-award-winning Horrible Histories turns their attention to the world of science. Also available: Horrible Histories (S1-11: 156x28 min.)

Bluey Minisodes (Kids animation, 20x1-2 min.) Sweet and funny moments from the huge ly popular preschool animated series—in bitesize form. Featuring new characters.

Deadly 60 (6-9 live-action, S1-5: 82x30 min.)

Steve Backshall goes on a mission to meet more of the planet’s deadliest creatures.

DANDELOOO

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The Upside Down River (Kids adventure, 8x22 min.) The story of Tomek and Hannah’s meeting on the way to the Qjar River. Their quests follow one another, overlap and finally complement each other. Billy the Cowboy Hamster (Preschool adventure/ comedy, 48x11 min. & 2x22 min.) Billy dreams of being a cowboy but is still just a child—well, a hamster child.

Under the Sofa (Kids/family sitcom, 52x7 min.) A comedy in which a group of lost objects get a second chance as they live in hiding under a sofa. Pol the Pirate Mouse (Preschool adventure, 13x7 min.) Pol, the smallest pirate you’ve ever seen, and her eclectic crew look for lost treasures to give back to whichever forest friend they belong to.

The Upside Down River

Tuiga (Kids comedy/adventure, 39x7 min.) A giraffe in a balloon makes deliveries around the world, accompanied by a girl pilot, a not-soeasily impressionable flower and an enthusiastic little rock.

GET GLOBAL MEDIA

PongPong Dino (Early preschool comedy, 52x7 min.) Explore a world where food comes to life in massive proportions, and five kids are about to set off on an unforgettable adventure. What’s up Eesha? (Preschool comedy, 52x11 min.) It’s cool to have many friends—except when they are kind of sticky, and you can’t have a minute for yourself.

Pompon Little Bear (Preschool adventure, S1: 39x7 min., S2: 72x7 min. & 2x21 min.) In bear cub years, Pompon is 7. He is mischievous, cheerful, playful and adds a bit of extra to the ordinary.

Petit (Preschool animation, S3: 26x7 min.; total: 45x7 min.) Petit’s daily situations become adventures he will have to face being brave and creative, always with the help of his friends.

Jasmine & Jambo (Preschool edutainment, S1-2: 52x7 min., 52x1 min., 26x1.5 min., 4x26 min.)

Jasmine and Jambo are crazy about music. They live in Soundland, where music and life go hand in hand.

DORI MEDIA GROUP

O (972-3) 647-8185

m sales@dorimedia.com w www.dorimedia.com

MIP London: ML8

Soul Sucker (Horror comedy, 8x45 min.) A washed-up 40-year-old reality star returns home when her mother is suspected in her lover’s strange death and confronts a family curse where lovers of daughters meet a gruesome end.

Amia (Political/action drama, 8x45 min.) A Mossad agent hooks up with a local Argentinean journalist to find those responsible for a terrorist attack.

Smart Face (Game show) Contestants are asked questions but are not allowed to answer them—they must find someone on the street to do so.

Lalola (Comedy, 20x30 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 turned into Lola and will learn to be a woman in a macho world while seeking to reverse the spell.

Indal (Action drama, 8x45 min.) A group of EthiopianIsraeli youth decide to kidnap the police officer who peppered their adolescence with abuse and eventually murdered their closest friend.

Power Couple (Reality format) Eight couples face extreme challenges that will test how well they really know each other.

Love at Third Sight (Docureality format) Men and women in their golden years spend 14 days at a luxurious resort seeking love through tailored activities, romantic outings and deep conversations.

Yum Factor (Cooking competition) Flips the script on culinary competitions. This isn’t about the professionals; it’s about the everyday culinary maestros.

Little Mom (Comedy, 51x30 min.) An internationally successful comedy that reveals the harsh truth of life after having kids.

Losing Alice (Psychological thriller, 8x60 min.)

Erotic, neo-noir drama tells the story of Alice, an ambitious 47-year-old female film director who becomes obsessed with 24-year-old femmefatale Sophie.

Soul Sucker

ECCHO RIGHTS

O (46-8) 5560-9380

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I Am Mother (Drama, S1-2: 199x45 min.) Filiz marries Hasan while Karsu enters a marriage of convenience and works for the cold, arrogant Bora Bozbeyli to aid her custody battle against Reha.

Winds of Love (Drama, S1-2: 360x45 min.)

Zeynep learns Halil entered her life for revenge and refuses to be his “rebel lover,” but Halil persists, and their love is tested.

A Journey to Belong (Drama, 150x45 min.) When Yasemin leaves her little sister at her estranged grandmother’s mansion, hidden family secrets risk resurfacing, threatening to unravel relationships.

Behind the Veil (Drama, S1-2: 315x45 min.)

Cihan and Hancer’s tumultuous marriage continues to face challenges as Beyza, Cihan’s ex-wife, manipulates Hancer and pretends to be pregnant to drive them apart.

Safe Harbor (Drama, 8x50 min.) Marco and Tobias’ lives are upended when they hack Rotterdam’s harbor system to control drug shipments for the Irish mob’s European outpost.

