World Screen October 2024 by World Screen

F AS T

Special Report

Jon Feltheimer Lionsgate

Akira Ishizawa Nippon TV

Elisabeth d’Arvieu Mediawan

Fernando Szew FOX Entertainment Studios

Ten Years of Pluto TV

Mark Gatiss, Norman Reedus & Millie Gibson

DEPARTMENTS

WORLD VIEW

By Mansha Daswani.

VIEWPOINT

By Anna Carugati.

UPFRONTS

New content and services.

MILESTONES

Pluto TV marks its tenth birthday.

SPOTLIGHT

FOX Entertainment Studios’ Fernando Szew.

IN THE NEWS

SPI International’s Erwan Luherne.

SPECIAL REPORT

Bedrock’s Jonas Engwall.

FEELING GOOD

Vanessa Shapiro reflects on the evolution of Nicely Entertainment.

TV LISTINGS

Listings for almost 100 distributors attending MIPCOM.

TRENDING ON

MIPCOM/OCTOBER 2024 EDITION

IN-DEPTH

IN THE FAST LANE

Some of the most prominent players in FAST, from leading AVOD platforms to distributors of scale, talk about navigating the evolving landscape.

ONE-ON-ONE

LIONSGATE’S

JON FELTHEIMER

The independent studio’s CEO discusses industry shifts, diversifying its content slate and innovative funding models.

ON THE

RECORD

NIPPON TV’S AKIRA ISHIZAWA

The president and CEO of the Japanese media giant on driving digital revenues, targeting youth audiences and expanding the global reach of its shows.

IN CONVERSATION

MEDIAWAN’S ELISABETH D’ARVIEU

Leading the French studio’s television and film activities, d’Arvieu shares the company’s strategy for aligning with top-tier talent.

TVDRAMA

FUNDING EVOLUTION

DOCTOR WHO’S NCUTI GATWA & MILLIE GIBSON

INSIDE SECRET OF PEARLS

TVKIDS

DREAMWORKS ANIMATION AT 30: MARGIE COHN

ACQUISITION STRATEGIES

KNOWN IP

WINDOWING SHIFTS

PARAMOUNT’S RAMSEY NAITO

DISNEY JR.’S ALYSSA SAPIRE

WIZARDS BEYOND WAVERLY PLACE ’S

JED ELINOFF & SCOTT THOMAS

DISTRIBUTION SHIFTS

WILDLIFE DOCS

TRILOGY FILMS’ DAWN PORTER

THE SECRET LIVES OF MORMON WIVES ’ DANIELLE PISTOTNIK

TVFORMATS

BBC STUDIOS’ MATT FORDE

PRIME-TIME TRENDS

Publisher Ricardo Seguin Guise

Editor-in-Chief

Mansha Daswani

Editor-at-Large

Anna Carugati

Executive Editor

Kristin Brzoznowski

Senior Associate Editor

Jamie Stalcup

Associate Editor

Alexa Alfano

Editor, Spanish-Language

Publications

Elizabeth Bowen-Tombari

Associate Editor, Spanish-Language Publications

Rafael Blanco

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

WORLD SCREEN

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Phone: (212) 924-7620

Website: www.worldscreen.com

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No part of this publication can be used,

MARK GATISS NORMAN REEDUS

BY MANSHA DASWANI

Chasing Silver Linings

It’s hard not to get disheartened by some of the depressing stats we’ve seen over the last year about commissioning downturns and show cancellations, unemployment rates and bankruptcies; the industry’s sudden whiplash from peak TV to not has hurt everyone across the ecosystem.

And yet, in the numerous conversations we had with executives from every sector, the media business’s return to pragmatism is creating opportunities for a renewed emphasis on collaboration and new approaches to making content on a budget that makes sense.

“Most of the marketplace is looking for value, which does not mean only less expensive content,” Fernando Szew, the head of FOX Entertainment Studios, told me for an interview in this edition about the shifts taking place in the industry. “It’s about understanding the audience, the purpose of the content and what other aspects you can build to monetize further. The world of content distribution has evolved, and content monetization has continued to evolve. You need to have an eye on delivering high-quality content—that doesn’t mean you have to do it at all costs. You have to know the right balance between quality and [efficiency] and where to spend the money.”

Jon Feltheimer, CEO of Lionsgate, in conversation with World Screen’s Anna Carugati in this edition, discussed how that independent studio is successfully navigating the new normal, noting, “We have to work harder for every deal, the bar is set a little higher for each of the shows we make, and we have to keep finding new buyers to take the place of buyers leaving the marketplace.”

Disney+, Hulu and Max) are the ﬁrst choice for 46 percent of viewers, up from 35 percent in 2021. Live TV has fallen from 53 percent in 2021 to 38 percent this year. For those defaulting to a big-ﬁve service, 42 percent say they do so for their favorite shows. For those defaulting to live TV, 50 percent say it’s for news and sports. Of those choosing a FAST channel as their default viewing option, 48 per cent say it’s for the variety.

The return to pragmatism is creating opportunities for collaboration.

Similarly, Elisabeth d’Arvieu, CEO of Mediawan Pictures, spoke to me about how that European studio’s model is suited to the current market conditions, stating, “We have all the tools in Europe to tell stories at a very ambitious level, with the same quality, while staying within a controlled budget. We also have a soft money system that is a signiﬁcant advantage for producers.”

The importance of soft money and innovative ﬁnancing tools is covered in our MIPCOM editions of TV Drama and TV Real, while in TV Kids and TV Formats, we explore the booming demand for known IP and the subsequent chase for the next big thing. Across every genre, we touch on the rising prominence of AVOD and FAST, the subject of our special report in this edition.

Subscription fatigue is real, but as it turns out, consumers are fairly loyal to their preferred SVODs. The leading SVOD streamers in the U.S. have eclipsed live TV as the “first place to turn to watch,” according to a study from Hub Entertainment Research, Decoding the Default. The big-five SVOD services (Netflix, Prime Video,

FAST, with its roots in the good old days of discovery via channel surfing, is largely driven by known IP, with EPGs built around genres—you can get lost in a rabbit hole of nonstop true crime or a never-ending dose of Gordon Ramsay. The key, of course, is in having an interface that is easy to navigate and seamlessly leads you to the shows you want. Jeff Shultz at Paramount Streaming talked to me about the refinements of the Pluto TV interface that have helped drive gains for the service, which marks its tenth anniversary this year. And across our interviews with programmers of AVOD and FAST services, we heard about AI’s crucial role in helping solve the discovery conundrum and improve navigation for consumers scrolling through a sea of options to find something to watch.

“FAST discoverability is a big challenge,” says Thanasis Tsiris, senior VP of distribution and partnerships at Free TV Networks. “Products differ across all smart TVs and different services. Channels are often placed in different numbers in different verticals. Depending on the platform, there may not even be a search functionality. Sometimes, that metadata is not well-formed with older, free back catalog content. If AI can provide a solution that makes that much more personalized and easier for customers, and you cut down on that endless scrolling, that’s huge.”

The problem with recommendation algorithms, of course, is that you are rarely surprised; if all you’re directed to is similar to what you’ve already watched, how do you ever discover something new? Can someone invent the anti-recommendation interface that will let me stumble on something great even though it’s not in whatever wheelhouse the algorithm tells me I’m in? Granted, I don’t have enough time to watch the shows I want to watch, so I perhaps don’t need extra suggestions, but given we all have a world of content at our ﬁngertips, it seems a shame that we so often restrict ourselves to the narrow choices the machines dictate for us.

BY ANNA CARUGATI

To Gratitude and Open Doors

There is a famous saying from Alexander Graham Bell: “When one door closes, another door opens.” I have one closing behind me. My nearly three decades as a full-time employee at World Screen will end this year.

I’ve been doing a lot of remembering and reﬂecting, and the common themes through all my recollections are a deep sense of gratitude and acknowledgment of so much serendipity. I am immensely grateful to my parents, whose daily lives were examples of duty, responsibility, hard work, grace and dignity. They also raised me bilingual and bicultural, as we lived in the U.S. and Italy.

An internship during my last semester in college placed me in the CBS station in Chicago and cemented my desire to work in journalism. A position opened up in the newsroom, where I answered phones and distributed mail at ﬁrst before eventually moving into researching and ﬁeld producing. I learned from some of the best reporters, camera crews and editors in the business.

In the spring of 1983, while visiting family in Milan, I saw a job posting in a newspaper. Silvio Berlusconi’s Fininvest (the company’s name before it became Mediaset) was looking for TV producers. I called and got an interview. Little did I know that a few days before, one of the Fininvest networks had signed a deal with CBS for entertainment and news programming, which also included a vaguely deﬁned clause for consulting services. I met with the head of personnel, and several hours later, I was sitting in Berlusconi’s office, where he told me he wanted me to manage the CBS consulting clause. What resulted was a unique experience bringing Fininvest executives to New York and Los Angeles to observe and learn about on-air promotion, marketing and news. I also brought CBS execs to Milan, including Walter Cronkite, one of my heroes!

history. It has been a privilege and thrill to interview so many executives and A-list actors, showrunners and directors. Thank you to the PR executives who facilitated these interviews. I’ve had a front-row seat to so many developments in the media business, from the birth of commercial television in Europe and the explosion of pay-TV channels to the home-video business. From the slow build of peak TV in the U.S. to the multidimensional ﬂawed characters coming from around the world. From video on-demand and “wherever, whenever” viewing to streaming and bingeing. From the slow decline of linear viewing to the rise of YouTube and social media as content destinations. From SVOD to AVOD and FAST.

I’ve also had the honor of moderating one-on-one keynotes and panels at MIPTV, MIPJunior and MIPCOM. Thank you, Lucy Smith, for taking a chance on me, and to your current team, Tania Dugaro and Carole Ollerdissen—what a delight it is to work with you!

Grateful for my immense good fortune, I am looking for that next door.

So, with one phase of my career behind me, I’m searching for the door that will lead to new opportunities. I feel that the media business is in a somewhat similar situation. It’s searching for a passageway to a steadier new normal after several tumultuous years that have upended traditional business models: consolidation, the race for subscribers and the subsequent boom in commissions and production, the pursuit of proﬁts and budget cuts, often resulting in thousands of layoffs.

I settled into the news and sports departments, but Berlusconi would call on me to translate for him whenever he had interviews with English-language press. He also asked me to translate during his meetings with Ted Turner and Rupert Murdoch. While the lunch with Turner was cordial and “simpatico” and led to collaborations between Turner Broadcasting and Fininvest, the atmosphere at the one with Murdoch wasn’t as relaxed. When my son was born, I couldn’t imagine being a mom while maintaining the work and travel schedule I had, so I left Fininvest and began freelancing as a reporter. I paid my way to major conventions such as NATPE, MIPTV and MIPCOM so I could continue to learn about the business. I collaborated with several magazines, including World Screen, and the rest, as they say, is

I believe history will look back on this period and wonder if it all could have been done differently. Yes, shareholders are essential, but in the content business, aren’t creators, writers, producers, directors and crews indispensable? Franchises draw fans. Classic IP engenders nostalgia. But every franchise and classic started as an original idea. I hope the risk aversion in the market eases and paves the way for more originals.

The system cannot make it harder for the young to enter the business and be mentored by pros—young people of all backgrounds and ethnicities—so a multiplicity of voices may be heard, and all viewers can see themselves represented on-screen.

Thank you, Ricardo, for believing in me. Thank you, Chris and Alessia, for putting up with a mother who had to serve dual masters—your needs and deadlines. Buoyed by your love and grateful for my immense good fortune, I am looking for that next door.

A+E Networks

A+E Networks has on offer Holy Marvels with Dennis Quaid. The title delves deep into the enigmatic origins and profound power behind the most sacred and holy artifacts in the world, unearthing brand-new truths about the one-of-a-kind wonders worshipped by various cultures. Terry McMillan Presents: Tempted By Love is a character-driven romance. Kevin Costner’s The West stars another global celebrity, returning for his second project with the HISTORY Channel. “Costner’s deep passion for the American frontier makes him the perfect person to take us on a journey through the Wild West period of history, telling the untold stories of the diverse, complicated and adventurous characters who embraced great peril, all in the name of opportunity,” says Kylie Munnich, VP of global content sales.

All3Media International

Parenthood / FBI True / Gordon Ramsay’s Future Food Stars

At MIPCOM, All3Media International is spotlighting Parenthood, a natural history series about raising children. “Narrated by David Attenborough, it focuses on the incredible stories of devotion, ingenuity and sacriﬁce of animals to ensure the survival of their young,” says Lizzy Ribeiro, sales executive for the Middle East, Israel and Africa. FBI True has seven seasons on offer, immersing viewers in the world of real FBI agents through 70 stand-alone episodes. “All of these are produced within the last three years and include cases such as Whitey Bulger, the Boston Marathon Bombing and the Waco Massacre,” Ribeiro explains. Gordon Ramsay’s Future Food Stars has new seasons from the U.S. and Australia, in which Gordon Ramsay competes with another industry titan, as well as new episodes from the U.K.

Amazon MGM Studios Distribution

Earth Abides / Levon’s Trade / The Accountant 2

Amazon MGM Studios Distribution is offering to buyers Earth Abides , a six-part new take on George R. Stewart’s sci-ﬁ novel of the same name that stars Alexander Ludwig ( Vikings ) and Jessica Frances Dukes ( Ozark ). It tells the story of one man’s survival after a plague almost wipes out the human race. “This is a story with universal themes of survival, resilience and hope that audiences around the world will relate to strongly,” says Chris Ottinger, head of Amazon MGM Studios Distribution. Levon’s Trade , with Jason Statham in the lead role, centers on a former black ops agent who changed careers to construction. When his boss’s teenage daughter vanishes, however, he is pulled back into a shadowy world. The Accountant 2 features a star-studded cast, including Ben Affleck and Jon Bernthal.

“Amazon

MGM Studios Distribution is coming into the market with a strong slate of ﬁlms, formats and series with big-name talent.”

—Chris Ottinger

“We have something special for each of our individual partners and their diverse audiences.”

—Kylie Munnich

“We’re always looking to ﬁnd creative ways to bring audiences our diverse, multigenre slate.”

—Lizzy Ribeiro

Earth Abides

Parenthood

Holy Marvels with Dennis Quaid

Holy Marvels with Dennis Quaid / Terry McMillan Presents: Tempted By Love / Kevin Costner’s The West

Asia TV Forum & Market

December 3 to 6 / Marina Bay Sands, Singapore

The Asia TV Forum & Market (ATF) is celebrating its 25th anniversary this year and will fete the occasion by inviting attendees for drinks and desserts at the LAVO rooftop amid Singapore’s skyline. “Despite the general lackluster across the industry—or what some analysts refer to as the ‘pause’ of 2024—ATF is focusing on offering profiles that can contribute necessary insights while trying to figure out their vision for the future of TV and video,” says Hui Leng Yeow, group project director at ATF organizer RX Global. “From global financiers to film bonding companies to investors who have growing stakes across regions, especially in Asia, ATF has rounded up profiles that represent pillars of future success.” It will host six in-development programs across genres, investment focuses, regions and stages of development.

Calinos Entertainment

Hidden Garden / Farah / Indefensible

Calinos Entertainment is bringing to MIPCOM the new drama Hidden Garden, which features Turkish stars Ebru Şahin and Murat Yıldırım. Farah, the Turkish adaptation of Argentina’s La chica que limpia, follows an Iranian woman who ﬂees her home country and begins working as a cleaning lady in Istanbul to provide for her son and his disease. Everything changes when she witnesses a maﬁa murder one night. It stars Demet Özdemir and Engin Akyürek, among others. Indefensible, a French-Canadian legal series, tells the stories of the Lapointe-Macdonald Law Firm’s criminal defense team. “At MIPCOM, our main focus is expanding our reach through co-productions and exploring new markets,” says Asli Serim, head of sales. She adds that the company wants to “continue to grow our presence in the international media landscape.”

Collot Baca Media

“As the industry continues to evolve, we see Asia playing an even more signiﬁcant role on the global stage.”

—Hui Leng Yeow

AI-Powered Dubbing / Expert Subtitling / Traditional Dubbing

Collot Baca Media offers a suite of localization services designed to help global content creators reach wider audiences. This includes AI-powered dubbing. “Using the latest in artiﬁcial intelligence, we deliver high-quality dubbing that is costeffective and scalable,” says Alex Collot, COO and founder. “This service enables rapid localization without compromising the authenticity of the voices.” Its professional subtitling service ensures accuracy and cultural relevance, “helping your content engage international audiences while preserving its original tone,” Collot says. With access to top voice actors and sound engineers, Collot Baca Media also offers studio-quality traditional dubbing that captures the nuances of characters and dialogue. “We are excited to explore new collaborations and help bring your stories to life across borders,” says Collot.

“Our goal is to bring diverse, highquality content to a global audience.”

“Partnering with Collot Baca Media means gaining access to an experienced team that seamlessly blends technology and creativity.”

—Alex Collot

Collot Baca Media facilities

Hidden Garden

Asia TV Forum

—Asli Serim

Dori Media Group

Amia / Indal / Soul Sucker

The political action drama Amia leads Dori Media Group’s MIPCOM slate. It centers on a Mossad agent whose sister was killed in a terrorist attack in Argentina. She teams up with a local journalist to ﬁnd those responsible. In Indal, a group of Ethiopian-Israeli youth decide to kidnap the police officer who abused them and murdered their closest friend. Soul Sucker sees a washed-up reality star on the verge of turning 40 become dead set on turning her life around and winning back her ex. Also on the slate, Lalola follows a misogynistic man who is turned into a woman. “We strongly believe that introducing global stories to the market and revitalizing outstanding formats with fresh, relevant narratives is the key to achieving remarkable success,” says Nadav Palti, CEO and president.

Electric Entertainment

The Librarians: The Next Chapter / Leverage: Redemption / The Ark

Electric Entertainment’s catalog features The Librarians spinoff The Librarians: The Next Chapter, centering on a librarian from the past stuck in the present who inadvertently releases magic across the continent. Leverage: Redemption, a revival of Leverage, has a third season in postproduction that sees the team go up against a power broker, mayor, pool hustler and an industrialist exploiting child labor. The sci-ﬁ space series The Ark now has two seasons available. “We believe that our shows resonate with audiences worldwide not only for their high production values but also through their compelling themes,” says Sonia Mehandjiyska, head of international distribution. “Whether it’s human survival in The Ark or the battle between good and bad in Leverage: Redemption, our programs provide viewers with a brief escape from everyday life.”

Escapade Media

Debrieﬁng the President / Follow the Rain / Stiggy

Debrieﬁng the President, a highlight of Escapade Media’s MIPCOM offering, stars Joel Kinnaman (For All Mankind) as John Nixon, the CIA analyst who became the ﬁrst American to positively identify and interrogate Saddam Hussein. The documentary Follow the Rain follows fungi hunters through Australia to explore how important fungi are to life on Earth. Stiggy dramatizes the life and career of Robert Stigwood, the entertainment maestro who managed the Bee Gees and produced Saturday Night Fever and Jesus Christ Superstar “With the cutthroat machinations of Succession churning under a Bohemian Rhapsody veneer, Stiggy is a study in contrasts,” says Natalie Lawley, managing director of Escapade. “Like its leading character, it is both radical and conservative, bold and reserved.”

“Our series highlight universal themes and feature a vibrant array of diverse, multicultural characters.”

“We

continually produce highquality, universally themed programs that entertain audiences around the

globe.”

—Sonia Mehandjiyska

“Escapade

has built a solid reputation for commissioning and preselling both scripted and non-scripted shows from producers around the world.”

—Natalie Lawley

—Nadav Palti

Follow the Rain

Leverage: Redemption

Indal

FilmRise

Highway to Heaven / Forensic Files / Hot Ones

In FilmRise’s Highway to Heaven, an angel on probation is sent to Earth, where he teams up with an ex-cop to travel on assignments from “the Boss” to help people cope with problems such as drug abuse, prejudice, poverty and organized crime. It stars Michael Landon as the angel. The Forensic Files franchise now includes 19 never-beforestreamed “lost” episodes from the original series and a fourth season of Forensic Files II. The hot wings talk show Hot Ones sees celebrities such as Margot Robbie, Billie Eilish and Paul Rudd “bravely sweat their way through increasingly spicy interview sessions,” says Melissa Wohl, senior VP of global content sales and distribution. She adds, “Our goal at this year’s MIPCOM is to maintain and grow our leadership position globally.”

“These series stand out for their universal appeal and high production values, as well as the fact they are available dubbed in multiple languages.”

—Melissa Wohl

FOX Entertainment Global

Martin Scorsese Presents: The Saints / One Day in October / The Chicken Sisters

MIPCOM 2024 sees FOX Entertainment Global returning to Cannes with a diverse portfolio of programming, highlighted by a historical docudrama limited series from the legendary Martin Scorsese; a four-part anthology series based on real-life accounts from the October 7, 2023, attack on Israel; and a drama series ﬁlled with small-town charm and a fried-chicken family feud. “With Martin Scorsese Presents: The Saints, our clients will discover a high-caliber, prestigious project with universal global appeal from one of the most consequential ﬁlmmakers of our time,” says Tony Vassiliadis, executive VP. “One Day in October is a gripping, timely and emotional journey of heroism and humanity, and The Chicken Sisters is a delightful drama that’s sure to charm audiences with its smalltown heart, humor and family feuds.”

GMA Network

Widows’ War / My Husband’s Wife / Luv Is: Love at First Read

Among the titles GMA Network is presenting at MIPCOM, Widows’ War follows former best friends who become prime suspects in the sudden deaths of their husbands. In My Husband’s Wife, a woman spends four years held captive by a rebel group and returns home to ﬁnd that her husband has remarried her best friend. “Marriage, justice and love are universal themes that captivate audiences across the globe,” says Rochella Ann Salvador, assistant VP of the Worldwide division. “Widows’ War and My Husband’s Wife bring these themes to life with emotionally charged narratives.” Luv Is: Love at First Read, adapted from a Wattpad novel, sees a heartthrob discover that his nemesis ﬁts his ideal image of a girl. “These programs have captivating visuals, engaging storylines and top-notch production quality,” Salvador notes.

“FOX Entertainment puts creativity ﬁrst, delivering unexpected, unforgettable entertainment to audiences everywhere.”

—Tony Vassiliadis

“Our broader vision is to solidify our position as the leading advocate of Filipino content on the global stage.”

—Rochella Ann Salvador

Widows’ War

The Chicken Sisters

Hot Ones

GRB Media Ranch

Playground / Cutlers Court / Blue: The Life and Art of George Rodrigue

The GRB Media Ranch docu-reality series Playground is set within a premier studio for professional dancers to be discovered and book their big break. “In Playground , artists aspire to become stars—viewers are either artists themselves who can relate to the trials and tribulations of trying to break it big or fans,” says Sophie Ferron, president. Emmy-nominated judges Dana and Keith Cutler hear from a large assortment of couples having difficulties in their relationships in Cutlers Court. “Cutlers Court demonstrates relationships and issues that arise, and everyone can relate to that,” says Ferron. Blue: The Life and Legacy of George Rodrigue covers the life of the New Orleans pop artist who created the iconic “Blue Dog” art known around the world.

Hat Trick International

Smoggie Queens / Do You Want to Live Forever? / The Plot to Kill Thatcher

For MIPCOM, Hat Trick International is highlighting the six-part Smoggie Queens . From the team behind Derry Girls , the gang comedy follows a group of friends as they navigate love, life and their pride in their neglected U.K. town. “Buyers want shows that will stand out, and this definitely does that,” says Sarah Tong, director of sales. “Comedy is always in demand.” Do You Want to Live Forever? shows everyday people what they can do to live a healthier, fuller life. The Plot to Kill Thatcher , made to mark the 40th anniversary of the Brighton hotel bombing, is “an emotional and tense story with new and exclusive testimony from some of those who were there and those who were involved in the atrocity,” explains Tong.

Inter Medya

Deception / Love and Pride / Tuzak

Inter Medya’s MIPCOM roster is led by Deception , a drama that unravels the web of lies that makes up one woman’s life. Güzide Yenersoy, a respectable family court judge living in Istanbul, has what could be described as the epitome of a perfect family, but Yenersoy is not aware that events buried in the past will come to light again and that every member of her family is lying to her. When her husband’s secret second family is revealed, everything falls apart. Love and Pride sees a family on the verge of financial ruin presented with an opportunity for salvation through a marriage proposal. Tuzak , on the other hand, tells the story of three siblings who discover that they don’t have the bond they thought they had.

Playground

“We curate our distribution portfolio to appeal to global audiences with stories that are universal.”

—Sophie Ferron

Do You Want to Live Forever?

“We have an amazing and varied selection of brand-new comedy, documentaries and formats.”

—Sarah Tong

Tuzak

Leading Distribution Partners

Santa Who / Christmas with the Singhs / Hanukkah on the Rocks

Leading Distribution Partners’ lineup includes holiday-themed fare, with titles such as Santa Who, Christmas with the Singhs and Hanukkah on the Rocks. “These titles stand out for their relatable characters, universal themes of love, friendship and holiday magic and a unique mix of Christmas and Hanukkah stories that appeal to audiences around the world,” says Gavin Reardon, president of global distribution. “Each ﬁlm offers feelgood entertainment while celebrating the diversity of holiday traditions, making them ideal for broadcasters and streaming platforms looking to enhance their seasonal lineups with globally appealing content.” The company’s slate also features mysteries, including Curious Caterer: Foiled Plans; romantic comedies, such as Legend of the Lost Locket; and thrillers, among them Devil on Campus: The Larry Ray Story

MediaHub

Alaca / Stop! Border Control / Cosmopolis

Alaca stands out in MediaHub’s catalog as the company’s ﬁrst original title. “Its universal themes, such as family, love and betrayal, resonate with audiences across different cultures,” says Bekir Erdoğan, sales and business development manager for MENA. “The series also combines the traditional elements of Turkish drama—rich storytelling, emotional depth and strong character development—with a modern plot that keeps audiences engaged.” Meanwhile, the Stop! Border Control docuseries offers a raw and realistic portrayal of the highstakes world of border enforcement. The title is now available with seasons from Cuba, Rome and Valencia. Cosmopolis, set against the backdrop of Dubai, blends elements of wealth, power and youth culture and explores the tension between the rich and poor.

Melodie

Legend of the Lost Locket

“Our mission at MIPCOM is to showcase our rich variety of content and establish lasting partnerships while delivering top-quality entertainment to diverse markets.”

—Gavin Reardon

“We are particularly focused on exploring new opportunities in emerging markets, leveraging digital platforms and staying ahead of global content trends.”

—Bekir Erdoğan

Music Royalty Rebate / Multi-Award-Winning Technologies / Quality, Curated Music Meets Simple Licensing

Melodie has designed a new model that allows TV production companies to directly benefit from the music royalties generated from their programs. “Our unique Royalty Rebate partnership model is something entirely new,” says Evan Buist, founder and managing director. “We’re uncovering the biggest secret in the broadcast media industry. For production companies, we’re transforming what was once a music licensing cost into a profit line item, unlocking an annual $4 billion opportunity for prolific producers of factual and non-scripted television.” The direct partnership between TV production companies and Melodie, a music publisher, allows production companies to earn royalties from the music in their TV shows without the need for registrations, tracking, audits or administration.

“If you’re a television production company, book time with Melodie to learn how you can beneﬁt from the royalty income generated from your television programs.”

—Evan Buist

Cosmopolis

Movistar Plus+ International

Marbella

/ Querer / The New Years

Marbella, a fast-paced thriller with high production values, leads the Movistar Plus+ International slate. The title is based on a real journalistic investigation into the world of the maﬁa. Querer is a courtroom drama and psychological thriller about consent in a marriage of over 30 years. The New Years, set on the same day every year for a decade, is a romantic drama directed by Oscar nominee Rodrigo Sorogoyen. “We have been meticulous in selecting projects and their creators, giving a voice in the world of TV series to established ﬁlmmakers with solid careers,” says Fabrizia Palazzo, distribution manager. “The shows we’re presenting at this market touch completely different topics, stories, characters and genres with which viewers from all over the world can empathize,” she adds.

The New Years

“The goal is to ﬁnd the best channel or platform for our content in each territory.”

—Fabrizia Palazzo

NBCUniversal Global TV Distribution

Suits: L.A. / Grosse Pointe Garden Society / The Hunting Party

The Suits universe has expanded with the new series Suits: L.A. , on offer from NBCUniversal Global TV Distribution. “Even more than a dozen years after the original series premiered, Suits continues to resonate with audiences around the world,” says Carolyn Stalins, executive VP, sales liaison for international. “Suits: L.A. will have all the witty dialogue, compelling characters and engaging storylines that the original series had but now with the glitz and glamour of Los Angeles.” Also on the company’s slate, Grosse Pointe Garden Society is a drama series centered on four members of a suburban garden club who are struggling to ﬂourish in their seemingly ordinary lives. The Hunting Party is a high-concept crime procedural based on the novel of the same name by Lucy Foley.

Nicely Entertainment

A Christmas Castle Proposal—A Royal in Paradise 2 / Technically Yours / A Country Music Christmas

A Christmas Castle Proposal—A Royal in Paradise 2 tops Nicely Entertainment’s MIPCOM offering. In the sequel to the international hit A Royal in Paradise , writer Olivia Perkins and Prince Alexander seem to have it all in the six months since they found love. However, as Christmas approaches, a family holiday at the palace turns into a festive mess. Technically Yours sees tech prodigy Erin convince her office nemesis to pose as her boyfriend at her sister’s wedding. In A Country Music Christmas, songwriter Brooke is faced with the decision of a lifetime. “In a year when most companies are tightening their belts and reducing their overall output, Nicely Entertainment is continuing to ﬂourish,” says Scott Kirkpatrick, executive VP of co-productions and distribution.

“Content is king, and we will be showcasing the breadth, depth and quality of NBCUniversal’s vast content portfolio.”

—Carolyn Stalins

“We’re coming to MIPCOM with a full slate of brand-new feature ﬁlms, including several original productions.”

—Scott Kirkpatrick

Grosse Pointe Garden Society

Nippon TV

Man or Mannequin? / Going Home

Nippon TV’s Man or Mannequin? is a high-stakes, teambased game show in which celebrity contestants race against time to ﬁnd mannequins hidden throughout the city. “The series is fun and entertaining as teammates become rivals, using their knowledge of each other’s strategies to outwit and outplay one another in determining what is real or fake,” says Tom Miyauchi, head of formats. Inspired by an existing police unit in Tokyo, the scripted format Going Home follows a unit of the Metropolitan Police Department that is tasked with identifying nameless bodies and returning them to their families and partners. “ Going Home taps into the global appetite for powerful female protagonists as the lead of the story, a trend that has proven to be successful,” Miyauchi says.

OGM UNIVERSE

6 of Us / Dilemma / Lost in Love

6 of Us ( Sahipsizler ), following six siblings who are suddenly orphaned, leads the OGM UNIVERSE slate. The family must navigate a harsh world while trying to stay together. Rooted in the epic love story of their parents, the narrative unfolds across the streets of Istanbul, bringing to life the siblings’ resilience in the face of tragedy and danger. The series “is a standout highlight for international buyers,” says Ekin Koyuncu Karaman, global distribution and partnership director. Dilemma ( Düğüm ), Prime Video’s ﬁrst original Turkish series, sees a TV show host’s life fall apart when her son becomes implicated in a murder. Lost in Love (Sakla Beni) follows the complicated lives of Mete and Naz, two individuals bound by a promise made in their childhood.

ORF-Enterprise

“We look forward to meeting new partners and buyers as we continue to expand our international footprint.”

Miyauchi Man or Mannequin?

—Tom

“We continue to expand our global footprint by producing content that resonates not only with Turkish audiences but also on an international scale.”

—Ekin Koyuncu Karaman

The Curious Cases of Gerti B. / Wildlife 2.0—Adapting to a New World / Women Pirates—Rebels of the Seas

ORF-Enterprise’s The Curious Cases of Gerti B. introduces Gerti B., a seasoned police detective dealing with personal and professional challenges. When Gerti faces the challenge of solving a murder in her own neighborhood, the investigation stirs up memories from her past and forces her to confront issues in her personal life and within her community. “With its blend of humor and drama, this series offers a fresh take on the detective genre,” says Armin Luttenberger, head of content sales international. Wildlife 2.0—Adapting to a New World offers a glimpse into a tamed wilderness, focusing on rural habitats affected by human inﬂuence. Women Pirates— Rebels of the Seas spotlights the lives of four pirate women who deﬁed the patriarchal and colonial structures of their time to lead adventurous lives.

“This season’s lineup shines with fresh stories and characters that have the potential to travel the globe.”

—Armin Luttenberger

The Curious Cases of Gerti B.

Dilemma

Québec créatif/SODEC

Quebec Pavilion

Discover the rich and varied world of the Quebec audiovisual industry at MIPCOM. Organized by the Société de Développement des Entreprises Culturelles (SODEC), Quebec’s cultural agency, the Quebec Pavilion aims to promote and support Quebec content creators on an international scale by connecting them with distributors, buyers, broadcasters, co-producers and partners from all over the world to facilitate exchanges and business development. The business hub will house nearly 40 production and distribution companies, presenting a wide range of content, from award-winning programs with diverse and inclusive stories to insightful documentaries, animated series, youth programs that educate and inspire, variety shows and successful formats, dramatic series and movies.

Seven.One Studios International

The Gone / Love Costs / If Pigs Could Talk

Seven.One Studios International is highlighting the second season of its hit crime drama The Gone . Filmed in New Zealand, the new season follows detectives Theo Richter and Diana Huia as they race to stop a deadly killer while unearthing buried secrets and hidden traumas. Love Costs, a new studio-based dating format, sees true love and cunning deceit collide. In each episode, one hopeful seeks love among four suitors, but while two are genuinely looking for romance, the others are just after a cash prize. If Pigs Could Talk rounds out the company’s slate. The new documentary “turns everything you know about pigs upside down,” says Tim Gerhartz, managing director. “This highly topical one-off special unlocks the language of pigs using cutting-edge AI technology.”

SPI International

Panda Plan / Four Letters of Love / Skyline: Warpath

SPI International is bringing to MIPCOM the new ﬁlm Panda Plan, in which Jackie Chan plays an action superstar who becomes involved in an international rescue operation, as well as the movies Four Letters of Love and Skyline: Warpath. The romantic drama Four Letters of Love features Pierce Brosnan and Helena Bonham Carter, while the sci-ﬁ alien movie Skyline: Warpath stars Scott Adkins. “These and more movies from the SPI catalog are appealing for international audiences, delivering commercial results on both pay and free services,” says Hubert Ornass-Kubacki, head of content sales. He adds, “This year, we are adding series to SPI’s lineup,” including the Polish rom-com Not with Me and the Czech drama Daughter of the Nation. He describes the latter as a “fantastic female liberation-focused costume drama series.”

“We will be at this year’s MIPCOM with a slate of high-quality content focused on our core strengths and specialist areas.”

—Tim Gerhartz

“SPI International provides great entertainment experiences to global audiences and a diverse offering to business partners.”

—Hubert Ornass-Kubacki

Four Letters of Love

Québec créatif/SODEC Pavilion

If Pigs Could Talk

The Television Syndication Company

The 77—A City of Neighborhoods / Military Sites—World War II Now and Then / The Royal Tour

The Television Syndication Company is heading to MIPCOM with a slate that features the Chicago-based travel series The 77—A City of Neighborhoods. The title takes a look at the city through its food and history. Military Sites—World War II Now and Then explores various places and events from the Second World War, while the six-part The Royal Tour follows the heads of state in a handful of countries. “Travel and historical programming remain a top request from our buyers,” says Cassie M. Yde, president. “These new productions focus on the history of Chicago neighborhoods through food and travel; World War II, where we visit the exact locations that made history through unprecedented access to private and government sites; and exclusive travel access to countries guided by their dynamic heads of state,” Yde adds.

“We welcome the opportunity to sit down and discuss the needs of broadcasters and streaming platforms.”

Trinity Broadcasting Networks

One Night with the King / Route 60: The Biblical Highway / Danny Go!

Trinity Broadcasting Networks (TBN) offers faith-based inspirational content catering to multigenerational and multicultural audiences. Lead titles include One Night with the King, a romantic drama. Shayna Smith, VP of content distribution, calls it a “visually stunning ﬁlm with a compelling storyline that speaks to people of many faiths.” This ﬁlm was theatrically released years ago “but still speaks to audiences around the world and is one of our most popular,” Smith adds. Route 60: The Biblical Highway had a wide U.S. theatrical release on over 1,100 screens last year. The movie highlights Israel’s historical highway Route 60 and “tells a story of a shared history and future and speaks to audiences of many faiths,” Smith says. There’s also kids’ content, including Danny Go! and Three Little Words.

“TBN is the destination for faith-based entertainment for the global market.”

TV Asahi Corporation

Doctor-X the movie / Obocchama-kun / The Dance Master

The series Doctor-X aired for seven seasons and has been adapted into its first movie, available from TV Asahi Corporation. It depicts the activities of the lone-wolf genius surgeon Michiko Daimon. “True to her words, ‘I never fail,’ Daimon, who has successfully performed numerous difficult surgeries, now faces her greatest crisis in this movie,” says Maiko Sumida, head of animation sales and development. A sequel to the cult kids’ animation series Obocchama-kun, which was popular in the 1980s, is scheduled to be launched in India in 2025. TV Asahi will host a world premiere for the show at MIPCOM. Also, the company is launching a new entertainment format, The Dance Master , which puts a comedic spin on dance competitions.

“With over 65 years of leading the Japanese content industry, TV Asahi Corporation delivers top-rated drama series, enduring animation programs and high-quality variety shows that target the younger demographic.”

—Cassie M. Yde

Obocchama-kun

Danny Go!

The 77—A City of Neighborhoods

—Shayna Smith

—Maiko Sumida

Ten Years of Pluto TV

Je ff Shultz

By Mansha Daswani

Pay TV was still a healthy cash cow for major media companies in 2014, even as cord-cutting was starting to impact growth forecasts, and Netflix was well into expansion mode, signaling that the future of media was less about the ad-supported linear model and more about subscription and on-demand. Tom Ryan, Nick Grouf and Ilya Pozin had a different opinion about how consumers would want to access entertainment, setting out to build a free adsupported s treaming platform. Pluto TV went live in the U.S. in 2014 and since then has scaled its footprint to more th an 35 markets across the globe, delivering content from some 400 partners. Pluto TV has been aided in its growth journey by Paramount, which acquired the service back in 2019. Today, Plut o TV sits within Paramount Streaming, the division of the company tasked with scaling both Pluto TV and the SVOD service Paramount+ across the globe. Jeff Shultz has worked with Ryan, CEO of Para mount Streaming, since the service’s early days. As chief strategy and chief business development officer at Paramount Streaming, Shultz is part of the team driving Pluto TV’s usage gains across a vibrant FAST channel lineup and a wealth of on-demand shows. As Pluto TV marks its tenth anniversary, Shultz weighs in on the service’s milestones and discusses the road ahead.

WS: In 2014, what gave the company conﬁdence that free streaming would be a viable, proﬁtable business?

SHULTZ: I was an advisor to Pluto TV almost from day one, having known Tom Ryan, co-founder and CEO, for many years. I got a view of Pluto TV in its very early days, several years before I came on full-time in 2017. We need to remind ourselves just how counterintuitive and unlikely Pluto TV was when it launched ten years ago. It’s no exaggeration to say that Pluto TV invented FAST as a category. It certainly didn’t exist ten years ago. At the time, it sounded crazy: free ad-supported in the age of subscription and linear in the age of on-demand. Consumers were taking control, and linear channels were being phased out of existence. Those two contrarian bets wound up being correct. Having been right about those bets, we identiﬁed industry trends that created a once-in-a-lifetime opportunity to accelerate the business. One, major content owners had started to realize they needed to look for revenue outside of traditional channels: mainstream, high-proﬁle content was going to make its way into this new model. Two, consumers increasingly were streaming, particularly on connected television. So, we focused much of our efforts on building out the presence of Pluto TV on connected television, including a strategy called integrated distribution. We embed Pluto TV channels within the native guide on connected television devices. And, three, there was a broad trend toward data-driven advertising and programmatic video. The content, distribution and revenue necessary to grow it were all tailwinds during the following decade of building the business.

WS: Talk about the approach to integrations with smart TV manufacturers and other partners.

SHULTZ: We identiﬁed that not only were people watching more on connected television, but they were also watching differently. They would watch for hours at a time. We identiﬁed the opportunity, from a product and technology perspective, to devote meaningful resources to building out our presence on every major connected television device. And where there was a native guide, we would build out a presence. Samsung TV Plus, Vizio WatchFree, LG Chan nels—these products were built in partnership with Pluto TV. Those partnerships remain intact today. A third of our usage takes place in those connected TV guides; people are consuming Pluto TV without opening the Pluto TV app.

WS: Discoverability is such a challenge for everyone. How does Pluto TV’s approach to curation and your user interface help to solve that problem?

SHULTZ: It is one of the most fundamental and pressing problems. More and better content is no longer a problem in streaming. There’s plenty to watch, so this issue of discoverability, ease of navigation and understanding what’s available becomes a primary objective. Pluto TV starts with a bit of a competitive advantage: our bet on linear, as counterintuitive as it was at the time, lends itself to ease of discovery. When there are hundreds of thousands of hours of content across an unlimited range of categories and options, how do you decide what to watch? One of the ways to do that is to surrender a certain amount of control to human curators who pull together these channels. They are thematically organized and then organized within the guide; there’s a classics section, a Westerns section, a sports section. We’re letting that help sort through the mass that is

Pluto TV serves its users across the globe with a slate of FAST channels as well as an extensive on-demand library.

streaming today. But Pluto TV has always been a hybrid experience with linear and on-demand options. We’ve been enhancing that VOD experience for the last several years and it’s working. A greater share of our viewing takes place on-demand than ever before. We’re agnostic—we just want happy viewers coming back and watching as much as they can. It’s not as if a linear viewer is better for us than an on-demand viewer. The most valuable viewers are the viewers who do both and switch between linear and ondemand. To that end, late last year we started rolling out a new customer experience with a home screen that combines both the linear and the VOD experiences. Previously, it was a toggle: linear was one choice and then you could easily switch to on-demand. We have a home screen that co-mingles the two. It balances human curation and the ease of discovery in linear channels with video on-demand that is more purpose-driven use case, with automated recommendations of VOD content alongside linear. Watch starts—users who start a session—doubled in this integrated home experience versus the stand-alone experience.

WS: How do you and your teams use data for making programming and technology decisions? And how much is following your gut about where viewing behavior could be trending in the future?

SHULTZ: It’s a balance. The scale of the service in users and usage and the breadth are enough to yield actionable insights around just about any content. The machine tells us what to feed it. But that doesn’t mean that the machine runs on its own. Those insights are used by a talented team of human curators. It’s this unique combination of art and science. A scaled service of any kind can produce data and react to that data, but we’re doing it in a way that balances both the direct input and the human interpretation of data. That seems to resonate with consumers.

WS: What are some of the hurdles for advertising dollars making the move to the FAST and AVOD space? And what are the opportunities?

SHULTZ: Addressable advertising in FAST and VOD still has room to grow. It’s already creating signiﬁcant value by targeting audiences that weren’t previously accessible, but it’s not yet perfect—advertisers don’t always reach the right person every time. Over time, technology improvements and increased demand will solve this. We’re seeing an

inevitable shift of ad dollars from traditional to streaming channels.

When Viacom (now Paramount) acquired Pluto TV, it provided several accelerants: content, international expansion and a strong advertising business. For instance, Pluto TV went from no upfront deals as an independent company to being part of a multimillion-dollar upfront post-acquisition. Additionally, Paramount’s EyeQ advertising platform has allowed us to adopt a hybrid strategy, combining both direct and programmatic sales to maximize ad opportunities. With Pluto TV and Paramount+ generating vast inventory, we’re well-positioned to capitalize on the ongoing shift of ad dollars to streaming.

WS: You mentioned the international footprint. What are some of the factors you have to take into consideration when looking to bring Pluto TV into a new market?

SHULTZ: Pluto TV as an independent startup was an international company—we had launched in several European markets. It was a cautious approach. I don’t know, as an independent company, how quickly we would have pursued an international rollout. But the day of the acquisition of Pluto TV, the then president of international at Viacom walked me through a plan for a pan-Latin America launch of Pluto TV. We were going to launch in every Latin American market simultaneously in one year. And we did it. Being part of Paramount expanded our aspirations and allowed us to grow quickly. We’re now on four continents, 35 countries. A third of our usage is outside of the U.S. We’re focused on making the most of the highest-value markets where we already have a presence. There are two good examples of partnerships that we put together: Viaplay Group in the Nordics and Corus Entertainment in Canada. We’ve partnered with a strong local player to bring content, perhaps some distribution and, importantly, local advertising sales capability. That is a model that we intend to replicate in additional markets. [France’s M6 is the latest.]

WS: What are your key priorities in the months ahead?

SHULTZ: We’ll continue to build on our lead in this space. We’re leveraging first-party content, where we continue to enjoy this competitive advantage. Paramount Global content is so well suited for FAST: well-known franchises, perfectly episodic and available in very large quantities. We’ll continue to use that to our advantage, along with third-party content.

We’re actually in the process of expanding our integrated distribution strategy. As I mentioned, a third of our usage is outside of the Pluto TV app today, and that will increase. We’re increasing our presence in those integrated CTV guides in response to the fact that consumers are increasingly using them. I mentioned international local partnerships. That is where we’ll be focused outside of the U.S. And advertising revenue and monetization. We need to work to get as much demand into the ecosystem broadly and into our services speciﬁcally. That might be the primary focus for the next decade—to make the most of the engagement that we’re driving in FAST.

Fernando Szew FOX Entertainment Studios

By Mansha Daswani

Earlier this year, FOX Entertainment restructured its operations around three key pillars: FOX Entertain ment Studios, the FOX Television Network and FOX Entertainment Global (FEG). Fernando Szew, who joined FOX Entertainment following its acquisition of MarVista Entertainment, was tapped as head of FOX Entertainment Studios, consolidating a portfolio of assets that includes Bento Box Entertainment, FOX Alternative Entertainment, FOX scripted studios, MarVista, Studio Ramsay Global and TMZ. Szew talks to World Screen about the strengths of his new division and provides an update on the FOX Entertainment open-for-business approach outlined by CEO Rob Wade at MIPCOM two years ago.

WS: Tell us about the new unit you oversee.

SZEW: Six months ago, we launched this new structure and FOX Entertainment Studios was created, building on a rich legacy of creativity with the deep roots and excellence that

achieve that by bringing a collective group of builders to construct something new and give it the discipline of a holistic organization. We will be ﬂexible and agile as a unit and an organization. Bringing it all together and having a uniﬁed way of working with partners, domestically and worldwide, and within the talent community. This is a further evolution of what we kicked off two years ago when we launched FOX Entertainment Global on stage at MIP COM with the theme of our “open arms to the world.” We are platform-agnostic and are open to innovative production and business models on a worldwide level. And while we have a strong U.S. network and partnerships, we are not beholden to any one platform. And, now, as a centralized studio, we can have a stronger level of collaboration and agility that perhaps we didn’t have before, as there were different entry points and varying aspects of decision-making and working.

How do you see the commissioning landscape?

The market is moving from volume and seeking pure growth to a premium placed on understanding the right value. Some key important tenets in that value chain include the quality of storytelling, the business models and audience engagement. This has created opportunities for methodologies like ours. The landscape currently values levels of efficiencies that maybe it didn’t before. And, we, ourselves, are in build and growth mode. We’re leveraging our growing scale with aspects of viewer engagement and insights. We’re looking to create more precise and intentional content to ensure we are clear about the audience and the addressable market. As a group, we are not en to the game of the past few years and believe we have a competitive advantage in the years ahead.

Talk to me about how you’re working with Michael Thorn over at the network and Tony Vassiliadis at FOX Entertainment Global.

We are three distinct pillars, but actively working to leverage each other’s strengths. While we make individual decisions for the divisions we oversee, we are highly collaborative and always looking to leverage at least one more of the pillars, if not all three. And we already have some great examples of where we have leveraged the three.