Beneath the Surface (Drama, 10x45 min.) After her father’s suspicious death, Officer Cihan Manoğlu

secretly investigates his case, pulling herself and her colleague Metin into a labyrinth of hidden truths. The Cost of Lies (Drama, 24x45 min.) Adem prints a commemorative bank note for his son, sparking a downward spiral involving counterfeit money, family collapse and a slip into the criminal underworld. Fallen (Drama, 8x50 min.) Live, love, die, repeat. Each time Luce falls in love, she dies. But this is her last life, and there are controlling forces she must battle.

ELECTRIC ENTERTAINMENT

O (1-323) 817-1300

m sales@electricentertainment.com w www.electricentertainment.com

MIP London: RR5

The Librarians: The Next Chapter (Action/adventure, S1-2: 24x60 min.) From showrunner Dean Devlin, centers on a “Librarian” stuck in the present who inadvertently releases magic across the continent. He is given a new team to help him clean up the mess he made.

The Librarians: The Next Chapter

Leverage: Redemption (Action/crime, S1-2: 29x60 min., S3: 10x60 min.) The team pits themselves against a power broker, a mayor, a pool hustler and an industrialist exploiting child labor, all while dodging a plan of vengeance from a season one enemy.

Safe Harbor

UDIEEN YO MOV AUDIEN Y

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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!

The Ark (Drama/sci-fi, S1-2: 24x60 min.) The spacecraft “Ark One” and its remaining crew members try to survive after a catastrophic event causes massive destruction to the ship during its mission to save humankind.

One Big Happy Family (Comedy/drama, 1x82 min.) Lisa Brenner stars as Rachel, a woman who goes on a journey with her Jewish mother, Lenore, played by Linda Lavin.

Almost Paradise (Action/crime, S1-2: 20x60 min.)

A U.S. DEA agent retires to a tranquil beach in the Philippines. Against the doctor’s orders, he uses his skills as a longtime operative to put away criminals. Sloane and the Cosmic Schlep (Animated sci-fi/ comedy, 8x30 min.) Follows a restless young woman who leaves her home on Earth to find adventure, romance, new friends and a job as an interplanetary taxi driver for a slew of unruly aliens. The Poly Couple (Reality/comedy, 8x30 min.)

Created by Dana Hobson and Daniel Wolf, inspired by the true events of their real-life daily experiences as a modern polyamorous couple.

FILMRISE

O (1-718) 369-9090

m thesalesteam@filmrise.com w www.filmrise.com

MIP London: River Room

Z Nation (Sci-fi, 69x60 min.) In the wake of a zombie apocalypse, a ragtag group of strangers escort the only known survivor of a zombie bite across the United States. (Worldwide digital)

Unspeakable (Reality, 229x30 min.) This popular content creator pulls pranks, competes in wild challenges with friends and collaborates with social media stars like ZHC.

Untold Stories of the ER (Medical, 162x60 min. & 12x60 min.) Watch doctors and medical professionals make crucial decisions in the face of the most unpredictable and urgent situations. (Englishspeaking worldwide digital)

Highway to Heaven (Faith drama, 111x60 min.) A probationary angel (Michael Landon) is sent back to Earth and teams up with an ex-cop to help people. Forensic Files II (True crime, 46x30 min.) The next chapter in the long-running true-crime documentary franchise where evidence and interviews with experts help solve real crimes, disease outbreaks and accidents worldwide. (Worldwide digital excl. North America)

Beyond Belief: Fact or Fiction (X-Factor) (Paranormal, 45x60 min.) Jonathan Frakes and James Brolin host this cult-hit anthology series. Each episode presents several stories that appear to defy logic, offering the viewer a chance to decide what is fact and what is fiction. (Select markets)

Profiling Pairs (Profilage) (Crime drama, 102x60 min.) Chloe Saint-Laurent, a profiler with an uncanny ability to empathize with victims and perpetrators, assists the Paris homicide division in cracking its most baffling cases. (Select markets) Cheaters (Reality, 681x30 min./346x60 min.)

People who think their significant other is cheating on them hire a hidden camera crew to investigate. (Worldwide digital)

Z Nation

Missing from Fire Trail Road (Doc., 1x100 min.)

Details the case of Mary Ellen Johnson-Davis, a Native American woman who disappeared in 2020. The Wiggles (Kids/family, 151x22 min.) Join in the fun and get ready to wiggle alongside quartet Anthony, Greg, Jeff and Murray. (Worldwide digital)

FOX ENTERTAINMENT GLOBAL

m foxentglobal@fox.com w www.foxentglobal.com

Next Level Chef (Food, S1: 11x43 min., S2: 15x43 min., S3: 16x43 min., S4: 14x43 min.) Chefs Gordon Ramsay, Nyesha Arrington and Richard Blais recruit talented chefs with the goal of finding the food world’s newest superstar.

Extracted (Competition, 10x43 min.) In this highstakes survival competition, it’s not just the wild environment that contestants must worry about— their families are in control of their fate from headquarters. How far will their loved ones let them go for a chance for their family to win $250,000?

Billion Dollar Playground (Lifestyle, 8x60 min.)

Takes viewers into the world of people who pay a premium for lavish home-hotels and the skilled household staff who deliver every request with a smile.