I just returned from Ireland, where we’re shooting Next Level Chef for Spain, a format that FEG is selling worldwide of a very successful studio show that is a mainstay on the network. Also, Animal Control, our ﬁrst live-action comedy at the studio, has traveled to different places around the world. And now, we have a second comedy the studio is producing with Denis Going Dutch, with international themes and casting, which will also premiere on the network and then surely travel well globally. So, while we’re all focused on our own pillars, we’re unifying the goals and looking at creating unity to build FOX-owned IP for the worldwide market.

Erwan Luherne SPI International

By Mansha Daswani

Owned by CANAL+ Group, SPI International is tapping into its years of channel management and curation expertise and its suite of digital assets to expand its portfolio of free-to-air, pay-TV and SVOD services. Erwan Luherne took on oversight of the business as managing director following the closing of the CANAL+ deal, having previously served as CANAL+ International’s director of business integration. Luherne shares with World Screen his strategy for tapping into SPI’s strengths as it navigates the evolving channels ecosystem.

WS: Tell us about how you’re meeting consumers where they are.

LUHERNE: SPI International is a global media company that provides entertainment channels and services to various audiences. SPI’s activities can be divided into three categories: free-to-air channels, pay-TV channels and SVOD. We have 32 channel brands in our portfolio with 54 dedicated feeds. We are present on six continents in almost 70 countries, and we keep working on extending the distribution of our products to reach new audiences. We can, for example, mention our partnership from this summer with Hrvatski Telekom, the leading telecom operator in Croatia, for full distribution of the FilmBox channels and our partnership with Allente in Denmark, Norway and Finland for distribution of Dizi offers.

Our ﬂagship FilmBox offers diverse content access at compelling prices. We offer a portfolio of TV channels, such as FilmBox, FilmBox Premium, FilmBox Extra and FilmBox Stars, and the FilmBox+ SVOD service. We believe in a strong connection between linear channels and SVOD services to address the full range of viewers’ needs. This is why we introduced the new enhanced version of FilmBox+ in September, with a refreshed look and new functionalities to make it even more enjoyable and encourage new users to check out our offer.

Of course, we continue working to further enrich our channel offerings by curating and acquiring attractive content from main distribution partners. SPI recently strengthened partnerships with MGM (Poland, Czech Republic), Paramount, Prorom and Bonton Film (Czech Republic).

WS: How have you grown your suite of digital services?

LUHERNE: The development of our suite of digital services and products has been driven primarily by the growing needs of the market and our global audience. Customers are looking for on-demand content, ﬂexible access models and, due to market saturation, products that guarantee quality at an affordable price. With these needs, we have set our sights on expanding and refreshing our streaming service FilmBox+ to provide users with an even better experience. Another key area in our digital portfolio is the development of our partnership with Prime Video. We create branded corners to deliver differentiated content, allowing us to reach new audiences on one of the most popular global streaming platforms.

YouTube has remained an important area for many years where we can reach a slightly different audience. We are working to develop our business in this digital channel. An example is the TeleNowele YouTube channel in Poland, which presents Turkish and Latin American series.

WS: What is driving your content-sales segment?

LUHERNE: SPI International is an active supplier of ﬁlms and TV shows in international markets through distribution and license sales. The strongest part of the catalog is star-cast action and thriller movies. On top of these, we have romcoms and evergreen movies that resonate across territories.

WS: What are your goals for the company in the 12 to 18 months ahead?

LUHERNE: The portfolio of our ﬂagship FilmBox-branded thematic channels and FilmBox+ streaming service will remain the key focus. Our ambition is to maximize the value of our channels and services to support the expansion of our partners’ activities. We will continue to work with top distributors and make new acquisitions to enhance our channels and services. We also plan to produce new original shows to make our offer even more attractive. Bringing quality content allows us to attract viewers and drive engagement. And, of course, we are highly motivated to expand FilmBox’s footprint in key regions worldwide.

Jonas Engwall Bedrock

By Mansha Daswani

Releasing its interim result s earlier this year, RTL Group touted key gains in streaming revenues, boosted in part by M6+. The service replaced 6play in May as the French broadcaster’s new AVOD platform, powered by streaming solutions provider Bedrock. Now, RTL Group is working with Bedrock, in which it holds an ownership stake, on the integration of its largest streaming service, RTL+ in Germany. This streaming service is set to migrate by 2026. As Bedrock CEO Jonas Engwall tells World Screen, partnerships and meeting the diverse needs of broadcasters on their streaming journeys are critical priorities for the company as it scales up its business.

WS: The last time we spoke, you were working with M6 on the rollout of M6+, its new AVOD platform powered by Bedrock technology. What were some of the key lessons from that experience?

ENGWALL: The M6+ rollout was a huge success and highlighted the value of our careful planning and solid tech. We managed to deploy across 15 different devices in just a few hours with hardly any disruption. In fact, most of the rollout was ﬁnished in only six hours. The results were fantastic—user engagement jumped by 30 to

50 percent monthly, which was even better than we had hoped for. Short-form content in a vertical format was a bet that was quite informed—we felt it was going to work well. M6 said it would do it for its key shows; now, they’re rolling it out for almost all shows. We also added M6’s podcast library to the M6+ platform. Also, with Ease Live, we introduced fan-engagement features like live stats and voting during UEFA EURO 2024. The feedback from viewers was overwhelmingly positive, and we’re looking forward to bringing these interactive tools to more types of content beyond just sports.

From a security perspective, we faced a signiﬁcant challenge when a DDOS attack comprising 17 million probes occurred within minutes. Thanks to our platform’s resilience, the attack had zero impact on users, which showcased the strength of our security measures and the preparation of our teams in handling sudden high-pressure situations.

WS: And now you’re working on transitioning RTL+ in Germany to Bedrock technology. What’s the plan there?

ENGWALL: The migration of RTL+ in Germany to the Bedrock platform is a major project for us, and it’s really exciting. It’s a long process with work councils involved, but we’re making great progress and aiming for an early 2026 launch. We’re pooling resources together to create an even more powerful platform, designed to handle a wide variety of media—everything from TV shows and video content to music and audiobooks. This move will streamline operations and enhance the experience for millions of users in Germany across all their devices. What’s exciting is that this transition is more than just a technical migration. It’s an opportunity to innovate and grow. We’ll be opening a new office in Cologne and onboarding some of the RTL+ team in Germany to become part of Bedrock, which will help us work closely together and provide localized support. It’s bigger than just onboarding a new partner. By joining forces, it will give us even more ﬁrepower for the future to innovate and future-proof everything we do. It will strengthen both Bedrock and RTL+, not just for today’s market demands but for what’s ahead.

WS: RTL Deutschland and ProSiebenSat.1 announced a deal to collaborate on advertising technology earlier this year. Does that have the potential to create new opportunities for Bedrock?

ENGWALL: While I won’t comment directly on the speciﬁcs of the RTL and ProSiebenSat.1 collaboration, this partnership is an excellent example of the strategic alliances needed to achieve scale. Bedrock is all about partnership. We believe you need scale to succeed in this business. In regions like the U.S., consolidation is the path forward, while in Europe, collaboration between players is essential to achieve the same kind of magnitude. RTL and ProSieben working together in the ad-tech space is a great example of embracing partnerships to enhance capabilities and create the scale needed to compete.

WS: How is Bedrock working with its broadcaster clients to scale their AVOD capabilities?

ENGWALL: Bedrock has deep roots in the AVOD space, so we understand the nuances of this model. Before the last

18 months, streaming meant SVOD. For broadcasters coming from advertising, doing SVOD was exciting—it offered a new revenue stream and had that fresh, shiny appeal. I’ve always said there will be SVOD, but don’t forget about AVOD. Our partners are working toward hybrid models. SVOD is adding AVOD to become more balanced and the other way around. If you’re in the old legacy world, you must have a new monetization model. Tech allows you to experiment. There will always be people with more time than money and vice versa. It makes sense to have a balanced approach.

WS: Talk to us about the work your teams put into constantly reﬁning and improving your UX and underlying tech stack.

ENGWALL: Innovation at Bedrock is a continuous process, and our approach to UX and tech-stack improvement is systematic and collaborative. We have dedicated “streaming walls” in our offices that allow us to observe and analyze almost all streaming services worldwide. There are so many things happening in the world of streaming! We are particularly inspired by developments in regions like Asia, which are often ahead in certain areas. While not all innovations there are transferable to Europe, they offer valuable insights that can drive our creative process. We’re always thinking of new ideas internally, but a big part of what we do is collaborate closely with our partners. Our product advisory board meets every two months, where we sit down with our partners. Together, we don’t just focus on the tech—though that’s obviously a huge part—but also share insights and learn from each other. It’s a collaborative process that helps us shape the roadmap for where the platform is heading. For us, it’s all about incremental innovation driven by real-world needs. And one of the things we’ve learned is that we

opportunities we engage in. I always emphasize responsible growth. We’re committed to serving our existing partners and ensuring that any expansion benefits all stakeholders. Germany is our immediate priority, and once we’ve successfully transitioned RTL+, we’ll evaluate other markets. I’m confident that we’ll eventually extend beyond Europe, but it’s important to grow sustainably and strategically.

WS: I know you’re using AI in your recommendation algorithms. That space is moving so quickly. How are you tracking developments in AI and implementing those tools as you innovate your capabilities?

ENGWALL: It’s almost impossible to track everything happening in AI. We are focused on a couple of areas. Our focus is on personalization, and we’re about to launch an AI-driven search feature that will offer users a more intuitive and engaging experience. We want to

“Innovation at Bedrock is a continuous process, and our approach to UX and tech-stack improvement is systematic and collaborative.”

don’t always have to come up with everything ourselves. Part of Bedrock’s innovation is partnering with the right companies and bringing their services to life within Bedrock.

WS: What else are you focusing on in the 12 to 18 months ahead? Are you looking to expand outside of Europe?

ENGWALL: Our focus remains on Europe for the next 12 to 18 months, but we are certainly open to opportunities outside the European market. We have much interest from different parts of the world—actually, more interest than we can handle. We’re in a lucky position where we can be quite selective with the

create a social-like interaction with content discovery, making it feel more natural and interactive. Behind the scenes, AI plays a critical role in platform optimization. We gather data from numerous sources to monitor performance, and AI helps us sift through this data efficiently, enabling us to make informed decisions in real time. We have to use AI intelligently by developing a framework for the best way it can be used. It’s ﬁnding that balance—moving fast, but at the same time moving securely. We’re constantly evaluating AI from different angles, ensuring that we leverage it in ways that truly enhance both the user experience and the operational performance of the platform.

By joining forces, Bedrock and RTL+ in Germany will create a true European champion in streaming technology.

In the FA

Some of the most prominent players in FAST, from leading AVOD platforms to distributors of scale, talk about navigating the evolving landscape.

By Mansha Daswani

Choice fatigue is real, lean-back viewing still matters, connected TV usage is gaining ground and despite some speed bumps, the FAST sector holds a wealth of potential for IP owners—as long as you’re innovative and strategic about approaching it.

“We go where our audiences are,” says Beth Anderson, senior VP and general manager of FAST channels and VOD sales at BBC Studios, which has set up a range of single-IP and multi-genre services. “We see the FAST business as a place to iterate within and incubate our brands. It’s an awesome opportunity to curate content discovery.”

Amanda Stevens, VP of global digital partnerships at All3Media International, says: “AVOD and FAST is an opportunity to monetize content for producers throughout the life cycle of that content. We work with our international sales team. AVOD and FAST will never cut across those traditional paid-for deals, but it does offer incremental revenue.”

Lionsgate began operating in AVOD a decade ago, with its ﬁrst FAST offering arriving in September 2020 with MovieSphere. “We have looked at more genre programming,” says Chase Brisbin, executive VP of international SVOD sales and head of global channels. “We do both multicontent and single-series IPs. We’ve also begun leaning into partnerships with existing brands that have their own organic reach.”

Anderson adds, “FAST is not cannibalistic to other business models, but it’s also not a stand-alone business. It’s part of an overall media ﬂywheel.

Brands are served by having a multi-tenet distribution strategy and content available in multiple places.”

Being multiplatform is critical, notes Graham Haigh, executive VP of digital at ITV Studios. “If you take something like Hell’s Kitchen, it is about that 360 model. FAST is not going to be the be-all, end-all. We’ve got a great YouTube channel; how does that feed into the FAST world? We’ve got some amazing Hell’s Kitchen-branded pots and pans; how do you promote those in your inventory in FAST, AVOD and YouTube? How does that work with our producers selling that format around the world? And how do we use that information to make the format bigger in terms of scale, scope and number of regions?”

CHASING DATA

For many, accessing analytics is one of the biggest hurdles in navigating the FAST space. These are crucial for making programming and marketing decisions.

“By operating our own streaming network, which includes apps and FAST channels, we can gather same-day performance insights, giving us a real-time view of what’s resonating with audiences,” says Johnny Holden, CFO and chief strategy officer at FilmRise, which has assembled a slate of FAST channels across multiple genres. “This allows us to quickly spot potential hit content and adjust our release strategies accordingly. These

ST Lane

insights are also invaluable in advising our platform partners, helping them make informed, data-driven decisions.”

“It’s not transparent; it’s very insular,” Haigh adds. “We get data for our channels and very little context around that. I won’t say it’s enough—it’s sufficient for scheduling a channel, but you’re doing it with your arm tied behind your back. If we can’t effectively schedule a channel based on the most data we can access and have that transparency across not just our channels but all of the universe, then nobody wins. If we generate and schedule a more effective channel that drives more viewing, that beneﬁts us and our platform partners.”

Stevens agrees, noting, “There is a lack of consistency across all platforms about what’s being reported and the cadence of how often you get that reporting. We are tracking highest- and lowest-rating shows on any given channel, the strongest dayparts if you want to launch new content and performance over time. But, of course, it could always be better.”

Anderson adds, “In the industry’s defense, the cake isn’t baked yet. FAST goes beyond an EPG. It’s not necessarily the only way to engage with a linear feed. As a result, there’s just a lot of technical development going on in this business. It makes sense that there isn’t a consensus on the metrics provided. Everyone is operating while also building. As an industry, we

need to identify some key performance indicators. Revenue is paramount, but time spent is also the most valuable metric. In the U.S., there are over 1,900 FAST channels live today. It’s not necessarily about chasing the highest number of views on a speciﬁc channel at a speciﬁc moment. [It’s about] consistency, sustainability, making sure that we’re carrying through the right channel identity that can appeal to an audience on a loyal, long-term basis. That creates a much richer channel experience and provides more opportunity to introduce new IP to audiences.”

Given the competitive environment and sheer volume of channels viewers must choose from, smart marketing and scheduling strategies are paramount.

“We’re learning a lot about programming,” Lionsgate’s Brisbin says. “We try not to look at just the top 10 percent because knowing that The Hunger Games is going to perform isn’t that hard. We try to see some of our more surprising performers. Then, we also look at the bottom 20 percent to see what’s not performing at all. Maybe those need to be removed from that channel, used on a different channel or rested for a while. Refresh is important, but we’re also spending time and understanding dayparts. Can we repeat more often? Can we use it across our suite of channels? That’s still a space that we’re testing in.”

“We want to get more content and more genres out in the market, but we don’t want to ﬂood ourselves with 40, 50 different channels,”

Haigh says. “We’re launching new channel brands, but we’re doing it in a manner that creates a portfolio of things that can be consistent, and we can use the consistency to drive growth.”

PLATFORM AWARE

The key, ultimately, is to make a channel compelling to a platform, and the majors certainly do have an abundance to choose from.

“We’re not about having hundreds and hundreds of channels,” says Jennifer Batty, head of content acquisitions for Europe at Samsung TV Plus. “It’s difficult to ﬁnd content. We see the sweet spot at 120, 130, 140 channels. Discoverability is key. If you have hundreds of channels, you get lost.”

Batty also stresses the importance of curating a lineup based on each territory’s needs. “Something that works in the U.K. might not work in Germany and vice versa. We look across all the consumption, not just within Samsung TV Plus, to use data to drive our decisions on what we bring to our platform. We have sports, news, movie channels, entertainment, comedy, lifestyle—you name it, we have it.”

Marcos Milanez, chief content officer at Rakuten TV, similarly emphasizes the importance of paying attention to consumption trends in local markets and highlights the role originals play in the platform’s offering. “We started in 2019, primarily with feature sports documentaries,” he says. “We’ve broadened to other genres, such as reality and talent shows. We don’t want to stop doing sports documentaries, but reality and talent shows have that stickiness in engagement and repeat viewership. They equally appeal to brands.”

Following its tremendous success in the U.S., Tubi has set out to make waves in the

All3Media International’s growing stable of FAST channel brands includes one for its long-running series Midsomer Murders

Tubi is investing in originals, boarding Wynonna Earp: Vengeance, a special on offer from Cineflix Rights.

competi tive U.K. landscape, where it faces signiﬁcant competition from other global services and a vibrant local BVOD segment.

“There is a tendency, with both BVOD and SVOD platforms, to be quite clustered around a monoculture,” says David Salmon, executive VP and managing director of international. “They’re focused on super-serving the median viewer because the way they either license their content or think about monetizing is focused on trying to have one piece of content be watched by as many people as possible. That creates a lot of concentration for demos in the middle. But it means you have these interesting, diverse demos that get underserved by any of those platforms. We’ve entered the market with a broad catalog. We’ve got 20,000 titles as a starting point. It’s already one of the largest catalog libraries in the market. Of that 20,000, there are about 4,500 movies, which is

ten times what you typically find on the standard BVOD services. We’re hoping to provide amazing content discovery and a real breadth.”

That need for diversity and depth is displayed among independent platforms that are carving a niche for themselves in this space.

“Being independent, we’re able to work with just about anybody to deliver a wide variety of content,” says Scott Olechowski, co-founder and chief product officer at Plex.

INDIE SPIRIT

“We are in the business of saving people money,” quips Thanasis Tsiris, senior VP of distribution and partnerships at Free TV Networks. “We do that by providing a lot of free entertainment, which is professionally curated and high quality, and we’re working with major studio partners to get that done.”

It’s a similar story for wedotv, says Philipp Rotermund, CEO and co-founder of the platform. “When we started back in 2018, it was tough to ﬁnd content. But since free has evolved, AVOD has evolved, and everyone is talking about FAST, content owners are getting more ﬂexible on different business models.”

Addressing the issue of too much choice, Rotermund notes, “It is all about curation. Whether you have 30,000 hours, 100,000 hours or 10 million hours doesn’t matter. You have to give the user a guideline. Curation is the key, and that’s where the human factor comes in. You can have all the data, but you have to make the content accessible for the user.”

Tsiris adds, “This is a very big generalization, but about 80 percent of the revenue has been driven off 20 percent of the content. On the ﬂip side, you’ve got 80 percent of your content ﬁghting for that bottom 20 percent of the revenue. If you get to a point where you start seeing some diminishing returns on that long-tail content, that’s a problem.”

Regarding content licensing and partnerships, Tsiris has seen a slight move away from rev-share toward ﬂat-fee licensing. “I think that will probably continue as the space matures and ad revenue catches up to engagement.”

“Part of the reason people are probably moving to fixed fees is because there isn’t that much clarity in the value chain,” says Kasia Jablonska, director of digital and ondemand for EMEA at BBC Studios. “FAST platforms cannot do too many sophisticated ways of packaging content; it’s usually packaging inventory across genres and then providing advertisers with men 60-plus, women 60-plus, etc. It’s difficult for your content to be recognized as a stand-alone premium. Having said that, the industry is maturing. Content owners, FAST platforms and advertisers are getting closer together and trying to figure out a single set of KPIs.”

At FilmRise, Holden stresses the importance of flexible and collaborative revenue models. “We engage in various structures, including flat-fee deals and revenue-sharing agreements where we receive a portion of advertising revenue. FilmRise’s performancedriven approach allows us to offer large-scale, high-quality content to platforms without requiring upfront guarantees. This differentiates us from other major content owners and enables our platform partners, particularly those with more limited budgets, to access premium content. Ultimately, we aim to foster long-term, mutually beneficial partnerships that drive growth for FilmRise and our partners across the OTT space.”

FilmRise’s stable of FAST channels includes one for the long-running Forensic Files

Samsung TV Plus is building out its global footprint with an array of FAST channels alongside a VOD library.

Strategies / Known IP / Windowing Shifts / DreamWorks

Acquisition

Animation’s Margie Cohn Paramount’s Ramsey Naito / Disney Jr.’s Alyssa Sapire / Wizards Beyond Waverly Place’s Jed Elinoff & Scott Thomas

Blurred Lines

We all know how much time kids are spending on YouTube; they’re also engaging with their favorite YouTube characters on a raft of other platforms.

FEATURES

QUEST FOR THE BEST

Several leading buyers and commissioners share their programming strategies.

YOU KNOW US!

Producer-distributors talk about how they are catering to the increasing appetite for shows based on known IP.

TIME TO SHARE

Ricardo Seguin Guise

Publisher

Mansha Daswani

Editor-in-Chief

Anna Carugati

Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Senior Associate Editor

Alexa Alfano

Associate Editor

David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Ute Schwemmer Bookkeeper

Children’s media expert Emily Horgan, who runs The Kids StreamerSphere newsletter, has been doing a deep dive into Netflix’s data dumps and found that of the SVOD platform’s top ten kids’ IPs, four were born on YouTube. Among them is CoComelon Lane, a spin-off of the Moonbug Entertainment IP. “There’s a well-defined trend that global engagement with CoComelon overall on Netflix is softening,” Horgan explains. “The new spin-off show isn’t making up the difference for the decline in the original. That’s despite new series of both still coming consistently. It’s worth mentioning that this trend is also hinted at in U.S. Nielsen streaming rankings.”

For Horgan, the big question now is, “Who will take advantage of this space left by CoComelon? Perhaps it would be impossible for there to be any original new competitor because coming up on YouTube [for kids] hasn’t been possible in the past ﬁve years since the advertising crackdown.”

Exploring how kids’ IP owners are tapping into the AVOD and FAST space and adjusting their windowing approaches.

JUST FOR KIDS!

From best-selling book adaptations to returning hits to breakthrough new ideas, there’s plenty to sample in our latest edition of the TV Kids Screenings Festival.

Ricardo Seguin Guise

President

Anna Carugati

Executive VP

Mansha Daswani

Associate Publisher

Kristin Brzoznowski

VP, Content Strategy

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

Phone: (212) 924-7620

Website: www.tvkids.com

Therein lies one of the biggest problems for kids’ IP owners today—how to create awareness for a brand and then, crucially, how to sustain it. Having known IP helps, as the team at Moonbug will tell you, but as Horgan’s data analysis indicates, awareness just isn’t enough. I explore the challenges and opportunities of working with existing properties in this edition, speaking with a range of IP owners on spot ting brands that are ripe for adaptation or reinvention and keeping their success year after year. That theme runs across the Q&As in this edition, including with Margie Cohn at DreamWorks Animation, Ramsey Naito at Paramount Animation and Nickelodeon Animation and Alyssa Sapire at Disney Jr.; all are mining their deep libraries alongside searching for the next great kids’ IP. We also hear from Jed Elinoff and Scott Thomas about their approach to resurrecting Wizards of Waverly Place more than a decade since that show wrapped its run.

Of course, part of maintaining a franchise involves ensuring it’s well-distributed, so we surveyed a range of executives about tapping into YouTube, clinching AVOD and FAST deals and refining windowing strategies amid a slowdown in commissioning. The theme across all of our coverage is it’s rough out there, but kids still want great storytelling and characters they can engage with across platforms; the key for the industry is figuring out how to fill that need with an economic model that makes sense for everyone. Mansha Daswani

APC Kids

Lana Longbeard / Nitso and the Very Hairy Alphabet / Stories from Backwoods

APC Kids is launching the 2D animated comedy-adventurefantasy series Lana Longbeard, co-produced by its Zephyr Animation production arm and Copernicus Studios for Warner Bros. Discovery (EMEA), Super RTL (Germany), M6’s Gulli (France) and CBC and Family Channel (Canada). APC Kids is also presenting the preschool animation Nitso and the Very Hairy Alphabet, in which a little yeti learns about words and languages, and the comedy Stories from Backwoods, about a city raccoon who ﬁnds her way into the backwoods. “From animation to live action across every genre and from TV exposure to brand building, we work with some of the most creative independent producers worldwide, with tailor-made services and long-term partnerships being key to our identity,” says Lionel Marty, managing director.

“APC Kids has opted for a boutique approach to kids’ and family content, focused on a limited number of carefully chosen productions.”

—Lionel Marty

Australian Children’s Television Foundation

Eddie’s Lil’ Homies / Windcatcher / Little J & Big Cuz

The Australian Children’s Television Foundation (ACTF) has on offer the ten-part series Eddie’s Lil’ Homies, in which 8-yearold Eddie and his friends bring viewers along on their playground adventures. The live-action ﬁlm Windcatcher centers on 10-year-old Percy Boy Collins and his crew, who outsmart a group of bullies. Also available from the ACTF, the fourth season of Little J & Big Cuz continues to follow the titular First Nations kids as they deal with the ups and downs of life on the playground and in the classroom. “Kids of all backgrounds and nationalities have one thing in common: they love laughter, adventure and stories that entertain,” says Tim Hegarty, international sales manager. With these series, “broadcasters from around the globe will ﬁnd content that offers their audience a truly fabulous viewing experience.”

Banijay Kids & Family

“The ACTF is known worldwide for its high-quality, Australian-made children’s television programs.”

—Tim Hegarty

Super Happy Magic Forest / Chimera Keepers: Adventures with Incredible Creatures / Miniheroes of the Forest

Highlights from the Banijay Kids & Family catalog include the new comedy animation Super Happy Magic Forest, produced by Tiger Aspect Kids & Family with Movimenti Production, Monello Productions and Zodiak Kids & Family France. “Super Happy Magic Forest is a one-of-a-kind comedy starring heroes like Blossom the unicorn, Hooﬁus the faun and Herbert the gnome as they embark on many adventures, brought together by their love of questing, picnics and frolicking,” says Cecile Cau, senior VP of co-productions, sales and acquisitions at Banijay Kids & Family. The slate also features the 2D series Chimera Keepers: Adventures with Incredible Creatures, from Monello Productions, and the preschool adventure series Miniheroes of the Forest, from Movimenti Production and MoBo and co-produced by Zodiak Kids & Family France.

“We are looking forward to creating synergies with existing and new partners.”

Miniheroes of the Forest

Little J & Big Cuz

Stories from Backwoods

—Cecile Cau

BBC Studios Kids & Family

The Primrose Railway Children / Supertato / My Friend Maisy

BBC Studios Kids & Family is bringing to MIPCOM The Primrose Railway Children, a feature-length family drama based on Jacqueline Wilson’s novel of the same name. “Set against the stunning backdrop of the Scottish highlands and heritage railways, it is quintessentially British,” says Katharina Pietzsch, VP of content sales. “At its heart lies a beautiful story with universal themes that are sure to resonate with global audiences about growing up, secrets, being displaced and ﬁnding your way in a community that seems alien.” Also on offer, Supertato centers on a potato superhero and his fruit and veggie sidekicks as they work to protect their supermarket from an evil pea. My Friend Maisy reintroduces the titular mouse character and allows preschoolers to hear her talk for the ﬁrst time.

“We are bringing a wonderful selection of kids’ and family content to the market.”

—Katharina Pietzsch

Branscome International

ROBOTIK / Killer Lasagna / The Winning Score

ROBOTIK leads Branscome International’s slate, with a CG first season completed and a second season now in financing. The series “is proving to be a ‘brand on the go’ in many ways, attracting impressive partners around the world,” says Catherine Branscome, president and executive producer. The comedy-horror animated feature Killer Lasagna, for kids ages 7 and up, was recently completed. “We are premiering this 75- minute film at MIPCOM, so it’s fresh out of the oven,” Branscome notes. The Winning Score, based on a short film from Chile, follows a determined boy who dreams of leaving poverty behind and becoming an international soccer star. Branscome International is “seeking like-minded, inspired partners who connect with the director and producer’s vision,” adds Branscome.

CAKE

Nikhil & Jay / Talking Tom Heroes Suddenly Super / Mechamato

The CAKE highlight Nikhil & Jay , based on the awardwinning book series by Chitra Soundar, features the stories of two brothers who live in a multicultural family. “Nikhil & Jay authentically represents the everyday experience of dual-heritage children with warmth, heart, humor and family themes that children all over the world will relate to,” says Ed Galton, CEO. In the new launch Talking Tom Heroes Suddenly Super , Talking Tom and his friends Angela, Ben and Hank discover a strange device that grants them powers and makes them “suddenly super.” There’s a second season and movie for Mechamato, which continues the adventures of a creative young boy named Amato, who accidentally becomes the master of a high-tech robot named MechaBot.

“ROBOTIK is growing in many directions, gaining excellent traction on multiple platforms.”

—Catherine Branscome

Nikhil & Jay

“Following CAKE’s recent acquisition of the Jetpack brand, we have doubled the size of our catalog to 3,200 half-hours of high-quality kids’ and family content.”

—Ed Galton

The Primrose Railway Children

ROBOTIK

Cyber Group Studios

Alex Player / The McFire Family / Gigantosaurus

Cyber Group Studios has Alex Player on offer, following as a charismatic football player named Alex becomes the captain of an esports team. The McFire Family tells the story of a family of ﬁreﬁghters who work to keep their city safe every day. “We are particularly proud of this universe, where the whole family lives great adventures together,” says Raphaëlle Mathieu, COO. In the upcoming fourth season of Gigantosaurus, a character named Giganta will be introduced, and the baby dinos Rocky, Bill, Tiny and Mazu will return. At MIPCOM, Cyber Group aims to “meet as many of our partners as possible for sales and potential partnerships,” Mathieu says. “These are challenging times; we need to think out of the box. Let’s meet and invent the future together.”

Dandelooo

The Upside Down River / PongPong Dino / Under the Sofa

Dandelooo’s live-action fantasy series The Upside Down River tells the story of Tomek and Hannah, who team up while on different quests. Hannah hopes to collect a magic drop from the Qjar River to save her bird while Tomek searches for a lost memory. PongPong Dino encourages children to develop an interest in a wide variety of foods and introduces an open-minded approach to eating. The comedy Under the Sofa sees a group of lost objects get a second chance as they live in hiding under a couch. “Part sitcom, part adventure series, in Under the Sofa, we meet imperfect characters forced to live together in imperfect harmony, trying to survive in the apartment of a family that aspires to perfection,” says Emmanuèle Pétry, producer and head of international at Dandelooo.

“The storytelling and talent we attached to each of these shows are important to make sure we bring the most entertaining, smart and cool shows to the market.”

“These programs are bound to become long-lasting IPs all around the world.”

—Emmanuèle Pétry

Ellipse Animation/Mediatoon Distribution

Belfort & Lupin / The Marsupilamis / Martin Morning: The Chinese Mystery

Belfort & Lupin leads the Ellipse Animation slate that Mediatoon Distribution is presenting. The comedy series follows the adventures of a dog who’s lost his sense of smell and a scrappy wolf, both surrounded by the exotic animals of a 17th-century royal court. “We are also very excited to present The Marsupilamis ,” says Morgann Favennec, deputy managing director of Mediatoon Distribution and VP of international ﬁnancing at Ellipse Animation. “Our reboot of this timeless IP through a comedy show with top-tier 3D animation refreshes the brand.” The company is also highlighting Martin Morning: The Chinese Mystery, a feature ﬁlm aimed at family audiences. “Ready for delivery, the movie is a spin-off of the beloved character from the four-season animated series,” adds Favennec.

“Our ambition is to continue to diversify our offering.”

—Morgann Favennec

—Raphaëlle Mathieu

Belfort & Lupin

Gigantosaurus

PongPong Dino

Green Gold Animation

Mighty Little Bheem / Mighty Bheem’s Playtime / Chhota Startup

Green Gold Animation’s animated series Mighty Little Bheem centers on a toddler with superhuman strength and boundless curiosity who embarks on adventures in his small Indian town. The company is also highlighting Mighty Bheem’s Play time, in which Bheem heads to school. “Mighty Little Bheem and Mighty Bheem’s Playtime focus on the innocence and wonder of toddlers and infants—a universal theme that resonates deeply with parents and children alike,” says Rajiv Chilaka, founder and CEO. In Chhota Startup, three kids start a business that provides aid to others in their community. However, they soon realize that running an organization isn’t a cakewalk, and they must use their skills to solve challenges. Where everyone else sees problems and struggles, the little entrepreneurs see opportunity.

Guru Studio

Spot & Friends / Bark Heads / 123 Number Squad!

Spot & Friends, a highlight of Guru Studio’s catalog, follows the adventures of the rambunctious and curious puppy Spot, inspired by the best-selling children’s book Where’s Spot? “As guardians of this beloved literary legacy, we are excited for this new series to ignite that same curiosity with a fresh and contemporary style for today’s preschoolers,” says Frank Falcone, president and executive creative director. For kids ages 7 to 12, Bark Heads centers on a pig and his quest to be a dog. “The series celebrates loyalty and spirit and applauds those who are bold and dogged enough to chase their dreams (and their tails),” Falcone notes. The second season of 123 Number Squad! features new educational adventures in which the rescue team uses numbers, counting and shapes to save their fellow citizens.

“Our mission is to create content that resonates with children and families worldwide through rich storytelling and universal values.”

—Rajiv Chilaka

“Guru has a long track record of building iconic brands that resonate around the world.”

Hidden Pigeon Company

The Pigeon Show / Cat the Cat Tries That! / Elephant & Piggie’s Storytime Shorts!

Children’s book author and illustrator Mo Willems has built up Hidden Pigeon Company as a multiplatform entertainment company dedicated to bringing his storytelling to children and families with upcoming series, gaming, experiences and more. “The magic of Mo Willems’ books is that they bring together kids and the people who love them in laughter and play,” says Kristofer Updike, senior VP of creative at Hidden Pigeon Company. The company is creating a catalog of TV IP that includes The Pigeon Show, Cat the Cat Tries That! and Elephant & Piggie’s Storytime Shorts! “While many of Mo Willems’ characters have a global presence and are consistent bestsellers in the U.S., several of his works are new to the international community, and we are excited to share the power of Mo with buyers from around the world,” Updike says.

“Mo Willems’ humor lives in that sweet center of sophistication and silliness, of physicality and emotionality, of utter ridiculousness and meaningful reﬂection.”

—Kristofer Updike

–Frank Falcone

Hidden Pigeon Company characters Elephant & Piggie, The Pigeon and Knuffle Bunny

123 Number Squad!

Konami Cross Media NY

Yu-Gi-Oh! GO RUSH!! / Yu-Gi-Oh! SEVENS / Yu-Gi-Oh! Duel Monsters

Konami Cross Media NY has a range of Yu-Gi-Oh! series on offer, including the two-season show Yu-Gi-Oh! GO RUSH!!

“This series is impressive for its well-written female characters, who bring humor and sensitivity to the program, along with tasteful references to older shows in the franchise,” says Mark Kirk, senior VP of distribution. Yu-Gi-Oh! SEVENS features “positive messaging, diverse representations of characters and youth-oriented humor,” Kirk explains. Yu-GiOh! Duel Monsters, “which remains very popular for its nostalgic appeal,” Kirk says, is also on offer. At MIPCOM, Konami Cross Media NY is “looking to increase the availability of our new series and our strong library of titles,” Kirk says. “We are hoping to identify some new IP projects for review, with the goal of developing them to ﬁt within our portfolio.”

Yu-Gi-Oh! SEVENS

“We are looking to identify partners who can offer new and interesting ways to engage our Yu-Gi-Oh! fan base.”

Lion Forge Entertainment

Iyanu / The Secret Society of Rebel Girls / Chicka Chicka Boom Boom

Leading Lion Forge Entertainment’s MIPCOM slate, Iyanu blends anime-style looks with African culture and Yoruban magic, with a basis in Nigerian mythology. The Secret Society of Rebel Girls, based on the Rebel Girls books that have sold around the world, features “relatable girls in today’s world navigating middle-school dramas” and has “a high-concept magical hook that brings [in] both the big-kid and tween audiences, as well as the legions of parents who love the Rebel Girls brand,” says Stephanie Sperber, president and chief content officer. Chicka Chicka Boom Boom brings the best-selling picture book to life for the upper preschool demographic. “This music-based series will lean into comedy and ‘gamiﬁed’ adventures, giving early exposure to letters and sounds in the bright, sunny style of the beloved book,” Sperber explains.

Mattel

“It’s

important that we continue to emphasize our guiding principle of diverse stories authentically told.”

Hot Wheels Let’s Race / Barbie Mysteries: The Great Horse Chase / Barney’s World

Mattel has on offer a second season of Hot Wheels Let’s Race, which follows the racers’ next level of training and their biggest challenges yet. Barbie Mysteries: The Great Horse Chase features a horse-centered storyline involving Barbie “Malibu” Roberts and Barbie “Brooklyn” Roberts and will be accompanied by a range of new toys. In the new animated series Barney’s World, the titular purple dinosaur from Barney & Friends returns for more music-ﬁlled adventures. “Each of these exciting new shows builds on our beloved global franchises, expanding fans’ favorite Mattel characters and storylines,” says Josh Silverman, chief franchise officer. “Here at Mattel, we strive to build and extend the emotional connections between our fans and our franchises through new stories, products and experiences for years to come.”

“Creative and meaningful storytelling is universal, but connecting with and appealing to audiences of all ages is Mattel’s specialty.”

—Josh Silverman

—Mark Kirk

Barney’s World

—Stephanie Sperber

Iyanu

Mediawan Kids & Family

Maddie + Triggs / The Three Musketeers / Pirate Academy

Mediawan Kids & Family is highlighting Maddie + Triggs, a preschool IP produced by Turnip + Duck for CBeebies. The series follows Maddie, a young visually impaired girl, and her doggy best friend Triggs as they embark on musical adventures. The Three Musketeers , newly reimagined for a new generation of kids, brings the Alexandre Dumas classic to life with a modern twist, as the legendary swashbucklers are now girls embarking on adventures to protect young King Louis XIII. Mediawan Kids & Family is also presenting Pirate Academy . “Inclusion, diversity and girls’ empowerment are critical topics on the roadmap of many broadcasters,” says Julien Borde, president. “These three series are specifically designed to meet this demand.”

Mercury Filmworks

“Our mission is to bring the next generation’s favorite franchises to the market.”

—Julien Borde

Don’t Walk Home Alone After Dark / Gustavo / A Mouse Called Julian

Mercury Filmworks has Don’t Walk Home Alone After Dark, a brand-new horror series for teens and tweens, on its MIPCOM roster. A suspenseful collection of modern folk tales that explore coming-of-age themes intended to be equal parts scary and heartfelt, the series embraces the crossover between podcast and YouTube content, allowing the audience to watch, listen or both. “Each episode is essentially a mini scary movie,” says Chantal Ling, VP of original series and co-productions. “It promises to be a unique entertainment experience in a genre that offers universal appeal.” Gustavo, on the other hand, is a comedy series based on The World of Gustavo book series. A core message of friendship is woven throughout the story. A Mouse Called Julian is based on the children’s book by Joe Todd-Stanton.

MIAM! distribution

The Tinies / Our Summer of Freedom / The Dangers

MIAM! distribution’s sitcom The Tinies takes place in a playful world built by toys, where the doll Ollie and her crafty friend Titus resolve problems within their community. It “fosters creativity, promotes DIY projects, builds pride and, best of all, helps reduce plastic waste,” says Mélanie Errea, head of sales and acquisitions. Our Summer of Freedom, set in 1955 Algiers, sees 9-year-old Khadidja work with friends to rescue her older brother, who was unfairly arrested. “Its universal themes of friendship, adventure and self-discovery make it an ideal pick for broadcasters,” Errea notes. In The Dangers, nature has reclaimed towns, animals can talk and technology has been wiped out. Two children, their father, a giant bacterium and a monster truck go on a journey to ﬁnd the kids’ missing mother.

“Whether

as a service provider or original IP creator, we continue to bring dynamic storytelling to life.”

“These titles stand out with their universal appeal, character-driven approach and strong storytelling.”

—Mélanie Errea

The Tinies

A Mouse Called Julian

Maddie + Triggs

—Chantal Ling

Paramount Global Content Distribution

Tales of the Teenage Mutant Ninja Turtles / Hamsters of Hamsterdale / Max & the Midknights

The latest installment in the Teenage Mutant Ninja Turtles ( TMNT ) franchise, Tales of the Teenage Mutant Ninja Turtles , on offer from Paramount Global Content Distribution, picks up where the TMNT: Mutant Mayhem movie left off. “It is true to the humor and style of the movie and will delight fans both old and new,” says Lauren Marriott, senior VP of content partnerships and brand strategy. Hamsters of Hamsterdale follows a team of pet hamsters who believe they are the heroic protectors of their 8-year-old owner, “King” Harry, who has no idea about their secret missions. Based on the book series by Lincoln Peirce ( Big Nate ), Max & the Midknights follows protagonist Max and her ragtag group of friends as they embark on a quest to save the kingdom of Byjovia.

pocket.watch

“Kids’ and family content remains a priority for Paramount Global Content Distribution, and we are looking forward to bringing these new titles to buyers at MIPCOM, as well as continuing business for our library and other key franchises.”

—Lauren Marriott

Ryan’s World the Movie: Titan Universe Adventure / Love, Diana: Musical Mysteries / LankyBox Ultimate Mishmash

pocket.watch is heading to MIPCOM with “a ton of new content starring kids’ favorite digital stars,” says Jeff Siegel, global head of content distribution. “Each title stars pocket.watch creators in elevated new content made and packaged for premium streaming platforms.” Ryan’s World the Movie: Titan Universe Adventure is set to make its move from the big screen to premium streaming platforms. Love, Diana: Musical Mysteries stars kid celebrity Diana, who boasts millions of followers on YouTube. “This new series is visually stunning, combining live action and multiple types of animation, with new songs that will entertain preschoolers and teach them important problem-solving skills,” adds Siegel. LankyBox Ultimate Mishmash follows best friends who have lots of laughs and play games.

Rainbow

Mermaid Magic / Winx Club / Gormiti—The New Era

Rainbow has on offer Mermaid Magic, which has already proven to be a hit on Netflix since its August debut. The co-viewing title carries strong ecological messages about respect for nature and the importance of ocean conservation, along with themes about the power of friendship and the value of home. Winx Club is also a top highlight. “Now rebooted in spectacular style in CGI, Winx Club promises to take the magical dimension to a new level for a whole new generation of fans,” says Andrea Graciotti, head of sales for TV and VOD rights. It is set to deliver in 2025. Gormiti—The New Era follows the adventures of four young heroes from Earth who are called to save their planet and the fantasy realm of Gorm from war and destruction.

“We’re proud to be at the forefront of the continued growth and dominance of YouTube, as well as the explosive rise of the creator economy.”

—Jeff Siegel

“Rainbow has the power to create and build exciting new franchises across genres.”

Mermaid Magic

Max & the Midknights

—Andrea Graciotti

Ryan’s World the Movie: Titan Universe Adventure

Studio 100 International

DINO MATES / Waiko / BFF

Studio 100 International is bringing a raft of animated and live-action children’s shows to MIPCOM, including the upcoming DINO MATES. Targeted to kids ages 6 to 10, the series is currently in production. Thirteen episodes will be available by the end of 2024, with 13 more to drop in Q1 of 2025. The company is also presenting Waiko , a new mystery series for tweens and teens. “This thrilling, humorous series is set at a fair where teenage alien Nova, robot Ion and their human friends help extraterrestrials return home safely,” says Dorian Buehr, head of global distribution. The series is set to be completed in April 2025. The 2D animated comedy series BFF follows three friends who, despite their differences, share a deep bond and enjoy each other’s company.

Superights

Harrison & Me / Silly Sundays / Maelys’ Mysteries

Superights’ highlights for MIPCOM include Harrison & Me, a comedy featuring eco-friendly tips and encouraging the discovery of nature. The series follows the ever-cheerful Charlie and the fearful Zack, two kids guided by Harrison, an organic and vegetal being with a big heart. Silly Sundays, a feel-good comedy series, follows Sonia, Hugo, Mel, Mom, Dad and Granny on days when there is nothing to do except spend time together. Maelys’ Mysteries features a 10-year-old girl who is eager to solve mysteries. Everything that seems suspicious to her is the beginning of a new treasure hunt. “Although they belong to different genres, all three series have something feel-good about them,” says Nathalie Pinguet, deputy managing director of sales and acquisitions.

The Wiggles

Wiggle and Learn / Ready, Steady, Wiggle!

The Wiggles has two new seasons of its YouTube series Wiggle and Learn on offer. “Ms. Rachel joins us in a few of the episodes, and the entire series has really done well on the platform,” says Luke O’Neill, CEO. “The series explores crucial early childhood themes and offers a comprehensive and engaging educational experience for preschoolers focused on learning through the joy of music and play.” Episodes include “Learn About Friendship,” “Learning About Emotions and Feelings,” “Learn About Transport” and more. In addition, The Wiggles is in production on the seventh season of its successful Ready, Steady, Wiggle! series, and seasons four, ﬁve and six are available now. “Play, love, friendship, learning, singing and dancing are all themes that have no international boundaries,” O’Neill says.

“Our current program portfolio demonstrates a broader approach in terms of storytelling and target audiences.”

“Our catalog possesses a nice collection of series and TV specials aimed at children from all over the world.”

“The Wiggles has been a successful international brand for over 30 years.”

—Luke O ’Neill

—Nathalie Pinguet

Wiggle and Learn

—Dorian Buehr

DINO MATES

Silly Sundays

Toon2Tango

Dinomite & Lucy / Hey Fuzzy Yellow / Agent 203

Toon2Tango’s Dinomite & Lucy is slated to debut at the beginning of 2025. Set in an alternative prehistoric world where dinosaurs are the superior species, the show “stands out for many reasons, including a witty, appealing and unique theme,” says Ulli Stoef, CEO and co-founder. For younger viewers, Hey Fuzzy Yellow is on offer. Previewing at MIPCOM, the edutainment title focuses on thinking and self-expression through play. Agent 203 follows Zoe, a teen who discovers her dad used to be a secret agent protecting our planet against alien invasions. She decides to follow in his footsteps while still trying to balance her normal life. A second season for the series and a feature ﬁlm are in consideration. The company is also highlighting Monster Loving Maniacs

TV Asahi Corporation

Obocchama-kun / Doraemon / Shin chan

TV Asahi Corporation is hosting the world premiere of Obocchama-kun at MIPCOM. Based on the popular manga by Yoshinori Kobayashi, the comedy series centers on a “crazy rich” boy and his outrageous school life and family love. Obocchama-kun is a co-production between TV Asahi and Sony YAY!, and it is due to ﬁnish production in Q4 2024. The company’s animation slate also features Doraemon and Shin chan. “Doraemon is one of the longest-running Japanese animation series and is about a robot cat from the future,” says Maiko Sumida, head of animation sales and development. “With his gadgets, he saves a boy from getting into trouble.” Doraemon has 1,000-plus episodes, and the production is ongoing. Shin chan is a slice-of-life show about a cheeky 5-year-old boy. The brand’s 31st movie marks its ﬁrst in CGI.

WildBrain

Badjelly / Secrets at Red Rocks / Storybooth

WildBrain’s Badjelly is based on the kids’ book Badjelly the Witch: A Fairy Story by comedian Spike Milligan. “The series delivers a fresh take while preserving the humor, adventure and quirky characters from the original tale,” says Katie Wilson, VP of global sales and acquisitions. Secrets at Red Rocks, adapted from Rachael King’s awardwinning novel, follows 12-year-old Jake as he is drawn into a world of mythical creatures and adventure. When he ﬁnds a sealskin hidden on the rocky shores of his father’s seaside home in Wellington, New Zealand, unexpected dangers are unleashed, and Jake is called upon to protect his family. The title is set to deliver by the end of this year. Storybooth, aimed at tweens, teens and families, features stories submitted by real kids.

“We’re always looking for more properties and ideas that suit our skills and requirements.”

—Ulli Stoef

“For

a very long time, TV Asahi’s main focus for the international business of animation was on sales and distribution, but now we are expanding into development.”

—Maiko Sumida

“Across

animation and live action,

we’ve

got something for everyone, no matter where or how kids are discovering content.”

—Katie Wilson

Secrets at Red Rocks

Dinomite & Lucy

Obocchama-kun

Margie Cohn DreamWorks Animation at 30

on it. A common theme among employees is creative ambition—continually striving for risk-taking and delivering something never seen before.

TV KIDS: How are you tapping into your well of beloved IP to bring new stories to audiences?

COHN: We always have new audiences who can continually discover some of our beloved characters and stories as they grow. But Kung Fu Panda 4 delivered for longtime fans and added new characters and storylines for new audiences, resulting in multigenerational appeal. We never want to phone it in with our treasured IP, so we only move forward when we have the right story.

TV KIDS: What’s the key to retaining a known brand’s DNA while reinventing it for new viewers?

COHN: We seem to specialize in the underdog or unlikely heroes and the journeys they take to make their dreams come true. We also focus on transportative and immersive worlds, and that’s as true today as it was 30 years ago. DreamWorks’ stories take you to unexpected places best experienced in animation. The last ﬁve years have signaled a new chapter in DreamWorks’ storytelling, largely due to the visual innovations of our creatives.

TV KIDS: How are you developing characters and stories that can become the franchises of tomorrow?

COHN: Originals are the future of our studio, along with new chapters in beloved franchises that resonate with contemporary audiences. It’s a balance of honoring the best of what DWA has created in the past and leaning into innovation and artistry with originals.

TV KIDS: What are some of the highlights of your slate?

By Mansha Daswani

From the antics of a lovable ogre to the adventures of a dragon trainer to the shenanigans of former zoo animals marooned in Madagascar, DreamWorks Animation (DWA) is home to some of the biggest family franchises across television and film. Led by Margie Cohn as president, the division of NBCUniversal has grossed over $17 billion at the global box office and operates a television segment that entertains families in more than 190 countries through streaming and broadcast partners. As the studio turns 30, Cohn talks to TV Kids about the milestones so far and the journey ahead.

TV KIDS: What does the DWA brand symbolize today?

COHN: The DreamWorks brand has always stood for quality and innovation in visual artistry and creative ambition. We tell stories that stand the test of time, and we use that as our North Star to guide us into the future. The studio’s rich history has given us beloved characters and enduring franchises that continue to resonate globally, but we are also committed to creating compelling and artistic original ﬁlms and series for today’s market and audiences.

TV KIDS: How has the team pushed the boundaries of animation innovation?

COHN: DreamWorks is built on a culture of collaboration and giving ﬁlmmakers the freedom to create and be supported with the technological innovation needed to deliver

COHN: The Wild Robot is releasing around the globe this fall. For 2025, we have three feature ﬁlms that exemplify the diversity of tone we’re committed to. In January, we will bring Dav Pilkey’s best-selling series Dog Man to the big screen. Peter Hastings is directing an incredibly special ﬁlm that will deliver for the millions of kids who have read Dav’s books and bring something incredibly fresh to the Dog Man world. In August, The Bad Guys 2 will arrive, and the original cast is back along with some exciting new characters and a caper that will captivate. And in September, Gabby’s Dollhouse: The Movie will come to life in a live-action/animated hybrid. We are so proud of our homegrown IP, which started as a popular series and has grown into the next big preschool franchise. Shrek 5 will be coming to theaters in July 2026 with the original cast in what I can promise will be an epic tale for the ages.

TV KIDS: Amid this uncertainty in the business, how are you crafting your development slate?

COHN: We are in unprecedented times but are doing our best to listen to the market and meet the needs of our part ners from moment to moment. We have content in development and production for preschool, young adult and all-ages audiences, so as a studio, we feel conﬁdent that we are crafting a compelling slate that meets the many formats, demos and narratives driving today’s business.

QUEST for the BEST

Several leading buyers and commissioners share their programming strategies with TV Kids.

By Mansha Daswani

In the ultra-competitive battle for a share of kids’ attention, channels and platforms catering to young ones are adjusting their programming strategies to adapt to constantly shifting consumption habits.

Exclusivity isn’t as important as it once was (to a degree— more on that later); big brands are more crucial than ever; volume matters, especially for those services looking to beef up their on-demand services; and everyone is on the hunt for the next Bluey, or, at the very least, the next great co-viewing hit.

Acquired fare and co-productions feature prominently for all the buyers surveyed here, who run the gamut from pubcasters and commercial TV channels to ad-supported and SVOD streaming and FAST.

Last year, KiKA had more than 1,200 international programs across its grid, according to Sebastian Debertin, the ZDF and ARD joint venture’s head of international content acquisitions, programming and management department. Acquisitions and prebuys also form a key part of M6’s kids’ grid, including on the free DTT service Gulli, the pay-TV channels Canal J and TiJi and the AVOD service M6+, Coralie Boitrelle-Laigle, director of youth programs in France, says.

RTÉ commissions a slate of content to meet the needs of its audiences but is always on the lookout for acquisitions,

Suzanne Kelly, head of children’s and young people’s content at the Irish pubcaster, tells TV Kids

Darren Nartey, acquisitions manager for ﬁlms and kids at ITV, calls acquired fare an “important and necessary” part of the kids’ offering on ITVX. “It gives us a diverse pool of titles while bringing the biggest and most recognizable brands to British kids in an increasingly competitive landscape.”

Sandbox Group acquires for SVOD, AVOD and its FAST channel across 12 languages, with about 90 percent of its total slate made up of acquisitions, according to Ellen Sol berg, director of content, with an eye to buying 15 to 20 new shows over the next year for SVOD.

Brenda Bisner, chief content officer at the A Parent Media Co.-owned Kidoodle.TV, says acquisitions have been “critical” to the AVOD streamer, which celebrates its tenth anniversary this year, “as we are always seeking best-inclass content from all around the world, in multiple languages, that our audience wants to see.”

For many of those acquiring content today, a key shift has been the need for an extensive portfolio of on-demand rights.

“An absolute prerequisite is strong box-set rights for our VOD player,” Kelly says. “We used to operate on the basis that we would sometimes get a 30-day catch-up, but that just

doesn’t suffice anymore. Children are moving away from linear content. Everything is on-demand. So, we’re asking for very strong rights. If we can’t get those rights, we’re not buying that particular type of content. We’re also trying to build our brand signiﬁcantly on YouTube. So, we also argue quite strongly for geo-blocked and YouTube content so we can create some kind of experience on that platform, with a view to pushing toward our player.”

ITV shuttered its CITV linear channel in 2023, bringing its kids’ offering to the on-demand platform ITVX. “The move from linear to AVOD last year has allowed for us to increase the amount of kids’ content on the platform while expanding the content mix to include more genres and attract new audiences,” Nartey explains. “ITVX Kids is a brilliant platform that offers a wide range of shows we believe serve its audience well. We’ve also stepped away from short-form content and are now able to experiment with longer durations.”

Debertin has been exploring new markets for acquisitions and co-pros at KiKA, while at Sandbox, the biggest shift has been expanding beyond preschool, acquiring content for kids aged 6 to 12, Solberg says. Gaming is also increasingly important, as is having a presence in FAST.

RTÉ’s Kelly is looking at a wider array of touchpoints as well. “There’s so much content coming in from the U.S. and

the U.K., it’s very difficult to get kids to come to a public-service broadcaster. We’re not very cool! We are always looking at the various touchpoints we can create using the content in a clever way to try to engage them back to our service.”

Bisner highlights Kidoodle.TV’s greater focus on “strategic relationships with partners who care about our core Safe Streaming focus and participate in the journey of their content with us. We are acutely focused on proven brands while also taking leaps on up-and-comers.”

WISH LISTS

The diversity of the platforms surveyed for this piece is reﬂected in the broad range of their content needs in the run-up to MIPCOM.

Nartey notes that while ITVX is serving its preschool audience, his main focus at present is the 6-to-12 set. “For this age group, we are looking for animation of all genres and all demographics that would sit alongside our tentpole titles. For live action, we are open to all genres with a strong emphasis on entertainment such as American Ninja Warrior Junior , Detention Adventure and All-Round Champion.”

Solberg stresses that everything Sandbox acquires for its various services needs to ﬁt its key brand tenets. “We are playful. We want learning to be fun. We want the content to inspire kids to discover new hobbies and to go out and do things outside of the app and TV as well.”

She is buying for multiple demos (preschool, bridge and tween), mainly series. “Long-form and short-form do different jobs across the platform. For example, on mobile, we’re seeing short-form is engaged with more. On Amazon channels and Apple channels, the longer form does better. FAST is still quite new to us. It’ll be really interesting to see how that compares to the other platforms. Our FAST channel is planned around a child’s routine. In the morning, you want getting-ready content, and then there are activities throughout the day and then calmer content at night. We do need volume. We need longer-form content there that ﬁts into those themes.”

It’s a similarly wide set of needs at M6, Boitrelle-Laigle says. Gulli, geared to kids and families, is always in need of comedy that reﬂects the brand’s values. “Comedy grounded in the daily lives of children, so they can recognize themselves in the show,” along the lines of hits like The Loud House and SpongeBob SquarePants. TiJi, the preschool service, has a slight girl skew and has fared well with Barbie-themed content and Zoom the White Dolphin. Canal J is in need of actionadventure fare for kids 8 to 12, with volume being a key factor “because we program in big blocks.” Volume is also key for Gulli, given its wide audience target.

RTÉ is currently well-served on the preschool front. “We’re looking for a lot of comedy and slapstick in that bridge space,” Kelly explains. “And then, as we skew older, drama. The U.K. is producing quite a lot of drama, but for a point of difference, we’re looking outside of the U.K. We buy a lot of content from Canada and Australia. Sometimes, dubbing content that’s in a different language when it comes to Ireland can be quite a difﬁcult sell for audiences. For older kids, the 10-to-12 segment,

Several Mattel properties are now available on Kidoodle.TV, including shorts featuring characters from Thomas & Friends: All Engines Go.

Dandelooo’s Taina and the Amazon’s Guardians is available on Sandbox’s Hopster.

we look for more reality-based shows. We look for childcentric shows that are driven by kids.”

KiKA is serving the needs of its flagship channel as well as its on-demand player. On the preschool front, “We’re cherrypicking,” Debertin says. “We’re looking at everything because you never know.” KiKA is boarding a new preschool show from Croatia, Debertin notes, reflecting the wide net he has cast to fill the service’s needs. “It’s great to find these new, fresh, talented people in countries that you don’t have on your radar.”

Bisner says her shopping bag is ready to be ﬁlled at the market in Cannes. “We are continuing to grow our multi-language offering and presence in many regions globally. There is excitement around sports content for families, more gaming content, movies and, of course, anime.”

FILLING THE GAP

While the renaissance of kids’ programming amid the streamer wars certainly led to an abundance of content available on the market, there are areas buyers would like to see more options in.

For Nartey, “There’s a lack of live-action series in the market (scripted and non-scripted), but that’s because they’re

extremely difficult to produce in the current climate given the budget challenges creators currently face. I’m interested in seeing how other territories are managing this decline.”

Kelly says she wants to see more puppet-based content. “We don’t really get offered that much.”

Sandbox is taking more of a 360 approach to brands, Solberg says. “We have videos and games as part of our SVOD service, but we also have a publisher and activity boxes that we send out. It’s opening a whole new world for exploring brands and content and doing more with them. This is something we’re discussing now and looking at how to start testing that out.”

Debertin adds, “The world for kids nowadays is so much more difficult and challenging. I’d love to see solutions. We take the kids seriously, and we want to give them a helping hand. It is not about giving kids a written manual, not a handbook, but some kind of smaller or bigger solutions for their daily lives and their future.”

The broad success of the likes of Blippi and Ryan’s World, which originated on YouTube, has led many “traditional” players in the kids’ business to explore the creator economy for content acquisitions, but it can be a challenging process.

“We have to know what this audience likes apart from our TV programs,” Boitrelle-Laigle says. “We always keep an eye on YouTube and on social media. We sometimes collaborate with YouTubers, but more [so] to promote the shows. YouTubers and inﬂuencers are local celebrities, and we need an international celebrity to build an IP. It’s really hard for us to have special content based on a YouTuber. In our shows, we make the character use the codes of YouTube and social media to create a close link between our audience and those YouTubers and this new, fresh tone that we like.”

Some of RTÉ’s shows have been fronted by local talent with signiﬁcant social media followings. “Sometimes they transfer across really nicely, sometimes they don’t,” Kelly says. “The kids often sniff it out. They’re suspicious if we take their beloved social media stars and plunk them on a linear show. We’ve also tried to collaborate in interesting ways. We did Ireland’s Future is MINE , a skill-based show with Microsoft. We’re trying to muddy the waters and not be too platform-speciﬁc.”

Available on RTÉjr and RTÉ Player, the original series

Fia ’s Fairies is distributed by Monster Entertainment.

KiKA’s grid includes Crazy Fun Park from the Australian Children’s Television Foundation.

Solberg says Sandbox is looking at the creator economy space. “I’m curious about it. Because it is user-generated content, you need a level of involvement in selecting the content and the curation.”

Kelly agrees, noting, “That can be a tricky space to navigate. You want the inﬂuencers because they’re so popular on social. You bring them onto your beloved, familyfriendly, safe platform, and the next thing they’re doing on social is completely at odds with your brand. It’s a tricky state to navigate, but exciting.”

KiKA has started working with social media inﬂuencers who are popular among kids, Debertin adds. Viewers “see that we take them seriously and that we are where they are and also recognize that they have these new stars.”

“It also opens up loads of opportunities for the publicservice broadcaster to not be so serious,” Kelly notes. “It’s brilliant that we can use our platform to showcase completely demented stuff that you would only see on social media.”

Kidoodle.TV, which has come of age amid the renaissance in the creator economy for kids, is keen to align with digital creators, Bisner says. “New and innovative content born outside of what was a traditional broadcast method is clearly a mainstay and part of the way all content will be in the future. When we see legendary brands make a comeback and go viral, we are watching that, too. A wellorchestrated social presence and conversation where families are getting information is mandatory now.”

UBIQUITOUS DISTRIBUTION

The need to have a ubiquitous approach to building a brand has opened up a new conversation about exclusivity in the kids’ space, with some programmers willing to take a ﬂexible approach when needed.

“We’re pretty happy with things like simultaneous broadcasts,” Kelly says. “We’re really happy to geo-block for our territory. We’re not really that demanding. If we can just have strong box-set rights for our player, which is really where we’re pushing kids, and the ability to exploit a little

bit on YouTube to get a good taster as to what our content offering is, we’re open to negotiation. That kind of protectionist outlook on content is slightly old hat at this stage. You can deliver to your territory and to your audience without demanding that you own everything.”

BRAND-DEFINING

Debertin agrees with Kelly’s assessment but notes, “At a certain point, we need exclusivity and shows that set us apart. Rights are very often a project-by-project decision. [There is] a third season of The Smurfs. We wouldn’t have become one of the lead co-producers if we wouldn’t have gotten exclusivity. For free TV and BVOD, you have to have that. If you ﬁnd The Smurfs everywhere, that’s a problem.”

Boitrelle-Laigle is of a similar opinion, stating: “We are taking exclusive rights wherever we can, but it always depends on the IP. We’re open to discussing things case by case.”

Nartey says ITVX’s approach is ﬂexible—“but only to an extent. It ultimately depends on our level of investment in each project. I’d be wary of losing all exclusivity to digital platforms if they’re not taking the same risks we are.”

Exclusivity has not been a concern at Sandbox, Solberg says. “We’ve never really focused on buying content exclusively. We haven’t had the budget to consider it seriously because we’re covering so many territories and languages. It wouldn’t work. We’ve come in a bit later, or we’ve taken all the seasons. But I have noticed that there is a bit more availability now than there was a few years ago.”

At Kidoodle.TV, “We have a creative way of structuring deals, where it makes sense to have a window or a carve-out to mutually satisfy the joint efforts and power of the brands,” Bisner explains. “It is all contextual. We are a proven new revenue stream, working on a non-advert-dependent CPM rate, and, quite frankly, partners have the opportunity to see great revenue results from us, in addition to their business on other AVOD platforms. It is a balance of the theory that content should be available anywhere kids are seeking and the platform’s responsibility to their served audience.”

Cyber Group Studios partnered with M6’s Gulli on The McFire Family

You

Mediawan Kids & Family’s

The Three Musketeers

Know Us!

Mansha Daswani

surveys a range of producer-distributors about how they are catering to the increasing appetite for

shows based on known IP.

Unveiling new research at the TV Kids Summer Festival this year, David W. Kleeman, senior VP of global trends at Dubit, offered up some sobering intelligence on one of the biggest trends shaping the kids’ media sector today: most of the leading shows for kids aged 6 to 11 have been around for a while (SpongeBob SquarePants turned 25 this year and still tops the charts).

“If the show itself hasn’t been around a long time, then at least the IP has,” Kleeman said. “How do you break in a new IP? How do you break in a new franchise when it’s so dominated by long-running IPs and where there’s little appetite for risk these days?”

“Times are difficult for original concepts,” says Morgann Favennec, deputy managing director at Mediatoon Distribution and VP of international ﬁnancing at Ellipse Animation. “Except for public channels, traditional broadcasters will take the safer option—i.e., new seasons of successful series and adaptations of books and comic books. Betting on known properties does not automatically translate into high ratings but remains reassuring in these troubled times. Having IPs in your development portfolio will help you get a foot in the door.”

“As a result of the slowdown in orders for new kids’ shows in the U.S., the international market is more crowded and competitive than ever,” says Julien Borde, president of Mediawan Kids & Family. “Known IP is an evergreen of the kids’ business, and it’s true that in times of crisis, existing IPs are more attractive and convenient for partners.”

Broadcasters and platforms are “increasingly focused on acquiring well-established IPs carrying a proven track

record of awareness and measurable popularity,” affirms Martin Krieger, CEO of Studio 100 International.

“Discoverability is key, and known IP leads in all our conversations,” says Kirsten Newlands, executive VP of production and partnerships at Lion Forge Entertainment. “We’re also looking at known acting talent, creators, showrunners and writers with track records who we know can build audiences. The best is when you have that onetwo punch of known IP and known talent.”

TRIED AND TRUE

Chantal Ling, VP of original series and co-productions at Mercury Filmworks, says known IP is “almost essential in many cases. Folks are looking for something that already has a built-in fan base. There’s comfort in knowing that there is a potential audience already out there, which makes the decision to move forward feel safer for everyone. On the ﬂip side, getting new, original IPs off the ground is becoming increasingly difficult. But once they are off the ground, we have seen that fans can propel an original onto the global stage by sharing and pushing what they love. Taking a gamble on something completely new without some sign of an existing audience is a much harder sell right now, but so worth it when a show truly ﬁnds its fan base.”

“Particularly over the last few years, there has been a strong narrative that clients are demanding known IP, and to some extent, this is true,” says Delphine Dumont, chief commercial officer at Banijay Kids & Family. “Having a show with an existing audience and a recognizable brand that cuts through is an attractive proposition for many of

Produced by Tiger Aspect Kids & Family and based on the original live-action comedy, the animated Mr Bean series is one of the biggest brands in the Banijay Kids & Family stable.

our buyers, but this does not guarantee success. It’s important to highlight how essential the production, writing, animation and quality of the show are. We don’t just want to bring audiences in for one episode—we want them to love the show and keep returning for more.”

BALANCING ACT

What are the keys to adapting or rebooting an existing property? Preserving the DNA of something that is already beloved while making it work for the medium requires a thoughtful process.

“It begins with ﬁnding a new creative voice who can identify the elements of the brand that made audiences fall in love with it in its original run,” says Michael McGahey,

VP of content for kids and family at Boat Rocker Studios. “Ideally, you want to tap into what made it unique and emotionally connective in the ﬁrst place while bringing new life to the storytelling. Contemporary writers with a distinctive vision should help make it fresh and work for a modern-day audience, but you still need to keep the core of the original structure intact.”

Aardman has successfully adapted many of its beloved characters into new series, including Shaun the Sheep and The Very Small Creatures

“Brands need to evolve and grow through different formats, territories and audience interactions, but they should always be anchored by a consistency of character and the core creative energy of the IP,” says Sarah Cox, the studio’s chief creative director. “Our characters are our most precious assets— they are like close friends who we need to recognize as authentic. We want them to grow and evolve, but their ﬂaws and rough edges are often what relates most, so it’s particularly important to retain this intrinsic appeal.”

Japan’s TV Asahi is rebooting its classic manga-based anime series Obocchama-kun for Sony Pictures Networks India. “Fortunately, the original creator and manga artist, Yoshinori Kobayashi, is still actively involved with the project today,” says Maiko Sumida, head of animation sales and development. “We asked him to collaborate on developing the plots and scripts for the new sequel and also supervise the basic artwork.”

The original remains popular, Sumida explains, noting, “The true challenge is in ensuring that the sequel lives up to expectations and does not let down the fan base when it is developed into a different media. We need to satisfy the initial fan base and bring something new to expand the fan base further.”

TV Asahi is resurrecting Obocchama-kun for Sony Pictures Networks India given the success of the original anime series.

Extending the works of award-winning New York Times best-selling children’s author/illustrator

MO WiLLEMS

into the entertainment space and beyond.

SEVERAL NEW SERIES IN DEVELOPMENT!

Krieger at Studio 100 adds: “It’s essential ﬁrst to understand and clearly deﬁne what a brand stands for and why consumers connect with it. The core values that made a classic series resonate must be faithfully carried into any new adaptation, ensuring that the essence of the original continues to drive the new content. Striking the right balance between preserving the DNA of a classic brand and making it relevant for today’s audience was our top priority when developing and producing new series and films for Maya the Bee, Heidi and Vic the Viking.”

It’s a similar ethos at Mercury Filmworks, Ling says. “It’s about keeping the essence intact, whether it’s the tone, the visuals or the core message. I love collaborating with the original creators to ensure we honor their vision while bringing something fresh to the screen. It’s a balance of staying authentic and embracing new possibilities for the adaptation.”

BRAND PLANS

Mediawan’s Method Animation is well-versed in reinventing classic properties. “We have a long track record of success in that area, from The Little Prince to Robin Hood, Peter Pan and Iron Man ,” Borde says. “Two things are crucial when working on such iconic properties: building trust with the IP owners or representatives and bringing the right talent to the table. People who fully understand the DNA of the universe, but also feel free to reinvent it.”

Method’s latest reinvention is The Three Musketeers , in which the legendary swashbucklers are now girls pro tecting the young King Louis XIII. “The twist is invigorating, inspiring and perfectly in line with our commitment to diversity and modernity in our production choices,” Borde says.

Banijay Kids & Family is home to the recently rebooted Totally Spies!, the long-running Mr Bean and the updated Topo Gigio, among other properties based on known IPs.

“You need to reflect contemporary society while being sympathetic to the original version,” Dumont says. “It is important you retain a classic brand’s DNA and don’t lose the core ingredients that made audiences initially fall in love with it, but you can’t remake it in the same way.

From production techniques to important topics, storylines that resonate and more in-depth character development, the world has inevitably changed, and so must our shows. And we feel privileged to work with some of the best creatives in the game who keep our titles fresh, innovative and watched.”

When updating The Marsupilamis , Lila Hannou, VP of creative development and strategy at Ellipse Animation, says the process began with understanding how to maintain the spirit of the original comics “while spicing it up with new elements. Our ambition is to provide the young audience a show they can easily relate to thanks to the tone and humor we put in the writing.”

Lion Forge is at work on adapting the picture book Chicka Chicka Boom Boom, where “we needed to expand beyond the book to include story and character in the series to create episodic drivers and connection with the audience,” Newlands says. “We leaned into the unique cadence of the book and are focused on music to bring it to a global audience. We need to know that the series can grow season after season.”

FEELING BOOKISH

Books and comics are the primary sources for potential adaptation, making it a competitive space. Mediatoon Distribution and Ellipse Animation have been tapping into the resources of their parent company, Média-Participations, and looking further afield, Hannou says. “We keep a close eye on other publishers and original IPs—good stories and strong concepts can come from anywhere. For example, for ADN (Anime Digital Network), we have adapted Dreamland , a manga published by Pika Édition, and we are currently in development with France Télévisions on Trotro & Zaza , based on the successful books published by Éditions Gallimard.”

Similarly, Lion Forge is working with its sister company Oni Press, a graphic novel publisher, and has a deal with Penguin Young Readers. “We look for source material that aligns with Lion Forge’s mission of diverse storytelling, authentically told, that we know we can build a team around, and that we can bring to market with a unique voice,” Newlands says.

Studio 100 International is home to beloved bookbased IP such as Maya the Bee

Studio 100 International has been “meticulously scouting the market” for compelling publishing properties, Krieger says. The company is already working with Gaumont and Gingersnap Productions to co-develop Jun gle Book: Cub Club Adventures (w.t.), based on the Rudyard Kipling classic.

“The source material we seek must feature a powerful narrative and compelling characters that kids can easily identify with,” Krieger says. “It’s essential that the content not only resonates with today’s generation but also possesses the scalability to evolve into a strong, long-term brand.”

“An engaging story, high sales numbers and a loyal fan base are important, but if the book has a concept that grabs you with a compelling story and dimensional characters, then it’s often worth pursuing whether it’s ‘known IP’ or not,” says McGahey at Boat Rocker. “But it always has to be great!”

On what she looks for, Dumont at Banijay says: “You want to be able to demonstrate a strong appetite for that

IP, be it through a significant international footprint, book sales, a vibrant consumer-products program or even sizeable social media followings. And it’s important to consider the amount of development that would need to go into translating an existing property into a show—the casting, storylines and script are all key.”

IN CHARACTER

Aardman hasn’t done much in the book-based space, Cox notes, adding, “We are open to creative inspiration and synergy from any source—it doesn’t matter what media it originates in. We primarily look for interesting characters with flaws or quirks. Or sometimes, it’s a character in an impossible situation where we can find an intrinsically comic take. This can be from any interactive media, a game, a book, a song or a single image—any of these could hold the seed of an idea that could be the start of a great Aardman IP.”

Indeed, development executives are looking for compelling characters and stories across multiple mediums.

“We make a huge effort in sourcing material from experienced creators and popular existing IP, whether it is books, of which we have a few in development, or through digital platforms like YouTube, which is the source of our new series debuting at MIPCOM, Don’t Walk Home Alone After Dark,” Ling at Mercury Filmworks says. “It is a way more attractive proposition to start with an IP from a channel with over 200,000 subscribers and 8 million views. Building an audience like this takes time, trust and genuine teamwork.”

Borde at Mediawan is bullish about the potential to build brands out of the creator economy. “Our teams are looking for new IPs based on games and social networks.”

From Lion Forge Entertainment, Chicka Chicka Boom Boom is based on a popular children’s picture book.

Ellipse Animation produces the comic-book-based The Marsupilamis, which is sold by Mediatoon Distribution.

Mercury Filmworks is introducing the tween/teen series

Don’t Walk Home Alone After Dark, based on a YouTube channel.

Method Animation is already working on Ki & Hi for CANAL+, based on the digital and publishing brand. “This new series based on the work of one of the most powerful French YouTubers, Kevin Tran, has global resonance for two reasons,” Borde explains. “It’s a comedy series based on the universal theme of brotherhood and an anime series for kids.”

Just as digital is an essential ecosystem to mine for new content, it’s also a necessary playground for expanding awareness, sustaining interest and understanding the needs and wants of the audience.

“In addition to linear television and its ratings, digital platforms play a crucial role in tracking and measuring the

success of our IPs,” Studio 100’s Krieger says. “We maintain a strong presence on YouTube, consistently uploading content and staying agile in response to consumer trends, where our classic series continue to enjoy signiﬁcant popularity. That’s why we are remastering some of our most beloved heritage series, making them available in full HD and 16:9 for the ﬁrst time.”

Banijay’s Dumont adds: “Social engagement is a key indicator of the reach of our brands, alongside audience and sales. Digital platforms allow us to see which brands are gaining traction and where there is a passionate fan base. Totally Spies! is a great example of this. Before the reboot, we knew it was still hugely loved by audiences through its fantastic digital popularity. This was useful when we were looking at revisiting the show for a new series.”

Borde is also tapping into data and analytics from the AVOD ecosystem. “We are working with our colleagues at Mediawan Thematics on expanding our footprint with new FAST TV projects dedicated to our beloved and iconic characters, such as Pinocchio, Robin Hood and The Little Prince. We are also exploiting more fulllength episodes of our back catalog in AVOD in selected territories. By leveraging the power of these platforms and partnerships, we can confidently determine when an IP is ripe for a reboot, backed by concrete data and audience enthusiasm.”

NEW BEGINNINGS

All those surveyed for this report had an addendum when discussing the importance of meeting the demand for known IPs. Yes, you should be looking at existing characters and worlds to build upon, but you can’t forget about the need for creative renewal. Ultimately, the business needs new ideas to survive.

“We must champion creativity and original productions, as these can become huge hits in their own right,” Krieger says. “Risk is key to supporting innovation and the broader creative economy.”

“We are rolling up our sleeves and committing to our creators and their content,” Mercury Filmworks’ Ling says. “We have had to reduce our slate, and therefore, we are even more committed to developing each project’s core promise. Development takes passion, trust and real collaboration. In times of uncertainty, we need to be sure about what we stand for and what projects we stand behind, always pushing our creative vision forward. Even if it is inch by inch.”

“There is a growing understanding around the world that known IPs have to be unknown at some point,” Mediawan’s Borde quips. “The most successful children’s franchises today, such as Miraculous, PAW Patrol or Peppa Pig, were all new seeds at the beginning. The industry needs to dare [to make] new shows that kids can relate to. Incubation is crucial to this process.”

A Sky Kids commission, The Very Small Creatures features a cast of characters who originated in the Aardman classic Morph

TIME TO SHARE

TV Kids explores how kids’ IP owners are tapping into the AVOD and FAST space and adjusting their windowing approaches.

By Mansha Daswani

Conversations about evolving exclusivity and holdback arrangements are happening across the media ecosystem, but none more so than in the kids’ media space, where being everywhere kids are—which is everywhere—is essential for boosting discovery and building a brand.

“All channels, subscription services and platforms want audiences to spend more time with them, and content is how they attract audiences and build their brands,” says Kate Smith, executive VP of audience engagement at Wild Brain. “We recognize the importance of supporting their investment by helping relevant audiences discover content. However, more and more, we’re seeing these clients open to exploring other platforms, including YouTube, to build awareness of their IP, which in turn can also help to drive viewers to their platform.”

“Almost every platform in the world is open to different funding strategies,” says Richard Goldsmith, president of global distribution and consumer products for Atomic Car toons and Thunderbird Entertainment. “A platform that has traditionally, or at least in the last ten years, said, ‘We need global rights,’ is now saying, ‘It’s OK if you bring in a partner in a couple of territories, and we can give them a ﬁrst window.’ That allows us to bring in co-production partners and do a couple of presales.”

Joe Barrett, VP of global sales at PBS Distribution, says buyers “always want exclusivity where they can get it. But there are two factors weighing in on this exclusivity piece. One is tightening budgets. The second is accessibility. The release approach needs to be multiplatform, and having your content on multiple platforms with tightening budgets tends to lean toward non-exclusivity. So, the

WildBrain’s Teletubbies.

pocket.watch’s Ryan’s World started life on YouTube and is now present across multiple platforms, including SVOD and FAST.

attitudes are changing based on the complexity of the platform strategy.”

IP owners should “have a windowing strategy that makes sense,” Barrett adds. “Particularly with new series, you don’t want to be cutting and structuring deals on AVOD and FAST before the broadcast and SVOD deals just for the revenue that it’s generating.”

It is the AVOD and FAST space that holds the most potential—for both driving revenues, albeit at a much smaller scale than traditional broadcast or SVOD deals, and building brands.

“When we take something out that has toy value, we sit with the toy companies and ask what they want us to do,” Goldsmith says. “Traditionally in the U.S., you had to be on

Disney, Nickelodeon or Cartoon Network, and that is still the main priority for some toy companies and retailers, but it’s changing dramatically.... No matter what platform you’re on, you need to have a very signiﬁcant YouTube plan.”

WildBrain saw the importance of being on YouTube early, Smith explains. “Our deep experience and broad network of channels—currently more than 500—gives us a sizable advantage in this space. YouTube is the number one destination for kids’ viewing—its popularity with kids and family audiences means it is an undeniable tool for building IP today. The platform is always evolving, so our presence is hugely helpful in tracking data and adapting to trends. Currently, we’re seeing the need for multiformat publishing with different types of content, including longer videos, shorts (under 1 minut e), live streaming, etc. It’s all about delivering relevant, platformappropri ate content to your audience, curated to their preferred viewing style.”

While many IP owners are figuring out how to mine their properties on YouTube, pocket.watch has built a thriving business on taking digital-native content birthed on the video-sharing site out into the wider media economy, including traditional linear channels, SVOD and now FAST. The company launched its first FAST channel in 2018 and followed that up with Ryan and Friends two years later. The pocket.watch channel and Ryan and Friends operate as part of the company’s overall “flywheel,” according to Corinna Fisher, senior director of programming.

“We use the channels to amplify other business lines. For example, with the movie [ Ryan’s World the Movie: Titan Universe Adventure ], we rolled out themed blocks and a stunt marathon leading up to the theatrical release. We also drive Ryan and Friends Plus subscribers by sampling exclusive original shows that we have on the SVOD service on the FAST channel and expanding awareness.”

KIDS GO FAST!

For Fisher, pocket.watch’s business model of bringing digital-ﬁrst YouTube content to multiple platforms lent itself naturally to the FAST space. “We recognized early on that it made sense for us to get into FAST to expand and promote all of our franchise lines and our evergrowing OTT network as a whole.”

WildBrain, too, has made a signiﬁcant commitment to the FAST space following its breakout YouTube success. Its library of well-known brands has helped power its gains in the FAST arena, Smith says.

“Single-IP channels are highly successful in FAST. As the largest player in the FAST space for kids’ content, we have launched almost 150 channels globally across major platforms—with each channel based around a single IP, including Teletubbies, Strawberry Shortcake, Inspector Gadget and more.”

Single-IP services, naturally, need volume, but, Smith notes, target demo does impact that equation. “When looking at an ideal volume of episodes, the number varies by age,” she says. “Fewer hours are needed for younger viewers, as preschool audiences tend to enjoy repeat

Guru Studio has a FAST channel for True and the Rainbow Kingdom, which was first commissioned by Netflix.

viewings. For non-preschool kids’ content, a large bank of content is key for success, with an ideal minimum of about 100 hours.”

At pocket.watch, “We plan our lineups to maximize a day-over-day and week-over-week refresh so that the channels are always feeling new and fresh,” Fisher says of her approach to curation. “We also plan around cultural, marketable moments that are relevant to our audience. We’ve developed annual repeatable stunts for kid-relevant holidays. We also offer a lot of value to our audience by windowing content. For example, we have world premiere videos that debut on SVOD and FAST channels before they even go to YouTube.”

SPEED BUMPS

There are, naturally, hurdles for everyone navigating the always-evolving digital media ecosystem for kids. Indeed, just getting a handle on data can be a challenge given the disparate sources you need to rely on.

“YouTube performance translates to OTT and FAST,” Fisher says. “We also see analogs in terms of dayparts and seasonality. So, for example, if we see a peak at a certain time on YouTube, we tend to see that uptick as well on

OTT. Similarly with seasonality, if there’s a dip at a certain time of year, that pattern will likely emerge on OTT as well. Audience alignment is also huge for us. We have found that we can attract and retain audiences by aggregating closely aligned content.”

The fundamental economics of the business have also shifted, with increasing capital investment needed to explore all modes of engagement.

“I’m looking at investing in Roblox and mobile games,” Thunderbird’s Goldsmith says. “All of that costs money. If you’re going to properly distribute something, as a producer or a distributor, you need to have a pool of investment capital that you’re able to spend. When you go on AVOD in the U.S., we might be on ten platforms, but we don’t get a dime as an advance from any of these platforms; it’s all on a rev-share. The only way that we’re able to do that is either with our own ﬁnancing or to have achieved enough sales outside the U.S.”

Several elements need to be in place before AVOD and FAST see signiﬁcant monetization gains.

“COPPA and GDPR inventory is just too small of a pie right now on FAST,” Fisher says. “Monetization is still not congruent with viewership. That’s going to start to even out. Ad revenue needs to move from linear and—pardon my pun—faster to FAST. If partners don’t feel like they’re monetizing their content or they can’t invest that revenue in funding more productions, the model won’t be sustainable. That shift is going to happen, and more ad dollars are going to move there.”

WildBrain’s Smith adds: “Better monetization is key at the moment, as the FAST space is still figuring out what’s next. There’s still further evolution required for both general audience content and, even more importantly, for kids’ channels. There’s increasing focus on improving the ad tech as viewing figures continue to rise across the AVOD and FAST space, but the advertisers haven’t kept the same pace. This will align, but it takes time. Essentially, through partners like WildBrain, increased monetization will come from improved ad sales. This can be supported by an augmented experience for advertisers with unified metrics and the ability to assess cross-platform performance.”

As we get there, Fisher expects “to see platforms and publishers focus more on integrating FAST into an overall ecosystem that includes AVOD, SVOD, gaming and other interactive elements, just making it feel more cohesive as a whole for the consumer.”

PBS KIDS has been using YouTube to drive interest in Carl the Collector, its new original series being rolled out by PBS Distribution.

Thunderbird Distribution did a series of AVOD deals on Mittens & Pants, including with Tubi.

Ramsey Naito Paramount

Ramsey Naito was born into a family of artists and attended only art schools. Not surprisingly, she developed a deep understanding of the creative process. Upon completing a Master of Fine Arts at the California Institute of the Arts, where she befriended fell ow students in experimental animation, her career path was set. Through the years, her executive and producer credits have included numerous animated movies, including Jimmy Neutron: Boy Genius, The SpongeBob SquarePants Movie and Scooby Doo! The Mystery Begins. Today, she heads up both Paramount Animation and Nickelodeon Animation, overseeing feature films such as Teenage Mutant Ninja Turtles: Mutant Mayhem and PAW Patrol: The Mighty Movie , as well as television series. Naito talks to TV Kids about refreshing popular franchises, the unique collaboration animation requires and connecting with audiences through relevant characters. By Anna Carugati

TV KIDS: It’s been three years since the Paramount and Nick elodeon animation divisions were brought together. What have been the beneﬁts of combining these two units?

NAITO: With these two divisions being combined, we can be strategic with our talent and provide opportunities for them to work across so many different kinds of content, which broadens their skills and allows them to work with us for many years.

TV KIDS: What is the strategy for animated feature ﬁlms?

NAITO: Our strategy is to make great, amazing, fresh, irreverent, hilarious animated ﬁlms that are making a mark, have a soul, present new perspectives on characters and worlds we know or present new characters, worlds and franchises. We want to make two movies a year. For 2026, we have three. To tie into your ﬁrst question, we can be strategic. The Jimmy Neutron movie was a big theatrical tentpole that presented Jimmy Neutron as a new character, and then we made a series. The movie was, dare I say, a backdoor pilot. Similarly, we made an amazing Teenage Mutant Ninja Turtles movie with Seth Rogen, Jeff Rowe and the Point Grey [Pictures] team, and now we’ve debuted a great series as well.

TV KIDS: What is the strategy for animated TV series?

NAITO: Right now, our lineup is comprised of known IP, but we are actively developing and looking to greenlight an original. The originals are so important. There’s nothing like originals. They’re born today and speak to today. They add tremendous value by adding to our library of great legacy titles.

TV KIDS: Would you give some examples of how your teams have refreshed storied franchises?

NAITO: The real trick to reimagining an IP like Turtles or The Smurfs is ﬁnding incredible talent that love the IP and

have a perspective on what kind of story can be told today and how it can look while remaining true and authentic. It comes down to ﬁlmmakers who have something to offer from their hearts because they love the title.

TV KIDS: Does the A-list talent involved in voicing Transformers One speak to the franchise’s enduring popularity?

NAITO: Generally, in animation, it depends, but in Transformers, it made a huge difference. Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key and Steve Buscemi are amazing actors, and they brought their craft to this movie in a way that is extraordinary. It raised the bar for the film in every way. On top of it, they all have a fan base. The idea that these guys are together in a film is surprising and exciting, and it sends a message to many different aspects of our audience and gets them excited to come to the theater. Casting can bring a tone and signal a high bar for what a film is meant to be.

TV KIDS: How do you decide on an animation style for a new version of a franchise?

NAITO: Animation is limitless in terms of what you can do. Even though technologies continue to evolve, the look comes down to artists and filmmakers. On our films, they 100 percent dictate what the look of a film is going to be. It’s my job to support their vision and steer them in the right way so that we’re all successful, but so much comes from them. It takes a village. There’s no question that over the course of a movie, there is a magical sense of collaboration that also adds to the look. That’s the beauty of animation.

TV KIDS: What technological advances have sped up animation processes or made them more efficient?

NAITO: Making an animated movie or series takes a long time. Technology, slowly but surely, is helping us quicken that process. Technology supports our ability to get visions on-screen. When I first started out in theatricals, doing a squash-and-stretch type of comedic physical animation piece was hard. The technology would break. It wasn’t as malleable or artistfriendly. Today, it’s refined itself. Artists can put their fingerprints on every aspect of a movie and make it feel irregular and handmade. Eventually, animated filmmaking will become shorter and shorter. One thing will always remain: You need a great visionary and artist executing great work.

opinions, viewpoints and creative talents that makes for a better end product.

NAITO: One hundred percent. Animation is a people process. Animated films are a people process and an artist process. It’s like workshopping a play over the course of many years. You get to iterate, change, grind, try things on, make things better and rerecord, rewrite and reanimate. It’s a mystery to our liveaction cousins, but it’s magic to us animation folks. Who wouldn’t want to make something better? It’s those exciting, on-fire moments that are people moments, team moments and artist moments that you can’t replace.

“You have to tell stories with characters that feel authentic and fresh and that kids can identify with and see themselves in.”

TV KIDS: How do you envision AI impacting animation?

NAITO: When it comes to making movies, AI can’t replace people. Without people, you don’t have things that are handmade. You don’t have smart decisions at the end of the day. You don’t have intellectual perspectives coming together and creating a movement. AI is similar to the motion capture conversation. Animators hate it. Artists hate it. It’s conﬁning. It’s not handmade. It’s all in evolution. We may be in a very different place in 10 or 20 years.

TV KIDS: In a process like animation that requires so many people and a long time, it’s the convergence of

TV KIDS: What are some ways you connect with young viewers today?

NAITO: What’s really important is finding your audience. If you’re making The Smurfs , Transformers or an original, you have to be focused on marketing campaigns that reach audiences, know where kids are and speak to them. You have to tell stories with characters that feel authentic and fresh and that kids can identify with and see themselves in. It starts with stories that are good, funny and soulful. How are you going to make everyone know you have these great characters and great stories? You’ve got to go to TikTok, Instagram and YouTube.

The rebooted DORA, produced by Nickelodeon Animation, rolled out a second season in September.

relatable and funny. We want young viewers to connect to our stories, see themselves in our characters—who have a range of real emotions and experiences that kids can relate to—and get a window into how others navigate relationships and emotions. Our characters are largely curious, optimistic and joyful—because that’s a very real reﬂection of where preschoolers are.

TV KIDS: Disney has a treasure trove of IP. How are you adapting major franchises such as Star Wars and titles from Marvel for young viewers?

SAPIRE: Disney Jr. is the only brand within The Walt Disney Company that brings together all of the company’s most iconic characters under one umbrella. So, we get to adapt iconic IP from Marvel to Lucasfilm to Disney Princess and Pixar, reimagining the stories and characters for a preschool audience. We make the characters younger and more relatable to our audience. When kids see characters as kids themselves, like a young Spidey or a young Ariel, they relate to that much more and think they were made just for them. This is precisely what kids tell us themselves, and parents confirm all the time.

TV KIDS: What approach do you take to updating classics?

SAPIRE: It always goes back to strong storytelling and which characters we feel will resonate most with this generation of kids and families. We go directly to our audience and ask them what they want to see and what they love about these characters because we want to make sure they see themselves and the world around them reflected in the stories and characters, and we make sure to reflect real situations and emotions that preschoolers experience daily.

Alyssa Sapire Disney Jr.

By Anna Carugati

Disney Jr. is home to countless series based on classic IP, popular franchises and original shows like the hit Bluey. Alyssa Sapire, the senior VP of development, series and strategy, oversees premium original content for preschoolers and families offered across multiple Disney platforms. As she tells TV Kids , the common thread through all titles is relatable characters that reflect young viewers’ lives and aspirations.

TV KIDS: What does Disney Jr. want to offer young viewers?

SAPIRE: What’s exciting for us at Disney Jr. is that we are part of Disney Branded Television, led by Ayo Davis, which features some of the most iconic stories and beloved characters in the Disney portfolio. Disney Jr. is the preschool brand for The Walt Disney Company and the ﬁrst touchpoint for that lifelong relationship with Disney. We are careful about making sure that our stories are ﬁlled with signature qualities: magic, wonder, adventure and heart. We ensure that our characters are

TV KIDS: What roles do familiarity and the nostalgia parents feel for franchises and classics play when introducing them to a new generation?

SAPIRE: We know that parents and caregivers want to share these beloved characters they grew up on with their kids, and they want to share in the warmth and joy of those wondrous stories that shaped their childhoods. Parents appreciate when we adapt stories for a young audience, creating an entry point and a bridge to so many iconic movies and characters they love. This creates connections in families, generation after generation. Disney Jr. gets to build on those existing iconic characters that have stood the test of time, from Winnie the Pooh to Ariel to Spidey and, of course, Mickey.

TV KIDS: I’m sure that encourages co-viewing, too.

SAPIRE: Absolutely. When their kids or grandchildren embrace the same characters because they’re

embodying those qualities that were so inspirational to them as kids, that creates new connections within their families.

TV KIDS: Do Disney’s linear, streaming and digital platforms support one another?

SAPIRE: We meet our audiences where they are, whether it’s streaming globally on Disney+, our linear networks Disney Jr. and Disney Channel, or our Disney Jr. YouTube channel, a top-level destination with more than 20 million subscribers and [upwards of] 18 billion lifetime views. Beyond the screen, we have unrivaled products, parks and cruises that extend our storytelling in meaningful and memorable ways.

TV KIDS: We’ve talked about classics, but does the availability of multiple platforms help when launching new shows?

SAPIRE: Kids are platform-agnostic; they seek out what they love everywhere they can. So, our philosophy for distribution platforms is to always be where kids are. It’s vital to increasing demand for our stories and characters, so we are in all the places where kids like to be.

TV KIDS: To what do you attribute Bluey ’s success?

SAPIRE: Bluey is an incredibly special series, and its heart and optimism make it such a great ﬁt for Disney. Kids and parents see themselves in that family. It’s been able to reach a massive global audience on Disney+ and our linear networks. It’s received world-class marketing support with the power of Disney Branded Television and The Walt Disney Company behind it.

TV KIDS: What is Disney Jr.’s approach to acquisitions?

SAPIRE: We make sure to work with trusted partners and storytellers, and we look for those stories that complement our portfolio and embody our signature storytelling qualities. That is first and foremost for us.

TV KIDS: How important are games and other content, whether short-form or interactive, in strengthening the connection to children?

SAPIRE: It’s very important to deliver stories in many different forms, whether short-form on YouTube introducing new characters to go along with the series or music videos to showcase a show’s signature song approach. All of our preschool titles have corresponding games on Disney Now. For example, Ariel’s Undersea Adventure is a game that is a companion for Disney Jr.’s Ariel. Disney Junior Puzzles is the number one game on Disney Junior Now, and we have other games around Spidey and His Amazing Friends and SuperKitties. It’s critical to be there in all forms, and our storytelling takes precedence—it’s front and center on all these different platforms.

TV KIDS: How important is embedding social and emotional values into the storylines of shows?

SAPIRE: We know that the content we create has an impact on our audience, and we take it very seriously. Disney Jr. features stories and characters that are developmentally appropriate and relatable to preschoolers’ lives. We have a thoughtful storytelling approach that takes into consideration the integral parts of a preschooler’s development— social, emotional, creative world, cognitive and physical world—while also making sure our content is bringing joy, laughter and entertainment.

Disney Branded Television is BBC Studios Kids & Family’s global partner on Bluey

JUST FOR KIDS!