Martin Scorsese Presents: The Saints (Doc., 8x60 min.) Hosted, narrated and executive produced

by Martin Scorsese, explores the lives and sacrifices of historical saints through interviews with scholars, celebrities and people of faith, along with dramatic re-creations and archival footage.

Yellowstone to Yosemite with Kevin Costner (History, 3 eps.) Visuals of iconic geology, flora and fauna of present-day Yosemite will be juxtaposed with Kevin Costner’s exploration of the park as he retraces Roosevelt and Muir’s journey that changed America.

Grimsburg (Animated comedy, S1: 13x22 min., S2: 13x22 min.) A detective excels at catching killers in a murderous town but doesn’t have a clue when it comes to his family.

Animal Control (Comedy, S1: 12x22 min., S2: 9x22 min., S3: 10x22 min.) A group of local animal control workers’ lives are complicated by the fact that animals are simple but humans are not.

Going Dutch (Comedy, 10x22 min.) An arrogant, loudmouth U.S. Army Colonel is reassigned to the Netherlands, punished with a command position at the least strategically significant army base in the world. The Chicken Sisters (Drama, 8x43 min.) Families feud over a generational conflict between rival fried chicken restaurants, dividing the town as loyalties are tested.

One Day in October (Drama, 4x60 min.) A powerful event anthology based on the harrowing true stories that emerged from the terrorist attack in Israel on October 7, 2023.

HARI

O (33-1) 4307-6577

m sales@studiohari.com w hari-studios.com/en

Grizzy & the Lemmings (Non-dia logue slapstick, S1-4: 78x7 min. each) The global phenomenon

Yellowstone to Yosemite with Kevin Costner

with 1.5 billion yearly views on YouTube returns with season four.

Mystery Lane (Comedy, 26x22 min.) The new classic à la Scooby-Doo meets Sherlock Holmes, packed in feature-quality CGI.

Mystery Lane Christmas Special (Comedy, 1x44 min./2x22 min.) A magician turns the Queen into a statue and Clever and Bro embark on a daring mission to save her.

The Weasy Family (Non-dialogue slapstick, 78x7 min.) Blending laugh-out-loud slapstick with heartwarming family moments, this chaotic yet sweet comedy delivers in April 2025.

Baby Lemmings (Preschool non-dialogue slapstick, 78x7 min.) From Grizzy & the Lemmings, a new series where Baby Lemmings and baby animals explore big feelings through laughter. Backed by France Télévi sions, Warner Bros. Discovery and Super RTL.

INTER MEDYA

O (90-212) 231-0102

m info@intermedya.tv w intermedya.tv

Heartstrings (Drama, 125x45 min.) When fate reveals that Mahinur and Aras’s daughters were switched at birth, the devoted mother and businessman find their worlds colliding.

Valley of Hearts (Drama) Sumru is confronted by Nuh and Melek, the twins she abandoned. Meanwhile, the Şansalans’ mansion is rife with family drama.

Deception (Drama, 222x45 min.) A respectable family court judge living in Istanbul confronts the reality that her life has been a lie.

Love and Pride (Drama) The Köksoys live in an ancestral mansion but are on the verge of losing everything. They plot to have one of their three daughters marry the heir to a wealthy family.

Poison Ivy (Drama, 83x45 min.) Macide, the daughter of a poor family who seeks to heal others, falls in love with Kazım Işık, the most successful businessman in the country.

Tuzak (Drama, 82x45 min.) Three siblings, Mahir, Umut and Umay, find out that they don’t have the bond they thought they had. Güneş, Güven and Mete all believed that their father’s approval and their comfortable lives were more important than each other.

The Trusted (Drama, 74x45 min.) Marashli is an ex-soldier who has left the special forces to open a secondhand bookstore and spend more time with his sick daughter, Zelis. His life changes when the beautiful Mahur Turel walks into his bookstore.

Last Summer (Drama, 93x45 min.) An idealistic prosecutor agrees to protect Akgun in exchange for testimony from the young man’s father, an imprisoned mob boss.

Mystery Lane Christmas Special

Heartstrings

Leylifer (Drama, 120x45 min.) When Kemal goes missing and is later found dead in a burned-out car, Meryem vows to stay in Istanbul until she finds his killer. Like There’s No Tomorrow (Romance, 4x35 min.) The meeting of popular and successful actress Manolya with experienced journalist Hakan for an interview changes both of their lives.

LEADING DISTRIBUTION PARTNERS

O (1-310) 614-2416 m gavin@leadingtv.net w www.leadingtv.net

Curious Caterer: Foiled Plans (Mystery, 1x90 min.)

Colorado caterer Goldy Berry must trade her kitchen smock for her sleuthing skills after a fencing sword skewers a guest at a masquerade ball fundraiser.

Christmas with the Singhs (Holiday, 1x90 min.)

Asha reconnects with high school crush Jake, but their first Christmas together reveals clashing family dynamics, testing their relationship and holiday spirit. Hanukkah on the Rocks (Holiday, 1x90 min.) A few days before Hanukkah, Tory quits her job, takes a bartending gig and teams up with Jay to transform Mack’s into a Hanukkah-themed pop-up bar.