From

best-selling book adaptations to

returning hits to breakthrough new ideas, there’s plenty to sample in our latest edition of the TV Kids Screenings Festival .

Mediawan Kids & Family is rolling out a wealth of new animated content in Cannes, including the preschool musical comedy Maddie + Triggs , about a visi on-impaired girl and her playful dog. “Maddie + Triggs is a celebration of diversity and inclusion,” says Julien Borde, the company’s president. “Through musical storytelling, unique animation and relatable family dynamics, the show immerses viewers in a vibrant world, offering an inspiring and engaging experience that highlights the beauty of diverse perspectives.”

Also in the preschool space, a second season of Supertato is among the lead offerings for BBC Studios Kids & Family following the breakout success of season one. “The ratings for the show are so strong that it was one of the

BBC Studios Kids & Family’s Supertato

fastest greenlights we’ve had,” says Katharina Pietzsch, VP of content sales. “The new series promises even more slapstick silliness, and there are new fruit and veggie characters.” Skewing older, BBC Studios Kids & Family is also unveiling The Primrose Railway Children, a feature-length family drama based on Jacqueline Wilson’s novel of the same name.

CAKE arrives in Cannes with an expanded lineup following its takeover of the Jetpack brand. “We have doubled the size of our catalog to 3,200 halfhours of high-quality kids’ and family content,” says CEO Ed Galton. Among the highlights is the non-dialogue animated series Cracké Family Scramble from Canadian studio Squeeze Productions, “based on the original shorts that aired in 210 territories on lead ing channels, including Disney, Nickelodeon, Cartoon Network, Teletoon, Tencent and CANAL+,” Galton says.

CAKE is also rolling out the preschool comedy Lucas The Spider, based on the worldwide viral YouTube hit. The series, Galton notes, “brings to life Lucas’s innocent and endearing perspective of the world while retaining the authenticity of the original shorts through longer narratives, new characters and an expanded universe.” CAKE will also be showcasing a second season of Mush-Mush and the Mushables .

Mediawan Kids & Family’s Maddie + Triggs

CAKE’s Lucas The Spider

Branscome International’s Catherine Branscome, executive producer, is excited to introduce her clients to season two of the upper preschool comedy ROBOTIK. “ROBOTIK’s digital short-form season one is enjoying incredible organic growth on YouTube, while broadcasters and VOD platforms pick up on our brand momentum as we expand to longer episode stories in season two,” she says.

Green Gold Animation will be in Cannes with its ﬂagship preschool show Mighty Little Bheem, which “captures the innocence and wonder of early childhood, making it relatable to families worldwide,” says Rajiv Chilaka, CEO. “Its dialogue-free storytelling transcends language barriers, focusing on universal themes like curiosity and imagination. This allows the show to engage diverse international audiences, resonating with both parents and children.”

Preschool also toplines the new offerings at Serious Kids. Happy Town is centered around teaching young ones about the importance of community. “We instantly fell in love with this adorable show,” says Leila Ouledcheikh, senior VP of global distribution. “Narrated by Mel B, Happy Town has powerful

Green Gold Animation’s Mighty Little Bheem

stories with universal messaging about kindness and community.” Ouled cheikh will also be pitching to her clients Team Nuggets, “an adorable comedy that will engage all kids aged 4-plus with fun and emotional moments reﬂective of real life at school.”

France’s MIAM! distribution is highlighting a slate targeting multiple demos, including the new preschool series The Tinies. “The Tinies tells the story of a community of toys living in a town built from familiar packaging, where each day brings new challenges to overcome together,” says Hanna Mouchez, CEO and executive producer. “With heroes that look like realistic toys, this series invites children to explore friendship and creativity while promoting DIY projects and building self-conﬁdence through crafting.” For family viewing, meanwhile, there’s the six-part Our Summer of Freedom, “which explores how children can transcend community differences,” says Mélanie Errea, head of sales and acquisitions. “With its high artistic ambitions, strong stories and a co-viewing audience, we are proud to bring this series to the international market.”

Serious Kids’ Happy Town

MIAM!

Scott Thomas (left) and Jed Elinoff (right).

Jed Elinoff & Scott Thomas Wizards Beyond Waverly Place

Wizards of Waverly Place debuted 17 years ago, becoming a hit and launching Selena Gomez to stardom. The world and its characters are returning 12 years after the original show’s finale in Wizards Beyond Waverly Place, which sees David Henrie reprise his role as Justin Russo, now an adult, whose everyday mortal life is thrown into disarray when Gomez’s Alex Russo brings a wizard-in-training to him for mentoring. The spin-off will debut on Disney Channel on October 29, followed by an eight-episode drop on Disney+ the next day. Writers and executive producers Jed Elinoff and Scott Thomas tell TV Kids about bringing back the iconic Disney IP and tapping into the nostalgia of the original series while introducing new elements for today’s children. By Jamie Stalcup

TV KIDS: Wizards of Waverly Place ended about 12 years ago, and a spin-off or sequel has been highly anticipated. Why was now the right time to bring this world and its characters back?

ELINOFF: The minute we sat down with David Henrie and Selena [Gomez], their passion for this show was infectious. You sit with them, and they immediately slip back into their characters and banter. They have this wonderful brotherly-sisterly vibe. When you experience them talk about the show, you go, “We have to do this again. We have to bring this back.” The lessons of the show are important, and the two of them are just so watchable that it’s a fun opportunity.

THOMAS: I also think that, in doing a continuation, for us, it was really exciting to do one where some time has passed, so we’re not just doing another season of the old show. There is an opportunity to ﬁnd these beloved characters later in life because Selena and David have been living with these characters. When we sat down with them, they were already excited about these conversations. That allowed us to have a lot of fun wondering where Justin is in life now that he’s in his 30s. When we last left him, he was going off to be the headmaster of WizTech. What happened between now and then that will allow us to drop the audience in, raise some questions and have some intrigue?

ELINOFF: How could we subvert what you might have expected from this most likely-to-succeed guy going back into the world so that we can tell a relevant story about somebody getting a second chance?

TV KIDS: Selena and David are credited as executive producers. Tell me about what kind of input they had on their character storylines and the show overall.

ELINOFF: We created this with them. They read everything. We came to them with our take. We had lengthy conversations

about it. What do they like? What do they not like? What’s important to them? And what’s important to us?

THOMAS: We started with, “What’s important to both of you?” If we’re going to do this, what important thing are we bringing to this new show? Then, it started to get a little more speciﬁc from there. Obviously, for both of them, the big thing is the show’s theme, which is family. It’s about family being there for each other. Then we got to get into the speciﬁcs of where Selena thought Alex was, where David thought Justin was, and what they loved about their characters. What were the things that you loved about each other’s characters? Those two characters affected each other so much. You saw how Justin would bring out the more emotional side of Alex, and Alex would bring out the adventurous side of Justin. We wanted to start the series with Justin needing to break out of his shell again. Alex is going to come in, and she will bring Billie, this new young wizard played by the amazing Janice [LeAnn Brown], and shake up Justin’s world in a way that only Alex can.

TV KIDS: Andy Fickman is the director of the pilot and multiple episodes, but Disney icons Raven-Symoné and Danielle Fishel were brought on as guest directors. What led to the decision to have them come on board, and what do their directing styles and visions lend to the series? And how does their experience starring in Disney shows add to their ability to direct a show like this?

ELINOFF: We worked with Raven for years, and Danielle also worked with us on Raven’s Home. The fact that they both grew up doing this gives them a unique perspective. Their shared experiences, their understanding of what it feels like to be on the set, feeling the machinery happening around you, and how to inhabit it and be true to yourself throughout all of it are key. They’re also incredibly talented, creative people who bring a point of view to the show.

TV KIDS: How does this new series tap into the nostalgia of the original while also introducing elements to appeal to a new generation of fans?

THOMAS: Walking that line was very important to us. We take both very seriously. We want to pay homage to the original show. We want to have fans come to this show and love seeing Alex and Justin and hopefully be intrigued and excited about where they are in their lives when we meet them now. But it was also very important to us to make a show that could stand on its own two feet. With the pilot, we found an image from an original episode of Wizards where Alex had her head on Justin’s shoulder, and they were having this tender moment, and we showed it to Andy Fickman, and we were like, “We have to capture this.” In the pilot, we have to have a moment. We had written an emotional moment between Justin and Alex, and we were like, “If we just get a tint of that magic, then that’s the AlexJustin moment that we’re striving for in addition to them just giving each other crap.” So, for us, it was the excitement that if it’s not an overt reference, like Alex showing up on the doorstep, there are little Easter eggs in there. Some spells used in the original show, Billie is now using. There are spells [where] she tries to pull one over on Justin, and he’s like, “You can’t do that; Alex did that to me when I was a teenager.” So, there is this history there that always comes up. But we also wanted to ensure that we had a show that was its own thing. This isn’t just more episodes of the old one. This is a new show with new characters and new kids.

TV KIDS: The world is a different place than it was when the show premiered in 2007. Will you be touching on modern themes that kids today deal with? And what are some of those?

ELINOFF: That’s the fun of having a character who grew up in the wizard world. She’s not necessarily as aware of how certain technology [works]. Some things she knows, some things she doesn’t know. Right out of the gate, we have an episode [addressing] Billie’s understanding of followers and what it means to have followers in a social media environment. There’s a great mix-up

that you wouldn’t have done on the original show. We do some fun technology stuff. We’re not pretending like this isn’t a part of our world. Phones are a part of their world. Social media is a part of their world. Connectivity is a part of their world, which creates larger-scale problems. If you’re trying to hide your wizardness and now everyone has a camera on them all the time—it’s all the stuff we experience daily. They also experience it, which makes for a fun and more realistic [story]. It also allows us to play with the magic a little bit more. They do things with magic that approximate what we do with technology, which is fun.

THOMAS: They have a Wizardpedia, who’s a wizard who pops up and can give them facts about anything and wants to give them long-winded explanations about anything they want to look up. Some of the things we’re doing are reactions to how the world is now. The theme of the show is about the importance of family and having people who care about you, caring about those people, and being there for them. We try to show the Russos sitting down and having dinner together. We show them having a game night together. We show them having these conversations with each other and with their parents so that it isn’t just about [how] we’re all isolated by our technology and in our own worlds. We want to remind the audience that these moments are important.

TV KIDS: Obviously, Disney+ was not around in 2007 or throughout the show’s original run. After this series debuts on Disney Channel, eight episodes will be on Disney+. Does that affect how you plan for a series, knowing it will go to streaming immediately?

ELINOFF: It does a little bit. You have to think about the blocks and things like that. You do have to think about it a little bit, but at the end of the day, our job is to make a fun, watchable family sitcom that people connect with, and that should be platform-agnostic. However you experience it, it should be enjoyable regardless of how you’re seeing it or where you’re seeing it.

THOMAS: I think that’s the beauty of Wizards —there’s already a heightened aspect to the show that lends itself a little more to streaming than maybe some other sitcoms would. There’s special effects, there’s magic, there’s adventure, there’s monsters, there’s a mythology arc. So, it’s stuff we already would have done on the channel anyway. The only thing that changes is you go, “OK, if we’re dropping eight, what’s the end of the eighth one? Is it a cliffhanger?” Those questions exist, but how we approach a series doesn’t change.

TV KIDS: Lastly, the theme song of the original, “Every thing Is Not As It Seems,” is just as iconic as the series itself. Selena performed that. Can you share anything about the theme song for this new series?

ELINOFF: You know what? I think you’re just going to have to watch and see. [Laughs]

Wizards Beyond Waverly Place arrives on Disney Channel and Disney+ this October.

By Anna Carugati

hroughout his career, Jon Feltheimer has witnessed several evolutions in the media business. First at New World Entertainment, Sony Pictures Entertainment and then at Lionsgate, where he has been a board member and CEO since 2000, he has repeatedly embraced change and worked with his teams to turn seeming turmoil into opportunities.

He has championed finding international partners for projects, devising innovative financing models, working with digital platforms targeting underserved audiences and making acquisitions such as 3 Arts Entertainment and Entertainment One (eOne), which have bolstered Lionsgate’s library of more than 20,000 film and television titles.

want, whether the Saw, John Wick or The Hunger Games film franchises or buzzy TV shows, including the recent hits Ghosts and Mythic Quest.

Film and television production and distribution, as well as the library and a talent-management business, are part of Lionsgate Studios. Feltheimer has been working on separating Lionsgate Studios and STARZ.

JON FELTHEIMER LIONSGATE

Despite challenging market conditions, as Feltheimer tells World Screen, Lionsgate has released more films in the past five years than any other studio, which has fed STARZ and the library. Lionsgate Studios continues to diversify its television output, focusing on both scripted and unscripted, which helps navigate changes in market demand.

Developments in the last decade have arguably upended the entertainment industry more than at any other time. And yet, Lionsgate has navigated the challenges by remaining true to its remit of creating content consumers

While remaining committed to its core businesses of production and distribution, Feltheimer is encouraging the company to expand IP into its global products and experiences group, planning Broadway plays, mobile games and immersive fan experiences.

WS: The media industry has undergone considerable disruption during the past few years. What is your view of the business? What challenges remain?

FELTHEIMER: We talk about disruption every year, and this year, the level of volatility and change is greater than ever. It’s been driven in the macroenvironment by the [2023 U.S.] strikes, the pandemic and economic and geopolitical uncertainty. At the secular industry level, it’s mainly the result of legacy media companies pivoting to a streaming business for which they were never set up, impacting both our television and theatrical businesses.

Everyone is finally figuring out a viable streaming model that returns them to profitability, but that comes with a cost: raising prices, cutting back on the amount of content they buy, paying less when they do buy and buying mainly within their own walled gardens. That, obviously, impacts us as sellers. It means we have to work harder for every deal, the bar is set a little higher for each of the shows we make, and we have to keep finding new buyers to take the place of buyers leaving the marketplace.

We’re doing all of that, pivoting and changing our models where we need to, leaning into newer businesses like AVOD and FAST and relying even more on the strength of our library. I’m still optimistic about the longterm health of the overall business because consumer demand for premium content is as strong as ever but spread across more platforms than ever. As platforms continue to reﬁne their strategies, I believe that the pendulum will swing back to somewhere in between peak TV and the “great correction” that followed.

But we have to recognize that the genie is never going back into the bottle, and we have to control what we can: continue to make great IP, continue to be scrappy and entrepreneurial about ﬁnding the right home for it and continue to cut the costs of making it. As Mad Men’s Don Draper once said, “Change is neither good nor bad; it simply is.” So, we will continue to change with a changing world.

WS: Tell us about the launch of Lionsgate Studios. What was the rationale behind forming the group, and what advantages do you expect to draw from Lionsgate Studios?

FELTHEIMER: The launch of Lionsgate Studios as the world’s largest pure-play, stand-alone, publicly-traded content company is a key step toward the full separation of the studio and STARZ, which we anticipate by calendar yearend, subject to the timing of regulatory approvals.

We’ve made a lot of progress toward full separation in the past few months—preparing our infrastructure, strengthening our companies’ respective balance sheets, raising over $300 million in equity ﬁnancing and securing board approval for collapsing our two classes of stock into one. One of the main purposes of the separation is to allow investors to “revalue” the studio and STARZ as stand-alone, pure-play companies. Investors like simplicity,

and the separation will allow them to invest either in a major content company or a premium streaming platform without having to invest in both.

Lionsgate Studios is operating right in the sweet spot of the entertainment business— creating, owning and distributing content to an ever-expanding array of buyers. And we’re looking to preserve the best of both worlds by achieving a value-deﬁning separation while still maintaining the beneﬁts of our close Lionsgate-STARZ relationship.

WS: How do you view the movie business today? What types of feature ﬁlms still get people into theaters?

FELTHEIMER: I’m still bullish about the domestic box office. Many ﬁlms signiﬁcantly overperformed expectations this summer as consumers began to return to the habit of going to the movies. The calculus of the

motion picture business is also better than ever, with greater demand for movies on streaming platforms driving the growth of our ancillary revenues and pushing proﬁt margins higher.

In fact, a recent study showed that heavy streaming users are also often frequent moviegoers: 24 percent of consumers who are considered to be heavy streaming users also went to the movies more than five times in the previous six months; another 36 percent went to the movies two to four times. Streaming at home and watching movies in theaters are not an either-or proposition.

As you know, we bring to this market diversiﬁed ﬁlm slates with strength in three different areas: franchise properties and other tentpoles that are competitive with those of the other studios, though we make and market them for a little less; more targeted wide theatrical releases like Aziz Ansari’s Good Fortune , starring Seth Rogen and Keanu Reeves, and Francis Lawrence’s The Long Walk ; and a vibrant multiplatform releasing business.

Under new leadership in the motion picture group, we’re preparing a return to three to four tentpoles a year, beginning next ﬁscal year with the ﬁrst John Wick spin-off, Ballerina; Graham King producing and Antoine Fuqua directing the Michael Jackson biopic; Ruben Fleischer directing the latest installment of the Now You See Me franchise; and Chad Stahelski’s Highlander . Beyond that, we’ve signed Francis Lawrence to direct our sixth Hunger Games movie, The Hunger Games: Sunrise on the Reaping , for release on November 20, 2026.

Overall, we’ve released more films over the past five years than any other studio, driving the continued growth of our library, supplying a steady pipeline of first-run features to STARZ and generating content for hundreds of buyers.

WS: The TV business has also undergone change, with many saying we are past “peak TV.” Some companies are following the “fewer-bigger” strategy. What is Lionsgate Television’s strategy?

FELTHEIMER: We’re navigating a challenging marketplace with a multifaceted strategy that combines proven strengths with new skills. We’re continuing to diversify our portfolio of TV businesses with contributions from Lionsgate Television’s scripted business, Lion sgate Alternative’s unscripted operations, 3 Arts, eOne and Debmar-Mercury. This diversiﬁcation helps us weather cyclical ﬂuctuations in any one part of the business.

Adapted from a BBC comedy, Ghosts, now in its fourth season, has been a strong performer for CBS.

We’re also maintaining our strength in premium scripted. Since the strikes ended, we’ve sold more than 40 projects into platform development, with another ﬁve new shows picked up to series and seven current series renewed for additional seasons.

We are creating balanced portfolios of high-profile properties like Spartacus: House of Ashur for STARZ and The Studio for Apple TV+ and cost-effective series like The Rainmaker for USA Network, Robin Hood for MGM+ and Mistletoe Murders for Hallmark Channel. We also drive down costs by producing in locations that deliver significant tax benefits, subsidies and other savings, shooting Spartacus: House of Ashur in New Zealand, The Rain maker in Ireland, Robin Hood in Serbia and Mistletoe Murders in Canada.

We are leveraging our recent acquisition of eOne to expand into procedurals like The Rookie and The Recruit, and finally, collaborating across our film and TV divisions—what we call “Lionsgate 360”—to launch new series like the Twilight TV adaptation Midnight Sun for Netflix, in conjunction with creator Stephenie Meyer, and develop the television series John Wick: Under the High Table with Chad Stahelski.

WS: Lionsgate’s ﬁlm and television library has been generating solid revenues—what is driving this success?

FELTHEIMER: There’s no special sauce—it requires blocking, tackling and a lot of hard work. We’ve been acquiring, integrating and managing libraries for 25 years, most recently eOne, Spyglass Media Group and STX Entertain ment. We’ve also become a “go-to” for distributing the IP of leading individual content creators—the ABC hit The Conners

from Carsey-Werner, the faith-based hit The Chosen and eight Quentin Tarantino films. And we continue to grow the library organically. This year, we’ll add 167 episodes of 16 scripted television series and 55 films: ten wide releases and 45 multiplatform, directto-streaming and Lionsgate UK titles. We’re constantly working this library around the margins by expanding and extending rights, securing rights buybacks and issuing commemorative and anniversary editions. Ten years ago, about 30 percent of our library revenue came from our own content. Today, more than 75 percent of our annual library revenue is generated by Lion sgate-owned films, television shows and STARZ original series. Our library is an asset

that beneﬁts from industry disruption. As streamers order fewer new series, they’re acquiring more library content. In a recent survey, Lionsgate ranked among the top four studios in placing our library movie titles on streaming platforms.

WS: What opportunities are AVOD and FAST channels offering Lionsgate?

FELTHEIMER: The AVOD and FAST space has created new windowing opportunities for our library, allowing us to launch a suite of branded channels for affinity audiences. These include MovieSphere, the ﬁrst FAST channel to be rated by Nielsen; Ebony TV, whose marketing campaign was conceived by one of our in-house ERGs; and our latest

Ballerina is a new feature film in Lionsgate’s lucrative John Wick franchise and is among the studio’s tentpole releases for 2025.

Lionsgate is building out its 360-degree strategy with initiatives like the John Wick Experience.

offering, 50 Cent Action, in partnership with Curtis “50 Cent” Jackson. As the TV environment becomes more and more fragmented, our continued success will depend in part on our ability to “go small” as well as go big with bespoke content initiatives that target micro-niche audiences with the content they want. And we’re doing this with minimal investment.

WS: How is STARZ performing?

FELTHEIMER: STARZ wasn’t originally launched as a streamer, but it has accomplished the difficult transition from a legacy linear network to a premium streaming platform, with 70 percent of its revenue expected to come from streaming by fiscal yearend, insulating us from continued cord-cutting of the traditional linear business. And it has made this transition while remaining profitable.

We’re continuing to execute a focused content strategy of original premium series complemented by female-focused third-party acquisitions, a deep slate of studio features from STARZ’s theatrical output deals and a massive film and television library. We’ve grown five of those series into tentpoles with 8 million to 11 million multiplatform viewers apiece, and we’re a leader among our two core demos. In addition to staying profitable, STARZ has grown revenue and domestic OTT subscribers this year, and our recent rate increase is expected to continue driving that revenue growth.

Post-separation, STARZ is well positioned for success with two very valuable and hard-

to-replicate audiences, the ability to sit on top of every platform as a bundling partner of choice and the opportunity to scale its business by taking advantage of the disruption in the industry.

WS: Lionsgate has a history of creating innovative business models and catering to underserved audiences. Are these still important to the company?

FELTHEIMER: We’re a company that was structured to be a little different. When Michael [Burns, director and vice chair] and I started, we saw an opportunity to focus on content, roll up available libraries to create recurring revenue, control our own distribution and create movies and television shows that were targeted to one or two quadrants that we knew really well rather than trying to bring everyone into the tent.

As part of that process, we started making shows for the cable platforms when nobody else was doing that, made films that set us apart, experimented with different windowing strategies and created a multiplatform releasing business within our motion picture group long before the pandemic and streaming. We were born in the digital age, so we have always had a digital inflection, whether it was forming Atom Tickets; launching Cin emaNow, Pantaya and Laugh Out Loud; or creating an AI partnership with Runway to serve our filmmakers with more efficient production processes.

We’ve always been focused on serving his torically underserved audiences with ﬁlms like Monster’s Ball , Precious and

Crash, 20 movies with Tyler Perry, TV series like Orange Is the New Black and the 1619 Project docuseries with Hulu and a 15-year relationship with Eugenio Derbez that started with Instructions Not Included and continues with Acapulco. This commitment is reﬂected today in the launch of new FAST channels like Ebony TV and 50 Cent Action and at STARZ, where we serve two valuable and scalable core demos that others may have overlooked with shows like BMF , P-Valley and the Power universe.

WS: You’ve led Lionsgate for more than two decades. What leadership strategies have served you and the com pany best? What pivots, if any, are you making to lead the company through these rapidly changing times?

FELTHEIMER: One of my jobs is helping to establish the right culture for our company, given its place in the ecosystem. Lionsgate combines the deep content pipelines and library of a major studio with the bold, entrepreneurial spirit of an indie. When we were starting out, we ﬂew JetBlue, paid for some of our early movies on one of our executives’ credit cards and were headquartered in an office park next door to the local dentist. That entrepreneurial spirit is still evident in our culture—all of our full-time employees own stock, executives are given a lot of autonomy and encouraged to take risks, and we have a collaborative, no-silos, in-office, roll-up-your-sleeves work ethic.

That culture has also been evident in our movies and TV shows. Our biggest hits have been movies and TV shows that everyone else passed on—Monster’s Ball, The Hunger Games , Mad Men , Saw , John Wick , Orange Is the New Black and La La Land. They were all a little different from what everyone else was making. We never want to lose that edge in either our culture or our content.

Our ability to turn on a dime is part of that culture. We reimagine, redefine and finetune different parts of our business all the time to capitalize on a disrupted environment. We’re looking for ways to expand 3 Arts, the number one talent management and production company, into new areas of representation. We’re continuing to extend our IP beyond movies and television series in our global products and experiences group, lining up a dozen Broadway stage productions, creating new mobile games and launching immersive fan experiences to capture more upside for our franchises. But while we find new areas to grow our business, we can’t take our eyes off the ball in executing within our existing core businesses, especially in the current environment.

Lionsgate has a long-running association with Eugenio Derbez, star and exec producer of Acapulco.

Funding Strategies / Doctor Who ’s Ncuti Gatwa & Millie Gibson Behind the Scenes of Secret of Pearls

Keeping it Light CONTENTS

My streaming service “continue watching” queues are littered with drama series I started and then seemed to have paused, or abandoned, anywhere from one to five episodes in.

FEATURES

DRAMATIC FUTURE

As the drama commissioning landscape undergoes a course correction, leading distributors talk about how financing and windowing strategies are evolving.

A WORLD OF DRAMA

The latest edition of the TV Drama Screenings Festival spotlights some of the hottest new and returning scripted properties available today.

INSIDE SECRET OF PEARLS

Ricardo Seguin Guise

Publisher

Mansha Daswani

Editor-in-Chief

Anna Carugati

Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Senior Associate Editor

Alexa Alfano

Associate Editor David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Ute Schwemmer Bookkeeper

Several were quite good, so I do expect to return to them, but you can only handle so many heavily serialized, sprawling plot epics at any one time. Equally tired of unrepentant characters and vivid dramatizations of horriﬁc true crimes, I’ve found myself seeking comfort in, well, old-fashioned television, as it were. That’s led to the joys of rediscovering deep libraries like the inﬁnitely rewatchable The X-Files, which mastered the art of delivering an overarching plot line with the ease of a resolution (of sorts) in every episode. I’ve stumbled upon little shows that came out before the on-demand era and didn’t travel the globe the way shows do today, like the BBC’s 2005 miniseries Life Isn’t All Ha Ha Hee Hee, an adaptation of one of my favorite books. I’ve gone back to the David Tennant era of Doctor Who because it never ceases to bring me joy—and have delighted in the new season, marking the return of Russell T Davies and the launch of Ncuti Gatwa. Gatwa has broken barriers with his casting as the Doctor, so this is less about “old-fashioned” television and more about needing a bit of light with the dark, a steady dose of blue-skies, escapist, low-commitment fare alongside my deeply engaging, lean-forward views. And if you’re a Whovian like me, be sure to read our great interview with Gatwa and his co-star Millie Gibson in this edition.

A behind-the-scenes look at the Turkish drama series with some of its lead cast members.

SERVING DRAMA

GoQuest Media’s Vivek Lath talks about the company’s new “make-to-sell” strategy.

INTERVIEW

Ricardo Seguin Guise President

Anna Carugati Executive VP

Mansha Daswani

Associate Publisher

Kristin Brzoznowski

VP, Content Strategy

TV Drama

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

Phone: (212) 924-7620

Website: www.tvdrama.com

As the entire industry recalibrates after the streaming wars, there is less money in the ecosystem, but there is still room for a range of stories to be told, several distributors told me in my feature in this edition on how financing strategies are evolving. Some models have stayed the same, but new ones are emerging as everyone looks for smarter, better ways to get shows produced, without sacrificing quality on-screen.

Known IP is one of the routes producers are taking, given the continued value of franchises. But new concepts are also ﬁnding ways to break through. “You don’t need big stars, proven IP, long-running series, catch-all storytelling to have a hit,” Richard Gadd said at the Emmy Awards this year as his show, Baby Reindeer, landed a series of wins, including best limited or anthology series. “Dare to fail in order to achieve.” Mansha Daswani

NCUTI GATWA & MILLIE GIBSON

The stars of the new season of BBC Studios’ Doctor Who on leading the next generation of the storied franchise.

All3Media International

Joan / Dead and Buried / Out There

All3Media International’s MIPCOM catalog features the new Sophie Turner-led drama Joan. Inspired by the life of a notorious U.K. jewel thief, the show from Snowed-In Productions “is exhilarating, emotional and buzzy, with a host of premium partners attached,” including The CW and Stan, says Julie Dowding, senior VP for Australia and New Zealand at All3Media International. In the four-part psychological thriller Dead and Buried from Three River Fiction and Vico Films, a woman’s brief encounter with the man convicted of the murder of her brother 20 years prior reignites her thirst for vengeance. Buffalo Pictures’ Out There stars Martin Clunes as a father whose peaceful rural life with his son is interrupted by threatening outside forces and explores “the universal question of how to protect what you love,” Dowding says.

Atresmedia Televisión

“Our

catalog is always brimming with high-quality, compelling storytelling that explores universal themes.”

—Julie Dowding

Sueños de Libertad (Dreams of Freedom) / Eva & Nicole / El Gran Salto (The Big Jump)

Atresmedia Televisión’s Sueños de Libertad (Dreams of Freedom), taking place in 1958, centers on Begoña Montes, the new wife of the controlling heir to a major beauty company. When the heir’s brother shows up, Begoña begins to fall in love with him instead. Eva & Nicole explores the rivalry between two women vying for control of Marbella’s nightlife. Once close friends, they were torn apart by a charismatic man, and 13 years in the future, one returns to the city intent on getting revenge. “The series intricately weaves drama and comedy, capturing the complexities of their rivalry and the lengths they will go to achieve their goals,” says Jose Antonio Salso, head of acquisitions and sales. El Gran Salto (The Big Jump), meanwhile, dramatizes the life of Olympic gymnast Gervasio Deferr.

atv Distribution

The Nightfall / Saﬁr

The Nightfall, on offer from atv Distribution, follows a man whose father was assassinated in Denizli. He returns to the city 20 years later as a police inspector, determined to avenge his father’s death, but unknowingly ends up falling in love with the murderer’s daughter. The series “showcases rich storytelling and captivating drama elements,” says Müge Akar, head of sales. It “is a mesmerizing tale of impossible love, set against the breathtaking views of Pamukkale and Istanbul’s Asaf Bey mansion.” Saﬁr, meanwhile, takes place in Cappadocia and centers on housekeeper and textile design student Feraye and her employers, the Gülsoy family. Feraye ﬁnds herself in love with Yaman, one of the family’s heirs. “With complex characters and unexpected twists, it keeps audiences on the edge,” Akar says.

“Our content is characterized by its strength, relevance and high quality.”

—Jose Antonio Salso

“Committed

to delivering highquality dramas that engage local and global audiences, atv Distribution aims to solidify its position.”

—Müge Akar

The Nightfall

Joan

Eva & Nicole

Calinos Entertainment

Hidden Garden / Farah / Indefensible

Calinos Entertainment has a slew of dramas on offer, including its newest title, Hidden Garden, which stars Ebru Şahin and Murat Yıldırım. Farah, an adaptation of the Argentinean series La chica que limpia, centers on an Iranian woman who runs away from her country and takes a job as a cleaning lady in Istanbul to support her son’s medical needs. One night while cleaning, she witnesses a maﬁa murder. “At MIPCOM, we are celebrating our 25th year of leading the international sales of Turkish dramas,” says Asli Serim, head of sales at Calinos. The French-Canadian series Indefensible, meanwhile, follows the criminal defense team at the Lapointe-Macdonald Law Firm. The lawyers, all passionate about justice, work to ensure that ordinary citizens and career criminals alike are given the opportunity for defense.

Eccho Rights

Safe Harbor / I Am Mother / Winds of Love

The MIPCOM offering from Eccho Rights is led by the international thriller Safe Harbor, which comes from Ozark co-creator Mark Williams. It stars Alﬁe Allen, Jack Gleeson, Charlie Murphy and Colm Meaney, among others. Also on the slate, the Turkish drama I Am Mother has a second season on offer. It centers on a woman in an abusive marriage who sends her 3-year-old child away to safety, only to have him disappear. When she reunites with him three years later, he doesn’t recognize her. Winds of Love, another Turkish drama with a second season available, sees Halil determined to enact revenge on the Aslanlı family, who ruined his own family’s honor and stole their home. When he falls in love with the Aslanlı daughter Zeynep, everything changes.

Global Screen

“Our main focus is expanding our reach through co-productions and exploring new markets.”

Murder on the Inca Trail / Recipes for Love and Murder / The Palace

In the Global Screen thriller Murder on the Inca Trail, detective Rita Berg must solve a murder on the remote Inca Trail with no witnesses, weapon or evidence. Though the husband of the woman killed during an alleged robbery claims innocence, Rita’s suspicion lingers. A second season of Recipes for Love and Murder sees a massive ﬁre engulf Eden and trigger events that unearth the town’s darkest secrets. The Palace season two centers on a ballet director and young dancers who “face personal and professional turmoil as they navigate love, fear and ambitions,” says Ulrike Schröder, co-head of international sales and acquisitions. She adds, “We have been thrilled by the international sales success of the ﬁrst seasons of [these shows] and look forward to presenting these new chapters.”

“The series that we are presenting at MIPCOM are a beautiful mixture of crime and drama.”

—Asli Serim

The Palace

—Ulrike Schröder

I Am Mother

Inter Medya

Deception / Love and Pride / Tuzak

Inter Medya is highlighting Deception, which sees the life of a respectable family court judge unravel. With a marriage of 30 years and two children, Güzide Yenersoy has what could be described as the epitome of a perfect family. However, the truth is different from this false reality. Events buried in the past will come to light again as secret families, relationships, dreams and debts are revealed. In Love and Pride , the Köksoys contemplate how to prevent themselves from losing everything. A wealthy heir proposes marriage to their eldest daughter, but she rebels against the proposition despite the salvation it would offer her family. Tuzak follows three siblings who discover they don’t have the bond they thought they had.

Kanal D International

Secret of Pearls / The Family Burden

For MIPCOM, Kanal D International is spotlighting Secret of Pearls and The Family Burden. In Secret of Pearls, beloved literature teacher Azem’s life changes in a single night when he goes to prison for killing his wife. While the reality is different, Azem has a secret that he cannot tell anyone. The Family Burden follows the journey of Melike, who is released from prison after 20 years. The series focuses on a mother’s relationship with her daughters. Both titles “are distinguished by their compelling casts, high-quality productions and captivating storylines that keep audiences engaged at every turn,” says Elif Tatoğlu, distribution strategy director. The company is also set to unveil an upcoming project featuring Bergüzar Korel and Mehmet Günsür, “promising a compelling story with a strong female character,” adds Tatoğlu.

Lionsgate

Spartacus: House of Ashur / The Hunting Wives / Mistletoe Murders

The Lionsgate offering includes the epic series Spartacus: House of Ashur, the ﬁsh-out-of-water story The Hunting Wives and the mystery Mistletoe Murders. “Each of these titles offers compelling narratives and wide-reaching appeal, making them must-haves for global audiences,” says Agapy Kapouranis, president of international television and digital distribution. Spartacus: House of Ashur taps into a globally recognized franchise “with universal themes of freedom and vengeance brought to life by a stellar cast and top-notch production,” Kapouranis says. The Hunting Wives features a mix of glamour and suspense, anchored by a star-studded cast led by Malin Åkerman and Brittany Snow. It’s a “strong choice for audiences seeking drama and intrigue,” says Kapouranis. Mistletoe Murders, meanwhile, is full of unexpected twists and turns.

“We

are dedicated to delivering captivating stories that resonate with audiences worldwide.”

“We’re excited to present a dynamic slate of programming that highlights our commitment to delivering bold, innovative and engaging content.”

—Agapy Kapouranis

Mistletoe Murders

The Family Burden

Love and Pride

—Elif Tatoğlu

MISTCO

The Great Seljuks: Alparslan / Come What May / Bahar

MISTCO’s MIPCOM roster is led by The Great Seljuks: Alparslan. The series tells the story of Sultan Alparslan, who opened the doors of Anatolia to the Turks. Come What May follows Alize, whose mother passed away the day she was born. Although her father tries to make her happy, Alize becomes aggressive and selﬁsh, and when she crashes into a repairman’s car and runs away, her father decides to teach her life lessons before it’s too late. Bahar sees a young girl struggle to protect her inner goodness in spite of all the darkness that surrounds her. “Bahar, our ﬁrst co-production, has achieved notable success in international sales,” says Aysegul Tuzun Yildirim, managing director. “Its content is well received across various global markets.” MISTCO is also highlighting Secrets of an Angel and The Town Doctor

OGM UNIVERSE

6 of Us / Dilemma / Lost in Love

OGM UNIVERSE’s emotionally charged drama 6 of Us ( Sahipsizler ) tells the story of six suddenly orphaned siblings. “ 6 of Us combines universal themes with rich, character-driven storytelling, making it a captivating choice for global audiences,” says Ekin Koyuncu Karaman, global distribution and partnership director. The thriller Dilemma ( Düğüm ) centers on TV host Neslihan Turhan, whose life is turned upside down when her son becomes implicated in a murder. Lost in Love ( Sakla Beni ) focuses on the complicated lives of Mete and Naz, two individuals bound by a promise made in their childhood. With complex family rivalries and emotional entanglements, the series explores themes of trust, passion and the intricacies of relationships.

Onza Distribution

Cacao / Trafﬁc Jam / Flowers Over the Inferno

Onza Distribution’s Cacao follows a young girl from a Portuguese family who makes chocolates on a cocoa farm in Brazil. Her dream to go abroad and become a pastry chef seems out of reach, but everything changes when her real father is revealed. The comedy Traffic Jam, which has second and third seasons in development, is also on offer. “The show brilliantly explores a wide range of topics, highlighting how, on the road, we are all equal,” notes Béatrice Nouh, head of sales. “We want to promote Traffic Jam for adaptations in other territories.” In Flowers Over the Inferno, criminologist Teresa Battaglia leads a team in the investigation of unsolved crimes while dealing with the first signs of Alzheimer’s disease, intensifying her personal conflicts.

“All

of our titles have proven their success and quality in various markets.”

“We are committed to pushing creative boundaries while reﬂecting the rich cultural fabric of Turkey.”

—Ekin Koyuncu Karaman

“Our goal is to increase sales for our best-selling telenovela Cacao, as well as for the rest of our telenovela catalog.”

—Aysegul Tuzun Yildirim

Cacao Come What May

—Béatrice Nouh

Dilemma

The Mediapro Studio

Quiet / Celeste / The Head

The Mediapro Studio’s upcoming thriller series Quiet is based on the true story of a serial killer who targeted homeless people in Barcelona in 2020. Celeste, coproduced with Movistar Plus+ and created by Diego San José, follows Sara Santano, a nearly retired inspector from the Spanish tax agency. She soon receives an assignment to prove that Celeste, a global Latin music superstar, resides in Spain and must pay taxes there. The Mediapro Studio is also highlighting the third and ﬁnal season of The Head. The classic whodunit is set this time in the Sahara Desert and delves into a new mystery involving genetically modiﬁed algae and human testing. It’s “an impressive setting to conclude the series,” says Marta Ezpeleta, director of distribution, international offices and co-productions at Mediapro.

“This year, we have a very extensive catalog.”

—Marta Ezpeleta

Paramount Global Content Distribution

Matlock / NCIS: Origins / Poppa’s House

Kathy Bates stars in Matlock , inspired by the classic CBS series of the same name and part of the Paramount Global Content Distribution slate. She plays Madeline “Matty” Matlock, a brilliant septuagenarian who achieved success in her younger years and decides to rejoin the workforce at a prestigious law firm where she uses her unassuming demeanor and wily tactics to win cases. NCIS: Origins is part of the successful NCIS franchise, “which continues to resonate with global audiences,” says Lisa Kramer, president of international content licensing. The series follows a young Leroy Jethro Gibbs in 1991, years prior to the events of NCIS Poppa’s House sees the pairing of Damon Wayans and Damon Wayans Jr. in a comedy about a legendary talk radio host who is happily divorced.

Viaplay Content Distribution

Maﬁa / The Hunt / Secrets

The Viaplay Content Distribution highlight Mafia is set against the backdrop of the transformation of 1990s Sweden. The story follows the rise of Radovan “Jakov” Jakovic from rags to criminal riches and the lone cop who recognizes the mafia threat lurking behind cigarette smuggling. “Mafia offers a thrilling, high-stakes narrative with universal themes of greed, loyalty and ambition, set against a politically charged backdrop,” says Vanda Rapti, executive VP of Viaplay Select and Content Distribution. The Hunt is a period drama inspired by the real-life murder of Marianne Vaatstra, a case that gripped the Dutch nation for more than a decade. The Danish drama Secrets watches adult siblings Mads (Pilou Asbæk, Game of Thrones, Borgen) and Eva (Iben Hjejle, High Fidelity) navigate family relationships, abuse and co-dependency.

“MIPCOM is the optimum market for us to showcase highlights across all Paramount Global studio brands to valued clients from all over the world.”

—Lisa Kramer

“Our goal in Cannes is to reconnect with global partners, showcase our diverse premium Nordic and European series and highlight the power of Viaplay Select and our SVOD channels for streamers and aggregators worldwide.”

—Vanda Rapti

The Hunt

Celeste

NCIS: Origins

Atresmedia Televisión’s Santuario (Sanctuary).

Dramatic Future

As the drama commissioning landscape undergoes a course correction, Mansha Daswani checks in with leading distributors about how financing

and windowing strategies are evolving.

We’ve all seen the reports about the end of peak TV and the dramatic slowdown in commissioning across every sector, including what had been a severely overheated market for drama. The producers and distributors surveyed for this piece are employing a range of strategies to adjust to the new normal, including finding smarter, savvier ways to finance shows—and fully mine their monetization potential across every window.

“Like a lot of businesses, we’ve adapted and become more flexible in how we approach the financing of a series,” says Tom Misselbrook, senior VP of scripted sales and development at Cineflix Rights. “For us, it all starts with the creative, and we take it from there, looking closely at the ambition and scale of a series to understand whether it fits within our model, and if so, plot out how to best piece it together.”

“I think it’s more important than ever that your creative development is done in parallel with an executable

busi ness plan,” says Dan March, managing partner at Dynamic Television. “Shows now tend to fall into one of two buckets: you can still swing for bigger-budget global streaming commissions or ﬁnance smart and efficient coproductions through multiple partners. But know what your plan is as early as possible.”

At Boat Rocker Studios, the emphasis has been on “being flexible in the types of deals we pursue and projects we make,” says Nick Nantell, executive VP and head of scripted creative. “During ‘peak TV,’ we were much more focused on the American market and cost-plus deals. We have been able to pivot in the face of the evolving market there and utilize our size, financing ability and incredible distribution team to find new opportunities throughout the world to make premium, high-end content.”

Miguel García Sánchez, sales director at the distribution arm of Spain’s Atresmedia Televisión, also emphasizes the importance of ﬂexibility, “adapting to the new times, strengthening international relationships and exploring new collaboration strategies with third parties through different formulas and agreement models.”

Carlos Garde, managing director of Onza, says the market’s course correction has created new opportunities for the Spanish distribution and production outfit. “It may sound paradoxical, but we have seen growth opportunities in these times of budget realignment for content platforms. Onza has been a pioneer in finding creative financing solutions and taking advantage of the best tax incentives in the market. This, combined with our experience in closing sales in different windows to different clients, has allowed us to gain a competitive advantage in the market.”

Meanwhile, at Electric Entertainment, despite the industry upheaval, the ﬁnancial model behind that company’s boutique stable of shows has largely stayed the same.

“The budget will start with a domestic license fee and what you can get between a rebate and foreign sales,” says CEO Dean Devlin. “That’s been our model from the beginning. We’ve also been fortunate enough to make ‘traditional’

television. The entire industry moved away from that toward dark, edgy, serialized, expensive shows. There’s been a resurgence of blue-sky shows where bad guys get their comeuppance. We’re doing more shows now than we’ve ever done. It’s because we’ve been in this unique position of ﬁguring out how to do more for less without it showing up on the screen.”

For Natalie Lawley, managing director of Escapade Media, one of the most signiﬁcant shifts of the last few years has been the “greater need to ‘package’ each project well before it goes to market—ensuring you have your cast and creative team attached and have sourced a percentage of your budget. The bigger, the better. We have looked at all sources of ﬁnancing, from private funding, brand support and contra budget line items to presales to striking smarter deals with potential commissioners and platforms.”

FUNDING JIGSAWS

As Lawley indicates, there are a variety of funding routes to pursue, but co-productions and tapping into soft money remain key to most international drama distributors’ strategies for getting shows made.

“We are still seeing the need to secure the anchor sale/commission, preferably in a major territory, but then build the ﬁnance plan via an international co-production or multi-territory presales,” Lawley says. “Escapade is seeing a big appetite for presales in the scripted genre.”

Boat Rocker is tapping into the beneﬁts of its home base of Canada, Nantell notes. “We are adept at tapping into the strategic soft money to help us keep our projects in the Canadian marketplace and make them more economically than elsewhere. Having said that, in this more international marketplace, we are looking for partners around the world to help tap into their local soft money to help make the best project possible.”

Similarly, Onza is well-versed in accessing funding systems following its own experience in Spain. “We have always used them in most of our productions, and they have allowed us to develop productions with tighter budgets,” says Garde. “We are producing a major series in Bilbao with incentives from the Basque Country, and we have several productions planned for the coming months. Onza is not only focused on taking advantage of these incentives in our productions—we are also offering our production services to companies in the U.S., Latin America and other territories. We are offering them the opportunity to record part of their production with us in the Basque Country, the Canary Islands or other areas of Spain with incentives, which

Boat Rocker Studios is distributing Mix Tape, an Australian and Irish co-production.

Crave in Canada, NRK in Norway and ITVX in the U.K. were among the early partners on Cineflix Rights’ So Long, Marianne

will allow them to save a lot of money on their productions, and thus be able to carry out projects that would otherwise not be viable.”

Misselbrook at Cineflix Rights explains that it has become “much more common to pull together financing from multiple sources, be that local or state funding bodies, tax incentives, third-party financers or co-producing partners in which a specific project creatively lends itself to two or more territories.”

Misselbrook adds that multi-territory co-pros have been on the rise and notes that soft money tends to form a signif icant part of the productions the company invests in. “When assessing new material, these types of incentives can make all the difference in closing the financing of a series and make the case for investment much more straightforward.”

Naturally, you have to look at those incentives carefully, Electric’s Devlin explains. “It will always be a combination of the rebate versus the cost of shooting in that country. Some places have quite big rebates, but shooting there is so expensive that you lose most of the rebate due to the increased costs. We shot in Portland, Oregon, for 11 years. They only had a 17 percent rebate, but everything else was much less expensive. As we calculated it, even though it was only a 17 percent rebate, we saw a 30 percent reduction in costs from the show’s first season, which was shot in Los Angeles. The rebate is super important, but it’s not everything.”

LIBRARY CLOUT

With commissions on the downswing, distributors are looking to drive additional value from back libraries.

“We’re always on the lookout for series that can run for multiple seasons and have a long shelf life because that’s how you maximize your return,” Misselbrook says. “Library offers buyers high-quality series, high volume and a strong track record at a more affordable license fee. In a time when commissions are down and budgets are tight for buyers, library series are a great option to offer our customers.”

“Atresmedia has an extensive catalog of series, including some of the biggest successes in Spanish-language ﬁction,”

García Sánchez notes. “Our library is a vital asset, allowing us to offer clients the opportunity to relicense beloved productions that continue to captivate audiences even years after their original release.”

And with the AVOD and FAST sector quickly becoming a critical window, having a solid back catalog of series can be an important advantage. “Nearly every distribution company is ultimately buoyed in challenging markets by its catalog,” March says. “With the growth of AVOD, this is certainly applicable now.”

WINDOW WATCHING

The emergence of AVOD and FAST is helping to change the conversation around holdbacks and exclusivity as IP owners look to expand the monetization potential of shows.

“At Atresmedia, we always strive for maximum visibility and the best exploitation of our series,” Garciá Sánchez says. “We have historically negotiated exclusive and nonexclusive deals, depending on the speciﬁcs of each negotiation. This ﬂexible approach allows us to adapt to the evolving conversation about exclusivity in the scripted space and optimize our content’s reach and impact.”

Misselbrook adds: “Historically, there was much more emphasis on exclusivity in the scripted space, as platforms and broadcasters sought to take ownership of content in a more robust way. More recently, we’ve seen a move away from this to an extent; the ﬁrst window will always be key as this is where platforms and broadcasters realize the most value, but that window has become shorter for many services. There is evidence of more ﬂexibility around secondary window exploitation. This works well for commissioners and distributors as they look more closely at cost and revenue potential. There is an ecosystem in which the same series can sit across multiple services at one time, that audiences can access on their preferred service and that these series can still perform well.”

SVOD streamers, in particular, are starting to be less insistent on being the exclusive home of titles; that strategy helped drive Suits to the top of streaming charts in the U.S. with its homes on Netﬂix and Peacock.

“You’ll always have full ownership by the platforms, especially on the bigger-budgeted shows,” Devlin says. “But if

The Ark from Electric Entertainment for SYFY is in its second season.

they want to have enough new content that their subscribers feel good about paying a monthly subscription all year, they will have to maintain a certain level of new product. If they want to do that on a budget that’s not going to continue to give them crippling debt, they’re going to go back to the license deal. It makes it a little bit trickier for us because now we’re not just selling it to one person in one territory, but it allows us as an independent to create more realistic modeling on the value of our library. If you’re not reselling the library—if you’re just letting it sit on a hard drive—you’ve lost an enormous amount of that value. It makes more work for us, but it’s better for us at the end of the day.”

Electric Entertainment made an early bet on AVOD and FAST with its ElectricNOW app, delivering access to some of its key franchises. The monetization aspect is important,

but Devlin highlights that the service does more than just generate additional revenues. “We need to aggregate our fans. We need to create a place where, if you like our stuff, you can come to this home and feel like it’s yours and have a sense of proprietary involvement. That’s been successful for us. When we launch a show on SYFY or TNT, we can communicate to [our fans]. It’s been working at a level that’s been surprising.”

FAST TIMES

Cineﬂix Rights operates a portfolio of FAST channels in the unscripted space and has seen their value, especially when it comes to data and analytics.

“AVOD and FAST provide an exciting opportunity to exploit series in our library that, for whatever reason, we may no longer have a home for through a traditional licensee,” Misselbrook says. “We’re seeing very strong engagement from audiences on these services being reconnected with their favorite series in a free environment, and this area of business remains a real growth engine for us and an integral window in a show’s lifespan. What’s also particularly interesting is the rich level of data we get from these platforms, which we can feed back into the business to inform broader editorial decisions.”

AVOD and FAST aren’t teeming with originals yet, with just a few of the major players— among them Roku, Amazon Freevee and Tubi—commissioning their own productions. But producers and distributors are eagerly watching this space.

“We’ve seen impressive growth of AVOD services in recent times, and we’ll continue to see expansion,” Misselbrook says. “AVOD services are already investing in the scripted space, albeit it’s quite limited when compared to SVOD or broadcast, but with the continued trajectory of AVOD, my feeling is we will see an increase in investment across both ﬁlm and scripted series.”

Escapade Media’s slate includes the 1970s-set drama Portobello Road, executive produced by Eric Clapton.

As MIPCOM celebrates Spain this year, Onza Distribution arrives at the market with Traffic Jam, a Prime Video original.

Ncuti Gatwa & Millie Gibson Doctor Who

An iconic BBC institution, Doctor Who has been delighting fans since the 1960s. The series, about a humanoid extraterrestrial who bops through time and space in what looks like an old British police box, ended its initial run in 1989 before being successfully rebooted by acclaimed showrunner Russell T Davies in 2005. Davies left the show in 2010 as David Tennant’s Doctor gave way to Matt Smith’s. Eleven years later, Davies was lured back, telling World Screen earlier this year: “In 2021, the BBC was already looking at the property and thinking, Let’s move this forward to the next stage and look at those international streamers—what if it stepped up in production, visuals, style and broadcast to become a show that drops internationally? I loved that ambition.” The latest season arrived this year on a new home outside of the U.K., Disney+, with a brand-new face as the Doctor, Ncuti Gatwa, in his biggest role since his breakout performance in Sex Education. Gatwa is joined by Millie Gibson as his traveling companion, Ruby Sunday. By Mansha Daswani

TV DRAMA: Tell us about the work you had to do to prepare for a role like this.

GATWA: I watched a lot of the show. I kept rereading Russell’s scripts time and time again; the typical actor work you do—lin ing out your intentions and your objectives and all of that. But it was very useful for me to watch as much of it as possible and immerse myself in the world.

GIBSON: I remember my ﬁrst audition being a self-tape, and I sent it off to my agent, and he said, Don’t ask why; do it again. I remember I wore a Tardis jumper, and I did it again. My agent said, That’s perfect! I said, Let’s see what happens. I went off and got a callback, and from then on, it was madness and magic. Their bond is there from the off.

TV DRAMA: How much of the past—the legacy of past Doctors— do you bring with you to the role, especially as the season launched on a new platform with the potential to reach lots of new audiences?

GATWA: In that preparation, I remember thinking, I don’t have enough time to go back 60 years and do character research on every single one from classic up to now. All I can do is immerse myself, watch it and let whatever happened by osmosis happen. In terms of intentions, objectives and unity, that has to happen with the scripts I’ve got here and now. So, in terms of that actor process, it can only be from the here and now and going forward, which is quite handy when you’re thinking about this

new era that we’re in. There’s a certain amount that you have to just part with and do your own thing and not be tied to the chains of the past, no matter how informative they are.

TV DRAMA: What was that process like for you, Millie, as you looked back at some of the past companions?

GIBSON: As much as I admire and take on all of their performances, I ultimately left them all behind and wanted it to be my own. Ruby is so unique. The purpose of her youth plays into how I play her. There’s a certain level of innocence to her and a curiosity that the Doctor and Ruby relate to. I had a free-for-all with her and wanted her to be completely different but equally effervescent as the previous companions.

TV DRAMA: Tell us about the overall arc you’re on in the eightepisode season.

GATWA: The mystery of Ruby Sunday is the arc and all the adventures we get up to. The Doctor has seen something so special in Ruby Sunday. From the off, there are supernatural creatures following her. There are goblins. The universe has spotted her for reasons; there’s something special about her. The next time he sees her, she’s jumping on a ladder that’s controlled by goblins to go up in the sky. And he goes, That’s my girl! Their connection is constantly solidifying. That’s a really nice theme that also runs through the series—their friendship and [the idea of a] chosen family.

All3Media International’s Joan

A WORLD OF DRAMA

The latest edition of the TV Drama Screenings Festival spotlights some of the hottest new and returning scripted properties available today.

Airing on ITV, Joan, which leads off All3Media International’s TV Drama Screenings Festival highlights, tells the true story of the U.K.’s most notorious jewel thief, Joan Hannington. “Starring Game of Thrones’ Sophie Turner, this new drama is brought to the screen by a stellar creative team, including The Thief, His Wife and the Canoe director Richard Laxton and Mrs. Wilson writer Anna Symon,” says Jennifer Askin, senior VP for North America. “Having presold in six continents and with a host of premium partners attached, including U.S. co-producer The CW, CBC and BritBox, Joan is a sparkling, exhilarating and emotional drama that we’re excited to continue to take to international buyers.” Askin also highlights the three-part Lost Boys & Fairies, “which explores the universal themes of

fam ily, love and parenting through the perspective of gay adoption,” Askin says, adding: “With an impressive round of international sales recently announced, including BritBox’s acquisition in the U.S., we are thrilled to see this remarkable series traveling to such premium partners around the world.”

Leading Distribution Partners (LDP) is targeting the healthy appetite for movies with its MIPCOM lineup. The slate includes My Norwegian Holiday. “Set in the enchanting town of Bergen, Norway, this heartwarming holiday ﬁlm follows Lukas and JJ as they navigate family tensions and personal challenges,” says Gavin Tyler Reardon, president of global distribution. Sealed with a List, meanwhile, is a “charming, feel-good story,” Reardon says.

Best known for its U.K. drama slate, All3Media Inter national is also coming to MIPCOM with Australian offerings like the six-part Crit ical Incident. “We’re thrilled to collaborate with leading partners in the AsiaPac region, particularly in Aus tralia, where Matchbox Pictures, a storytelling powerhouse, has brought this project to life,” says Tony Ziran Tang, VP of sales for China, Japan, South Korea and Taiwan.

“Critical Incident is a psychological crime thriller that dives deep into universal themes like policing, justice, crime and morality. With a cast led

Leading Distribution Partners’ Sealed with a List

Atresmedia Televisión’s Eva & Nicole

by Akshay Khanna and Zoë Boe, powerful performances bring true authenticity to the story, elevating the series to a whole new level.” Tang will also be highlighting to his AsiaPac clients the Company Pictures detective drama Ellis.

With Spain being celebrated as the Country of Honor at MIPCOM, the territory’s strong capabilities across multiple genres will be on display, including in compelling scripted series. Atresmedia Televisión’s content-sales department arrives in Cannes with Eva & Nicole, which Jose Antonio Salso, head of acquisitions and international sales, bills as a “visually striking dramedy that brings the vibrant nightlife of 1980s Marbella to life with glamour, extravagance and intrigue.” Also on offer is the period drama Beguinas (Beguines).

Turkey was feted as the Country of Honor at MIPCOM almost a decade ago and continues to see its exports conquer new territories. Among the wealth of Turkish content distributors heading to Cannes, atv Distribution is unveiling The Nightfall, “a mesmerizing tale of impossible love, set against the

Calinos Entertainment’s Hidden Garden

breathtaking views of Pamukkale and Istanbul’s Asaf Bey mansion,” says Müge Akar, head of sales.

Calinos Entertainment, meanwhile, will be at the market “celebrating our 25th year of leading the international sales of Turkish dramas,” says Asli Serim, head of sales. The company’s lineup at MIPCOM is led by the brand-new Hid den Garden, starring Ebru Şahin and Murat Yıldırım, alongside returning hits like Farah, adapted from La chica que limpia.

Also showcased in the TV Drama Screenings Festival is All3Media Interna tional’s Dead and Buried from Three River Fiction and Vico Films and starring The Split’s Annabel Scholey. “Universal themes of grief and obsession, complex, fascinating, funny characters and a compelling, twist-ﬁlled script make Dead and Buried a fantastic addition to our standout slate of four-part psychological thrillers,” says Jonathan Hughes, VP for France, Germany, Benelux, Austria and Switzerland.

All3Media International’s Dead and Buried

SERVING DRAMA

GoQuest Media’s Vivek Lath talks about the company’s new “make-to-sell” strategy.

By Kristin Brzoznowski

Building and nurturing relationships with content creators and global platforms over the last 11 years has equipped GoQuest Media with a keen ability to identify stories that resonate internationally. “We wanted to advance to the next stage of the creative process by developing our own IPs and expanding their licensing opportunities through our distribution expertise,” says Vivek Lath, managing director. The company has employed a new “make-to-sell” approach that not only diversiﬁes its revenue streams but also creates multiple channels to reach audiences, “thereby generating various income sources for all involved parties,” Lath says. “We

GoQuest Media’s Kuma (The Other Wife).

aim to enhance market resilience by producing content tailored for multiple countries, mitigating exposure risks in a volatile economy. Our extensive client network worldwide provides us leverage in negotiations, enabling us to secure favorable terms and agreements for our content.”

GoQuest is applying its distribution experience to select and back projects that meet global audience demands, starting with the Turkish romance and family drama Kuma (The Other Wife).

“We are heavily investing in engaging local writers to pitch their stories to us. ”

—Vivek Lath

“We are heavily investing in engaging local writers to pitch their stories to us,” Lath says. “Once selected, we identify suitable production partners who can do justice to the story. Together with our ﬁnancial backing and distribution expertise, we aim to elevate these projects to an international audience. We also seek international partners to share costs and risks, ensuring our projects are both safer and more manageable.”

As the company has a drive to make content that will appeal to many people, producing a Turkish series was always on the cards. “We deliberated over the story for Kuma for nearly a year before giving it the greenlight,” Lath says. “Kuma offers a complete package for Turkish dizi enthusiasts, featuring a love triangle set against the backdrop of two families with contrasting values.”

SecretPearls of

The cast of Secret of Pearls takes TV Drama behind the scenes of the Turkish drama. By

Kristin Brzoznowski

In the Turkish drama Secret of Pearls , Azem, once a beloved literature teacher with a happy life, finds everything upended when he’s imprisoned for murdering his wife—a crime he didn’t commit. The series, produced by BKM for Kanal D and sold globally by Kanal D International, debuted earlier this year to much success.

Screenwriter Yılmaz Erdoğan, who also stars, said that it was the concept of sacriﬁce that he wanted to play off of. “I was captivated by the relationship between love and sacriﬁce,” he says. “My hero took the blame for someone else’s crime and spent ten years in prison because of it. I wanted to think and write about the reasons and consequences of that. This man was a wise man, a teacher and a relic of an older moral code in modern times.”

He also highlights the concept of family and the fragile, thread-thin bonds between family members. “People are like precious pearls, but the thread that brings them together into a necklace is fragile,” Erdoğan says. “Once that thread breaks, can it ever be mended the way it was before?”

Co-star Selma Ergeç says she was impressed with the script right from the start, “especially the beautifully crafted dialogue.” She adds that a good story may seem local, but it

is actually universal. “ Secret of Pearls raises questions about humanity. It delves into how what appears on the surface can be so different from the underlying reality. Like life, tragedy and comedy are intertwined.”

For co-star Hazar Ergüçlü, “the ﬂow of the script and the depth of the characters, how close they feel to reality” were the attractions. “Looking at the characters, we fully see human nature. There’s a part of all of us in each of them. I think this is what makes the series universal. Everyone who watches it ﬁnds a piece of themselves.”

Kubilay Aka, co-star, agrees that the international appeal lies in the “deep and universal themes about human nature.” He adds, “It’s a local production that also addresses real societal issues. Yılmaz developed a narrative in the series that carries elements of both Turkish culture and universal human experiences. Themes such as family ties, love and pain born from loss are universal, allowing viewers from all over the world to find themselves in the story.”

The project was a departure for Erdoğan, though. “Before this, I mostly made films. I worked on one sitcom, which became a phenomenon and introduced me to the public, for seven years, writing and acting in it. I’ve worked on some dramatic films, but this is the first time I’m writing a long-format television series. The structure of this dramedy (a dramatic story that doesn’t forget the ironic, contradictory and humorous details of life) is different from any thing else I’ve done. Since we’re essentially shooting a 140-minute film every week, as is common in our country, it’s different in every aspect. While it’s exhausting, when you manage to reach the audience, it brings immense joy. As more people connect with it, the story and the project take on greater meaning.”

Erdoğan also speaks to the appeal of Turkish dramas in the global market. “It’s a multi-faceted issue, both in terms of content and storytelling,” he says. “But the main reason is that women, particularly in daytime slots around the world, have shown a strong interest in large-scale, wellcrafted productions that convey emotions to the audience. The reason for this interest is that they’ve grown to love our storytelling and style. They believe in our love stories, conflicts and so on. The impact of star actors on audiences has also helped create a lasting viewer base. What makes a story is conflict. People around the world have found our conflicts relatable. If our conflicts are similar, then our lives are too.”

There’s also an excellence in production quality, adds Ergeç. “We have people who can work at a global level in every area of the industry. We’re fast, and now we have a black belt in problem-solving. Additionally, we produce work in a broad spectrum of genres. However, I believe the Turkish ﬁlm and TV industry has the potential to achieve much more.”

Ergüçlü agrees that the production quality of Turkish dramas shines through. “From the decor to the setting, costumes and editing, each aspect receives a lot of effort, attention to detail and quality.”

Aka, meanwhile, puts it down to the universal themes and strong characters. “Turkish series integrate local cultural touches with effective storytelling, attracting the interest of viewers. This enables Turkish dramas to reach a wide audience.”

Kanal D International’s Secret of Pearls

Mark Gatiss

By Mansha Daswani

Even amid a slowdown in the U.K.’s scripted sector, Mark Gatiss is managing to stay busy by flexing his multiple talents. He currently stars in the BBC and Masterpiece production Moonflower Murders , with a UKTV original, Bookish, which he also wrote, headed to screens in 2025. He frequently stars in and directs U.K. stage productions and, in 2025, will return to the Mission: Impossible film franchise. Gatiss is currently at work on a new installment in the beloved A Ghost Story for Christmas franchise. Amer ican Public Television (APT) Syndication has partnered with BBC Studios to offer all six Ghost Stories installments for select public-television stations to independently choose to license and air in their local markets. Gatiss talks to W orld S creen about hi s work on the BBC tradition and reflects on the state of the business today.

WS: You’ve been making Ghost Stories installments for a while now. Take us back to the beginning. What made you want to be part of this classic BBC tradition?

GATISS: I loved them as a kid. Lawrence Gordon Clark’s 1970s ones were an absolute tradition in my house. The ones I remember the most vividly are The Treasure of Abbot Thomas , The Signalman and Lost Hearts . I watched everything supernatural when I was a child, and they were the ultimate expression of that. I’ve always loved Christmas and ghosts and the whole package. In 2013, I was asked by the BBC to do a documentary about M. R. James. It was one of the busiest years of my career. I look back at that year and I can’t quite believe how much I did! I said I was too busy and they kept asking, so I said I’d do it on one condition, which is I write and direct another story. And they said yes. I did The Tractate Middoth and said, Can I do another one? And they said, We don’t have any money! [ Laughs ] It took another five years of begging. The then controller of BBC Four said, Can you do it for X? I won’t say how little it was. That’s how The Dead Room happened. And I’ve done one every year since. It’s always a struggle. The problem is it’s an extinct format. It’s essentially a tele vision play. It’s a half-hour. They are being grouped together now, and it becomes an anthology. But doing it once a year for half an hour, it’s very difficult to find the money. In the last few years, BBC Arts has come through.

WS: Is it a different creative process than working with a traditional 90-minute or 60-minute slot?

GATISS: They’re short stories, so you know essentially how it’s going to work. It’s not a novella. I did write a script for Casting the Runes , which is probably M. R. James’ most ambitious story. It simply wouldn’t ﬁt in the slot. It’s definitely 45 minutes, at least! The one I’m doing this year is quite a small story. There is a natural structure to them. It’s like telling a joke. You know you want to end on some kind of nasty punch line. It’s quite a nice format. You can do a lot in half an hour with a little story.

WS : You mentioned Casting the Runes being too long for the slot. What are some of the other factors you consider when deciding what to adapt?

GATISS: It’s a combination of things. I’d always wanted to do Martin’s Close —it’s an underrated little story. It was doable because it wasn’t going to be very expensive. The year after, 2020, I wrote an original story, and then Covid happened. It was about old people dying in a hospital, and I thought, I think people want some M. R. James! So, in that instance, I chose The Mezzotint because I knew it was contained. It was made under Covid regulations. It’s about a drawing that appears to come to life. I knew I could do it because it wasn’t seven big crowd scenes! The one I’m doing this year, I knew we’d have to make the props of the tombs that come to life, and we couldn’t afford it, so I put it on hold and did Count Magnus , even though it’s set in Sweden. Sometimes it’s a story you like. Sometimes it’s what makes sense for the slot and the circumstances.

WS: Christmas programming in the U.S. is synonymous with feel-good holiday movies. For those outside of the U.K., could you give some context for this British tradition of ghost stories at Christmas?

GATISS: A very easy international example is the enduring popularity of A Christmas Carol . In a way, Charles Dickens invented the idea of Christmas and ghosts, except that he was tapping into a very old tradition of wintry storytelling. It’s an interesting time of year. It’s very jolly but also very melancholy. Christmas can be a difficult time for people. The ones we remember from our childhood are optimistic and positive. When you start losing people, it can become very sad. You’re looking backward and forward. It’s the perfect time to think about something else. If you feed into that the idea of Scrooge and a dark, wintry, snowy night and someone spectral turns up at your door, it all slots together! M. R. James used to read his stories aloud on Christmas Eve. It’s a weird thing. And incredibly British!

WS: Now that it’s available as a collection, do you think audiences will watch all of them in one sitting? I would!

GATISS: From some audience research, we’ve found that people tend to watch two at once. That’s probably because they feel, I liked that, I’ll watch another one. You might not want to watch seven in a row. I keep arguing that we should either make two at once, to save money, or do a longer one! The BBC has been fantastic in helping me try to keep the tradition going. It’s a tough thing to sell, unless you can do something like this, which is group them together.

WS: From your vantage point as a writer, producer, director and actor, how do you see the scripted landscape today?

GATISS: It’s very exciting because it’s all changing. It’s scary. My new show for UKTV is probably going to come out next summer. Traditionally, summer is not a good slot. But now it is. No one knows anything! What’s happening at the moment, some of it is a natural reaction to the fact that post-Covid, it was like the Wild West out there. It was unsustainable. Everyone knew it was. So, this is a corrective. It hasn’t gone back to normal; it’s gone sub-normal. It’s so quiet! It’s going to pick up soon. But the larger picture is interesting. Some of it is terrifying. A friend sent me an AI version of my voice. It was me talking. And it was petrifying. But I truly believe it’s a bit like the arts and crafts movement at the turn of the 20th century or 3D—AI will go to an extreme, if we don’t all blow ourselves up, and then people will react against it because they want something tangible. That will be great news for theater. In terms of TV and film, it will be a craze, but people don’t want that [forever]. You don’t want it to look incredibly real. You want a patina of romance, otherwise it’s just your life. I hope that’s what will happen. There will be a pullback. I don’t want to be luddite about it. The evolution of it is endlessly fascinating. The talkies were the death of the silents; television was the death of cinema; we’ve been here many times. It tends to come back, doesn’t it?

WS: I also think the U.K. and a lot of other markets have long known how to make television at more affordable price points; I expect a return to that would also help. GATISS: Prog rock had lots of gatefold albums that cost millions, and then you needed punk to correct it. With a revolution comes smaller, more interesting stuff. I think that’s where we are. A lot of these big movies are too big to fail. But when they start failing, maybe something more interesting will come out of it.

The Mezzotint, based on an M. R. James story, aired on BBC Two in 2021.

Norman Reedus

By Mansha Daswani

Man y of the original cast members of The Walking Dead did not survive the hit zombie apocalypse drama’s penchant for suddenly killing off its main characters. Norman Reedus, as Daryl Dixon, made it through all 11 seasons of the AMC drama—being upped to series lead in season nine—and was then tapped for his own franchise extension. In its first season, Daryl Dixon brought its titular protagonist to France. In its second season, which recently launched on AMC and AMC+, Dixon is on a quest to protect a young boy and is reunited with fellow Walking Dead survivor Carol, played by Melissa McBride. While in Spain filming season three, Reedus spoke to World Screen about his journey on the show.

WS: Where is Daryl Dixon as you embark on season two?

REEDUS: He’s fully involved with the people that he’s with now. He’s grown very fond of them. He initially took on this task just to get from point A to point B. Because of the circumstances and the situations, he’s starting to care for them. He’s starting to want the best for them. He’s made a promise to look after this kid and get him to a safe place because he’s being chased. He doesn’t think this kid’s going to survive on his own. The world’s a bad place, and he’s got to make sure that they’re OK. So, going into season two, he’s at the height of all of this. He’s just fully engulfed!

WS: You’ve embodied Daryl Dixon for 14 years. What have you learned on this journey with the character?

REEDUS: It’s a real gift to be able to play a character for this long. Daryl is so different from when he ﬁrst started on this show. He’s trying to make better decisions. He’s been inﬂuenced by the people in his life as he’s gone on this insane journey. Daryl from season one would have just fought someone! He’s got other people to think of besides himself. What’s best for them?

WS: The Walking Dead: Daryl Dixon started with you in France. You’re shooting season three in Spain. Has the franchise expanding its geography allowed you to take the character places you couldn’t have imagined at the outset?

REEDUS: I don’t think Daryl would have ever thought he’d make it to Paris. There’s something [special] with this storytelling, taking that character from those woods and having him look at the Eiffel Tower and the architecture and the way people live there. There’s a great scene in season one where he sees an older couple in a window. He can hear someone playing a cello or a violin. Life and culture—they’re ﬁghting to keep these things. That character has been ﬁghting and running his entire life. Even before the apocalypse, he didn’t like his life. When [his brother] Merle left, he could slowly become a new person. It’s a gift to be able to play a character who evolves. Especially a character who you get so wrapped up in. You have all these theories of what he should and shouldn’t be.

WS: Season two sees the return of Melissa McBride as Carol. What’s it been like working with her again?

REEDUS: I’ve been waiting for Melissa to show up since I got here. It’s like one of those days you mark on your calendar. Those two characters together are dynamic. They always have been, even when the show started. Those two characters were always looking after each other, checking in on each other, while all this other drama was happening. The best part about that relationship is it’s earned. People watched them earn their relationship. When they meet, ﬁnally, it’s earned. The scene had to live up to it. It couldn’t just be, “Oh, hey!” You take Daryl at his lowest moment— he’s failing miserably, everything’s burning around him, and he’s trapped. He’s lost. He has one chance to get out, and his headspace is nowhere near running into Carol—and he runs into her. It’s like the world stops. We nailed that reunion.

WS: Season three was announced before season two premiered. Do you have a sense of how much longer you want to tell the story of Daryl Dixon?

REEDUS: I’ve put too much work into this character to just wave to the camera and go home. Here’s the drone shot! It has to be good enough. It’s all a business, but to me, it’s beyond a business. I’ve learned so many things as Norman playing this character. I’ve grown up playing this character. I’ve changed in many ways that coincided with this character. And these two characters together [Daryl and Carol], I want them to have peace. I want them to have a good ending. When people ask, How do you see Daryl’s ending? I used to joke: He walks up over a mountain and a little puppy comes out of the ﬁeld next to him, and he just follows him, and people go, whatever happened to that guy? I don’t feel like that anymore. I want to see a conclusion.

Distribution Shifts / Wildlife Docs / Trilogy Films’ Dawn Porter

The Secret Lives of Mormon Wives ’ Danielle Pistotnik

Criminal Intent

I remember watching Robert Durst’s bathroom hot-mic confession as it played out on HBO in The Jinx; it was one of those eye-popping, text-your-friends-about moments that still happened in 2015, even as the streaming revolution was in full swing.

FEATURES SURVIVAL SKILLS

Leading factual distribution executives weigh in on funding challenges and opportunities, FAST potential and curating compelling slates for buyers.

Ricardo Seguin Guise

Publisher

Mansha Daswani

Editor-in-Chief

Anna Carugati

Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Senior Associate Editor

Alexa Alfano

Associate Editor

David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Ute Schwemmer Bookkeeper

The best documentaries do still deliver their fair share of what-just-happened? scenes. (There were several in HBO’s recent Chimp Crazy, but I resisted the urge to text my friends—there is nothing worse than a spoiler.) But I’m a little unenthused about the overall state of true-crime documentaries today. Like many, I love the genre. This surge in truecrime docs should be a content heyday for me, but in reality, I’m a little underwhelmed, especially by the ones that promise to be revelatory and end up leaving me with more questions than answers (the worst being, why’d I waste my time watching this?). Then there are the ones that ultimately leave you just feeling icky. You never want to be the casual observer of someone else’s suffering.

“Viewers like to binge on true crime, but they don’t want to feel like they’re indulging in the pain of a family or exploiting the victims in any way,” Poppy McAlister, the head of TVF International, said at our TV Real Festival this summer in a session on true-crime docs.

That panel also featured Kate Beal, the founder and CEO of Woodcut Media who also chairs the Association of True Crime Producers. “The whole point is to put the victim ﬁrst,” she said. “You want to know that the memory, the family, the legacy of that victim are treated in the most respectful way.”

WILD TIMES

Environmental concerns, technological developments and the continued need for co-productions are reshaping the nature and wildlife filmmaking space.

JUST THE FACTS

Whether you’re searching for compelling history, stunning wildlife, buzzy reality or gripping true crime, you’ll find a standout selection in our latest edition of the TV Real Screenings Festival.

INTERVIEWS

Ricardo Seguin Guise

President

Anna Carugati

Executive VP

Mansha Daswani

Associate Publisher

Kristin Brzoznowski

VP, Content Strategy

TV Real

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

Phone: (212) 924-7620

Website: www.tvreal.com

True crime leads the factual commissioning market and may be crowding out other genres, but those we spoke to across this edition are feeling upbeat about the sector at large. Our distributors’ survey explores funding innovation and FAST channel expansion. We spotlight the always-in-demand wildlife and nature segment. Dawn Porter talked to us about ﬁnding opportunities to explore the topics that move her, from the life of Luther Vandross to the history of the U.S. Supreme Court. Even in reality TV, where it was starting to feel like everything that could be done had been done, Hulu struck a chord with The Secret Lives of Mormon Wives. We talked to Danielle Pistotnik, who was part of the team at Select Management Group that took a TikTok social media inﬂuencer scandal and turned it into the streamer’s biggest unscripted reality show this year. Mansha Daswani

The Secret Lives of Mormon Wives’ Danielle

Trilogy Films’ Dawn Porter

Pistotnik

Albatross World Sales

Norway—A Call from the Wild / Eco Crimes / Beaches of Europe

Albatross World Sales has among its offerings Norway—A Call from the Wild, in which ﬁlmmaker Asgeir Helgestad documents the state of nature in his home country. “Already an award winner, the title offers breathtaking cinematography and a personal narrative that highlights the universal theme of nature’s vulnerability,” says Anne Olzmann, managing director. The Eco Crimes three-part series delves into the world of environmental organized crime, while Beaches of Europe visits six different beaches and shows how they were formed by geological, meteorological and biological forces and also shape nature above and below the water. “Our goal is to highlight stories that entertain, educate and inspire, with a strong emphasis on environmental awareness, cultural exploration and human connections,” adds Olzmann.

APT Worldwide

“At MIPCOM, our mission is to showcase compelling, high-quality content that resonates with global audiences.”

—Anne Olzmann

Georgia O’Keeffe: The Brightness of Light / Coronation Girls / The Cure for Hate: Bearing Witness to Auschwitz

APT Worldwide’s Georgia O’Keeffe: The Brightness of Light, from Academy Award-winning director Paul Wagner, is “a fascinating exploration of the life and work of renowned artist Georgia O’Keeffe,” says Judy Barlow, VP of business development. The hour-long documentary Coronation Girls looks at a group of Canadian women who attended Queen Elizabeth II’s historic coronation in 1953. Some 70 years later, the ladies reunite and receive a surprise visit from King Charles III. The Cure for Hate: Bearing Witness to Auschwitz proﬁles Tony McAleer, a former skinhead and Holocaust denier who travels to Auschwitz on a personal journey of atonement, exploring the conditions that allow people to join extremist groups. APT Worldwide is also offering a collection of Rick Steves travel specials.

Autentic Distribution

“We have new series and specials ready for broadcast, streaming, educational, inﬂight, footage licensing and other rights.”

—Judy Barlow

Dying Democracies—Europe in Decline / Katavi—Africa’s Last Refuge / Rum & Revolution—History of Havana

For MIPCOM, Autentic Distribution is highlighting Dying Democracies–Europe in Decline . The documentary uncovers how Hungary, Italy, the Netherlands and France are slipping into illiberal democracy, using democratic processes to dismantle freedoms. In the nature and wildlife title Katavi–Africa’s Last Refuge , an extreme weather event hits Katavi National Park in Tanzania, sparking conflict and alliances among hippos, crocodiles and lions as they struggle for survival. Rum & Revolution–History of Havana highlights the metropolis during the mid-20th century. The title “provides a captivating exploration of Havana, blending its rich history with a touch of celebrity allure,” says Mirjam Strasser, head of sales and acquisitions.

“We are a reliable source for documentaries that make a meaningful impact.”

—Mirjam Strasser

Coronation Girls

BossaNova Media

Seized at Sea / Tsunami: The Day the Wave Hit / Mysteries of…

Seized at Sea, on offer from BossaNova Media, follows the template established by Borderforce USA , which rolled out in May 2023 on Discovery Channel. The new 12-part Seized at Sea follows the work of the U.S. Customs and Border Protection as it battles to stop smugglers and traffickers from breaching the country’s borders. Tsunami: The Day the Wave Hit provides an “emotional and heroic look at the human stories of December 16, 2004,” explains Holly Cowdery, head of sales at BossaNova. Mysteries of… explores the secrets behind three phenomena: Stonehenge, the Loch Ness Monster and giant sinkholes. Seized at Sea, Tsunami: The Day the Wave Hit and Mysteries of… have “unique storylines, strong characters and fresh perspectives,” says Cowdery.

Nacelle Company

Icons Unearthed: Tom Cruise / Game Changers / The Toys That Made Us

Nacelle Company is highlighting season ten of the Vice TV series Icons Unearthed , focusing on actor Tom Cruise. Icons Unearthed: Tom Cruise delves into the highs and lows of the star’s career through the eyes of the people who have worked beside him. The first season of Game Changers also tops the company’s MIPCOM roster. Airing on Max in the U.S., the title explores the history of popular games and their influence on today’s society. Seasons four and five of The Toys That Made Us continue to take viewers behind the scenes of the culture-impacting toys from their childhoods. “The most consistent comments we’ve received over the last five years have been some sort of inquiry about the future of The Toys That Made Us,” says Brian Volk-Weiss, CEO of Nacelle.

NHK Enterprises

Game Changers

“Our goal at MIPCOM is to further expand our client base, diversify within the VOD space and sell as many hours as possible.”

“Nacelle has established itself as one of the premier producers of pop culture programs with proven global appeal.”

—Brian Volk-Weiss

Mighty Monkey (w.t.) / Ryuichi Sakamoto: Last Days / Chasing Perfection: Four Seasons with Japan’s Master Gardeners

At MIPCOM, NHK Enterprises (NEP) is presenting “exclusive and one-of-a-kind stories that only NHK has access to,” says Akiko Nakano, senior manager of content sales. Mighty Monkey (w.t.), produced by NHK and NEP in co-production with NDR, Doclights and ZDF Studios, follows Japanese macaques to see how they are able to thrive in their diverse habitat. Ryuichi Sakamoto: Last Days provides viewers with access to the late Sakamoto’s diaries and more, showing how the maestro grappled with death and lived out his ﬁnal days. Chasing Perfection: Four Seasons with Japan’s Master Gardeners visits two world-renowned gardens in Japan that “offer breathtaking views for all who visit,” explains Nakano. The cameras follow dedicated gardening professionals as they battle the elements with skill and a disciplined eye for beauty.

Ryuichi Sakamoto: Last Days

“NHK is set to celebrate 100 years of broadcasting in 2025.”

—Akiko

—Holly Cowdery

Nakano

Seized at Sea

Paramount Global Content Distribution

Nöthin’ But a Good Time: The Uncensored Story of ’80s Hair Metal / The Real CSI: Miami / 13 Days in Ferguson

Paramount Global Content Distribution is offering the three-part docuseries Nöthin’ But a Good Time: The Uncensored Story of ’80s Hair Metal , showcasing the notoriously wild 1980s hard rock phenomenon. “ Nöthin’ But a Good Time is perfect for international audiences, as it explores one of music’s most iconic eras with bands that were not just recognizable but hugely popular in many international markets,” says Lauren Marriott, senior VP of content partnerships and brand strategy. The Real CSI: Miami is a true-crime series that seeks out the stories that inspired the hit scripted franchise. The one-off documentary 13 Days in Ferguson explores the riots, protests and aftermath that occurred in Ferguson, Missouri, following a police shooting of a young Black man.

Passion Distribution

Virgin Island / Monsters of the Deep / Love My Face

The social experiment Virgin Island, part of the Passion Distribution slate, sends 12 individuals with intimacy anxieties to a luxury island retreat where they undergo a bespoke program of transformative therapies to help them overcome their insecurities. “The uniqueness of the tabooshaking premise—focusing on adults experiencing intimacy anxiety—combined with a reality-based therapeutic approach makes this series highly relevant in today’s social environment for everyone struggling to form relationships in the modern world,” says Emmanuelle Namiech, CEO. The documentary series Monsters of the Deep, featuring Steve Backshall, explores the mysterious creatures living in the depths of our oceans. Love My Face is a factual entertainment series focusing on individuals with visible facial differences.

PBS Distribution

Decoding the Universe / Suddenly Royal / Leonardo

Decoding the Universe , presented by PBS Distribution, explores the groundbreaking discoveries that have transformed our picture of the universe over the past 50 years, shedding light on exoplanets, supermassive black holes and the size of the cosmos. It also follows the teams who are trying to solve two of the biggest mysteries in cosmology today: dark matter and dark energy. Suddenly Royal offers an in-depth exploration of the ordinary men and women from around the world who end up marrying into royalty. Leonardo da Vinci: A Film by Ken Burns, Sarah Burns and David McMahon delves into the life and work of the eponymous 15th-century polymath and traces how the artist has inﬂuenced and inspired the generations that came after him. It marks Ken Burns’ ﬁrst non-American subject.

“Paramount Global Content Distribution is once again coming to MIPCOM with a strong slate of new unscripted titles, ranging from documentaries to reality shows.”

“Passion Distribution is proud to launch a rich and deep slate of exciting new, must-watch shows at MIPCOM.”

—Emmanuelle Namiech

Decoding the Universe

—Lauren Marriott

13 Days in Ferguson

Virgin Island

da Vinci: A Film by Ken Burns, Sarah Burns and David McMahon

Rive Gauche Television

Wild Odyssey / In Their Own Words / The Case Against Cosby

Viewers can follow the ﬂow of water across the Australian continent in Rive Gauche Television’s Wild Odyssey, which promises an epic adventure through unique landscapes, uncovering connections linking all creatures and humans on Earth. Also on offer from the company, the six-part biography series In Their Own Words takes a look into the lives and minds of Elon Musk, Pope Francis, Princess Diana, Angela Merkel, Chuck Berry and Jimmy Carter. In the doc series The Case Against Cosby, a ﬁght for justice is on display, driven by the only survivor whose case could be tried in a court of law, Andrea Constand. The Rive Gauche catalog also features the true-crime shows Very Scary People, Homicide Hunter, Trace of Evil, Homicide’s Elite and Evil Twins, as well as Something’s Killing Me

TVF International

Untold Arctic Wars / The Waves That Changed Us: The Indian Ocean Tsunami 20 Years On / Japan’s Wild Side

TVF International is bringing a second season of Untold Arctic Wars to MIPCOM. The ﬁrst revealed the Arctic’s role in World War II, and the new season examines the global distribution of power and ﬁght for land in the Arctic region during the Cold War years. “With backing from a consortium of Nordic pubcasters, the series is exactly the sort of high-end, premium factual [that] travels globally, and the story it tells is of truly international importance,” says Sam Joyce, senior acquisitions manager. The Waves That Changed Us: The Indian Ocean Tsunami 20 Years On examines how the 2004 Indian Ocean tsunami, which devastated communities across Asia, has had a lasting impact that still reverberates today. Japan’s Wild Side tells the story of Japan’s wildlife across all four seasons.

ZDF Studios

Fateful Planet / Unearthed—The Mystery of the Shaman Woman / Welcome to the Forest

ZDF Studios’ Fateful Planet details the history of Earth, from asteroid strikes and volcanic eruptions to global climate crises and periods of mass extinction, and highlights the planet’s recovery after devastating events. Unearthed—The Mystery of the Shaman Woman delves into the mystery of the shaman grave of Bad Dürrenberg, a key finding from one of the last hunter-gatherer groups that was discovered by Nazis. “The film compares the researchers of the Nazi era, who misrepresented and instrumentalized their findings, to today’s researchers, who meticulously compile findings and evidence and use crossdisciplinary methods to examine them,” says Ralf Rückauer, VP Unscripted. Welcome to the Forest centers on foresters and scientists working to increase biodiversity.

“We are incredibly proud of the slate we have assembled this year, which represents bestin-class factual projects.”

—Sam Joyce

“Our catalog includes a wide range of excellent documentaries from talented producers and renowned coproducers.”

—Ralf Rückauer

Welcome to the Forest

In Their Own Words

Untold Arctic Wars

Studios’

ZDF

Unearthed—The Mystery of the Shaman Woman

SURVIVAL

Leading factual distribution executives weigh in on funding challenges and opportunities,

FAST potential

and curating

compelling slates for buyers. By Mansha Daswani SKILLS

The factual world is dealing with the same challenges everyone else is confronting, but the sector is in a better state than most.

Entertainment, reality and docs saw a decline in commissions last year, as all genres did, “but that fall wasn’t as dramatic as the rise we saw in 2022,” Fred Black, principal analyst at Ampere Analysis, told delegates at the TV Real Festival this summer.

Black added, “In 2020 and 2021, scripted commissions outweighed documentary commissions in six of the eight quarters. In the eight quarters since the start of 2022, scripted commissions have only exceeded documentary commissions once. Meanwhile, reality commissions are about level with the number of scripted commissions. As these platforms start to cut back and look for more cost-effective ways to make content, unscripted’s relative importance to the industry is on the rise, even if we’re seeing commission volumes start to stall.”

“There was a lot of doom and gloom last year,” says Paul Heaney, founder and CEO of BossaNova Media, when asked how non-scripted is faring today. “I think we’ve now realized that this is the new world. This is what we have to work in, so we may as well make the best of it; otherwise, our companies and everyone else will no longer exist. We have to jump in and ensure we’re not taking too much risk. Compared to scripted, it’s a much easier genre to reset because of the budgets.”

Nikolas Hülbusch, Director Unscripted at ZDF Studios, concurs with Heaney’s assessment of the market, noting, “The

peaks and amplitudes in factual are much smaller in positive and negative ways than for scripted and other genres. We live in challenging times, but my feeling is still [that it is] a little bit less challenging for us than for our scripted colleagues.”

Anne Olzmann, managing director of Albatross World Sales, adds, “I have seen a real peak since MIPTV. At the beginning of the year, it was still quite slow, and we were wondering how the year would go. It turned out to be a good MIPTV for us. For the programs that are a quicker turnaround, it’s a bit easier than for the heavy, blue-chip wildlife ﬁlms when it comes to commissions.”

COURSE CORRECTED

Bo Stehmeier, CEO of Off the Fence, references the post-Covid boom and notes, “I think we’re going through a price correction moment, where people realized we were paying too much for content. Factual is starting to see a renaissance because it’s a fast-moving genre. If you’re a streamer, you can hyper-localize and get emotional stories on the screen faster at a much more manageable price point. Factual distribution will be the centerpiece here.”

Stehmeier believes that the “power of the commissioner is gone. A lot of the purchasing decisions are made by CFOs. The trust in the editorial teams is gone. You see a lot of money now sitting with advertisers, brands, off-air funding. There’s private money coming back into the industry. The people in control of the editorial side of the IP have been silenced. They need to be re-empowered, and I think that’s where factual distribution

comes back in because we will service them so that they feel more empowered to make purchasing decisions.”

With commissions slowing, a library of scale can signiﬁcantly impact a company’s fortunes today. Stehmeier notes that “having a solid library is the means of keeping a ﬁnger on the pulse with the client because you constantly have something relevant. As you’re there, you can also start positioning advanced acquisitions, presales and co-productions. You can only really be in service to your client if your existing catalog is solid.”

Conversely, having a library of too much content “can slow you down,” BossaNova’s Heaney observes. “I’ve tried the big, solid catalog route in a previous company. It didn’t go well, not necessarily the fault of myself. We have to build—through commissioning, acquisitions or co-productions—a slate. I hate the word ‘catalog,’ but I use it all the time anyway by mistake. You have to acquire content the way the buyers are buying, which is not building up as fast in terms of hours. Distributors, like it or not, are front and center. We do have our ﬁngers on the pulse. If we don’t, we don’t deserve to be in business.”

Stehmeier adds, “If you’re a specialist factual company, hav ing a catalog is relevant. If you’re more lifestyle, factual entertainment, it can be quite heavy because if it doesn’t shift, it rips a hole into your P&L. Having a good solid catalog [is

helpful with] AVOD and FAST. The greenest new shoots on prebuys and co-pros are coming out of AVOD and FAST. We wouldn’t be able to get to those co-pros and prebuys if we didn’t have a solid back catalog.”

At ZDF Studios, the library consists of many titles with a long shelf life, Hülbusch explains. “We acquire at a constant rate. Even if the market is challenging, we know that wildlife and history programs we co-produce, commission and acquire will still be attractive in a year or two when the market might be in a better position again.”

ON THE HUNT

The distributors surveyed for this piece think boarding projects early amid a competitive landscape is crucial.

“You have to think of the earliest stage you can get involved in and then go a little bit earlier than that,” Heaney quips. “That’s been happening for quite some time. Producers’ livelihoods are at stake. You have to listen to what the buyers tell you. That’s gold for the producers. Sometimes, they develop in a vacuum. And it’s not always their fault. Our job is to help those we think can deliver on brief, on budget, on schedule.”

“We still have all kinds of business models,” Hülbusch adds. “There are still some programs where we can afford to come on board at quite a late stage. But there is a rising number of programs which, without our input, simply would not have come about.”

Off the Fence is also seeing new opportunities for reversioning older content. “There is a lot of amazing content out there that just didn’t get seen,” Stehmeier says. “With a bit of a polish and sometimes an editorial shift, we can make it more mainstream. So, it’s not just [about coming on board] early, especially when you’re looking at feeding your FAST and AVOD business. There is still a lot of valuable content that’s not being looked at.”

Stehmeier also highlights the role distributors play in structuring shows’ financing. He notes: “Ultimately, the people who are underwriting the journey are either a distributor themselves or a fund or somebody else, and they need the skill set of a distributor in the middle to calculate the ROI and the time, how this money is going to work and who’s going to cash flow it. The distributors are becoming the financiers of many of these shows.”

“I couldn’t have gotten BossaNova off the ground without Night Train Media’s support,” Heaney says. “They brought in a fund. Ten years ago, getting content, [you] didn’t need to use as much risk in terms of investment. Probably 10 or 15 percent of the content you want out there to sell may not need a deﬁcit; ten years ago, it would have been the opposite.”

ZDF Studios does engage in deﬁcit ﬁnancing on certain productions “at a reasonable level,” Hülbusch says. “Sometimes we come on board as a development partner and then go to the market with the producer and look for international partners. That’s very time-consuming, and you need a lot of capacity to do that. Therefore, this still is and probably will stay the exception. We can afford to do this maybe once or twice a year.”

ZDF Studios still largely uses the traditional ﬁnancing rubric, consisting of a commissioner’s fee, the producers’ own investment, a distribution advance and public funding.

BossaNova Media arrives in Cannes with the brand-new series Mysteries Of…

Wildlife is a key part of the Albatross World Sales offering, including Nature ’s Leading Ladies

Heaney adds, “My ﬁrst question is, What’s the budget? And then you almost have to work backward and see where you will get to. It’s always that jigsaw puzzle. Is there a commissioner involved? What do our sales projections look like? Is there an advance we can stick in? The Development Days we do fast-track that.”

“It’s also a question of who your audience is,” Albatross World Sales’ Olzmann adds. “A lot of producers want to be on public channels. They need the big audience. That’s restricting for alternative financing.”

Stehmeier sees a wealth of potential in the world of alternative funding sources, “but that comes more from our production side. There’s a lot of need for audiovisual storytelling. It could be from brands, hotel chains or tourism boards. As a company, we attend almost as many TV festivals as non-TV festivals. So, from a production point of view, there is a lot of work out there. The distribution business then comes in and looks at the ROI. Within that conversation, we cancel out free-to-air sales because it’s too branded or too alternative. But there is a lot more money out there than one thinks. And they all want to be on television. That’s why it’s so important to have your ﬁnger in the FAST business because if you do have access to a channel, even if it’s not your own but you’re the service entity of the channel, eventually you will be able to bring those opportunities back to the FAST ecosystem.”

FAST & SLOW

AVOD and FAST present numerous opportunities for distributors across the U.S. and Europe.

“In the last three years, AVOD was 5 percent of our annual turnover, and it’s gone up to 35 percent,” Stehmeier says. “It’s becoming a real revenue driver. It’s a bit like what we used to do when we windowed between pay and free-to-air. Carving out FAST rights is becoming much more of a thing. We’ve got a lot of hopes for that part of the market.”