Private Princess Christmas (Holiday, 1x90 min.) Reckless Princess Vi is sent to military boot

camp to prove her worth or lose the crown. Among misfits and a charmingly tough commander, she faces transformation.

Legend of the Lost Locket (Rom-com, 1x90 min.) London antiques expert Amelia Scott teams up with Sheriff Marcus Forrest in Massachusetts to find a long-lost locket, uncovering the truth and following her heart.

Game of Love (Rom-com, 1x90 min.) Audrey, a board game designer and romance skeptic, must create a love-themed game with marketing consultant Matthew. As they collaborate, work and real feelings intertwine.

A Winning Team (Rom-com, 1x90 min.) After her soccer career ends, Emily coaches her niece’s team with the dashing Ian. Romance sparks—until a career comeback threatens their future.

Devil on Campus: The Larry Ray Story (Thriller, 1x90 min.) Ex-con Larry Ray moves into his daughter’s dorm, manipulating her friends by preying on their insecurities, leading to emotional, financial and psychological abuse.

The Girl Locked Upstairs: The Tanya Kach Story (Thriller, 1x90 min.) A true account of a teenager, held captive for over ten years by a school security guard, ultimately escaping and finding recovery.

The Regina Smith Story (Thriller, 1x90 min.)

When young women are found dead in Dallas, rookie patrolwoman Regina Smith uncovers evidence missed by authorities, stopping a serial killer. MATTEL

Barbie: A Touch of Magic (Animation, 26x22 min.) Barbie and Barbie discover a mysterious baby

Christmas with the Singhs

UDIEEN YO MOV AUDIEN Y

Pegasus on the beach in Malibu and work to find out where the magical horse came from.

Barbie and Stacie to the Rescue (Animation, 1x60 min.) The Roberts family heads to Wisconsin for a hot air balloon festival. When Barbie and Skipper have a ballooning mishap, Stacie has the right skills to save the day.

Barbie Mermaid Power (Animation, 1x60 min.)

Barbie “Brooklyn” Roberts, Barbie “Malibu” Roberts and her sisters transform into mermaids to help save the world of Pacifica.

Thomas & Friends: All Engines Go! S26 (Animation, 52x11 min.) Thomas and his loc-amigos will embrace unexpected surprises and discover more about each other as they get into new shenanigans on the Island of Sodor.

Thomas & Friends: The Mystery of Lookout Mountain (Animation, 1x60 min.) When cars begin to disappear in the mines, Thomas recruits the Biggest Adventure Club to dig into the history and uncover the mystery inside Lookout Mountain.

Thomas & Friends: All Engines Go! S27 (Animation, 26x11 min.) Thomas, Percy, Kana, Nia and Diesel take on every challenge, coupling with new and returning friends to get each job done.

Thomas & Friends: The Christmas Letter Express (Animation, 1x60 min.) Percy the mail engine discovers a child’s letter to Santa Claus forgotten at the

bottom of his mail cart on Christmas Eve and is determined to make sure the letter is delivered.

NBCUNIVERSAL GLOBAL TV DISTRIBUTION

O (1-818) 777-1300

w www.nbcuniversal.com

All Her Fault (Drama, 8x60 min.) Marissa Irvine arrives to collect her young son Milo from his first playdate, but the woman who answers the door isn’t a mother she recognizes. She doesn’t have Milo and has never heard of him.

Surviving Earth (Nature, 8x60 min.) Immerses viewers in the extraordinary, exotic worlds that once existed on this planet, re-creating the breathtaking landscapes and bizarre animals of prehistory as blue-chip natural history.

Devil in Disguise: John Wayne Gacy (Drama, 8x60 min.) Peels back the twisted layers of John Wayne Gacy’s life while weaving in stories of his mostly gay victims.

Suits LA (Drama, 13x60 min.) Ted Black, a former federal prosecutor from New York, has reinvented himself representing the most powerful clients in Los Angeles. His firm is at a crisis point and to survive, he must embrace a role he held in contempt his entire career.

Grosse Pointe Garden Society

Thomas & Friends: The Christmas Letter Express

Grosse Pointe Garden Society (Drama, 13x60 min.) Four members of a suburban garden club find their lives intertwined by scandal, mischief and a shared secret—a murder no one wants to talk about. Atomic (Drama, 5x60 min.) The paths of Max, a free-spirited drug smuggler making runs through the Middle East, and JJ (aka Mohammed), who is hiding out in the deserts of North Africa, collide in the Libyan desert.

The Death of Bunny Munro (Drama, 6x45 min.)

Following his wife’s death by suicide, a sex-addicted door-to-door beauty salesman and self-professed lothario finds himself saddled with a young son and only a loose concept of parenting.

La Jefa (Drama, 95x60 min.) Tells the survival story of Gloria Guzman. On her wedding day, tragedy strikes, killing her husband. Forced to go on the run, Gloria focuses on keeping her son safe.

NHK ENTERPRISES

O (81-3) 3468-6984

m nep_international_sales@nhk-ep.jp w pf.nhk-ep.co.jp, www.nhk-ep.co.jp/en

Unbound (Period drama, 1x58 min. & 47x43 min.)