“Factual is an obvious place to start when rolling out FAST channels,” says Mike Gould, senior VP of digital at Cineﬂix Rights. “It has some very established subgenres that users are familiar with. The bulk of our catalog is high-volume unscripted programming, so it made sense for us to focus on those key brands and launch FAST channels with those shows as tentpole IP.”

LIBRARY SAVVY

Patrick Hörl, founder and managing director of Autentic, agrees that having a deep library is crucial. “You need to be able to focus within your genre on an IP that people like. Data about how your content performs in the broad spectrum of the AVOD world helps you make the right decision on which theme your FAST channel should focus on. It also helps you to convince the platforms why they should take your IP rather than somebody else’s. We are still trying to ﬁgure out what role brands play in the FAST world, but it’s very clear that brands help you and that established brands give you a head start against everybody else in the market. The difficult thing for us is placing the exploitation of our piece of content on FAST amid all the other monetization streams we want to utilize. That needs a lot of ﬁne-tuning in the real world.”

Building franchises has been vital for Heaney since he launched BossaNova.

“Ongoing series are the ones that you would hope the AVOD and the FAST channels want,” he says. “FAST is more single-IP driven these days. I’m taking gambles on franchises I’m starting and hoping to get beyond three series. Once you get 30, 40 or 50 episodes of something, we can think this will start throwing off income eventually. We’re polarized with content at the moment. It is franchises on one side and noisy, one- to fourparters on the other, in whatever genre you want. With FAST, it might be getting a bit easier with some bigger networks. They appreciate that this is the new world and that they will have to give us some ﬂexibility. Often, the linear channels aren’t offering as much, or they’re offering the same, and if costs have risen, it’s less money, effectively. Therefore, they are becoming easier to work with regarding the FAST and AVOD rights, especially FAST rights.”

Albatross has not put itself in the business of building FAST channels, Olzmann says, but has been licensing to AVOD and FAST operators. “It’s lucrative to ﬁnd a balance of the missing license fees from the broadcasters.”

For FAST to see real monetization gains, advertising needs to be much more targeted, Autentic’s Hörl explains. “Once the international platforms get their acts together better when it comes to selling ads, it will help all of us. We want this to be a thriving market, not just because we want to make money from our content but also because, ultimately, we want the market to be healthy enough to induce the production of new content. That’s what it’s always about. You don’t want to deal with a medium that represents a bottom feeder in the market. You want to deal with a medium that helps you create that great content that we are all so excited about.”

Off the Fence recently landed the distribution rights to the rainforest doc We Are Guardians

Wild

Times

Environmental concerns, technological developments and

the

continued need for co-productions are reshaping the nature and wildlife filmmaking space.

By Mansha Daswani

Arriving in 2025, The Americas marks NBC’s biggest-ever bet on premium factual. The ten-part blue-chip production, hailing from the acclaimed team at BBC Studios Natural History Unit (NHU) in association with Uni versal Television Alternative Studio, is narrated by Tom Hanks and features a score from Oscar winner Hans Zimmer.

“This is, as far as I understand, the most expensive unscripted project in NBCUniversal’s history,” Toby Gorman, president of Universal Television Alternative Studio, told MIPDoc delegates at a session about the show earlier this year. “It’s a big swing for us. We’re conﬁdent it’s been worth it.”

SCALING NEW HEIGHTS

While somewhat crowded out by the true-crime trend that’s dominated factual for the last year, wildlife continues to be in strong demand by broadcasters, streamers and, most importantly, audiences.

“Nature and wildlife feels very strong at the moment,” says Berend Dreier, director of co-productions and sales at production house Terra Mater Studios. “There is a strong trend for escapism. People just don’t want to be bothered by the many problems that we face while still wanting to know about them, be educated and make a difference, especially

when it comes to environmental issues, conservation issues and so on.”

Technological developments have been vital in driving the genre forward over the last few years.

“I’m convinced that storytelling and craftsmanship are crucial to the nature ﬁlm genre,” says Armin Luttenberger, head of content sales international at ORF-Enterprise, which represents the storied UNIVERSUM brand. “Technological progress has certainly led to increased efficiency on one hand. You don’t need a helicopter; you can use a drone. It also enabled new perspectives on wildlife. On the other hand, it doesn’t always get cheaper because it’s resulting in higher standards. Also, it increased costs, and [with] well-made blue-chip documentaries, the factors of time and human resources, going through the entire material, being on location, should not be underestimated. Despite all the technological progress, the success of wildlife documentaries rises and falls with creative execution and substance.”

“Cameras are being produced in 4K and now 8K resolution and even higher and getting even smaller to capture the natural world in all its beauty and glory,” Dreier adds. “With drones, for example, you can now achieve shots for a more reasonable price than when you needed helicopters. Remote cameras and camera traps also help to get the viewer into the scene and experience elusive animals and scenes like never before. The downside of that is that you get a lot of footage. I hope AI will

Terra Mater Studios specializes in high-end natural history docs like the brand-new American Amazon.

help tremendously with the archiving and tagging and making this content more available for future exploitation.”

Ambition, of course, does not come cheap, and early involvement by distributors is crucial.

“We’re particularly involved in almost all of the projects of our ﬂagship program, ORF UNIVERSUM, from the very beginning or a very early stage,” Luttenberger notes. “Our entire team values the highly professional collaboration with the colleagues in the editorial department and all the independent producers that we’re working with simply because the brand and the programs coming out of that slate are pillars of our portfolio. We support it directly through ﬁnancial contributions and by offering and seeking new co-production partners from around the globe. Coproduction is necessary because well-made nature and wildlife programming is expensive.”

Financing is taking longer today, Dreier adds. “You also have to be more creative and collaborative to get productions off the ground. We like to come in from the beginning. We want to make it a Terra Mater production or co-production from the beginning and try to steer it in a direction where everybody is super happy with the outcome, even if it sometimes means different versions to take in all the partners’ needs, which then, of course, adds a little bit to the cost.”

Joe Barrett, VP of global sales at PBS Distribution, points to the importance of co-pros at the U.S. pubcaster. “It’s important to have that gap funding piece in place and assist in the copro duction funding to get the ﬁlm across the line. It beneﬁts everybody. And when all the partners are involved right from the beginning, everyone has skin in the game.”

NATURAL CONNECTIONS

Barrett points out that for nature and wildlife documentaries to resonate globally, audiences must have an emotional connection to the subject matter.

Luttenberger adds, “It’s crucial to make the audience realize that we are sharing our home on this only planet we have. Being as clear as possible on this message will also help connect audiences to our nature and wildlife stories because a place might be far away from my home, but actually, it’s on the same ball in the universe.”

Dreier says it also helps to have a theme that resonates globally, like sustainability. “But also, the classical topics of a

natural history documentary, whether it’s an animal family ﬁghting for survival or a predator and prey.”

Delivering something viewers haven’t seen before is also paramount, Barrett says. “Having that revelation is important.”

NHK Enterprises, for example, arrives at MIPCOM with Mighty Monkey (w.t.), coproduced with NDR, Doclights and ZDF Stu dios. “Shot in beautiful 4K UHD, the cameras travel through Japan to capture unique monkey groups displaying different localized food habits, including world-ﬁrst footage of monkeys catching live ﬁsh as well as how such new behaviors spread among individuals in the pack,” says Akiko Nakano, senior manager of content sales.

Delivering that compelling access should, hopefully, help commissioners get over the line amid this risk-averse climate. On that front, Dreier is looking forward to new forms of creative and commercial collaboration to get shows made. “Financing is getting more and more difficult. We need to be more creative in how we work together and in the rights we share to get the productions out there.”

“We can all be a little braver when presenting more challenging products,” Luttenberger adds.

“Being challenged and confronted is important,” Barrett says. “Rather than [just] being confronted with an issue, I would like to see elements of, What’s a solution? Not just doom and gloom. What would offer hope to the audience?”

FAST TIMES

While addressing contemporary ecological issues and delivering solutions is key for new wildlife fare, library titles are ﬁnding renewed life on FAST and AVOD services.

FAST has been an exciting development for Terra Mater Studios, Dreier says, referencing the company’s partnership with Autentic for the Terra Mater WILD channel in Germanspeaking countries. “The data we get there, from viewer retention to ad sales, inventory sales and so on, is great. The natural history audience feels built-in with FAST channels, especially in our home turf territory. It’s also good that we have this huge back catalog. And all our content is at least HD; most is 4K already. It caters to that audience who just wants to have that lean-back experience and watch beautiful nature on their devices. It’s also a beneﬁcial extension of the life cycle of natural history content.”

Terra Mater has also found success on YouTube. “We have [more than] 450,000 subscribers now, so it’s growing steadily,” Dreier says. “Producing content for that audience works well. We published a video about the largest beaver dam on Earth, which has more than 3 million views. We want to try it to see how the long-form, 50-minute documentaries or even longer work there and understand the algorithm better.”

Barrett adds, “FAST has allowed a much broader audience to view nature documentaries because they’re largely censor-friendly. Typically, they’re family-friendly. So, you broaden your audience. Many FAST channels are becoming pickier, but they do need content. It’s been a wonderful platform for nature to be rereleased.”

Dawn Porter

Trilogy Films

Documentary filmmaker Dawn Porter has a vast body of work, with films and series that shine a light on important figures in history, such as The Lady Bird Diaries and John Lewis: Good Trouble ; and impactful societal topics, including Deadlocked: How America Shaped the Supreme Court. She has a new project coming up about Nelson and Winnie Mandela, based on Jonny Steinberg’s book Winnie and Nelson: Portrait of a Marriage. Porter, founder of Trilogy Films, tells TV Real about navigating the documentary landscape. By Kristin Brzoznowski

TV REAL: How long does the process typically take to get a documentary made, from the seed of an idea until coming to the screen?

PORTER: Every project is different. A lot depends on if you have all your funding in place. Some are meant to be a longitudinal look. My first film, Gideon’s Army, took four years. The first year was trying to find some money, pitching people and introducing myself to everybody who would listen. It took four years but three years of actual production and editing. Same with Trapped, which is a film about abortion providers working in the Deep South. We were following as all these different laws started to become enacted and the implications of them. For that, you want to take a longitudinal look. You want to see the law and then how it is affecting people. The Lady Bird Diaries was relatively fast; it was about a year. Luther: Never Too Much was about a year. Those are mostly archival. Once you’re established on your themes and what story you’re trying to tell, those can go quicker. There are some interviews in Luther , but you don’t have to schedule a ton of people, so those go quicker. [The documentary on Nelson and Winnie Mandela] will be about two years because there’s a huge volume of material, and we are interviewing a lot of people to get different perspectives. There’s a lot of nuance to the story, and not being South African, I really want to make sure I’m speaking to South African people to get it right. Fast is a year. Two years is nice. Three years is average. Some people take ten years to make a film—that’s mercifully not me.

TV REAL: You mentioned that a big piece of that puzzle is funding. How are you ﬁnding the money in the market to make your projects?

PORTER: I’ve had a number of projects come to me from networks. Usually, when they come to you, they have the ﬁnancing. Those are great; it may take several months of development, but once you’re set, the network will pay the full freight. Then there’s some private investment. [The

Mandela doc] is funded by the Schultz Family Foundation. They are interested in stories about leadership and about what politics are actually comprised of. But we’ll need more private money and then hopefully a presale for that. It’s usually a combination of some private money and then a network or a streaming service. There are also foundations, which are incredibly important to our work. The foundations are besieged with worthy projects. I don’t envy them for the job of ﬁguring out what to fund. I’ve been funded by the Ford Foundation, the Mellon Foun dation and the MacArthur Foundation. I’m really fortunate that those actors are in our marketplace. We have an ecosystem that takes a village, and we deﬁnitely need more people and more entities in it.

TV REAL: What’s your view of the nonﬁction programming landscape, and what are buyers, commissioners, foundations and private funders willing to invest in?

PORTER: There’s a disconnect between what the private funders are interested in and what the buyer/distributor entities are interested in. I’m seeing smaller budgets, longer time to “yes” and less money for socially conscious and social justice projects and more of a need for celebrity. True crime has always been its own popular genre. It’s harder to make ﬁlms that are about art or politics that are not sensational. It’s always been hard. We’ve got to be more creative. We’ve got to be really good partners. We’ve got to watch those budgets. A lot of folks are reaching out to brands, which is an interesting development. Not every film is right for brand support, but there are some. As filmmakers and producers, we have to do what we’ve always done, which is roll up our sleeves, get creative, be clear about the story we’re telling and the quality that we’re making. We also need to diversify. We’re looking at doing museum projects or projects that are more commercial, so we’re not just dependent on the commission of the broadcaster or streamer.

J UST THE FACTS

Whether you’re searching for compelling history, stunning wildlife, buzzy reality or gripping true crime, you’ll ﬁnd a standout selection in our latest edition of the TV Real Screenings Festival.

ZDF Studios arrives at MIPCOM with highlights across its key strengths of histo ry, wildlife and science. Produced by south&browse for ZDF in association with ARTE and ZDF Studios, Unearthed–The Mystery of the Shaman Woman explores a key European archaeological discovery: the shaman woman of Bad Dürrenberg. “From a time when there were no written records, this site was ﬁrst researched by the Nazis, who saw a physically strong male warrior from an ‘original Aryan race’ in the buried person,” says Ralf Rückauer, VP Unscripted. “It was, in fact, the most powerful woman of her time.” ZDF Studios is also unveiling the three-part Welcome to the Forest , which offers a unique

ZDF Studios’ Fateful Planet

perspective on battling climate change. Rückauer also highlights the ﬁve-part Fateful Planet, which “chronicles the history of our planet from its dramatic birth, through the cosmic and terrestrial forces that have shaped it.” Rückauer bills Time: A Journey Through Thousands of Years as a “groundbreaking twopart documentary focusing on the universal concept of time.”

All3Media International is catering to the surging demand for true-crime fare with a selection of titles, among them the volume offering FBI True from Bright North Studios. “Revealing exclusive insight into stories of FBI agents and their most infamous cases, this is a brand-new highproﬁle and high-volume true-crime offering,” says Caroline Stephenson, senior VP for sales in the U.K. and Eire. The company is also showcasing The Body Next Door, “a globe-spanning story intertwining a gripping and tragic mur der mystery with a dramatic family saga.” Another highlight is Confessions of a Teenage Fraudster, about con artist Elliot Castro.

MH17: The Plane Crash That Shook the World, commissioned by Channel 4, takes an in-depth look at the Malaysia Airlines ﬂight shot down by Russian-

BossaNova Media’s MH17: The Plane Crash That Shook the World

All3Media International’s FBI True

backed forces a decade ago. “It examines the disaster and its legacy, uncovering a story that takes us right up to the present day,” says Tatiana Grinkevich, head of sales at BossaNova Media, which is launching the documentary at MIPCOM. Also in the history space, the company is showcasing Greatest Escapes of World War 2. Meanwhile, Professor Alice Roberts explores Greek history via rail through Greece and Turkey in Ancient Greece by Train. “Having explored Ancient Egypt and the Ottoman Empire by train, Professor Alice Roberts continues her journey as she learns about the Ancient Greek civilization that has had such a powerful effect on our lives today,” Grinkevich says.

Speaking to the broad variety of the All3Media International non-scripted slate, the company is also showcasing the fourth season of Race Across the World, which “combines a game show, a travel show and a reality show all in one,” says Peta Sykes, VP for the Nordics. In the dating/relationships space, the company is touting Bad Boyfriends. “Olivia Attwood’s tough love approach makes this series incredibly addictive and entertaining.” Also on offer is the 90-minute doc Guy Martin: Top Gun.

NHK Enterprises’ Hayao Miyazaki and the Heron All3Media International’s

Guy Martin: Top Gun

ZDF Studios’ Time: A Journey Through Thousands of Years

New natural history titles rolling out at MIPCOM include the feature Norway—A Call from the Wild from filmmaker Asgeir Helgestad ( Queen Without Land ) and on offer from Albatross World Sales.

“ Nor way—A Call from the Wild , already an award winner, offers breathtaking cinematography and a personal narrative that highlights the universal theme of nature’s vulnerability,” says Anne Olzmann, the company’s managing director.

NHK Enterprises also has a new blue-chip wildlife production on offer: Mighty Monkey (w.t.). “Shot in beautiful 4K UHD, the cameras travel through Japan to capture unique monkey groups displaying different localized food habits, including world-first footage of monkeys catching live fish, as well as how such new behaviors spread among individuals in the pack,” says Akiko Nakano, senior manager of content sales. The commercial arm of the Japanese pubcaster also heads to Cannes with Hayao Miyazaki and the Heron , chronicling the famed animator’s journey to make The Boy and the Heron .

Albatross World Sales’ Norway—A Call from the Wild

Danielle Pistotnik

The Secret Lives of Mormon Wives

By Kristin Brzoznowski

The buzzy new series The Secret Lives of Mormon Wives has translated social media success to the TV screen. Executive producer Danielle Pistotnik, a talent manager at Select Management Group, began managing stars Mayci Neeley, Taylor Frankie Paul, Whitney Leavitt and Mikayla Matthews in 2020 when they were first starting to pop as TikTok influencers. Pistotnik, along with colleagues Lisa Filipelli (a partner at the company) and Georgia Berger, who are also executive producers on the series, saw perfect potential to bring their stories to reality TV. The show’s debut broke streaming records on Hulu, becoming its most-watched unscripted season premiere this year so far. Pistotnik talks to TV Real about what makes for compelling reality television.

TV REAL: How did The Secret Lives of Mormon Wives come together?

PISTOTNIK: I saw these girls online four years ago. I’m incredibly passionate about women who can be moms, stay at home, take care of the family and be entrepreneurial and financially support their family. Since the beginning of my career, that’s been something I’ve always wanted to support. So, when I saw them, I reached out, and we became besties right away. I love these girls. It

didn’t take long after getting to know them on a deeper level that [I knew] there was something much bigger here and a story that had to be told. I went straight to Lisa [Fil ipelli] and said, “You have to meet these girls. They are amazing. They are reality stars.” And we began the pitching process. We found perfect partners with [executive producers] Jeff Jenkins and Russell Jay-Staglik—and the rest is history.

TV REAL: What was it about these women that you felt could be compelling for reality television?

PISTOTNIK: They’re unbelievably entertaining. I open my phone every single day and these same people make me laugh so hard that I start crying during work hours. They’re smart and inspiring. They have such a deep story that goes vastly beyond what you’re able to show in 30-second clips online. I felt like it was important for the world to see.

TV REAL: Tell us about the marketing machine of having these women involved who are already quite adept at social media.

PISTOTNIK: These girls are geniuses. There is so little input that we have to give them when it comes to social strategy and getting attention. They think of things that I could not come close to conspiring in a million years. And they do it while still being friends, working together, engaging the audience and creating these massive conversations online that snowball to people even outside of their direct following. They took it and ran with it, and they did an amazing job.

TV REAL: What do you hope audiences see in this series, especially viewers who may not be so familiar with Mormonism?

PISTOTNIK: A big thing that I learned from the relationship I have with these girls is that we are all so much more similar than different—no matter what walk of life you’re from. I am a gay Jewish woman from Los Angeles, and these Mormon women are some of my best friends. Their families have invited me on vacation. My friends at home will ask, What’s it like hanging out with them? And I’m like, Honest ly, they’re kind of cooler than you! I sometimes like hanging out with them better than my friends of 15 years.

[Laughs] That’s what I want people to see. The portrayal in media of Mormonism is incredibly inaccurate; it’s extreme and not fully fair as a representation of millions of people. These people are just like us. It’s not this crazy cultish, Amish-dressing, over-the-top culture. They’re just cool people who have a really awesome sense of community. Maybe it’s different from how I was brought up or how my children will be, but it’s hard not to respect and understand where they come from.

TV REAL: In terms of spotting talent, what elements make for a reality TV star?

PISTOTNIK: A lot of what creates a star is not just the individual; it’s the dynamic between them and the rest of the cast. Watching how these girls interact is so interesting because it’s not just about the business relationship that they have; it’s the relationship that they have with each other’s families. They are trying to bridge this gap between business and interpersonal while navigating their faith and the judgment coming from the rest of the world that they’re being bombarded with. The way they handle it as a group is so fascinating to watch. They handle it with such elegance.

By Mansha Daswani

t a time of eroding viewership for broadcast groups across the globe, Japan’s Nippon TV remains the country’s “triple crown” winner and has led ratings in the core 13-to-49 demo every year for more than a decade. The group, which marks its 70th anniversary this year, is serving audiences and advertisers across its broad suite of linear and digital assets, producing a wealth of content and diversifying its activities with new ways to reach young audiences.

of finished programs and formats from broadcasters and platforms around the world.

Under a guiding mantra of “Lasting Creations for Our Hearts and Future,” Nippon TV is driving connections with audiences off-screen with various live events and, tapping into evolving viewership trends, catering to SVOD audiences with Hulu Japan and AVOD viewers with the TVer joint venture.

AKIRA ISHIZAWA NIPPON TV

The company’s restructuring efforts have paid off—its Q1 2024 financials released this summer saw revenues rise by 8 percent, driven by improved ad results and content sales, as well as contributions from Studio Ghibli; Hayao Miyazaki’s famed ani mation studio became part of Nippon TV in 2023.

Boosted by the continued local and global demand for anime, Nippon TV has seen gains in that segment of the business, and it is continuing to attract interest in its slate

Firmly focused on staying ahead of the curve, the Japanese media giant has invested in the AI space and is driving new content formats with its investment in GOKKO, a producer of vertical short-form drama series, and through its ClaN Entertainment venture, which targets the VTuber (avatarbased YouTuber) market.

Akira Ishizawa, the president and CEO of Nippon TV, shares with World Screen the company’s overall strategy for navigating the Japanese broadcast and streaming economy and bringing its top-rating content to viewers in markets around the world.

WS: You delivered improved ﬁnancial results this year. Tell us about what drove those gains.

ISHIZAWA: The fiscal year 2023 (ended March 31, 2024) saw the effects of Covid-19 almost completely taper off, but factors such as inflation, higher prices for raw materials, a weaker yen and a shortage of human resources created an environment that made it difficult for sponsors to advertise. As a result, ad revenue from our linear broadcasting, the core business of the Nippon TV group, struggled to grow. Meanwhile, Nip pon TV’s events, anime, intellectual property and international businesses trended favorably. Moreover, many group companies enjoyed increased sales and profits, mainly for businesses that needed to attract customers as the movement of people and consumption became more active post-Covid.

As for the financial results of the fourth quarter, the consolidation of Studio Ghibli after the acquisition was a significant positive contribution to sales and operating profit. Putting extra effort into growth areas such as our anime and international business helped drive Nippon TV to strong results.

For ﬁscal year 2024, we are planning on making more improvements not only to our digital advertising business, which continues to deliver ad revenue at high growth, but also to our spot and time ad sales on our linear platform, which are showing signs of recovery. Of course, it goes without saying that we will continue to focus our efforts on expanding our anime and international businesses.

WS: We’ve seen a challenging advertising market globally. How has the market been in Japan this year? Are you seeing signs of a recovery?

ISHIZAWA: Expenditure for spot ads on linear television for the Tokyo metropolitan area decreased for two consecutive years due to the effects of Covid. The ﬁrst half of ﬁscal year 2024 (April to September), however, saw an increase versus the same period in the previous year, offering signs that the market is transitioning to recovery after bottoming out.

WS: Digital advertising was one of your bright spots this year. How are you looking to bring more ad revenues from linear to digital?

ISHIZAWA: As the video advertising market continues to expand, we at Nippon TV are aiming for more growth. We are selling video ads as a set with linear ads, which are the largest products for television broadcasters. What’s more, we propose measures that take into account the unique beneﬁts of digital ads, like changing the advertising material according to the region and offering our content IP for use in our sponsors’ digital ads to contribute directly to their revenue growth. Sure enough, such measures are yielding results. In other words, our goal is not to transition from linear to digital but to discover and expand advertising proﬁts.

WS: What’s driving your ratings gains? What do audiences look to from Nippon TV? How are you retaining and driving viewers across all of your time slots?

ISHIZAWA: Achieving our KPI of capturing the viewership of our core target (viewers aged 13 to 49 ) means we are successful in offering content that the entire family, parents and children alike, want to watch together. This is a major factor behind the support Nippon TV enjoys, and I believe our viewers expect nothing less from us. In addition, our content provides experiences and emotions not available in ordinary day-to-day life—they carry a sense of festivity, and these are the keys to

remaining on top of the viewer ratings. We are in the process of spawning the next hits like The Quest and Monday Late Show, as well as new festive content like anime ﬁlms by Studio Ghibli, sports content like the Rugby World Cup and programs similar to 24-Hour Television—a large-scale charity show that has been going strong for almost half a century.

WS: We hear from broadcasters around the world about eroding linear viewership. How is linear holding up in Japan, especially among the younger demographics?

ISHIZAWA: Linear platforms have won the support of people by blending into their lifestyle habits with visual content. But as platforms and devices diversify, consumers are able to watch what they want, when they want. Japan also faces the severe problem of declining viewership, especially from the younger generations. It is estimated that prime time (7 p .m. to 11 p.m.) viewing by audiences in their 10s to 40s is approximately half of what it was in 2000. As I mentioned, we need to develop and offer content that exudes a sense of festivity to entice real-time viewing. If we do not succeed in doing this, I believe linear television will not be able to avoid losing more of the younger generations.

WS: How is Hulu Japan faring in Japan’s competitive streaming landscape? How does it beneﬁt from its relationship with Nippon TV? How are you using your free-to-air assets to drive viewers to Hulu and vice versa?

ISHIZAWA: Hulu in Japan continues to be in the top position among SVOD services operated by broadcasters. As the platforms we compete with aggressively implement strategies on both the content and service fronts, Hulu in Japan continues to generate synergistic effects by co-developing with Nippon TV, as can be seen in our large-scale mystery drama The Decagon House Murders and hit enter tainment shows such as The Quest and Monday Late Show . Additionally, live streaming the home games of the Yomiuri Giants professional baseball team contributes substantially to capturing new subscribers. We have subscribers who come to enjoy the content that we acquire externally (films, for eign dramas, anime, etc.), and as a broadcaster, I believe we have a major advantage in introducing them to and increasing their awareness of original Nippon TV content.

WS: How is your content faring on TVer? How important is this joint platform in your overall efforts to best serve Japanese viewers?

ISHIZAWA: Almost all of Nippon TV’s content is available on TVer; many of [our shows are] getting high views, and our digital ad sales are growing year after year. Today, TVer has grown into a video platform that boasts over 40 million unique browsers a month, and one can say that it serves as a “market” for TV content. We can expect a virtuous circle of viewers going from TVer to linear and vice versa. Seeing TVer as a vital platform from

Nippon TV worked with BBC Studios to co-develop the comedic game show Koso Koso, with the two companies sharing distribution rights to the format.

the content strategy and sales standpoints, Nippon TV is forging strategies that integrate linear with streaming.

WS: It’s been a year since the Studio Ghibli acquisition. What has that business brought to Nippon TV? How have you integrated it, and what are your goals for that business in the year ahead?

ISHIZAWA: Throughout the years, Nippon TV has supported Studio Ghibli on various fronts. Welcoming Studio Ghibli into the group means we can provide it with management support so it is free to focus on the creative process, and indeed, this is exactly what is happening. Much loved the world over, Studio Ghibli’s presence offers Nippon TV’s international business with several important [beneﬁts]. Going forward, Nippon TV’s role is to back Studio Ghibli so it can continue creating in the way that it always has.

WS: What prompted the investment in GOKKO? What growth do you expect from this vertical shorts business?

ISHIZAWA: Vertical short videos are growing in popularity, primarily among the youth, and this is one realm that Nippon TV’s content strategy is focusing on. Mainichi Hanikamu Boku Tachi Wa ( We Are Coy Every Day) is a vertical short drama that we started with GOKKO in 2023. Viewed by approximately one out of four Gen Zers, it has grown into a hit account whose monetization is increasing. Encouraged by this success, we have entered a capital and business alliance with GOKKO to further strengthen our position in the vertical short drama space. The future will see us creating media mix content for Gen Z that blends linear and streaming dramas and nurturing it into a business that will become one of the profit pillars of our digital arm.

WS: And on that same front, tell us about the importance of ClaN Entertainment for Nippon TV’s outreach to younger audiences.

ISHIZAWA: ClaN Entertainment is an entertainment company that specializes in expanding the social media activities of VTubers and other inﬂuencers. Many VTuber fans are from the younger generations who are passionate about YouTube, TikTok and other social media platforms. ClaN’s unique strength that distinguishes it from other companies is its ability to take VTubers and spawn in-person events, music and streaming content for social media platforms, as well as produce and manage our very own in-house VTubers and their content through and through. This is a company that will play a tremendously important role for Nippon TV in the future, with its ability to create new entertainment by leveraging its distinct strengths and reaching out to younger audiences.

WS: Are you exploring other M&A opportunities? If so, in what verticals?

ISHIZAWA: Nippon TV is focusing on making investments in the following four verticals: media and content businesses (strengthen IP and content creation capabilities); new businesses (extended reality, metaverse and other growth technology); life and health-related businesses (partnering with a company that owns data to build customer information systems and bring to reality our wellness economic zone concept); and sustainable investments (proactively investing in businesses that contribute to society).

WS: How are you positioning Nippon TV’s international content production and distribution business? What’s driving your gains there across anime, drama and formats?

ISHIZAWA: Nippon TV’s management strategy states that it will strongly advance international

Nippon TV’s ClaN Entertainment develops VTubers—virtual YouTubers—for youth audiences.

A long-running Japanese show, Old Enough! emerged as a surprise hit on Netflix and is being formatted internationally, including in Canada.

expansion. At the core of this endeavor is global content creation and sales—currently the most important business in the company’s international segment.

With regards to anime, most adaptations stay true to the original work, so the ability to discern which Japanese original story will win the hearts of fans worldwide is crucial and the biggest factor to growth. Nippon TV is confident in its ability to discern, right from the start of the selection process, which titles to choose while simultaneously taking into account domestic and global rollouts.

Formats, on the other hand, are aired or streamed as localized versions, so the key to success is incorporating the overseas buyer’s perspectives right when the title’s development

begins. As such, we are dedicating substantial efforts to co-development projects with international partners.

Furthermore, Nippon TV is actively pursuing new initiatives that go beyond the traditional style of creating remakes and formats from content that has been broadcast. In 2022, we established a new studio strategy department for the development and produc tion of original projects. A writers’ base con sisting mainly of young scriptwriters is developing original dramas and ﬁlms. Similar to our anime, our live-action content has begun entering the international market through global platforms and other means.

WS: What other areas are you pursuing for international growth?

ISHIZAWA: We will strengthen the global rollouts not only of our anime, dramas, entertainment and other video content but also their derivative events, merchandise production and sales. This IP-based diversified business development has already generated significant earnings in Japan, and we will leverage this expertise to expand overseas. In June 2024, we established a new department, Global Strategy Headquarters, to strongly promote this type of IP-leveraging diversified business development, as well as explore markets throughout the world.

WS: What are your goals for Nippon TV in the 12 to 18 months ahead?

ISHIZAWA: One of our goals is to strengthen our content creation expertise up another notch and have a multifaceted approach when offering [our content] on various platforms. With regards to our international sales, we are aiming to at least double our overseas revenue for the entire current fiscal year versus last year. To bring this to fruition, we will invest in M&A and flexibly allocate managerial resources to bolster both content creation and distribution. For linear advertising, which is Nippon TV’s main business, we are planning to implement a new platform named ARM (Ad Reach Max) as we challenge ourselves to innovate sales channels—a 70-year-long tradition that contin ues from when we first hit the airwaves. ARM is an unprecedented initiative that incorporates digital ad technology with linear ads, and I am confident it will be a great asset in maximizing the value of Nippon TV’s content.

Nippon TV’s was a hit domestically in 2010 and has emerged as the region’s biggest scripted format, traveling across Europe and Asia.

Nippon TV’s award-winning fantasy comedy-drama Rebooting was picked up by Netflix in the region.

BBC Studios’ Matt Forde / Entertainment Trends

Ricardo Seguin Guise

Publisher

Mansha Daswani

Editor-in-Chief

Anna Carugati

Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Senior Associate Editor

Alexa Alfano

Associate Editor

David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Ute Schwemmer Bookkeeper

Creative Renewal

Conventional wisdom dictates that in difficult times, the familiar is an easy fallback, and it would seem that commissioners are sticking with the things they know best right now.

Speaking at the TV Real Festival this summer, Ampere Analysis’s Fred Black noted, “Commissioners are continuing to renew their established content while avoiding the risk of new reality shows. While that is a risk-averse strategy in the short term, in the long term, it starts to risk stagnation. We’ve seen the average age of a reality commission go from around 4.5 [seasons] in the middle of 2022 to 6.2 in Q1 this year. Broadcasters are sticking to established titles, even if they only prove middlingly successful, rather than taking a risk on something new.”

INTERVIEW

BBC STUDIOS’ MATT FORDE

Ricardo Seguin Guise

President

Anna Carugati

Executive VP

Mansha Daswani

Associate Publisher

Kristin Brzoznowski

VP, Content Strategy

TV Formats

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

Phone: (212) 924-7620

Website: www.tvformats.ws

In our trend report in this edition on entertainment formats, we did hear about a level of risk aversion in the market that is keeping megabrands in plum position and driving an interest in reboots. But even returning properties need creative renewal; we heard from sever al IP owners about the keys to franchise management, including not being afraid to tweak something that has worked for a long time. And no one is relying solely on their stables of best-known properties. From tapping into local production expertise to driving codevelopment partnerships, the hunt for the next great format innovation never ends. And it certainly doesn’t stop with what ends up on-screen either; from hub productions to help reduce costs to shared windows across streaming and broadcast, there is plenty of innovation taking place behind the scenes to help new ideas break through. BBC Studios restructured its formats business last year in order to drive its scale and ambition, as we hear from Matt Forde, the global entertainment unit’s managing director, in this edition of TV Formats .

As Black stressed at the TV Real Festival, the business needs new creativity to ﬂourish. If risk aversion continues, he said, “it’s likely to lead to audience fatigue. That will lead to a further decline, and that’s a phenomenon that we may already be starting to see close in on the commercial free-to-air channels.”

From buzzy next-generation game shows like The Traitors to new takes on dating like Stranded on Honeymoon Island, the good news is it is still possible to birth a new format megabrand—but smart solutions and the ability to land both on-demand and live audiences are key. —Mansha Daswani

The managing director of global entertainment discusses his new remit and the breakout success of The 1% Club .

FEATURES THAT’S ENTERTAINMENT!

New spins on the always popular game-show and dating genres dominate the selections for the latest edition of the TV Formats Screenings Festival.

PRIME TIME WINS

Leading distributors share their perspectives on trends reshaping the prime-time entertainment formats sector.

BBC Studios

The Answer Run / Silence is Golden / Weakest Link

In BBC Studios’ game show The Answer Run, the answers are already known, and the players must match questions to the correct responses to earn money—and victory depends on a split-second swipe. “The great thing about The Answer Run is its scalability,” says Matt Forde, managing director of global entertainment. “It can be produced for multiple time slots and can sit comfortably in early evening access prime time or stripped daily across daytime, but it’s not limited to those, either.” Silence is Golden sees a team of comedians do whatever it takes to get the studio audience to make noise, and even the slightest sound impacts the prize pot. Weakest Link “is one of our biggest hits, and we consistently see heritage formats like this resurfacing,” Forde notes.

“As the biggest distributor of game shows and quiz titles, this year, we’re intentionally highlighting this via a bespoke panel, ‘The Power of Game and Quiz.’ ”

Broadcast Program Export Association of Japan

Treasure Box Japan / Japanese Entertainment Formats

Broadcast Program Export Association of Japan (BEAJ) has been driving multiple initiatives to enhance Japan’s presence in the global content market. Among those is Treasure Box Japan (TBJ), which promotes unscripted format sales. “This year’s TBJ will feature an expanded program slate compared to last year, presenting nine titles carefully selected to meet the diverse needs of a larger pool of buyers,” says Masaru Akiyama, chief executive of business management at BEAJ. The titles being showcased are The Swap Project, DASUNA— Don’t Show Your Pants!, The Tortoise and the Hare, Treasure Appraisers, Man or Mannequin?, KASSO, 100 Man Power (w.t.), In the Middle of Nowhere and Celebrity Fight Club. The Treasure Box Japan showcase will take place during MIPCOM on Monday, October 21, in the Hi5 Studio.

CJ ENM

Artistock Game / Trust or Lust / Lovely Runner

The format Artistock Game , from CJ ENM, combines the global appeal of the music survival genre with stock and investment strategies. “By blending musical talent with high-stakes ﬁnancial decisions, it creates a dynamic and unpredictable experience that sets it apart from typical music competitions, offering viewers a unique mix of entertainment and strategy,” says Jangho Seo, senior VP of content business. Also on the format slate, Trust or Lust is a psychological experiment show featuring diverse couples. “Trust or Lust stands out with thrilling twists like partner swap dates and themed rooms that intensify the format,” says Seo. CJ ENM also has two key drama launches: the multilayered Lovely Runner and the romantic comedy Love Your Enemy.

“BEAJ invites interested parties to join them at their networking event following the format presentations and to visit speciﬁc booths for more information.”

“We recognize the growing demand for fresh and diverse programming, and we’re committed to continuing our partnership with international buyers to bring these compelling narratives to screens worldwide.”

—Matt Forde

—Jangho Seo

Treasure Box Japan

Silence is Golden

Artistock Game

—Masaru Akiyama

Untold Stories of the ER

GRB Media Ranch

Blind Dating / Round Table / Untold Stories of the ER

The studio-based dating game show Blind Dating, part of the GRB Media Ranch catalog, invites participants to swipe right on the person of their dreams. In each episode, the singles must ﬁnd their match without seeing each other by answering questions while digging for clues (and some dirt) on social media. The singing game competition Round Table features celebrity and non-celebrity versions. The format was developed by DiTurn, led by The Masked Singer creator Wonwoo Park. Untold Stories of the ER reenacts real-life stories of the emergency room. “Audiences witness how a doctor’s blend of expertise, coolness under ﬁre and decisionmaking ability are challenged by unpredictable circumstances—and how character makes the ultimate difference,” says Sophie Ferron, president of GRB Media Ranch.

Nippon TV

Secret Makeover / Unstoppable

The Nippon TV scripted format Secret Makeover blends style, mystery and suspense. The series follows a top fashion coordinator who styles her clients from head to toe, turning their lives around while working to help cover up their ﬂaws and scandals. “The universal theme of personal reinvention makes this story relatable to audiences across the globe while immersing them in the world of high fashion,” says Sayako Aoki, head of scripted at Nippon TV. The unscripted format Unstoppable is a new studio game show in which challengers relentlessly push themselves to break their limits, with a cash prize waiting for those who succeed. With around ten players competing across three missions, the most unstoppable challenger in each becomes the winner. As the difficulty increases, so does the cash prize.

“GRB Media Ranch has a wide variety of titles to offer international buyers.”

—Sophie Ferron

“Secret Makeover stands out by combining the glamour of fashion with the intrigue of personal transformation and hidden scandals.”

—Sayako Aoki

Paramount Global Content Distribution

Hollywood Squares / Flip Side / Out of Order

CBS is reviving the classic game show Hollywood Squares with Drew Barrymore in the iconic center square, and Paramount Global Content Distribution is offering the format to international buyers. “Hollywood Squares comes with a long track record of success and is perfect for prime time, with broad appeal,” says Laura Burrell, VP of international formats. “Broadcasters will have the chance to showcase their on-screen talent in a tried-and-tested formula, bringing warmth and humor to the schedule.” The game show Flip Side pits two teams of players against each other to test how they think two groups of people feel about the same issue. Out of Order is an original comedy game show from Comedy Central UK with “diversity and inclusion woven into the gameplay itself,” says Burrell.

“We are open for business to format buyers around the world, offering iconic IP with long-running track records alongside fresh new ideas.”

—Laura Burrell

Secret Makeover

Hollywood Squares

Matt Forde BBC Studios

By Mansha Daswani

Last September, BBC Studios restructured its formats business, creating a new global entertainment unit under Matt Forde as managing director. Bringing together three previously distinct areas—entertainment and music, factual entertainment and events, and international productions and formats—the global entertainment unit was formed to scale BBC Studios’ already thriving formats creation and export capabilities. Forde tells T V Forma ts about the benefits of the restructure, the breakout success of The 1% Club and finding innovative financing models to get shows off the ground.

TV FORMATS: BBC Studios restructured its format operations last year, creating the new global entertainment unit you oversee. Talk to us about this division and the beneﬁts of the realignment.

FORDE: We are now a true global network. All countries we operate in sit in this global network, including the U.K. We’re present in 11 territories. The beneﬁt of that is the ability to move IP around the network. We can build shows in different countries if it suits us; if we can’t sell it in one place, we can sell it in another. It also means we can leverage our skills from different areas. I’m interested in what we might do with live events, for example, where we have expertise in the U.K. with the likes of the Queen’s funeral, King Charles III’s coronation and, of course, Glastonbury, which saw over 50 million streams

for content in 2023. It’s also helpful to be able to move production seamlessly around the world. It’s brilliant creatively that teams are talking to each other about ideas from India, South Africa, Australia, America, the U.K., France and Germany. We’ve also, in the past 12 months, added Brutal Media in Spain and Werner Film Productions in Australia to our global network. It’s inspiring for everyone within the network to get input and creative ideas from different areas of the world. It makes it a much stronger creative community.

TV FORMATS: We’re hearing a lot about risk aversion in the marketplace. Are you ﬁnding that to be the case, or are broadcasters and platforms still willing to gamble on compelling new ideas?

FORDE: We’re seeing people take risks. We have an investment in the U.K. indie production company Met tlemouse Entertainment, which has just had a commission from Channel 4. You might think that Channel 4 would be risk averse because of its ﬁnancial stresses, but that doesn’t seem to be the case. We’ve seen other new shows get commissioned. For example, Silence is Golden for UKTV. There is no question to me that people are prepared to take risks. It’s about everybody being smart in the system. Looking at what the cost of making that show is. Have you considered that in the context of who you’re pitching to? Creative risk-taking is still there if there is a quality idea. You do see reboots, but they’re not straight reboots. When we remade Weakest Link in the U.S. and thought about what the tone could be, it’s more friendly, it’s more Jane Lynch than it is Anne Robinson. The successful reboots are done with skill.

TV FORMATS: Talk to us about the franchise management approach to keeping your returning brands successful year after year.

FORDE: We spend a lot of time on it because they’re so valuable in every way. They are defining as brands as well as being good business. Every year, we have creative exchanges in the U.K. All of the producers, sometimes the network executives, come to the U.K., and we have two days of sharing information about the last season. That could be new ideas and innovations, or it could be things that were difficult. We circulate all of those ideas. We have a team of four flying producers that go around the world to ensure the show is the best it can be. We have production markets where we also have a lot of expertise to call on. It is a 365-days-a-year project for Bake Off , Dancing with the Stars and now The 1% Club, which has already been sold to 12 territories. We’ll have our first creative exchange for that soon, which I’m excited about because we have learned so much . The shows evolve. That’s what’s great about what we do with Dancing with the Stars and Bake Off . It’s not the same all the time.

The same will be true for The 1% Club and Weakest Link , which has been licensed in over 45 territories, returning most recently in France and Spain.

TV FORMATS: The 1% Club has been one of the fastestselling new game shows of the last few years. Why do you think it struck such a chord?

FORDE: When we started Dancing with the Stars , if you’d asked us what made it special, it would be a different answer to what we give now. Fundamentally, at the core, the idea of The 1% Club works, and it is brilliant. Every time we pitch just one example to people, they’re like, I love this. You don’t need to be good at quizzes. You need to have good lateral thinking. It’s fantastic that the audience [members] are the participants. The fact that it’s comedic—that’s a theme that you see as a trend at the moment. As you watch the show, you build relationships with the contestants. By the time you’re down to the last seven or eight, you’re rooting for two or three of them. It’s a real prime-time event that the whole family can play along with at home, encouraging co-viewing. It has connections, relationships and an enjoyable story. The app sits alongside the show and keeps the show alive outside its broadcast. It quickly became the number one trivia/free game app in the U.K. every Saturday night, and there have been 2.4 million downloads to date. This speaks to another thing I think is important to all of us in formats: What are you doing to keep that brand alive when you’re not on air? With Dancing with the Stars, ticket sales of the live show have risen in America over the last two years. That speaks to something about fans and experiences. Brands must have a life outside of the linear broadcast of a show.

TV FORMATS: Are there signiﬁcant differences in the format needs of streamers versus broadcasters?

FORDE: There are some companies that we work with that will say, “This show doesn’t work in digital, so it’s a no.” When I speak to Disney about Dancing with the Stars, they’re quite thoughtful about it. This brand sits in the middle of Disney, if you like. They get to different audiences in different ways. They have the ABC audience with a bit of catch-up. They have Hulu, which is mainly catch-up. And Disney+ gets it to another sector. With FOX and Prime Video [on The 1% Club], there was a lot of discussion about how to do it, and it worked out well for both. They both beneﬁted from each other’s awareness. That is smart for everyone. It removes a certain amount of risk. You get to more people and can defray some cost across two platforms. Not everybody will do that model, but we’ll see more. There’s less buying of global rights. That is still going on. But I’m enjoying the more pragmatic approach!

TV FORMATS: Are there particular genres in demand right now?

FORDE: Feel-good is still a big part of it; something with warmth, connections and comedy. That lends itself to games and quizzes because you have a host who often comes from a comedy background. Jason Manford [hosts] The Answer Run, which is our new quiz show in the U.K.; it gave the BBC its biggest-ever daytime quiz launch for over a decade. Also Jane Lynch for Weakest

Link [in the U.S.], Jim Jefferies for The 1% Club [in Aus tralia]. There seems to be a real demand for quizzes and games. There’s been an uptick in the number of versions of Weakest Link we’re making. The other area [in demand] is social experiment and reality.

TV FORMATS: You worked with Nippon TV on Koso Koso . What opportunities do you see for format codevelopment internationally?

FORDE: Creative processes are collaborative by their very nature. The Nippon TV adventure, if you like, has been brilliant. We’ve beneﬁted from their creative sensibility. It’s helped us take something back into the U.K. that’s got a sense of something different. If anything, we’d like to make it more zany than what we’ve been doing. We see opportunities in Germany, Denmark, Japan, Korea and the U.S. You’ve got to work out which partners you think you’ll have a fruitful relationship with.

TV FORMATS: What other growth areas are you prioritizing?

FORDE: Scripted formats are proving a particularly strong area for us. We’ve launched a spin-off of Death in Paradise called Return to Paradise in Australia, and it’s done well. It recorded a total TV reach of 1.2 million and was the highest-rating drama on launch day. With scripted formats, sometimes you follow the original script. The most successful and interesting ones are where we take the premise and reinvent it for that local market. Ghosts in America is the best example. We’re now doing it in Australia with The Office for Prime Video. Game and quiz are going strongly. The big brands are so important. They are still alive and well. I feel very conﬁdent and passionate about where unscripted is going. It is doing a fantastic job for Kate Phillips [director of unscripted] on the BBC.

Patton Oswalt hosts the U.S. version of The 1% Club, which runs on Prime Video and FOX.

That’s Entertainment!

New spins on the always popular game-show and dating genres dominate the selections for the latest edition of the TV Formats Screenings Festival, which features a slew of new and returning properties that will be on offer at MIPCOM.

ZDF Studios’ format slate for MIPCOM is packed with uplifting entertainment that can be easily adaptable to multiple markets.

Hack My Yard, for example, features gardening experts tasked with transforming a boring family garden. On the game-show front, meanwhile, ZDF Studios is showcasing QUIZ HUNT , which premiered in prime time in 2019. “Three years later, the market share in this time slot almost quadrupled, and subsequent time slots beneﬁted from this rapid growth,” says Ralf Rückauer, VP Unscripted. Launched at MIP Formats, Skydive Quiz sees contestants answer questions while jumping out of a plane. Rounding out ZDF Studios’ highlights is the longrunning staple Wanna Bet? “In this show, nothing is pre-recorded or

ZDF Studios’ Skydive Quiz

All3Media International’s Bad Boyfriends

edit ed,” Rückauer says. “If the celebrities lose their bet, they must complete a task of their own, most often an entertaining charitable gesture. Airing since 1981, Wanna Bet? was the absolute top entertainment show in the German-speaking territories, and to date, a hit around the world.”

On the heels of the tremendous success of The Traitors —with 30 versions commissioned to date—All3Media International is touting a new strategic reality competition, The Anonymous , from the team at Studio Lambert. In the dating and relationship formats space, All3Media International will be talking to clients about Bad Boyfriends. “Equally explosive, authentic and addictive, this fresh spin on the dating show format is packed with mischief and mayhem as couples face plenty of challenges, chores and dilemmas,” says Debra Bergg, VP of sales for Iberia and Italy. Turn on the

BEAJ will host Treasure Box Japan at MIPCOM

Charm , meanwhile, blends “adventurous road trips, strategic gameplay and fascinating group dynamics,” Bergg says. All3Media International is also touting two scripted formats based on hit U.K. dramas from the award-winning team at Two Brothers Pictures: Liar and Angela Black.

MIPCOM will again feature Treasure Box Japan (TBJ), a showcase of Japanese formats. The lineup includes a wide range of productions, from low-budget to large-scale. “Japan boasts a remarkable track record in format localization, with over 90 titles and hundreds of localized versions created worldwide,” says Masaru Akiyama, chief executive of business management at BEAJ (Broadcast Program Export Association of Japan). “This year’s TBJ features an expanded program slate compared to last year, presenting nine titles, carefully selected to meet the diverse needs of a larger pool of buyers.”

BBC Studios’

The Answer Run

BBC Studios arrives in Cannes with a strong slate of game and quiz shows. Among its highlights is The Answer Run . “The best quiz formats have a fantastically simple premise at their core, and The Answer Run delivers on this front perfectly,” says Matt Forde, managing director of global entertainment. BBC Studios is also continuing to roll out The 1% Club, which was recently adapted in the U.S. for Prime Video and FOX.

CJ ENM’s latest entry in the game-show space is Artistock Game, while in the dating/relationship arena, it has high hopes for Trust or Lust . “We recognize the growing demand for fresh and diverse programming, and we’re committed to continuing our partnership with our international buyers to bring these compelling narratives to screens worldwide,” says Jangho Seo, senior VP of the content business at the Korean media giant.

CJ ENM’s Artistock Game

PRIME TIME WINS PRIME TIME WINS

Leading distributors share their perspectives on trends reshaping the prime-time entertainment formats sector.

By Mansha Daswani

The Hollywood strikes and an overall slowdown in scripted commissioning didn’t give the entertainment formats business the boost many had been hoping for, but the sector has proved its resiliency, largely thanks to the long-running hits that have continuously demonstrated their ability to bring in mass audiences—on budgets that won’t break the bank.

There has been a slowdown in the number of formats traveling in the last 12 to 18 months, notes Vasha Wallace, executive VP of global acquisitions and development at Fremantle. “But equally, if the show’s right, a broadcaster will buy it. Sometimes it’s not just about the show; it’s about having production solutions in place and having a story that will convince them to get it over the line.”

“In this challenging market, there are opportunities across the board,” adds James Townley, chief content officer of development at Banijay. “There are budget restrictions, but if you have the ability to make your productions as efficient as possible and when you’ve got catalogs that are built on incredible IP, the market gets enormous conﬁdence from that.”

MANAGING RISK

Nick Smith, executive VP of formats and licensing at All3Media International, agrees, referencing the tremendous success of The Traitors, which launched mid-pandemic, and sustained traction on some of the company’s megabrands.

“Broadcasters and platforms need local content,” he says. “There is risk aversion of trying new stuff. That’s the challenge. But things that work in other countries, there are still buyers that are willing to push the button on those.”

Tim Gerhartz, managing director of Seven.One Studios International, concedes that current market conditions are challenging for everyone, “but that’s exactly why commissioners cannot afford to be risk-averse. Everybody is under pressure to ﬁgure out what tomorrow’s business model looks like—how to attract a broad audience and earn money at the end of the day. In the conversations we’re having with commissioners, creators and producers, it feels like, despite the economic pressure, everybody is willing to collaborate. Everybody’s showing ﬂexibility in business models, sharing IP, talking about windows, etc., to come up with the next big thing.”

While everyone works to come up with trailblazing new ideas, known IP continues to resonate in the format world, as it is doing in other parts of the business.

The last few years have seen several reboots, including Let’s Make a Deal and Cash Cab, “which tapped into the familiarity and nostalgia of established brands,” notes Sophie Ferron, president of GRB Media Ranch. “This year, the trend persisted with the U.K. rebooting Gladiators. That has even caught the attention of international platforms like Prime Video in the U.S., which has announced its own adaptation. We saw our own ﬂagship IP Untold Stories of the ER optioned in South Africa to production company Khelgejo as a format for the very ﬁrst time. These moves highlight a broader trend: in uncertain times, both viewers and networks gravitate toward ‘comfort TV’—familiar and reliable formats that offer a sense of stability and predictability. Proven brands provide a level of safety and assurance for networks and audiences alike.”

Getting a commission on a returning brand may be easier, but the process of keeping these IPs fresh and engaging year after year is a business unto itself.

“With Power Couple, we are continuing to develop additional seasons, episodes and challenges together with our international clients,” says Nadav Palti, president and CEO of Dori Media Group, on that company’s long-running gameshow property. “At the same time, we are presenting the format to new clients who are increasingly interested in Power Couple due to its success in many territories. Additionally, we are creating new variations/remakes of content with a proven track record, expanding the formats in new creative ways.”

Palti continues, “Reviving past successes is another way to minimize risks and maintain superbrands. If the format is still relevant, producing a remake and adjusting it in terms of quality, number of episodes and characters presents an opportunity for developing and producing a new series in a shorter period of time and with fewer challenges.”

Ferron adds, “Known IPs can generate signiﬁcant buzz, but for younger and international audiences who may not be familiar with them, adaptation is key. This involves not only updating the look and feel but also reimagining storytelling to align with modern trends. Platforms like Instagram and Tik Tok have reshaped how stories are told, so leveraging these for interactive and dynamic content is crucial. It’s essential to meet the audience where they are—on social media—and embrace these platforms fully to reach and engage new, broader demographics effectively.”

At Seven.One, Gerhartz references the franchise management around Married at First Sight, which has rolled out to 30-plus countries. “The format is constantly evolving via spin-offs and add-ons. The business model behind it is also ﬂexible. It’s not just a linear proposition. It’s also a brand that works across digital. In Australia, Nine Network is exploiting English-language tapes from across the globe in an online offering, next to the one big new season per year linear proposition. Editorially, we are constantly discussing how to expand and evolve the brand. We are working on a younger-skewing version of Married at First Sight that will air in 2025.”

Balancing out the prominence of superbrands with new IP is key, “because the audience wants fresh and new with their warm, favored, delightful tentpole programming that they make an appointment to view,” Townley says.

“There is also a notable interest in original IP,” Ferron adds. “Networks and platforms are actively seeking innovative and unique content to differentiate themselves in a crowded market.”

IDEA MACHINES

What does a new concept need to grab the attention of commissioners? Palti highlights several qualities, including “an international theme, high production quality, interesting characters and a relevant number of episodes. As such, it can be of interest to global buyers and streamers and sell to many territories. To make the package more appealing, it would be advisable to involve a well-known creator, director or actors.”

Ferron adds, “To attract a commissioner, a new property must present a compelling high-concept idea with broad appeal. It should be versatile enough to adapt across various cultures and scalable to ﬁt different production budgets, whether for weekly or daily formats. The concept needs to be repeatable, ensuring ongoing success for many seasons. Building an ecosystem around the brand is essential, allowing for the creation of related IPs and ancillary content to enhance its impact and sustain its relevance. Additionally, the new property must have the potential of

Seven.One Studios International’s Stranded on Honeymoon Island is headed to the U.K. with the BBC.

leveraging buzz through strategic use of all platforms. Taking the idea across different channels—while avoiding repetitive content and focusing on building unique, plat form-speciﬁc experiences—ampliﬁes the IP’s value.”

Gerhartz referenced the breakout success of Stranded on Honeymoon Island, which recently landed a BBC commission in the U.K. “It is the fastest-traveling dating reality format since 2020. The addition of the BBC deal and two new local versions Warner Bros. Discovery has ordered for Sweden and Denmark bring the total number of international commissions to nine, 18 months after the show ﬁrst launched. We’re also seeing a lot of interest in new ideas coming out of our pipeline.”

On the quest for new ideas, there are a variety of models distributors are using, from tapping into the scale of their global networks to partnering with third-party producers to entering into co-development and co-production alliances.

“One way to minimize risk is through co-productions,” Dori Media’s Palti says. “There are countless models that can be adapted to suit the various parties involved. We are interested in co-productions and offer different models, both financial and production-based. Each partnership is unique. We apply a great deal of creativity in tailoring the co-production to fit the specific title, partners and country of production. We are open to co-producing with both local and global partners. While co-productions reduce risk, they also share the opportunity, so we always strive to balance the model to ensure the best possible fit.”

STREAM ON

Whether new or returning, formats are increasingly ﬁnding good homes on streaming platforms, and while the global SVODs have largely scaled back their peak TV slates, a commitment to local entertainment formats remains. And their needs aren’t that different from linear broadcasters anymore.

“Linear and streaming are getting closer and overlapping,” Gerhartz says. “The brief we receive from a traditional player is no longer different from what we receive from streamers. Streamers tend to commission bingeable shows, but so do established players whenever they commission for their streaming services. The big challenge is to come up with ideas that work as a hybrid and function in both roles—attracting a traditional linear audience as well as a younger online audience. How can I ﬁnd a format that does

both at the same time? That goes back to how you can make a show more attractive for the new generation, which is more likely to watch online.”

“We are deﬁnitely still seeing a commitment to entertainment formats from the streamers,” Palti reports. “They also need fresh content. But unlike in the past, most streamers today are purchasing content on a territory-byterritory basis, thereby reducing costs and risks.”

All3Media International’s Smith concurs, noting, “When you look at the streamers—taking Netflix out of it—they’re all playing in the traditional format space now. They’re licensing formats for individual territories. Even with Netflix commissioning something like Squid Game: The Challenge, you don’t really get much bigger swings than that. It gives confidence to the whole industry.”

Streamers have also allowed edgier shows like Naked Attraction to ﬁnd international homes; the format is in ten territories, Smith says.

“In Europe in particular, local streamers are increasingly important,” Fremantle’s Wallace notes, referencing Videoland in the Netherlands and RTL+ in Germany as examples. “Those platforms will commission local shows in a local language. They’re often attracting young audiences as well. It’s good for us as producers, but it’s also good for the audience.”

Streaming platforms are “getting more and more robust with their commissioning strategies,” Townley says. “There seems to be a signiﬁcant focus on that local for local, but then the local that can potentially go global, where you have those big swings like Squid Game. They’re quite nicely balanced because they’re looking at global catalogs. Whether you call them reboots or dormant formats or sleeping giants, they’re always looking at the catalog about what potentially can be refreshed. At the same time, they are also taking those swings on big, brand-new, fresh IP.”

Streamers have also allowed fans to consume multiple versions of a format, as Peacock has done with The Traitors and Love Island. “It allows you to build the brand a lot stronger,” Smith says. “It wouldn’t have been common for reality shows to be sold all around the world. You want to see people from your own country speaking your own language. But now, if you’re a fan of a particular show, whether it’s The Traitors or Love Is Blind, you want to see the other versions. That’s been a huge boon for everyone in the business.”

By Mansha Daswani

ounded by Pierre-Antoine Capton, Xavier Niel and Matthieu Pigasse almost a decade ago, Mediawan has been steadily expanding its positioning as a leading European studio. Headquartered in Paris but with labels across some 15 territories, the company has built an expertise in drama, documentaries and kids, with a laser focus on aligning with the best talent in a variety of different models.

Of note, the company owns a majority stake in Plan B Entertainment, the film and television outfit founded by Brad Pitt, Brad Grey, Kristin Hahn and Jennifer Aniston; recently clinched a production agreement with The SpringHill Company, founded by LeBron James and Maverick Carter; and aligned with Jeremy Zag to create Miraculous Corp, a new joint venture entirely devoted to expanding Miraculous: Tales of Ladybug & Cat Noir,

which originated in France and has become a huge global success since its launch in 2015.

ELISABETH D’ARVIEU MEDIAWAN

From Drama Republic in the U.K. to Palomar in Italy to Method Animation in France, Mediawan is providing the labels in its footprint the support they need to navigate the shifting sands of the global content business. Its distribution arm, Mediawan Rights, home to some 30,000 hours of content, is central to that support, assisting producers in shoring up financing and monetizing those shows through multiple windows across the globe.

As the CEO of Mediawan Pictures, Elisabeth d’Arvieu heads up the company’s film and television production and distribution activities. In this wide-ranging conversation with World Screen, she discusses M&A opportunities, partnering with talent and the advantages of being across genres and in all sectors of the value chain.

WS: You recently announced a production agreement with The SpringHill Company and picked up a stake in OUR Films, the newly established production and ﬁlm ﬁnancing company set up by Mario Gianani and Lorenzo Mieli. What’s the overall approach to attracting talent to Mediawan?

D’ARVIEU: We are a talent-centric company. In whatever category, whether it is ﬁlm, TV series, documentaries or animation, we are always looking for the best creative talent with whom we share a common vision, as this is the best way to build rich and lasting collaborations. This is how we approach all the partnerships that we are making in all domains.

Pierre-Antoine Capton, CEO of Mediawan, announced the partnership with The SpringHill Company, founded by sports icon LeBron James and his business partner Maverick Carter. We are delighted to collaborate with such great talents who have revolutionized both the world of sports and entertainment. We share the same desire to create impactful, authentic and original stories. Moreover, that aligns perfectly with our strong expertise in sports entertainment.

Our ﬁrst U.S. partner was Plan B. We took the time to make this partnership happen as it was a key step in our development. They are extremely close to their writers and directors, and they chose Mediawan because they felt we shared the same ambition, DNA and way of working. This is also how we developed our partnership with Mario and Lorenzo from OUR Films.

We are never in a race for quantity. We are aiming for quality and ambitious storytelling.

WS: And those partnerships don’t have to be all M&A— you can take different strategic approaches to align with the talent you want to work with.

D’ARVIEU: We like to be agile, and thanks to our knowhow and strong track record, we offer various kinds of partnerships. Sometimes, it takes the M&A route with established companies. Sometimes, it takes the form of creating dedicated companies around one talent; this is what we did with Blue Morning Pictures, the company of acclaimed and award-winning writer and

director Florian Zeller. He came to us with his associate Federica Sainte-Rose. We helped them build the company, w hich benefits from Florian’s incredible skills as a screenwriter and director to support high-end projects. For us, the importance is always the [content] and the fact that we can make the best series, movies and documentaries for an international audience.

WS: The television business is in the midst of some disruption right now. Is the ﬁlm sector in a healthier place?

D’ARVIEU: This business goes through cycles. After Covid, it was all about TV. Because of the lockdown, the theatrical market was complicated. With all the mergers and consolidation, we’ve seen the TV market is more challenged whereas the ﬁlm business has picked up again. In fact, at Mediawan, we had an incredible slate of ﬁlms this year internationally (The Count of Monte Cristo, Quentin Dupieux’s The Second Act, Bob Marley: One Love, Beetlejuice Beetlejuice and many more).

This is why our strength as a group is being present in all genres. We also think it’s synergistic as more writers, directors and actors love to go from one genre to another. For instance, we have through Plan B a partnership on a documentary with Kevin Macdonald, who is a great ﬁlm director. A huge movie star like Emily Blunt did The English with our company Drama Republic for BBC and Prime Video. For us, that validates the strategy that we have been developing at Mediawan.

WS: Let’s talk about your production footprint, which is at 80-plus labels now. How are you collaborating and sharing expertise?

D’ARVIEU: We are present in approximately 15 countries. It’s made up of big and important companies such as Plan B in the U.S., Drama Republic in the U.K., Palomar and OUR Films in Italy, LEONINE in Germany and Submarine in the Netherlands. But [we also have] more specialized shingles, like Misﬁts Entertainment or Anthracite Productions in France. We develop expertise in all genres and productions. We have some companies dedicated to animation, some devoted to entertainment and unscripted, and some that are across several genres.

But we share a common vision, the same tastes, ambitions and values with these producers, and we help them work together. We do a lot of co-productions between countries and companies. Whether sharing IP or remaking a format, we offer many opportunities.

Besides those 85 companies, we are also an important international seller—Mediawan Rights is collaborating with those producers and investing in their content. We also made a partnership with a slate ﬁnancing fund called Entourage Ventures. This partnership is a powerful tool for investing in the productions and co-productions of our producers.

WS: How important is it to have that 30,000hour library at a time when commissions have slowed down?

D’ARVIEU: We understood early the need to retain rights, invest in our productions and have second and third lives for our fantastic TV series. That’s why we decided to form a

partnership between Entourage Ventures and Mediawan Rights. At moments when the commissioning market is more challenging, the ability to ﬁnance and then sell the content in many more venues creates opportunities. It will never replace commissioning, but it’s all part of a global strategy for being able to accompany the ideas of creators and make those projects happen. Creating a strong catalog is creating the ability to expose our content on as many platforms as possible and to the biggest audience. We have created a European studio that is fully at the service of our producers.

WS: Does being a European studio with a long history of co-productions, collaboration and making content on smaller budgets than the U.S. serve as an advantage in this climate?

D’ARVIEU: Deﬁnitely. We have all the tools in Europe to tell stories at a very ambitious level, with the same quality, while staying within a controlled budget. We also have a soft money system that is a signiﬁcant advantage for producers. That’s the perfect combination. Europe is more than ever an opportunity to launch ambitious creations in economics that make sense and that will be sold on the international market.

Our upcoming series The Count of Monte Cristo, a co-production between Palomar (Italy) and DEMD Productions (France), is currently in postproduction and was entirely developed, produced and ﬁnanced out of Europe. The series is shot in English because the aim, from the start, is the international market. We are developing English-speaking

The Count of Monte Cristo is a new high-end drama from Palomar in collaboration with DEMD Productions that is on offer from Mediawan Rights.

Credit: All City Media/Photo: Claudio Iannone

shows out of the U.S., U.K., France, Germany, Italy—everywhere. We are building bridges between those countries. Plan B could do a TV series in French. Language is no longer a barrier. It’s a positive thing our partners at the streamers brought to the market. Our Dutch company Submarine is also coming to MIPCOM this autumn with Safe Harbor Safe Harbor was written and created by Mark Williams, co-creator of Ozark, produced out of Europe with a European budget and being sold in the international market. We are also doing local-language shows that travel worldwide and bring European culture everywhere, shown by the tremendous success of The Count of Monte Cristo movie, produced by our company Chapter 2. Another good example of this is our show Call My Agent!

WS: I think I watched three versions of Call My Agent! : the original, the U.K. adaptation and the Indian one.

D’ARVIEU: It’s a great format. That’s the perfect example of our companies collaborating. Originally, it was a TV series created and produced by Mon Voisin Productions, one of our French entities. Then Palomar, our Italian entity, adapted it and made it a massive success in Italy. And there is more to come: we are producing a version for Spain and developing a Latino version, co-produced with Eva Longoria.

WS: Tell us about the new joint venture between Mediawan and ZAG for the Miraculous brand.

D’ARVIEU: It’s one of our biggest IPs in the group and one of the most beloved among kids all around the world. Miraculous is a French production that became an international hit, with a never-seen-before community of fans. It takes place in our beautiful city of Paris, which is a real character in the show. It’s part of the DNA of the brand. Creating Miraculous Corp, this groundbreaking joint venture, will accelerate the growth of the brand and give it its full potential. Jeremy Zag, our partner in this venture, and Pierre-Antoine are very proud that Andy Yeatman joined us [as CEO of Miraculous

Corp USA]. Developing the brand within Miraculous Corp is a fantastic opportunity for Mediawan.

WS: What are your other priorities for the group?

D’ARVIEU: We will continue our development in Europe and with the help of Plan B in the U.S., as we want to build more bridges between Europe and the U.S. We are looking everywhere that creativity exists. We want to continue to support the best creative voices who can create content that will travel everywhere and reach the widest audience.

Mediawan has established Miraculous Corp as a joint venture with ZAG to manage and scale Miraculous: Tales of Ladybug & Cat Noir .

Mediawan’s strong film slate this year includes Warner Bros.’s Beetlejuice Beetlejuice

FEELING GOOD

Vanessa Shapiro reflects on it being nearly five years since launching

Nicely Entertainment.

By Kristin Brzoznowski

This January will mark ﬁve years since the launch of Nicely Entertainment, which Vanessa Shapiro set up just before the world shut down due to the Covid-19 pandemic. “I’m incredibly proud of all we’ve accomplished,” says Shapiro, CEO. “As hard as any company’s ﬁrst year can be, the pandemic was a unique challenge for us but ultimately one that provided Nicely great opportunities.”

In that time, the company established strong co-production relationships in Australia that allowed Nicely to co-produce and distribute the two Netﬂix original series Dive Club and Gymnastics

Academy: A Second Chance, as well as the destination romance ﬁlm This Little Love of Mine—“which is a business model we’ve continued to utilize to this day, including [with] our hit movie A Royal in Paradise, which has a sequel coming up this holiday season on Great American Family, A Christmas Castle Proposal—A Royal in Paradise 2,” says Shapiro.

Another major milestone is that Nicely has amassed a catalog of over 100 feature ﬁlms. “This has allowed us to secure direct

“For me, it’s important to focus on inspiring, motivational and uplifting content.” —Vanessa Shapiro

ad-supported VOD deals with major U.S. players and has allowed us to increase international revenues,” Shapiro says. “But above all, Nicely Entertainment has grown from a team of one— myself—into a fully staffed one-stop shop managing development, production and global distribution for our growing list of clients. And even though 2024 has been another challenging year for our industry, we have a lot in the pipeline heading into 2025.”

Shapiro’s vision for Nicely has been to create a boutique distribution company, one that specializes in female-driven, advertisersafe programming. “For me, it’s important to focus on inspiring, motivational and uplifting content,” she says. “Feel-good programming. We simply focus on content that can make our audience enjoy the experience.”

THE LEADING SOURCE FOR PROGRAM INFORMATION

IN THIS EDITION

A+E Networks

Aardman

Albatross World Sales

All3Media International

Amazon MGM Studios

Amuz Distribution

APC Kids

APT Worldwide

Artist View Entertainment

Atresmedia Televisión

atv

Autentic Distribution

Banijay Kids & Family

BBC Studios

BBC Studios Kids & Family

Boat Rocker

BossaNova Media

Branscome International

CAKE

Calinos Entertainment

Cineflix Rights

CJ ENM

Cyber Group Studios

Dandelooo

Disney Entertainment Latin America

Dori Media Group

Eccho Rights

Electric Entertainment

Escapade Media

FilmRise

FOX Entertainment Global

Global Agency

Global Screen

GMA Network

GoQuest Media

GRB Media Ranch

Green Gold Animation

Gruppo Alcuni

Guru Studio

Hat Trick International

Inter Medya

Kanal D International

Konami Cross Media NY

Leading Distribution Partners

LEONINE Studios

Lion Forge Entertainment

Lionsgate Entertainment

Magic Light Pictures

Mattel Television Studios

Mediatoon Distribution

Mediawan Kids & Family

Mercury Filmworks

MIAM! distribution

MISTCO

Monster Entertainment

Movistar Plus+ International

Nacelle Company

NBCUniversal Global TV

Distribution

NBCUniversal Global TV

Distribution Kids & Family

New Dominion Pictures

NHK Enterprises

Nicely Entertainment

Off the Fence

OneGate Media

Onza Distribution

ORF-Enterprise

Outfit7

Paramount Global Content Distribution

Passion Distribution

PBS Distribution

Pinnacle Peak Pictures/ Panoramic Pictures

pocket.watch Rainbow

Record TV

Rive Gauche Television

Seven.One Studios International

SIC—Sociedade Independente de Comunicação

SPI International

Studio 100 International Superights

TBN (Trinity Broadcasting Networks)

Telefilms

The Television Syndication Company

Terra Mater Studios

The Mediapro Studio

The Wiggles

Toon2Tango

Turkish Radio Television Corporation (TRT)

TV Asahi Corporation

Viaplay Content Distribution

WildBrain

ZDF Studios

A+E NETWORKS

O (1-212) 210-1400

m intl.sales@aenetworks.com w sales.aenetworks.com

Stand: C15.A6

Alone (Competition/survival format, U.S.: 23x90 min./114x60 min.) Ten participants must survive in total isolation in the Canadian wilderness, hoping to outlast the others for a $500,000 prize.

Cold Case File: DNA Speaks (Crime/investigation, 10x60 min.) Documentary series focusing on murder cases that remained unsolved for decades and were ultimately cracked with DNA evidence.

Homicide Squad: New Orleans (Crime/investigation, 20x60 min.) New Orleans’ overworked homicide squad fights to find justice for loved ones of the victims and to make the streets of the Big Easy safe.

Kevin Costner’s The West (History, 8x60 min.)

Hosted and narrated by Kevin Costner and executive produced by Doris Kearns Goodwin, the first season of this returning series will capture some of the West’s vast sweep in stand-alone episodes.

Holy Marvels with Dennis Quaid (History, 8x60 min.) Hosted by Dennis Quaid, explores faith

through coveted sacred objects like the Mayan Cal endar, Noah’s Ark and the Fountain of Youth.

Mysteries Unearthed with Danny Trejo (Mystery, 8x60 min.) Blends archive, interview, graphics and limited stylized re-creations, using findings from state-of-the-art technologies like sonar, ground penetrating radar, drones and more to reveal new truths.

The Great War (History, 2x120 min.) The story of how the U.S. quickly built its army and transformed its military technology into effective weapons in what would become a war of machines that allowed Allied victory in WWI.

The Kollective (Scripted co-pro, 6x60 min.) When their friend is murdered after the mysterious crash of a civilian aircraft, a group of young citizen journalists embark on a quest to discover the truth.

The Wild Old Days with Henry Winkler (Factual, 8x60 min.) The stories of the unchecked and unregulated places, people, products, practices and pastimes from a forgotten America.

Terry McMillan Presents: Tempted By Love (Dra ma, 1x120 min.) A chef living in Europe rushes home to care for her elderly aunt in South Carolina. Picked up from the flight by a driver 20 years her junior, the pair feel an unexpected yet passionate connection.

AARDMAN

O (44-117) 984-8485

m sales@aardman.com

w www.aardman.com

Stand: R7.D33

Big Lizard (4-6 CGI comedy/adventure/science, 52x7 min.) The cosmic adventures of astronauts

Cosima and Dad as they explore prehistoric planet Proxima B—and meet a larger-than-life Big Lizard.

Lí Ban (7-9 2D anime/adventure/action, S1: 13x11 min., S2-3: 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.

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: in dvpmt.) 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 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, S12: 41x3 min., S3: in dvpmt.) Five curious friends have lots of fun exploring a child’s playroom.

Shaun the Sheep (6-9 stop-frame comedy, 170x7 min., 1x30 min., 1x28 min., 15x1 min., 21x1 min.)

Recognized the world over for its slapstick humor, distinctive look and strong, quirky characters.

ALBATROSS WORLD SALES

O (49-341) 4428-2450

m anne@albatrossworldsales.com w www.albatrossworldsales.com

Stand: P-1.K19

Norway—A Call from the Wild (Nature/wildlife, 1x52 min./81 min.) Filmmaker Asgeir Helgestad captures Norway’s wild beauty, weaving a heartfelt story of nature’s strength, fragility and our deep connection to it.

Forest of Colours—Thailand’s Tenasserim Hills (Nature/wildlife, 1x52 min.) Takes us deep into Thai land’s jungle, revealing rare and exotic animals while exploring the mysteries of their vibrant colors.

Night in the Forest (Nature/wildlife, 1x49 min.)

Takes you into the hidden world of a forest after dark, revealing the fascinating adaptations of nocturnal animals as they navigate the night.

La Réunion—Evolution’s Experimental Lab (Nature/wildlife, 1x52 min.) Explores La Réunion’s unique ecosystem, highlighting the impact of

Big Lizard

human settlement and efforts to protect its native species from invasive threats.

Nature’s Leading Ladies (Nature/wildlife, 1x52 min.) Explores female-led animal societies like elephants and hyenas and how their leadership dynamics offer insights into dominance, power and possibly lessons for humans.

Norway—A Call from the Wild

Pioneer Beauty (Nature/wildlife, 1x44 min.) Discover the resilience of beach wildlife as they navigate harsh coastal landscapes in this exploration of survival and balance.

Resurrecting Eden: Barcelona’s Green Corridor (Science/nature, 5x52 min.) Showcases global efforts to restore nature.

Beaches of Europe (Nature/destinations, 6x52 min.) Explores six diverse beaches, uncovering their unique ecosystems and the people dedicated to preserving these natural habitats.

Wild Tech—Conservation Through Advanced Technology (Science, 1x52 min.) Amid the sixth mass extinction, researchers worldwide are using high-tech solutions to protect species.

Masters of the Deck—The Fascination with Card Games (History, 1x43 min.) Explores the 800-year-old history of card games, their evolution

and enduring allure, following players and experts in the world of cards.

ALL3MEDIA INTERNATIONAL m international@all3media.com w www.all3mediainternational.com Stand: P3.C10

Ellis (Detective drama, 3x120 min.) From Company Pictures, this police procedural introduces DCI Amma Ellis, a Black female cop used to being dismissed and overlooked.

Exposure (Thriller/drama, 6x30 min.) Alice Englert stars as a photographer processing the death of her best friend.

Dead and Buried (Thriller/drama, 4x60 min.)

The Split ’s Annabel Scholey stars as Cathy, whose brief encounter with Michael (Colin Morgan), the man convicted of the brutal murder of her brother 20 years earlier, reignites her thirst for retribution.

Boarders (Drama/comedy, S2: 6x45 min.) The second season sees a new era for the five talented Black inner-city teens transported to a British boarding school in St. Gilbert’s.

Ellis

The Body Next Door (Doc., 3x60 min.) Delves into one of the most bizarre and shocking truecrime stories of the past decade.

Critical Incident (Drama/thriller, 6x60 min.) An authentic, nuanced depiction of the world of policing and criminality, based on creator Sarah Bassiuoni’s real-life experiences working as a lawyer in Western Sydney’s juvenile justice system.

The Anonymous (Reality format, 60 min. eps.)

Players live together, complete challenges and form alliances face-to-face, but at key moments, they have the power to communicate with each other anonymously to say and do whatever it takes to keep themselves safe in the game.

FBI True (True-crime, 20x30 min.) Takes audiences into the world of real FBI agents, where untold stories of infamous cases are revealed.

Shark (Doc., 3x60 min.) Takes viewers on a journey to chase some of the biggest sharks on the planet.

Bad Boyfriends (Dating/reality format, 60 min. eps.)

Unsuspecting bad boyfriends are flown to a paradise destination under the premise of filming a series about manhood before discovering the show’s true purpose is to whip them into better boyfriend shape.

AMAZON MGM STUDIOS

O (1-914) 708-9009

m allison.alonso@amazonstudios.com w press.amazonmgmstudios.com/us/en Stand: P3.A1

Earth Abides (Scripted, 6x60 min.) When a plague sweeps the globe, the human race is all but wiped out. In the aftermath, as the great machine of civilization

breaks down, only a few shattered survivors remain to struggle against the slide into extinction.

The Handmaid’s Tale (Scripted, S6: 4x60 min.)

Adapted from the novel by Margaret Atwood, it centers on one of the few fertile women, known as Hand maids, in the Republic of Gilead and her struggles to survive as a reproductive surrogate for a powerful commander and his resentful wife.

The Wonderland Massacre & The Secret History of Hollywood (Factual, 4x60 min.) Michael Connelly takes us on a journey into the twisted story of the massacre at Wonderland Avenue on July 1, 1981, one of Hollywood’s most famous murder cases.

Gladiators (Format, 60 min. eps.) A new generation of superhuman Gladiators compete against a brave set of contenders in the ultimate test of speed and strength.

Are You Smarter Than...? (Format, 60 min.) In the U.S. edition, hosted by Travis Kelce, adult contestants rely on a classroom full of celebrities from comedy, screen and sports to help them answer 11 questions on a range of subjects, pulled from elementary curriculum, in an effort to win a $100,000 prize.

Road House (Action/drama/thriller) Ex-UFC fighter Dalton (Jake Gyllenhaal) is barely scraping by on

Earth Abides

the reputation that precedes him when the owner of a roadhouse in the Florida Keys hires him to be her new bouncer in hopes of stopping a violent gang from destroying her beloved bar.

Challengers (Drama) Tennis player-turned-coach Tashi has transformed her husband into a Grand Slam champion. To jolt him out of his recent losing streak, she makes him play a “Challenger” event—against his former best friend and Tashi’s former boyfriend.

Idea of You (Drama/romance/comedy) Centers on Solène (Anne Hathaway), a 40-year-old single mom who begins an unexpected romance with 24- year-old Hayes Campbell (Nicholas Galitzine), the lead singer of the hottest boy band on the planet.

Ministry of Ungentlemanly Warfare (Action/war/drama/comedy) Inspired by true events, tells the story of the first-ever special forces organization formed during WWII by Prime Minister Winston Churchill and a group of military officials. Candy Cane Lane (Comedy) After Chris (Eddie Murphy) inadvertently makes a deal with a mischievous elf named Pepper (Jillian Bell) to better his chances of winning the neighborhood’s annual Christmas home decoration contest, she casts a spell that brings the 12 Days of Christmas to life.

AMUZ DISTRIBUTION

O (1-514) 405-3427

m alex.avon@amuzdistribution.com w www.amuzdistribution.com

Stand: R8.E1

1995 (Movie, 1x119 min.) Follow filmmaker Ricardo Trogi’s remarkable journey during his first year, at

age 24, after winning a Radio-Canada grant to create inspiring short films.

Marco, My Dream Life (Dramedy, S1-2: 12x30 min.) Marco Lachance’s life may not resemble his former rockstar dreams, but his legendary optimism leads him to reconnect with his passion.

About Antoine (Dramedy, S1-2: 20x30 min.) With authenticity, sensitivity and humor, explores life with a poly-handicapped child. Inspired by true events.

Like Father, Like Daughter (Comedy, S1-2: 8x20 min.) Follows the adventures of Daphnée and her father, Pierre, as they transform their everyday life into epic, humorous quests in Rosemont–Petite-Patrie.

Abroad (Variety/sketch, S1-3: 26x30 min.) Unique sketch show blending humor, culture, unexpected adventures and unforgettable moments showcasing Filipino comedians in Canada.

Larry (Dramedy, 10x60 min.) A former undercover police officer with a tarnished reputation is now a security guard with an injured wife.

The Clan (Dramedy, S1-2: 12x60 min.) Follows Yannick Moreau, a repentant criminal who lives hidden under a new identity in witness protection.

Writer’s Block (Comedy, 22x60 min.) Two TV showrunners experience creative failure for season

GET GLOBAL MEDIA

one of their crime series but must create season two. They try to acquire genuine criminal experiences, leading to trouble.

LOL—ComediHa! (Comedy, 154x30 min.) Nonverbal sketches where versatile characters evolve in different scenarios.

Counter Offer (Comedy, S1-4: 48x30 min.) The family-run Levesque agency desperately tries to survive the highly unpredictable real estate industry. Dysfunctional but endearing, the company helps buyers and sellers find happiness.

APC KIDS

O (33-1) 8508-7022

m lionel.marty@apckids.com w www.aboutpremiumcontent.com Stand: R7.B12

Nitso and the Very Hairy Alphabet (Preschool 2D, 26x7 min.) Nitso the little Yeti discovers the world of letters and languages with our young audience.

Stories from Backwoods (CGI comedy, 13x11 min.) Rooney, a city raccoon, has sniffed her way to Backwoods. There, she meets Hare, whose favorite thing to do is help people—kind of.

Hawa & Adam (Tween live-action sci-fi, 13x24 min.) What if the world could only be saved by two teens who have never seen or met each other but communicate through a magic diary?

Walter’s Christmas: Keeper of the Forest (Family live-action fantasy/adventure, 24x26 min.)

Walter wants to prevent his family farm from being sold after holding one last Christmas market. When magical creatures from the forest show up, he realizes there is more to save.

Isadora Moon (Kids 2D, 52x11 min.) Isadora is a fairy vampire who doesn’t realize just how special she is.

Jade Armor (Kids CGI, 26x22 min.) Lan Jun suddenly becomes a legendary hero thrust into actionpacked adventures with the help of her friends and the mystical Beasticons.

Tinka (Family live-action fantasy/adventure, 72x26 min.) Fifteen-year-old pixie Tinka discovers she is also half human and embarks on an adventure to save the kingdom with her new friend Lasse.

Angelo Rules (Kids CGI, S1: 78x7 min., S2-4: 52x13 min. each, S5: 46x11 min.) Thanks to his arsenal of clever planning, irreverent attitude, rebellious nature and optimism, 11-year-old Angelo has a knack for getting out of trouble.

Angelo, Wake Up! It’s Christmas! (Kids CGI, 1x60 min.) Angelo finds himself on Santa’s naughty list and gets stuck reliving the day before Christmas over and over again, in a nightmarish yuletide time loop.

Zoe & Milo (6-9 2D, 52x7 min.) Zoe and Milo travel the world in a plane piloted by Alim, a knowledgeable hamster, meeting friends in diverse countries and learning about cultural differences.

Nitso and the Very Hairy Alphabet

APT WORLDWIDE

O (1-617) 338-4455

m Judy_Barlow@APTonline.org w aptww.org

Stand: P-1.K68

The Cure for Hate: Bearing Witness to Auschwitz (History, 1x60 min.) Tony McAleer, a former skinhead and Holocaust denier, travels to Auschwitz/Birkenau on a personal journey of atonement.

The Cure for Hate: Bearing Witness to Auschwitz

Behind the Wings (Science/history, 24x30 min.)

Go “behind the wings” to explore history’s iconic aerospace treasures, with access to legendary aircraft and cutting-edge aviation technology.

Curious Traveler (Travel, 73x30 min.) Award-winning host Christine van Blokland explores the hidden treasures and cultural histories of incredible destinations.

Dad’s Secret War: France 1944 (History, 1x60 min.) An American working with British secret agents parachutes into France just after D-Day to organize the French Resistance into a cohesive army. Dream of Europe (Travel, 7x30 min.) Host Kathy McCabe (the creator of Dream of Italy) explores the history and culture of European destinations with her signature blend of authenticity and star power.

Lucky Chow (Lifestyle, 36x30 min.) Join Danielle Chang as she explores Asian cuisine across the United States and its impact on food culture.

Georgia O’Keeffe: The Brightness of Light (Arts/culture, 1x120 min.) Explore the life and art of Georgia O’Keeffe, the most important woman artist of the 20th century.

The Piping Plovers of Moonlight Bay (Nature, 1x60 min.) Follows a pair of courageous Piping Plovers over a year as they raise their tiny, marsh mallow-sized chicks on a crowded beach.

Peleliu: WWII’s Most Well-Preserved Battlefield (History, 1x60 min.) Explore the most well-preserved battlefield in the world—a living testament to one of the U.S. Marines’ most bitter fights in WWII. Rick Steves Iceland (Travel, 1x60 min.) Travel guru Rick Steves explores Iceland’s majestic landscapes and hardy culture.

ARTIST VIEW ENTERTAINMENT

O (1-818) 752-2480

m sales@artistviewent.com w www.artistviewent.com

Stand: R8.E1

A Murder Between Friends (Thriller, 1x90 min.)

A group of friends on an impromptu reunion lease a castle owned by a legendary television detective. A funfilled 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 oncefamous country music legend.

Brother (Thriller, 1x94 min.) When their abusive older brother’s car is found at the bottom of a lake, two siblings are forced to come back to their childhood home.

Oscar’s Eye (Drama, 1x112 min.) An eccentric repairman and a young boy who cannot speak are brought together by a broken film camera. The boy finds a voice through photography and in doing so, heals a wounded community.

Scott & Sid (Drama/comedy, 1x95 min.) Neglected by their parents and with no encouragement from their teachers, Scott and Sid set out to build bigger lives.

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.

Multi-Level Monster (Thriller, 1x90 min.) Nicole investigates her sister’s mysterious disappearance and comes face to face with the multi-level marketing mogul 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.

Killer Witches from Outer Space (Horror, 1x87 min.) Halloween is about to be changed forever as

a sleepy town is invaded by witches and creatures. Three youngsters must overthrow the frightening beings from another planet.

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

ATRESMEDIA TELEVISIÓN

m sales@atresmediatv.com w international-sales-atresmedia.com

Stand: R7.J11

Eva & Nicole (Drama, 8x50 min.) Eva and Nicole are friends until the appearance of Manuel. Thirteen years later, Eva returns to settle in Marbella and carry out her revenge.

Beguinas (Beguines) (Drama, 10x50 min.) Lucía de Avellaneda, engaged to the Marquess of Peñarrosa to secure the family’s status, receives a letter from her mother on her deathbed. At the Beguinage where her mother lives, Lucía discovers a new world.

Sueños De Libertad (Dreams of Freedom) (Soap opera, S1: 236x50 min., S2) Begoña is a woman trapped in a toxic marriage. She will try to escape and strive for freedom.

A Murder Between Friends

Eva & Nicole

El Gran Salto (The Big Jump) (Biopic, 5x50 min.)

Tells the story of Gervasio Deferr, a professional gymnast, showcasing the glory of professional successes and the darkest of personal times. Santuario (Sanctuary) (Sci-fi, 8x50 min.) A new dystopian thriller produced by Álex de la Iglesia. In the future, after the climate disaster, women spend their pregnancies in the Sanctuary. Tor (Doc., 8x60 min.) Carles Porta’s true-crime story delves into the dark legend of Tor, a remote village with 13 houses. Over a century, disputes over mountain ownership led to murders.

Un Nuevo Amanecer (A New Sunrise) (Comedy, 8x30 min.) Candela is a famous comedian battling addiction. After a live breakdown on her show, financial constraints lead her to detox at the public center. Red Flags (Drama, 8x30 min.) A teen drama focused on the emotional and sexual lives of Gen Z. Apatrullando (Patrolling) (Doc., 5x70 min. & 1x70 min. Christmas special) Jalis de la Serna, a journalist, and Zazza, a YouTuber renowned for his risky adventures, uncover secrets of iconic cities worldwide.

El Desafío (The Challenge) (Ent., S1: 8x120 min., S2-3: 10x120 min. each, S4: 12x120 min., S5) Eight celebrities face challenges every week to be the best and most competitive in the game.

ATV

O (90-212) 354-3701 w www.atvdistribution.com Stand: P-1.J2

The Nightfall (Drama, 45 min. eps.) 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. Safir (Drama, 89x45 min.) Feraye, a textile design student and housekeeper at a wealthy Gülsoy family mansion in Cappadocia, has a flaw in her affection for Yaman, one of the family’s heirs.

Street Birds (Drama, 173x45 min.) Five street kids discover a baby, Gülayşe, in the trash. Years later, as adults running a café, everything falls apart after a policeman comes looking for Gülayşe.

The Father (Drama, 224x45 min.) A secret service assassin fakes his own death for the sake of his family and the government. He starts a new life, but everything starts to fall apart when he is discovered and forced to return to Istanbul.

For My Family (Drama, 443x45 min.) Kadir takes responsibility for his siblings’ care after the sudden death of their parents. Despite poverty and homelessness, they always stick together.

The Ottoman (Drama, 528+x45 min.) The young and brave Osman will fight both internally and externally to defeat his enemies and empower the Kayı tribe in Anatolia.

The Nightfall

AUTENTIC DISTRIBUTION

O (49-89) 673-469-797

sales@autentic.com

www.autentic.com

Stand: R7.F2

Deserted—Europe’s Deadly Migration Policy (Current affairs, 1x52 min./45 min.) This investigative documentary reveals how the EU’s migration strategy leads to refugees being abandoned in the North African desert.

African Gas: Europe’s New Energy Source

African Gas: Europe’s New Energy Source (Current affairs, 1x52 min./30 min.) As Europe searches for new gas suppliers in the wake of Russia’s war on Ukraine, Africa emerges as a potential solution. Metal Detective (Fact-ent., 30x52 min.) History detective Gibba uncovers war relics from WWI and WWII battlegrounds using advanced metal detection. Summits and Society—History of St. Moritz (History, 1x45 min.) The birthplace of Alpine winter tourism and numerous winter sports and the most fashionable meeting place in the Alps: St. Moritz. Decoding Beauty (Lifestyle/arts, 1x90 min.) Explore global facial beauty standards and the impact of digital alteration on society’s perception of beauty.

Wunderland (Lifestyle/arts, 1x90 min.) Takes viewers on a magical and mesmerizing journey through the world’s largest miniature wonderland.

Katavi—Africa’s Last Refuge (Nature/wildlife, 3×52 min.) An extreme weather event hits Katavi National Park, Tanzania, sparking conflict and alliances among hippos, crocodiles and lions.

San Diego—America’s Wildest City (Nature/wildlife, 2×52 min.) An epic window into the secret lives of wildlife adapting to a new world where humans decide what nature looks like.

Jaguar Beach (Nature/wildlife, 2×52 min.) Jaguars hunting sea turtles reveal a surprising role as protectors, maintaining balance within Costa Rica’s unique dry forest ecosystem.

De-extinction—Species Protection 2.0? (Sci ence/tech., 1x52 min.) What was once considered science fiction is no longer out of the question— science now explores reviving extinct species. Could this revolutionize conservation efforts?

BANIJAY KIDS & FAMILY

m sales@banijaykids.com w www.banijaykidsandfamily.com Stand: C20

Super Happy Magic Forest (Comedy/adventure, 52x11 min.) A comedy-quest adventure about five brave heroes brought together by a love of quests, picnics and frolics.

Chimera Keepers: Adventures with Incredible Creatures (Adventure, 52x11 min.) Join Thelma and Wendy on a summer adventure discovering the unique and magical Chimera creatures.

Miniheroes of the Forest (Preschool, 52x7 min.)

Gaston, Juliette, Jade and Gabin put on their costumes, run to their treehouse, discover adventures in the woods and use their “mini mega powers.”

Totally Spies! (Comedy/action, S1-7: 26x22 min. each & 1x75 min.) Follows the adventures of three Beverly Hills girls who were hired as secret agents by WOOHP (World Organization of Human Protection).

Piripenguins (Comedy, 52x11 min.) Follows a cheerful, funny colony of penguins on a large floating iceberg adrift somewhere in the ocean.

Shasha & Milo (Action/comedy, 25x22 min. & 12x2 min.) Shasha and Milo discover they’re next in a long line of shapeshifting feline guardians tasked with preventing dark magic from taking over Crescent Island.

Moominvalley (Adventure, S1-4: 13x22 min. each) Curious and idealistic Moomintroll, along with his family and friends, takes us on an adventure into the magical world of Moominvalley.

The Game Catchers (Preschool, S1-2: 52x7 min. each) The Game Catchers are a team of five friends on a journey to explore fantastic planets with the aim of playing and collecting games.

Silverpoint (Sci-fi/adventure, S1-2: 13x22 min. each) Four kids stumble upon something buried in

the woods that will send their lives and the world around them spiraling out of control.

When I Was Your Age (Adventure/comedy, 52x11 min.) Paul is a typical boy, but when someone says, “When I was your age…” he’s immediately transported to when the person was 10 years old.

BBC STUDIOS

m format.sales@bbc.com w sales.bbcstudios.com

Stand: P0.E1

The Answer Run (Game-show format, 60 min. eps.)

The quiz show where the answers are right in front of you and victory depends on a split-second swipe. Silence is Golden (Game-show format, 60 min. eps.) Comedy game show where it pays not to laugh and nothing is off limits—from comedians to jump scares, variety acts to embarrassing confessions.

The 1% Club (Game-show format, 60 min. eps.)

Mul ti-award-winning game show that’s taking the world by storm. Already in 13 countries and counting, it’s not about what you know, but how your brain works.

Weakest Link (Game-show format, 60 min. eps.)