An epic biopic unveiling the chronicles of Tsutaya Juzaburo, a man unbound by his low status or social conventions who became a pivotal force behind the cultural renaissance of 18th-century Japan.

Swallows (Crime/mystery, 10x44.5 min.) Oishi Riki is a 29-year-old temp who is told that she can earn good money by donating her eggs. A former top ballet dancer and his wife are looking for a surrogate. 30,000,000 (Yen) (Crime/mystery, 8x49 min.) A traffic accident with a motorbike changes one family’s fortunes. The son brings home the biker’s bag, which contains a block of cash for a criminal ring.

The Great Passage (Drama, 10x49 min.) After Kishibe Midori, a fashion editor, loses her cushy job, she begins working as an editor for a dictionary alongside some unique colleagues. cocoon — One Summer of Girlhood — (Animation, 1x60 min.) School friends San and Mayu must navigate the frontlines when their island becomes a warzone. What path will they choose?

Ocean: Searching for a coelacanth (w.t.)

Behind the Scenes: Detective Conan (Arts/ cul ture, 1x49 min.) A rare look into the world of Gosho Aoyama, creator of the global hit manga series Detective Conan, also known as Case Closed Revisiting Grandpa’s War (History, 1x49 min.) A photographer discovered her grandfather’s trove of images taken in Japan during WWII.

Deep Ocean: Searching for a coelacanth (w.t.) (Nature, 1x52 min.) NHK’s deep-sea team sets out to capture on film a living fossil, the coelacanth. Aboard the OceanX vessel, the team attempts the world’s first 72-hour observation via submersibles.

Decoding the Chinese Document Leaks (Current affairs, 1x49 min.) Teaming up with experts around the world, NHK conducted an analysis of internal records leaked from a Chinese cybersecurity company. Through the “i-SOON papers,” the program delves into emerging threats that lie across the internet.

FRONTIERS: Quest for the Ancient Sin City (Science/tech/history, 1x52 min.) The archeological

Deep

site of Tell el-Hammam in Jordan is said to bear resemblance to the city of Sodom in the Old Testament.

NICELY ENTERTAINMENT

O (1-323) 682-8029

m info@nicelytv.com

w www.nicelytv.com

MIP London: L5

A Wedding for Belle (Romance, 1x90 min.) Belle, a wedding blogger, returns to her picturesque hometown to marry her wealthy fiancé, only to reconnect with her high school sweetheart.

Saving the Christmas Ranch (Romance, 1x89 min.) When Carrie goes looking for a Christmas miracle to save her family’s Christ mas inn from foreclosure, she finds love in the last place she expected.

Socked in at Christmas (Romance, 1x90 min.) After his engagement is called off, Justin retreats to a cabin for solitude, only to be snowed in with his ex-fiancée’s cousin, Jane. Their quiet getaway is upended when his ex and her new boyfriend arrive. Love at Lookout Lake (Romance, 1x90 min.) A gossip columnist learns a tip that could reveal the identity of a mystery novelist with ties to her hometown. Retreating to her family’s lake cabin, she unexpectedly reconnects with her childhood crush.

Technically Yours (Romance, 1x90 min.) After weeks of deep-faking a boyfriend named Brad, a tech prodigy convinces her office nemesis to pose as Brad at her sister’s wedding.

A Christmas Castle Proposal—A Royal in Paradise 2 (Holiday romance, 1x85 min.) Six months after finding love in paradise, writer Olivia Perkins and Prince Alexander are stronger than ever—or so they thought. As Christmas approaches, a family holiday at the royal palace turns into a festive mess.

A Christmas Post (Holiday romance, 1x90 min.) In the small town of Oak Creek, Noah Harrington’s construction plans uncover old letters to Santa. He teams up with town historian Tessa Findlay to fulfill the Christmas wishes, leading to an unexpected romance. Christmas on the Ranch (Holiday romance, 1x86 min.) When a talk show relationship expert with her own romantic hang-ups gets stranded at a ranch before Christmas, the charming rancher reminds her that love is always worth the risk.

A Country Music Christmas (Holiday romance, 1x90 min.) Songwriter Brooke has the decision of a lifetime to make when a charming executive makes promises of fortune and glory.

Heartstrings Attached (Romance, 1x84 min.) With the promise of an inheritance from her grandfather spurring a former child prodigy, Emma promises to tutor a young and gifted violinist, unaware her grandfather is playing matchmaker from the grave. NJ WORLD O (37-06) 180-1806 m simona@nellyjellyworld.com w nellyjellyworld.com

Nelly Jelly (4-6 CGI, 26x7 min.) Nelly Jelly is an intelligent, determined and strong girl who has two friends in

A Wedding for Belle

a monster world. When she has a problem, the monsters burst onto the scene—and make things worse. Good-hearted, determined, optimistic and despite the chaos around her, Nelly Jelly never gives up.

ONZA DISTRIBUTION

O (34-915) 620-671

m onza@onzadistribution.com w onzadistribution.com

MIP London: Audiovisual from Spain

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.

Iberia & Savannah: One Wildlife (Wildlife, 1x52 min.) Compares Europe’s Dehesa and Africa’s Savannah, examining the lives and survival strategies of large predators in these similar but distant ecosystems.

Flowers Over the Inferno (Crime/thriller, S1-2: 6x50 min. each) Criminologist Teresa Battaglia leads a team investigating unsolved crimes in the

Friulian Alps while confronting the early signs of Alzheimer’s disease.

The Celeb Challenge (Talent format, S1: 8x120 min., S2-3: 10x120 min. each, S4-5: 12x120 min. each) Eight celebrities face challenges in a talent show. A coach helps them push physical and mental limits while testing their courage and endurance.

Traffic Jam (Comedy, 6x25 min.) As evening falls, a massive traffic jam disrupts the plans of thousands of drivers, leading to funny, crazy and emotional conflicts.

Heartless (Thriller, 8x45 min.) Relentless criminal Haro is targeted by a most-wanted serial killer. He offers help to the judge he seeks revenge on for imprisoning him.

Golden Swan (Period drama, S1: 21x50 min., S2: 17x50 min., S3: 18x50 min.) 1939, Prague. Bára, a fugitive thief, becomes a saleswoman at a luxurious department store. Her love for Petr, its wealthy owner, will face challenges.

Courtois: The Return of the Number 1 (Sports doc., 4x40 min.) Thibaut Courtois, a top goalkeeper, led Real Madrid to 2022 La Liga and Champions League glory. Now recovering from injury, he embodies resilience and leadership.

Wine Outsiders (Gastronomy, 5x45 min.) Takes viewers on an immersive journey through Spain’s most intriguing and unknown winery regions.

Nelly Jelly

Mamen Mayo: At Her Will

UDIEEN YO MOV AUDIEN Y

POCKET.WATCH

O (1-424) 298-8234

m content@pocket.watch w pocket.watch

Ryan’s World The Movie: Titan Universe Adventure (Animation/live-action, 1x83 min.)

Twelve-year-old Ryan transforms into super alter-ego “Red Titan” and battles animated bad guys to rescue his sisters and learn what it means to be a big brother.

Ballpark Blast! Presented by MLB and pocket.watch (Live-action, 1x22 min.) In an official collaboration with Major League Baseball, step up to the plate with KidCity, Dan Rhodes and Hungry FAM for a grand slam family adventure.

Love, Diana (Animation/live-action, 13x22 min.)

Real-life vlog superstar siblings Diana and Roma take you on a magical adventure where imagination rules and anything is possible.

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.

Ryan’s Mystery Playdate (Live-action, 90x22 min.) In the top-rated, Emmy-nominated series, kid video superstar Ryan, along with his parents and animated friends, work together to identify a mystery guest.

Kids Diana Show Ultimate Mishmash (Liveaction, 45x22 min.) Join family vlog superstar Diana, aka the Princess of Play, and her brother Roma on their hilarious pretend play adventures. Toys and Colors Ultimate Mishmash (Liveaction, 90x22 min.) YouTube’s number one kids ensemble, Toys and Colors learn life skills, letters, numbers and more through musical and pretend play adventures.

Ryan’s World Specials (Live-action/animation, 193x22 min.) Kid video superstar Ryan, along with his family and animated friends, play games, make crafts, learn science and go on 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 Monster Mysteries (Animation, 8x22 min.) The Onyx family comes to cartoon life in epic adventures to save the most endangered species of all: monsters.

SEVEN.ONE STUDIOS

INTERNATIONAL

O (49-89) 9507-7303

m sales@sevenonestudios.com w sevenonestudiosinternational.com

Vienna Blood (Crime drama, S4: 2x90 min./4x45 min.) The thrilling crime drama set in 1900s Vienna, from acclaimed screenwriter Steve Thompson, returns for season four.

The Gone (Crime drama, S2: 6x60 min.) Detectives Theo Richter and Diana Huia are back, racing to stop a deadly killer while unearthing buried secrets and hidden traumas.

Love, Diana

Plan B (Drama, S2: 6x45 min.) The high-concept psychological drama returns for a second season; idealistic cop Mia Mia journeys into the past with unexpected consequences.

Married at First Sight Australia (Fact-ent., 40x90 min.) Australia’s number one show returns for a thrilling 12th season.

Love Costs (Dating format) The dating show where true love and cunning deceit collide. In each episode, one hopeful seeks love among four suitors. But while two genuinely seek romance, the others are after a cash prize.

If Pigs Could Talk (Science/investigation, 1x60 min./75 min.) Unlocking the language of pigs using AI, this documentary reveals the hidden emotions and ethics of pig farming.

Player of Ibiza (Comedy, 5x25 min.) A riotous ride through the underbelly of reality TV, sexism and the fragile male ego, from the creators of hit comedy

Die Discounter

Galileo X-Plorer (Travel, 35x50 min.) Surprising, fascinating and horizon-expanding; explore the world with Galileo X-Plorer.

Claim to Fame (Reality, S3: 8x45 min.) Back for a third season, the brilliantly secretive reality show where win or lose, it’s all relative.

Rob & Romesh Vs (Fact-ent., 16x50 min.) BAFTAwinning series that sees comedians Rob Beckett

and Romesh Ranganathan dive into unfamiliar worlds of sports and arts.

STUDIO 100 INTERNATIONAL

O (49-89) 960855-0 m distribution@studio100int.com w www.studio100international.com

GIFTED (Live-action, 10x28 min.) A lighthearted action-adventure mystery series about a diverse group of teenagers with special powers, based on the novels by Marilyn Kaye and written for the screen by BAFTA winner Emma Reeves.

DINO MATES (2D/CGI comedy/adventure/action, 26x11 min.) Inspired by the theme park family attraction “Madame Freudenreich Curiosités” at Europa-Park and the associated internationally successful picture book series.

Waiko (Adventure/sci-fi, 10x25 min.) A sci-fi adventure series set at a funfair where teenage alien Nova, robot Ion and their human friends Bibi and Otto help extraterrestrials return home safely. BFF (2D comedy, 26x11 min.) Set in a world of anthropomorphic animals, follows the adventures of three kids—Ben the clumsy bear, Frida the enthusiastic squirrel and Freddie the cool cat.

Momonsters (CGI/2D/live-action comedy, 78x7 min.) The Momonsters Haha, Hehe, Hihi, Hoho and

GIFTED

Claim to Fame

Huhu want to be children’s best friends; they learn how at the Momonsters Academy.

Vegesaurs (CGI comedy/adventure, S1-3: 60x5 min.) Each episode follows Ginger, the young Tricarrotops, and the baby Pea-Rexes on adventures that lean into relatable themes for upper preschoolers.

100% Wolf (CGI comedy/adventure, S1-2: 52x22 min.) Strange creatures and a powerful sorceress threaten Milford and the werewolves, so Freddy, the fluffy pink were-poodle, must lead his friends through hilarious action adventures to prove once again that he is 100 percent wolf.

FriendZSpace (Comedy/adventure, 52x11 min.) An animated comedy about three human kids committed to making friends with alien kids all across the supercluster of stars—and sharing cool selfies.

Mia and me (Live-action/CGI adventure, S1-4: 104x23 min.) The fantastic adventures of Mia and her friends in the magic land of Centopia, where they must protect unicorns from villains of all kinds.

Game Keepers (Live-action adventure, S1-4: 40x25 min.) Mats and Sari have to enter an unknown digital gaming world, play a game and defeat the mysterious GameMaster.

TV ASAHI

O (81-3) 6406-1952

m meg@tv-asahi.co.jp

w www.tv-asahi.co.jp

MIP London: R35

SONG vs DANCE (Format) Outstanding performers compete in thrilling head-to-head battles, leaving only one winner and answering the ultimate question: Which is better, song or dance?

Obocchama-kun (Animation, 26x22 min./52x11 min.) A comedy about a “crazy rich” boy with his

outrageous school life and family love. Scheduled to launch in summer 2025.

Doraemon (Animation, 1,000+x22 min. & 43 movies) One of the longest-running Japanese animation series. A robot cat from the future with gadgets saves a boy from getting into trouble.

Shin chan (Animation, 800+x22 min. & 32 movies)

A slice-of-life show about a fun and cheeky 5-yearold boy. There are 31 movies in 2D and one in 3D CG. The 33rd movie comes out in summer 2025.

Gregory Horror Show -Save Our

Souls- (Animation) Seeking co-producers. Jack must save the souls of the monster guests of a supernatural hotel after he makes a bet with the evil hotel own er Gregory.

Private Banker (Suspense) A skilled private banker navigates complex financial and personal issues for wealthy clients, using his expertise and cunning strategies to resolve inheritance disputes, scandals and more.

Believe (Suspense, 9x60 min.) Riku is imprisoned for taking responsibility for the collapse of the bridge construction project he was in charge of.

Knowing that his wife may not be alive when he is released due to her illness, he decides to break out of prison to see her again.

The Dance Master (Competition format) Four challengers face a Dance Master. They only have

SONG vs DANCE

30 minutes to practice and perfect a routine. Each of the four challengers takes one section of the choreography to learn and perform.

Celebrity Fight Club (Game/competition format, 60 min. eps.) Two fun-loving celebrity friends compete in an epic entertainment showdown. Each has recruited 25 fans to face off in a series of challenges that require one or more of them each time.

Turn Back (Game format, 60 min. eps.) Performers with superhuman abilities are invited to show off their skills to the audience. But the performers are not always real—they’re sometimes fake.

VISION FILMS

O (1-818) 784-1702 m sales@visionfilms.net w visionfilms.net

Altered Reality (Thriller, 1x99 min.) A man learns that his family vacation spot allows him to time travel and he tries to save his young daughter, who mysteriously vanished.

Altered Reality

DinoGator (Action/thriller/creature, 1x82 min.) It’s up to a scientist, a big-game hunter and a group of tourists to stop a gigantic, mutated reptile from devouring everything in its path.

Agents (Action/thriller, 1x83 min.) When a priceless artifact is stolen, two agents go after the thief

and take the nonstop explosive action to the land, sea and air.

Dance Rivals (Family, 1x93 min.) A dancer is recruited by the top squad in L.A., but tensions rise with the reigning dance queen, and they settle their differences on the dance floor.

A Nashville Wish (Family, 1x102 min.) A talented young country singer falls for the girl of his dreams and has to choose between love and following his destiny of stardom in Nashville.

A Taste of Love (Romcom, 1x86 min.) A struggling TV chef finds inspiration when she returns home to save her family restaurant and rekindles things with her childhood sweetheart.

Knight Life (Action/history, 1x90 min.) Meet the men and women who bring the Middle Ages to the present, training for years in pursuit of being crowned the champion of the Knight Life.

Serena Williams: The Power and the Glory (Sports biopic, 1x79 min.) Tells Serena Williams’ remarkable story from a Compton prodigy to the greatest female tennis player of all time.

ZDF STUDIOS

O (49) 6131-991-0

m info@zdf-studios.com w www.zdf-studios.com

Weiss & Morales (Crime/suspense, 4x90 min.)

BKA agent Nina Weiss visits her German expat mother on the Canary Islands and gets involved in a murder investigation with Civil Guard sergeant Raúl Morales.

Fateful Planet (Science/knowledge, 5x50 min.)

Explore Earth’s tumultuous history, marked by solar system collisions, asteroid impacts, volcanic eruptions and mass extinctions.

Dinomite & Lucy (Animation, 39x11 min.) In Fernham, dinosaur inventor Dinomite and his human friend Lucy, with contrasting personalities, thrive in a civilization powered by sauruses.

The Zweiflers (Drama, 6x45 min.) The multiaward-winning series follows a Holocaust survivor and his family on their tragicomic search for the meaning of life, culminating in decisions that will change the lives of everyone involved. Unearthed—The Mystery of the Shaman Woman (History/bio., 1x50 min.) Uncovering the mystery of the shaman woman buried with a baby 9,000 years ago in Bad Dürrenberg, the film depicts women’s powerful roles in prehistoric times.

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?

Love Sucks (Crime/suspense, 8x30 min.) Zelda, trained by her boxer father, fights in the family ring. She falls for Ben, a vampire hiding his secret. However, her family are vampire slayers, sparking a feud. Will their love survive?

Welcome to the Forest (Wildlife/nature, 3x50 min.) Delve into German forests, exploring diverse landscapes and wildlife. Using cutting-edge technology, the series debunks myths about forest animals and showcases their interactions beyond the trees.

Hack My Yard (Format, 45 min. eps., 120+) Two gardening experts compete to transform a dull family garden into a relaxing oasis. After the family has chosen the best design for their lifestyle and budget, the team starts working until a final surprise is revealed.

Surviving Summer (Junior live-action, S2: 18x25 min.) Brooklyn teenager Summer Torres moves to Australia, meets surfer Ari Gibson, discovers talent in competitive surfing and faces challenges, including Ari’s secret anxiety and rivalry with his girlfriend Wren.

Weiss & Morales

World Screen MIP London and TV Screenings Edition - February 2025

Celebrating

FEBRUARY

2025 EDITION

DE PARTMENTS

SPECIAL REPORT LONDON CALLING

IN THE NEWS

BBC STUDIOS’ JANET BROWN

MARKET TRENDS

NIGHT TRAIN MEDIA’S HERBERT L. KLOIBER

BOAT ROCKER’S JON RUTHERFORD

BEHIND THE SCENES

TV KIDS

A Time for Transformation

Albatross World Sales

Artist View Entertainment

Eccho Rights

Electric Entertainment

FilmRise

FOX Entertainment Global

Going Dutch / Extracted / Yellowstone to Yosemite with Kevin Costner

Inter Medya

Leading Distribution Partners

NBCUniversal Global TV Distribution

All Her Fault / Devil in Disguise: John Wayne Gacy / Suits LA

NHK Enterprises

Nicely Entertainment

Onza Distribution

TV Asahi Corporation

Vision Films

ZDF Studios

VickyMcClure

Michael &

Weatherly Cote de Pablo

OU UDIEEN YO MOV

LONDON CA L

AI REVOLUTION

BACK TO BASICS

FUNDING JIGSAW

FUTURE FORECAST

A Special Thanks to

SPONSORS

SPONSORS

SPONSORS

Engagement Games CONTENTS

FEATURE WHAT’S NEXT?

INTERVIEW DOMINIQUE NEUDECKER

9 Story Media Group/Scholastic Entertainment

Aardman

BBC Studios Kids & Family

The Primrose Railway Children / Bluey Minisodes / Horrible Science

Boat Rocker

Dandelooo

Mattel

Barney’s World: I Love Me Too / Hot Wheels

Let’s Race / Barbie & Teresa: Recipe For Friendship

NJ World

Studio 100 International

ZDF Studios

Superhero Academy / Sam & Julia / Spellbound

UDIEEN YO MOV AUDIEN Y

TV KIDS PIONEER AWARD

Dominique Neudecker Super RTL

WHAT’S NEXT?

After a tumultuous year in the kids’ media business, leading distribution

THE DISCOVERY GAME

FUTURE FORECASTS

Janet Brown BBC Studios

UDIEEN YO MOV AUDIEN Y

Herbert L. Kloiber Night Train Media

Jon Rutherford Boat Rocker Studios

Mike Gunton The Americas

UDIEEN YO MOV AUDIEN Y

NOBUO INABA NHK

FACTS OF LIFE

Hameln

Race Across the World

Totally Spies!

Kuma (The Other Wife)

The Nightfall