Iconic game show that sees nine contestants work

GET

Super Happy Magic Forest

The Answer Run

together to answer questions and bank as much money as possible. Already in 47 countries. Koso Koso (Game-show format, 60 min. eps.) Comedy game show where celebrity secret agents prank unsuspecting contestants to win them a cash prize.

Bridge of Lies (Game-show format, 60 min. eps.)

The high-drama game show that keeps contestants well and truly on their toes.

In with a Shout (Game-show format, 60 min. eps.) A comedy game show for the whole family, where all you have to do is shout at the TV to win a fortune.

Scam Interceptors (True-crime format, 30 min. eps.) Using cutting-edge technology to reversehack into scammers’ phone calls, the team monitors industrial-scale cons in real time to stop innocent victims from falling foul of fraud.

The Last Goodbye (Factual format, 60 min. eps.)

Explores the many possibilities of death after life as a local celebrity plans their own funeral and discovers new trends, ancient rituals and emerging tech.

BBC STUDIOS KIDS & FAMILY

w productions.bbcstudios.com/our-productionbrands/kids-family Stand: P0.E1

The Primrose Railway Children (Live-action, 1x84 min./3x28 min.) Jacqueline Wilson’s updated retelling of the children’s classic for a new generation, set amid the beauty of the Scottish Highlands. Hey Duggee (Kids animation, S5: 20x7 min.) Lovable Duggee and the Squirrels return with more educational fun and adventures in this cherished animated series for preschoolers.

Hey Duggee’s Squirrel Club (Kids animation, 26x7 min.) Be part of Duggee’s gang in this interactive spin-off show based on the hugely popular multi-award-winning children’s series.

Bluey (Kids animation, S3: 49x7 min. & 1x30 min.)

The multi-award-winning preschool animation, loved by children and their families around the world, returns for a third season.

Supertato (Kids animation, S2: 52x7 min.) The world’s greatest potato superhero returns in this popular slapstick comedy animation set among the aisles of a supermarket.

Andy’s Global Adventures: Baby Animal Mis sions (Live-action, 15x15 min.) Globetrotting Andy, Jen and Scout are on a new mission in their Eco-Explorer: to discover more about incredible animal families and their babies.

Popularity Papers (Live-action, 26x22 min.) A tween comedy-drama series about two best friends on a scientific quest to crack the popularity code and conquer middle school.

Deadly 60 (Live-action, S5: 11x30 min.) Explorer Steve Backshall is on a mission to meet more of the planet’s deadliest creatures and raise awareness about the challenges they face.

GET DAILY NEWS ON TELEVISION DRAMA

The Primrose Railway Children

Pickle Storm (Live-action, 10x22 min.) A fish-outof-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.

Stan Can (Kids 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.

BOAT ROCKER

O (1-416) 591-0065 m sales@boatrocker.com w www.boatrocker.com

Stand: R7.N13

Dino Ranch (2-5 comedy adventure, S3: 52x11 min.) Follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical, “pre-westoric” setting where dinosaurs still roam.

The Next Step (Teen/tween live-action, S9: 22x30 min.) Follows the lives of a group of dancers at The Next Step Dance Studio as they attempt to win dance championships.

American Rust: Broken Justice (Drama, 10x60 min.) Police detective Del Harris (Jeff Daniels)

attempts to infiltrate and bring down a corrupt ring of fellow officers operating out of the Pittsburgh Police Department.

Beacon 23 (Drama, 8x60 min.) Follows Aster (Lena Headey) and Halan (Stephan James), whose fates become entangled after they find themselves trapped together at the end of the known universe.

Orphan Black: Echoes (Drama, 10x60 min.) Follows a group of women as they weave their way into each other’s lives and embark on a thrilling journey, unraveling the mystery of their identity and uncovering a wrenching story of love and betrayal.

Video Nasty (Drama, 6x30 min.) In 1985, three teenagers go on a quest to complete a cult VHS collection, only to get mixed up in a murder investigation, becoming chief suspects and public enemies.

Mix Tape (Drama, 8x30 min.) Based on the novel of the same name from former BBC producer Jane Sanderson. Daniel was the first boy to make Alison a mix tape. Decades later, Daniel follows her on Twitter, sending a link to a song from their shared past.

War Game (Doc., 1x90 min.) A bipartisan group of U.S. defense, intelligence and elected policymakers participate in a role-play exercise in which they confront a political coup backed by rogue members of the U.S. military in the wake of a contested presidential election.

Leonard Cohen: If It Be Your Will (Doc., 1x90 min.) A year to the day after Leonard Cohen’s passing, performers gathered in his hometown of Montreal to pay tribute.

Meeting Zelenskyy (Doc., 1x90 min.) Through an in-depth interview with actor-filmmaker Liev Schreiber, we gain new insights into one of the most extraordinary characters of our age.

GET DAILY NEWS ON THE FORMATS BUSINESS

Dino Ranch

BOSSANOVA MEDIA

O (44-20) 8124-8419

m office@bossanovamedia.com w www.bossanovamedia.com Stand: R7.K4

Airport Security: USA (Access/ob-doc., 12x60 min.) A new series from the producers of Borderforce USA follows Customs and Border Protection officers at some of the busiest airports in the U.S. Mysteries Of… (History/mystery, 6x60 min./3x120 min.) We explore the secrets behind three iconic phenomena: Stonehenge, the Loch Ness Monster and sinkholes.

Mysteries Of...

Seized at Sea (Access/ob-doc., 12x60 min.) Follows U.S. Border Patrol and Air and Marine Operations agents fighting drug smugglers and human traffickers in the Caribbean and off the coast of Florida. Bobby, Danny & Atlanta Tim: An American Seri al Killer (Crime/investigation, 2x60 min.)

Gives a voice to the Tampa LGBTQ+ community and the mothers of two victims as they recover in the wake of horrendous crimes.

Greatest Escapes of World War 2 (History/mystery, 6x60 min.) Ingenious plans,

cal culated schemes, blatant bravery, selfless heroism and the always unrelenting human spirit that refused to concede.

Tsunami: The Day the Wave Hit (Doc., 2x60 min.) A minute-by-minute account of the most destructive tsunami of modern times—on Boxing Day, 2004—told through powerful testimony, jawdropping archive and illuminating graphics.

MH17: The Plane Crash That Shook the World (History/mystery, 1x60 min.) Tracks the secret war fueled by the destruction of flight MH17 and how its reverberations would impact the world-changing events that were to follow.

Inside McVitie’s (Access/ob-doc., 1x60 min.) An unprecedented look behind the scenes at McVitie’s as it gears up production for Christmas and the launch of a new biscuit, the White Chocolate Digestive.

Ancient Greece by Train (History/mystery, 5x50 min.) Professor Alice Roberts travels on the trains of Greece and Turkey, learning about the incredible power and influence of Ancient Greece on modern life.

Mysteries of the Ancient Dead (History/mystery, S2: 12x60 min.) What can ancient death practices teach us about our modern fatal obsession?

BRANSCOME INTERNATIONAL

O (1-212) 448-0001

m sales@branscomeinternational.com w branscomeinternational.com

ROBOTIK (Upper preschool, S1: 42x2.5 min., S2: 26x7 min. in prod. financing) A cheery robot girl named Beka uses inspiration, tools and design thinking to solve problems and create smiles.

Killer Lasagna (7+ horror/comedy, 1x75 min.) Rebeca and her father renovate an abandoned house, turn it into a trattoria and then discover the prior owners were being stalked by a Killer Lasagna.

The Winning Score (10-16 live-action adventure, 6x30 min. in dvpmt.) Based on a short film. How do you become a famous football striker when the odds are stacked against you from the start?

Time for Classics! (Classical music videos, 28x3 min.) From baroque to contemporary, these animated classical music gems were written for children by world-famous composers.

CAKE

m info@cakeentertainment.com w cakeentertainment.com

Stand: R7.D18

Talking Tom Heroes Suddenly Super (Animation, 52x11 min.) Talking Tom and his friends have been transformed into superheroes. Now, they’re off on an adventure to discover their real powers and save the day.

Nikhil & Jay (Preschool animation, 52x11 min.)

Follows the adventures of two dual-heritage brothers and their lovable family.

Mechamato (6-12 animation, 104x11 min. & 1x120 min.) Amato and a high-tech robot combine to become

Mechamato, a superhero who must defeat and capture The Bad Robots before they destroy the city.

Tish Tash (Preschool animation, 104x5 min.)

Young bear Tish, her bear family and her largerthan-life imaginary friend Tash embark on fun adventures while inspiring imaginative play and problem-solving in young children.

Cracké Family Scramble (4+/family animation, 52x7 min.) First-time daddy ostrich Ed scrambles to keep control over his eight kids, turning every family activity into a hilarious adventure. Non-dialogue.

Angry Birds Summer Madness (6-11 animation, 32x11 min. & 4x22 min.) Sparks and feathers fly when a teenage Red, Chuck, Bomb and Stella spend a wild summer together with other Angry Birds at Camp Splinterwood.

Nikhil & Jay

Total Drama Island (6-12 animation, 26x22 min.)

It’s time to go back to the island as Total Drama promises to take reality to the next level with wild challenges, dramatic eliminations and total insanity.

Lucas The Spider (Preschool animation, 78x7 min.)

Based on the YouTube hit, adorable spider Lucas and his friends leap head-first into adventure and discovery.

Mush-Mush & the Mushables (4-8 animation, S1-2: 96x11 min. & 4x22 min.) Follows the adventures of the Mushable community, pocket-sized Guardians of the Forest, as they embark on a journey of self-discovery and more.

ROBOTIK

CALINOS ENTERTAINMENT

O (90-216) 999-4999

m info@calinosentertainment.com

w www.calinosentertainment.com

Stand: P-1.M51

Hidden Garden (Drama) Demir Akçınar wages a custody battle with Nazlı for Memo, his late brother’s son. As they fight for Memo’s future, the Akçınar family’s schemes, secrets and shadows of the past will complicate their growing but seemingly impossible love.

Farah (Drama, S1: 47 hrs., S2: 42 hrs.) The story of an Iranian woman struggling to live in Istanbul who works as a cleaning lady to maintain her son’s medical treatments and becomes a mafia accomplice.

EGO (Drama, 40 hrs.) Sibel decides to get pregnant with Erhan’s baby and makes an indecent cash proposal.

Adela (Drama, S1-4: 158 hrs.) Two sisters live with their parents in a slum near Bucharest. The secret identity of one will be revealed when her biological grandfather decides to repair his past mistakes.

Indefensible (Crime drama, S1: 120x20 min., S2: on air, S3) Set in the world of the LapointeMac donald law firm and its criminal defense team.

Alert Squad (Crime drama, S1: 24 hrs., S2: 25 hrs., S3: 26 hrs., S4) Every minute counts when the Missing Persons Unit is working a case.

No Trespassing (Crime drama, S1: 10 hrs., S2: 10 hrs.) When the police detain his daughter with a well-known Belgrade dealer, Dejan Matić moves with her to Dol, his father’s home village.

Tycoon (Action, S1: 10x50 min., S2) Vladan Simonović, a tycoon hated in Serbia, is forced to take drastic measures to preserve himself and his company.

The Clan (Crime/thriller, S1-3: 24x50 min.) The murder of mafia boss Tigar shook the Serbian underground to its foundations. On the margins of that world, Shock and Pasha, provincials and not overly successful petty thieves, are just beginning their careers.

The Well (Drama, 11x50 min.) In this existential story, Radomir Pavlović, a philosophy professor, searches for answers.

CINEFLIX RIGHTS

O (44-20) 3179-5050 m sales@cineflix.com w www.cineflixrights.com Stand: R7.L27

Virdee (Crime drama, 6x60 min.) Adapted from the best-selling A.A. Dhand novels, a crime thriller following a Bradford-based detective with a chaotic personal life who must hunt down a serial killer.

Wynonna Earp: Vengeance (Supernatural fantasy, 1x90 min.) Gunslinger Wynonna Earp is coming home to battle her greatest foe yet: a psychotic seductress hellbent on revenge against her—and everyone she loves.

Heart Attack (Dystopian thriller, 8x60 min.) In post-pandemic Japan, a Variant couple’s bond ignites a revolution, but a hidden betrayal threatens their fight for freedom and survival.

Last King of The Cross (Crime drama, S1-2: 18x60 min.) Inspired by John Ibrahim’s best-selling

Hidden Garden

autobiography charting his rise from a povertystrick en immigrant to Australia’s most infamous nightclub mogul.

A New Life in The Sun (Fact-ent., S1-16: 380x60 min. & spin-offs) Intrepid expats chase a dream life in the sun as they set up new businesses abroad.

Titanic: Our Secret Histories (History, 1x60 min.) Reveals just how much of the Titanic’s story has been airbrushed from history—until now.

Our Farm Next Door: Amanda, Clive & Kids (Factual, 10x60 min.) The U.K.’s favorite sheepherding family transforms an abandoned farm into a 40-acre hub that’s all their own.

Cold Case Cops (True crime, 10x60 min.) When the leads dry up and the killer is still on the loose, it’s up to the Cold Case Cops to step in.

CJ ENM

O (82-2) 371-8616

m jinhee.lee28@cj.net

w watch.cjenm.com

Stand: R8.B18

Artistock Game (Game show, 10x70 min.) A music survival show where the artists become stock that viewers invest in.

Trust or Lust (Dating/reality, 8x50 min.) Couples’ psychological experiment show where temptation

tests love, and only the strongest couple keeps the fortune.

The Genius Game (Game show, 12x90 min.) A survival-reality game show that tests players’ intelligence, powers of persuasion and social savvy.

Lovely Runner (Romance/fantasy, 16x70 min.)

The story of an A-list celebrity who ended his life and the woman who travels in time to save him.

Love Your Enemy (Romance/comedy, 12x70 min.) Two lovers, separated by family feuds and fate, meet again after 18 years.

Lovely Runner

The Queen Who Crowns (Romance/period, 12x60 min.) A historical melodrama reimagining the passionate and conflicted marriage of Wongyeong and Lee Bangwon.

CYBER GROUP STUDIOS

O (33-1) 5556-3213

m sales@cybergroupstudios.com w www.cybergroupstudios.com

Stand: R7.D22

Alex Player (Kids 2D/CGI adventure/esport, 26x22 min.) Alex and his teammates juggle their school life and their training to win the esports national interschool championship.

Press Start! (Bridge CGI comedy/adventure, 52x11 min.) Follow Sunny and Rue in their incredible

Wynonna Earp: Vengeance

adventure inside a video game with their favorite hero, Super Rabbit Boy.

Droners (Kids 2D/CGI adventure/comedy, 52x22 min.) To save Terraqua, the Tikis head to Tortuga, Queen Scarlett’s island, home of the Rotor Punch competition. The winners will get the chance to seize the Queen’s treasure.

Gigantosaurus (Upper preschool 2D/CGI comedy/adventure, S1-3: 156x11 min./78x26 min.) Follow the adventures of Tiny, Rocky, Bill and Mazu in Cretacia, where every day is a new adventure, under the watchful eye of Gigantosaurus.

The McFire Family (Bridge family/adventure, 52x11 min.) Meet a family of firefighters protecting the city with their super abilities and high-tech equipment. They will need to learn how to work as a team to save the day.

50/50 Heroes (Kids 2D comedy/adventure, 52x11 min.) Half-siblings Mo and Sam find out they inherited superpowers from their ancestor, but the problem is they need to share them.

Taffy (Kids/family 2D comedy, S1-2: 156x7 min.)

Taffy the raccoon and Bentley the dog are “partners in crime” for vigorous adventures and new crazy chases. Nefertine on the Nile (Bridge 2D/CGI comedy, 52x13 min.) Nefertine is an 8-year-old girl with inexhaustible curiosity and great courage who lives in ancient Egypt, aspiring to be the first female scribe.

Zak Jinks (Kids 2D comedy, S1-2: 104x13 min.)

The hilarious life of a mischievous and lovable 8- year-old boy.

Squared Zebra (Preschool 2D comedy/edutainment, 78x7 min.) Every day is an adventure with Squared Zebra and her friends as they learn from their differences in a cute and fun way.

DANDELOOO

O (33-9) 7264-4601

m sales@dandelooo.com

w www.dandelooo.com

Stand: P4.B1

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.

Max & Bunny (Early preschool, 26x5 min.) If you see a purple rabbit in Max’s arms, you’ll probably think it’s a cuddly toy, but you’d be wrong. Rabbit is a real bunny—especially for Max.

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.

Billy the Cowboy Hamster (Preschool adventure/comedy, 48x11 min. & 2x22 min.) Billy dreams of being a cowboy but is still just a hamster child.

Alex Player

The Upside Down River

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.

The Superheroes of Nature (Kids/family edutainment, 30x3 min.) Uses humor to share and make accessible to the youngest the inventiveness of nature and the importance of preserving it.

Birds & Bees (Kids educational, 20x3 min.)

Friendly and dynamic, Lili, an expert in sexuality and emotions, answers all the questions that 8- to 11-year-olds inquire about.

Pol the Pirate Mouse (Preschool adventure, 13x7 min. & 1x26 min.) Pol and her eclectic crew look for lost treasures to give back to whichever forest friend they belong to.

Jasmine & Jambo (Preschool edutainment, S1-2: 52x7 min., 52x1 min., 26x1 min., 4x26 min.) Jasmine and Jambo are crazy about music. They live in Soundland, where music and life go hand in hand.

Pompon Little Bear (Preschool adventure, S1: 39x7 min., S2: 72x7 min. & 2x21 min.) In bear cub years, Pompon is 7. He is mischievous, cheerful and playful.

DISNEY ENTERTAINMENT

LATIN AMERICA

O (1-305) 567-3700 w www.dmdcentral.com Stand: P3.C1

Cars on the Road (Animation, 9x6 min.) Episodes follow Lightning McQueen and his best friend Mater as they head east from Radiator Springs on a crosscountry road trip to meet up with Mater’s sister. Coppola, El Representante (Coppola, the Agent) (Drama, 6x60 min.) The story of Guillermo

Coppola, a famous “bon vivant,” and his struggles juggling a hectic private life with the demands of being the agent of Diego Armando Maradona, the world’s most famous soccer player.

El Encargado (The Boss) (Comedy/drama/mystery, S2: 7x30 min.) Eliseo, the superintendent of an upscale building, believes himself the omnipotent figure of the community, meddling in the affairs of residents and pulling strings as he sees fit.

Meet Spidey and His Amazing Friends (Animation, S1-2: 21x3 min.) Spidey is about to discover that when he’s got some superhero friends by his side, he can fight supervillains and rescue anyone in trouble even better. Mickey Mouse Club House (Animation, S1-5: 132x30 min.) The show introduces a whole new generation of preschoolers to Mickey, Minnie, Pluto, Goofy, Daisy and Donald.

Minnie’s Bow-Toons (Animation, S1-2: 20x3 min.) Minnie and her good friend Daisy Duck run a specialty shop that stocks only bows and bow ties.

Princesita Sofia (Animation, S1-2: 56x30 min.)

An ordinary girl becomes a princess and, throughout her journey, learns that possessing the characteristics of a true princess makes one truly royal. Vidas Bandidas (Action/crime, 4x30 min.)

Raimundo and Serginho are partners in a life of committing robberies. When Raimundo decides to leave the life of crime, he is convinced by Serginho

Cars on the Road

to take part in one last heist, unaware that their target is their boss, Bruna.

DORI MEDIA GROUP

O (972-3) 647-8185

m sales@dorimedia.com

w www.dorimedia.com

Stand: P-1.F50

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

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

Soul Sucker (Horror/comedy, 8x45 min.) A washedup reality star finds out that she might be carrying the matrilineal family curse: men who fall in love with the women in her family hasten their own death.

Lalola (Comedy, 10x30 min.) Lalo’s life changes when he breaks Romina’s heart and she goes to a witch to teach him a lesson. He wakes up turned into Lola and will learn to be a woman with all its disadvantages in a macho world.

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

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

Spy Date (Reality dating) A former Mossad agent and a professional matchmaker use their specialties to manipulate two singles to meet “by chance” and go on a date.

The New Black (Comedy, 28x30 min.) They live the dream—on the one hand, they enjoy the benefits of the prestigious yeshiva student status in the orthodox society, and on the other hand, enjoy the pleasures of modern life.

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.

Da Next (Digital talent competition) A new model of media event taking place entirely in the digital arena.

ECCHO RIGHTS

O (46-8) 5560-9380

m info@ecchorights.com w ecchorights.com

Stand: P3.B1

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.

Amia

Safe Harbor

The Cost of Lies (Drama, 115x45 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.

A Journey to Belong (Drama, 150x45 min.)

When Yasemin leaves her little sister Mine at her estranged grandmother Münevver’s mansion, hidden family secrets risk resurfacing, threatening to unravel relationships and change lives forever.

Those About to Die (Drama, 10x60 min.) 79 AD Rome, heirs Titus and Domitian vie for the throne while Tenax controls Rome’s future through corrupt betting and deadly games at the Circus Maximus.

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.

I Am Mother (Drama, S1-2: 115x45 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.

Behind the Veil (Drama, S1-2: 105x45 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.

Winds of Love (Drama, S1-2: 278x45 min.)

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

Golden Boy (Drama, S1-3: 120x45 min.) Two years after parting, Seyran and Ferit lead separate lives. But when Seyran returns to Istanbul for Abidin and Suna’s wedding, the two cross paths again.

ELECTRIC ENTERTAINMENT

O (1-323) 817-1300

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

Stand: R8.B1

The Librarians: The Next Chapter (Action/adventure, S1-2: 24x60 min.) 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.

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.

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.

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.

The Librarians: The Next Chapter

ESCAPADE MEDIA

O (61) 411-035317

m natalie@escapademedia.com.au w www.escapademedia.com.au

Stand: R7.B15

Debriefing the President (Thriller, 6x60 min.)

Tells, for the first time, the intimate story of two men at the heart of one of the 21st century’s most formative conflicts.

Debriefing the President

Follow the Rain (Doc., 1x76 min./60 min.) Worldfamous fungi hunters Stephen Axford and Catherine Marciniak invite audiences on an expedition into the wilderness of Australia.

Stiggy (Drama, 6x60 min.) From the Bee Gees to John Travolta, The Who to Andrew Lloyd Webber, Saturday Night Fever to Jesus Christ Superstar , Stigwood almost single-handedly defined our era.

Breakaway Femmes (Factual, 1x90 min.) These women raced over the same cobblestones, conquered the same mountains and were cheered by the same throng of adoring crowds as the men, but their race was canceled.

Portobello Road (Drama, 8x60 min.) With her management company on the verge of collapse, Penny needs to dance between creditors, egos and her own desires to keep the music playing.

Hospital in the Deep End (Factual, 3x60 min.)

Three Australian icons with a unique connection to the health system go beyond the headlines to find out what’s it really like to work on the hospital frontline. Rose Gold (Factual, 1x90 min.) After 70 years of gallant performances and crushing defeats, what will it take for Patty Mills and the Boomers to finally break their hoodoo and secure their place in history? FILMRISE

Stand: R7.N9

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 in hopes that the survivor’s blood will save humanity. (Worldwide digital)

Nation

Hot Ones (Talk show, 225x30 min.) In this virally popular, Emmy-nominated and Streamy Awardwinning series, host Sean Evans interviews A-list celebrities as they sample increasingly intense hot wings. (Worldwide digital)

Highway to Heaven (Family drama, 111x60 min.)

The late Michael Landon stars in a heartfelt drama about a probationary angel who is sent back to

Earth and teams up with an ex-cop to help people in need. (Worldwide digital)

Forensic Files II (True crime, 46x30 min.) The next chapter in the documentary franchise where evidence and interviews with experts help solve real crimes, disease outbreaks and accidents worldwide. (Worldwide digital excl. North America)

Untold Stories of the ER FAST Channel (Medical, 120 hrs.) Doctors and nurses chronicle their most memorable emergency room cases alongside dramatic reenactments. (English-speaking markets digital excl. Ireland)

Archivos Forenses FAST Channel (True crime, 110+ hrs.) Features episodes of Forensic Files dubbed in Castilian Spanish. The series uses evidence and interviews to help solve real crimes, disease outbreaks and accidents.

FilmRise True Crime UK FAST Channel

(True crime, 350+ hrs.) Fan-favorite series like Unsolved Mysteries , Dr. G: Medical Examiner , Mugshots and Worl d ’s Most Evil Killers . (U.K. & Ireland digital)

FOX ENTERTAINMENT GLOBAL

m foxentglobal@fox.com w www.foxentglobal.com Stand: C.16D

Martin Scorsese Presents: The Saints (Doc., 8x60 min.) Hosted, narrated and executive produced by Academy Award winner Martin Scorsese, each episode focuses on a singular saint.

Next Level Chef (Food, S4: 14x45 min.) Chefs

Gordon Ramsay, Nyesha Arrington and Richard Blais recruit chefs as they face cooking challenges with the goal of finding the food world’s newest superstar.

The Masked Singer (Competition, S12: 12x43 min.) Celebrities compete against one another while shrouded from head to toe in elaborate costumes.

Crime Scene Kitchen (Food, S3: 10x43 min.) A culinary guessing game in which bakers must decode what type of dessert was made and re-create it when all that’s left are a few clues.

The Chicken Sisters (Drama, 8x43 min.) A gen erations-old rift between dueling fried chicken restaurants reaches its boiling point when a cooking competition show comes to town.

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.

Krapopolis (Animation, S2: 22x22 min.) Centers on a dysfunctional family of mortals, gods and monsters that run one of the world’s first cities in ancient Greece, while trying not to kill each other.

There She Goes (Holiday, 1x90 min.) An actress returns to her hometown to plan a surprise party for her parents but is forced to interact with her ex for the first time in decades because his bar is the ven ue for the party.

Beacon (Thriller, 1x90 min.) A young woman on a solo sailing trip finds herself shipwrecked on an island with an unstable lighthouse keeper.

Next Level Chef

GLOBAL AGENCY

m info@theglobalagency.tv

w www.theglobalagency.tv

Stand: R8.D21

One Love (Drama, S1: 95x60 min., S2: ongoing)

Tells the captivating story of the idealistic Doga falling hopelessly in love at university with the charming Fatih, a man from a devout family whose values clash with those of her mother.

Vendetta (Drama, S1: 201x60 min., S2: ongoing)

The story of Dilan and Baran and the marriage they are forced into to end a blood feud, triggered by an attack on Baran’s parents, which leaves him struggling to bring peace to a conflict-filled family.

Red Roses (Drama, ongoing) The poignant story of Meryem, who grew up in an Islamic sect and was married at 14. Now, she is battling to prevent her daughter Zeynep from suffering the same fate.

Another Love (Drama, 49x60 min.) An anchorman and a prosecutor are drawn into an affair filled with tension and passion as they seek to reveal the dark truth about a mysterious serial killer.

Joker (Quiz show) A contestant answers ten multiplechoice questions to snatch the jackpot at the top of a money tree or slide to the bottom and win nothing. Keep It or Lose It (Game show) A team of contestants chooses big prizes worth a total of $15,000

but has to answer seven tough questions to hang onto them.

Good Singers (Singing) Challenges celebrity teams to distinguish great vocalists from untalented performers without hearing them sing.

Two of Us (Family singing reality) A parent and their child bid for stardom in a contest filled with enthusiasm, excitement and love.

Real Love (Reality dating) Brings together 20 contestants seeking romance but burdened with a deep secret, leaving viewers to discover whether love survives or dies when the truth emerges.

GLOBAL SCREEN

(A SQUAREONE BRAND) O (49-89) 55-876-291 m kusseler@telepool.de w www.globalscreen.de/mm/en/ Stand: R7.B2

Murder on the Inca Trail (Thriller/crime, 6x45 min.) After his wife is murdered on their Inca Trail honeymoon, a man returns to Munich seeking justice but becomes the prime suspect in a motiveless investigation.

Recipes for Love and Murder (Crime/drama, S2: 8x45 min.) Maria battles to keep her childhood home while being accused of murder by her sisterin-law’s husband, a retired detective.

One Love

Murder on the Inca Trail

The Palace (Period drama, S2: 6x45 min.) In 1990 Berlin, a ballet director juggles a new love affair and unexpected pregnancy while struggling to save her theater amid the city’s transformation. Deadly Shadows (Crime/thriller, 1x90 min.)

Berlin LKA investigator Philip Nabrow must solve the murder of two police officers while working with his daughter Elisa for the first time. Your Honor (Drama/crime, 6x45 min.) For Judge Michael Jacobi, his job is a vocation. Nonetheless, he opts to put himself above the law after his son Julian flees the scene of a car accident.

Woman of the Dead (Thriller/crime, S1-2: 6x45 min.) When small-town undertaker and mother Brunhilde Blum’s husband dies in a car accident, she uncovers a web of dark secrets and murder.

GMA NETWORK

O (632) 8333-7633/34

m GWI@gmanetwork.com

w gmaworldwide.tv

Stand: P-1.E67

Widows’ War (Drama/crime, 70x45 min.) Reality turns upside down when the murders of two husbands plunge their wives into a maze of lies, betrayal and revenge.

My Husband’s Wife (Drama/romance, 70x45 min.)

A kidnapped wife returns after years of abduction but finds her husband remarried to her friend. A fierce battle unfolds as she tries to reclaim her family.

Luv Is: Love at First Read (Romance, 18x45 min.) The campus heartthrob, in search of a diary’s owner, discovers his nemesis and ideal girl are the same. As walls crumble, the path to love unravels.

Makiling (Drama/crime, 36x45 min.) A healer from Mount Makiling survives a murder attempt by a group of rich bullies who want to steal her magical plant. After several years, she returns to seek revenge and justice.

GOQUEST MEDIA

O (91-22) 495-591-00

m contact@goquestmedia.com w www.goquestmedia.com Stand: P-1.J7

Kuma (The Other Wife) (Romance/drama, 100x60 min.) A young woman framed for murder must become the second wife (“kuma”) of the victim’s brother.

Absolute 100 (Crime/thriller, 6x50 min.) Sonya, a young shooting athlete, kills a criminal tied to powerful politicians to protect her brother, but now faces investigators and the threat of more violence. South Wind: On the Edge (Crime/action, 12x50 min.) Follows a drug lord clashing with Serbia’s criminal overseer against the backdrop of the contentious “South Stream” Russian gas project. Bridges of Us (Drama/romance, 150x45 min.) In the scenic Vipava valley, Dr. Kristjan Bevk returns home, confronting unresolved questions and a tangled past with Monika, who is now married to his brother. Secrets of the Grapevine (Romance/drama, S13: 113x50 min.) In the new season, Anja is poisoned

My Husband’s Wife

at her wedding and falls into a coma. Flashbacks unravel secrets as the Tomovic and Smiljanic families investigate.

Aggeliki (Drama, 154x60 min.) Nurse Aggeliki seeks revenge against the Argyrou family for a 17- year-old trauma while caring for their matriarch, Athina, torn between vengeance and morality. Erinyes (Crime/thriller, 12x45 min.) In pre- and postwar Poland, detective Edward Popielski, torment ed by epileptic visions, uses them to solve crimes, driven by a deep desire for revenge.

Crusade (Crime/thriller, 13x45 min.) Detective Jan Góra and the Warsaw police investigate celebrity murders and kidnappings, uncovering a scheme behind the seemingly unrelated tragic events. Troll Farm (Dramedy, 5x50 min.) Wrongly fired from the cosmetics empire she founded, Ana seeks revenge, becoming the monster she fights, determined to destroy Melta Cosmetics and her boss, Adomas.

GRB MEDIA RANCH

O (1-818) 728-7600 m info@grbmediaranch.com w www.grbmediaranch.com Stand: R7.A16

Owl Rescue (Docuseries, 10x30 min.) Spouses Brendan and Danelle Murray operate NPO “Owl

Rescue Centre” in Hartebeespoort Dam (Northwest South Africa).

It’s Pawsable (Docuseries, 8x30 min.) Stories of furry animal patients and their pet parents at a world-class veterinarian rehabilitation facility run by founder Heather and her team.

Prairie 911: Animal Rescue (Docuseries, 26x22 min.) Follow the adventures of injured and abandoned animals at the Canadian Wildlife Haven

Rehabilitation Centre, a sanctuary led by Dr. Fanny and her team.

Haunted Hollywood: Inside the LAPD Museum

(Paranormal, 8x60 min.) Discover infamous true crimes in Los Angeles and the spirits haunting a former police precinct.

Carol of the Bells (Feature & behind-the-scenes doc., 1x100 min. & 1x25 min.) A young father battles his troubled past to find peace with his family, struggling with his secret adoption and a lifechanging moment at Christmas.

Cutlers Court (Courtroom reality, 150x30 min.)

Emmy-nominated Judges Dana and Keith Cutler hear from couples having trouble in their relationships. Should the relationship continue or end?

No Limits (Doc., 1x93 min.) Race Across America is the pinnacle of endurance cycling, from California to Maryland. Leah Goldstein attempts to break the women’s record just before turning 51.

Kuma (The Other Wife)

Owl Rescue

Blue: The Life and Legacy of George Rodrigue (Doc., 1x60 min.) A portrait of world-renowned New Orleans Cajun artist George Rodrigue, creator of golden-eyed Blue Dog.

Lebanese Burger Mafia (Doc., 1x120 min.)

James Beard-nominated food documentary about Burger Baron, a Canadian rogue fast-food chain with mysterious origins, a cult following and a secret pathway to the immigrant dream.

Playground (Docu-reality, 9x60 min.) Follows a premier pro dance studio where classes are taught by top choreographers and auditions are held by musicians like Megan Thee Stallion.

GREEN GOLD ANIMATION

O (91-40) 4436-1990

m rajiv@greengold.tv w www.greengold.tv

Chhota Bheem and The Curse of Damyaan (Adventure/comedy/family, 1x145 min.) A sinister beam signals Damyaan’s return. Bheem and friends, gaining magic powers, defeat him, leaving a lasting legacy of bravery and unity.

Chhota Startup (Adventure/comedy, 110x11 min.) Three kids launch a business to help startups in Pocketpur, using unique skills and wacky, fun plans to solve daily challenges.

Mighty Little Bheem (Adventure/comedy, 73x6 min.) An animated series about a toddler with superhuman strength and boundless curiosity who gets into adventures in his small Indian town.

Mighty Bheem’s Playtime (Adventure/comedy, 10x14 min.) Bheem, a fun-loving toddler with incredible strength, is heading to school. Join his classroom adventures as he makes new friends and plenty of mischief.

GRUPPO ALCUNI

O (39-0422) 301-060

m sales.department@alcuni.it w studios.alcuni.it/en Stand: R7.L23

The Black Diamond Race (8-12 CGI adventure, 9x45 min.) 1929: Europe and India set the stage for an action-packed car race that sees our teen shero and her team up against a ruthless villain.

Leo da Vinci (5-10 CGI adventure, S1-2: 104x13 min.) While studying art in Renaissance Florence, 15-year-old Leonardo da Vinci and friends attempt to save the Medici family from a mysterious conspirator and a bumbling crew of pirates.

Mini Pet Pals (2-5 2D comedy/adventure, S1-3: 156x6 min.) The Mini Pet Pals are in their park playground and come face-to-face with small

Chhota Bheem and The Curse of Damyaan

The Black Diamond Race

issues. Every adventure is accompanied by the advice of a wise old tree.

Mini Pet Pals Start School (3-6 2D comedy/adventure, 52x6 min.) The endearing little friends are off to a really cool school, where they’ll learn about theater, music and art, go on awesome field trips and make a bunch of new pals.

Mini Pet Pals & Mini Dinos (2-5 2D comedy/adventure, 52x6 min.) The Mini Pet Pals end up in a mini dinosaur school, where they make new friends and learn from each other.

Gateway 66 (5-8 2D/live-action adventure/sci ence, 52x6 min.) Anna and Gabriel team up to time travel in search of a missing scientist lost in a parallel universe.

Vlady & Mirò (Family 2D slapstick, 26x5 min.) A brand-new slapstick series. Gag-filled episodes with a snoring bear and his raccoon roommate.

GURU STUDIO

O (1-416) 599-4878

m sales@gurustudio.com w gurustudio.com

Stand: R7.D25

Big Blue (5-9 2D comedy, 52x11 min.) Siblings

Lettie and Lemo lead their quirky submarine crew to solve the ocean’s mysteries and find the origins of a new magical recruit named Bacon Berry.

True and the Rainbow Kingdom (Preschool 3D, 30x22 min., 5x22 min., 1x44 min.) True, our bright and fearless heroine, and her hilarious best friend, Bartleby the cat, come to the rescue of Rainbow City’s whimsical citizens.

123 Number Squad! (Preschool 3D, 104x11 min.) Paula, Billy and Tim use their love of numbers and counting to become a fast-response rescue

team, helping solve problems faced by the citizens of Numberville.

Pikwik Pack (Preschool 2D, 52x11 min.) Suki the hedgehog and her team of adorable animals deliver magical packages to the kind citizens of Pikwik.

Justin Time (Preschool 2D, 74x11 min. & 2x22 min.) Justin’s imagination catapults him into largerthan-life adventures set in different points in history.

HAT TRICK INTERNATIONAL

O (44-207) 184-7777

m jamesm@hattrick.com

w www.hattrickinternational.com

Stand: R7.F24

Smoggie Queens (Comedy, 6x30 min.) A comedy centered around a gang of friends navigating love, life and pride for a town that feels neglected in its little corner of the U.K.

Do You Want to Live Forever? (Factual, 4x60 min.) Investigate the cutting edge of longevity science and guide everyday Australians in a groundbreaking experiment to stop the clock and wind back their biological clocks.

James May: Dull Men’s Club (Factual, 8x60 min.) James May works with the Dull Men’s Club to improve our world and bring a little bit of rationale to the chaos of modern existence.

Big Blue

George Clarke: Going Home (Factual, 8x60 min.) George Clarke meets people relocating back home for ambitious projects with personal connections, often taking huge gambles in the process. The Great Explorers with James May (Factual, 3x90 min.) James May examines three of the world’s most infamous explorers: Columbus, Raleigh and Cook.

The Plot to Kill Thatcher (Factual, 1x75 min.) A minute-by-minute thriller, shedding new light on the IRA’s audacious assassination attempt on Mar garet Thatcher in 1994.

Communion Stories (Factual, 1x60 min.) With unique access to Holy Communion season, this doc goes behind the glitz of the occasion to meet the families for their child’s big day.

Ranked (Format, 6x15 min.) Can five strangers put their egos to the side and rank themselves from fifth to first place based on a variety of questions for their chance to win a cash prize?

Spinal Destination (Comedy, 6x30 min.) When a mysterious illness paralyzes her, Tessa is sent to a spinal unit. She’s determined to walk again. A deadpan comedy based on the writer’s experiences.

News Review Quiz (Nytt På Nytt Quiz) (Format, 8x60 min.) Satirical news quiz where four contestants compete to answer questions from the week’s news.

INTER MEDYA

O (90-212) 231-0102 m info@intermedya.tv w intermedya.tv

Stand: C16.C

Deception (Drama, 222x45 min.) Güzide Yenersoy, a respectable family court judge living in Istanbul, has what could be described as the epitome of a perfect family. But when secrets are revealed, she 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 Tolga, the heir to a wealthy and established 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 smartest and most successful businessman in the country.

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. Tuzak (Drama, 82x45 min.) Tells the story of three siblings, Mahir, Umut and Umay, whose springs of life were taken from them.

Smoggie Queens

Love and Pride

Leylifer (Drama, 120x45 min.) Meryem travels to Istanbul with her husband Kemal and children for his sister’s wedding. When Kemal goes missing and is later found dead, she vows to stay in Istanbul until she finds his killer.

Like There’s No Tomorrow (Romance, 4x35 min.) The encounter between popular and successful actress Manolya and experienced journalist Hakan changes both of their lives.

Another Chance (Drama, 138x45 min.) Sadi Payaslı is a geography teacher who will balance his life and take care of five convicted students from a reformatory.

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.

The Ivy (Crime/mystery, 16x60 min.) The police investigation into Arzu’s murder unveils a tangled web of deception, secret affairs and lies within a community where no one is who they seem.

KANAL D INTERNATIONAL

m kdisales@kanald.com.tr w kanald.international Stand: R8.D2

The Family Burden (Drama, 44 min. eps.) Melike, wrongfully imprisoned for 20 years, dreams of reuniting with her daughter. Upon release, she searches for her husband’s real killer and must confront the complexities of her daughter’s life.

Secret of Pearls (Drama, 44 min. eps.) Azem takes the blame for his wife’s death to protect his daughter. After prison, he seeks out his adopted children.

A Father’s Promise (Drama, 67x44 min.) In the 1980s political turmoil, Mustafa sacrifices to save his wife, leaving his daughter with the wealthy Ronas.

Daylight (Drama, 45x44 min.) Gece’s summer dreams of university and music in Istanbul are disrupted when her family moves to Foça for her sister’s special needs.

Farewell Letter (Drama, 76x44 min.) Alanur’s life, dependent on Ziya, takes an unexpected turn after 30 years. As their children, Aslı and Mehmet, navigate love and family opposition, hidden connections from the past resurface.

Three Sisters (Drama, 277x44 min.) Crafted by the esteemed İclal Aydın, the narrative revolves around three sisters.

That Girl (Drama, 79x45 min.) Zeynep aspires to be a social media influencer to escape pover ty while caring for her childlike father. Unexpected connections unravel as she works in influencer Ozan’s house, where she encounters businesswoman Sitare.

Love and Hope (Drama, 285x53 min.) Zeynep navigates a world of wealth and power in Istanbul, discovering her estranged father’s existence. Love with Ege brings hope, while Elif seeks revenge and love.

Love and Hate (Rom-com, 61x44 min.) Famous actor Tolga and ordinary dreamer Asya cross paths. Twist of Fate (Rom-com, 58x43 min.) Superstitious Ada marries Rüzgar to avoid a curse, but her attractive boss, Bora, complicates things.

The Family Burden

KONAMI CROSS MEDIA NY

O (1-212) 590-2100

Stand: R7.C17

Yu-Gi-Oh! GO RUSH!! (Animation, S1: 51x22 min., S2: 50x22 min.) As his home world rages in a never-ending battle, Yudias travels across the galaxy after learning that there is only one thing that can end the conflict: rush duels. (Excluding Asia)

Yu-Gi-Oh! Go RUSH!!

Yu-Gi-Oh! SEVENS (Animation, S1: 43x22 min., S2: 46x22 min.) Yuga Ohdo may seem like any other 5th grader in Goha City, but he’s about to take his favorite game to the next level by inventing a whole new way to duel: rush duels. (Excluding Asia)

Yu-Gi-Oh! Duel Monsters (Animation, 236x22 min.)

Meet Yugi and his best buds Joey, Tristan and Téa, who share a love for Duel Monsters. (Excluding Asia)

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.

Santa Who (Holiday, 1x90 min.) Santa loses his memory when his sled crashes near an acclaimed Santa School weeks before Christmas. Two classmates must restore his memory to save Christmas. Sealed with a List (Holiday, 1x90 min.) Two excoworkers vow to tackle their New Year’s resolutions in one month, realizing along the way that the missing piece in their lives might be each other.

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. My Norwegian Holiday (Holiday, 1x90 min.) Lukas impulsively invites JJ, a stranger, to his sister’s wedding in Norway, where they search for the magic of Christmas and find love.

Devil on Campus: The Larry Ray Story

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.

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.

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 and protecting her community.

LEONINE STUDIOS

O (49-89) 999-513-0 m internationalsales@leoninestudios.com w screenings.leoninestudios.com/en Stand: P3.B38

The Seed (Eco-thriller, 6x45 min.) Two detectives searching for a missing journalist in Norway’s Arctic wastes uncover a conspiracy of global proportions.

Troppo (Crime drama, S1-2: 16x60 min.) Expolice detective Ted Conkaffey left Sydney in disgrace to find redemption in a Queensland rainforest town. As he struggles to put his life back together, he finds himself drawn into the criminal cases of eccentric private investigator Amanda Pharrell, herself a convicted murderer.

Juliet (Police drama, 6x60 min.) After a heartbreaking loss, detective Juliet Dumon leaves Brussels

for De Haan, joining a local police team and seeking a foster family for niece Chloë.

SurrealEstate (Supernatural drama, S1-2: 20x45 min., S3) Real estate agent Luke Roman and his team specialize in investigating and closing haunted houses by using their remarkable abilities to solve metaphysical problems and make the properties sellable.

Manhunt—Polar Chase (Crime drama/thriller, 1x89 min.) Investigators Hanna Landauer and Lars Röwer race to the Arctic wilderness to protect a woman hiding from her murderous ex-boyfriend.

Bonn (Period event drama/political thriller, 6x48 min.) True untold story of a young woman’s struggle to find her own place in a male-dominated society in the midst of the battle between Germany’s separate intelligence agencies formed after WWII.

Flashpoint (Action, S1-5: 75x40 min.) Follows a team of elite cops who handle high-risk incidents and use their training in tactics and psychology to make split-second decisions.

LION FORGE ENTERTAINMENT m sales@lionforge.com w www.lionforgeentertainment.com

Iyanu (6-11 animation action/adventure, 26x22 min.)

In the magical kingdom of Yorubaland, Iyanu, a teenage orphan girl, after unknowingly triggering her divine powers, joins forces with two other teenagers to discover the truth about the evil lurking in her homeland.

BugTron (4-8 animation action/adventure, 52x11 min.) Kayden, Nava and Jack, bug-obsessed 10year-olds, become unlikely heroes when they magically shrink down and are thrown in with a group of technologically advanced bugs in an epic battle against the spiders who want to take over the yard— and eventually the world.

The Seed

Best Wishes (10-16 girls live-action comedy) Based on the best-selling book series by Sarah Mlynowski, each film focuses on one girl and her “wish.”

Jubilee! (Preschool girls animation socio-emotional comedy, 52x11 min.) Princess Jubilee plans and throws parties for mythical creatures and animals who live in her kingdom.

Rebel Girls (6-11 girls live-action comedy, 20x22 min.) Nina writes a letter to Cleopatra as a detention assignment at the behest of the quirky new history teacher and is astonished when the last Pharaoh herself writes back.

Chicka Chicka Boom Boom (Preschool animation adventure/comedy, 52x11 min.) Based on the bestselling children’s book. When Cece leaps into her favorite pop-up book, she enters a magical, musical, paper-textured world with her animal friends.

socialite Margo Banks and becomes entangled in a dangerous web of obsession, seduction and murder.

Amandaland (Comedy, 6x30 min.) When newly divorced Amanda moves with her teens to East London, she tackles teenage rebellion and loneliness while adjusting to her new life.

Plum (Drama, 6x60 min.) Rugby league star Peter “The Plum” Lum, diagnosed with CTE from his glory days, must change his lifestyle to cope with his new reality.

Married to the Game (Unscripted, 6x60 min.) An intimate look at English Premier League footballers’ wives and girlfriends.

The Chosen (Drama, 26x60 min.) A historical drama portraying the life of Jesus and those who knew him, set against the Roman oppression in first-century Israel, revealing his revolutionary impact.

The Rainmaker (Drama, 10x60 min.) Fresh out of law school, Rudy Baylor goes head-to-head with courtroom lion Leo Drummond while uncovering two conspiracies linked to his client’s son’s death.

w www.lionsgate.com

Stand: C15.A8

Spartacus: House of Ashur (Drama, 10x60 min.)

Ashur escapes Vesuvius and inherits Batiatus’s gladiator school for ending the rebellion. Now, as a free man, he commands a deadly team of gladiators.

The Hunting Wives (Drama, 8x60 min.) Sophie O’Neil moves to East Texas, falls under the spell of

Robin Hood (Drama, 10x60 min.) Robert of Locksley, a Saxon forester’s son turned renegade, battles the Norman elite for justice and freedom in a gripping, action-packed historical adventure.

Fake (Drama, 8x60 min.) Birdie Bell, seasoned journalist, finds what seems like her perfect match in sheep farmer Joe Burt, only to uncover his web of deceit and manipulation.

BugTron

The Chosen

The Serpent Queen (Drama, 16x60 min.) Orphaned Catherine de Medici marries into the 16th-century French court, facing dowry issues, infidelity and fertility challenges while using intelligence to rule France for 50 years.

MAGIC LIGHT PICTURES

m distribution@magiclightpictures.com w magiclightpictures.com

Pip and Posy (3-5 CGI, 104x7 min.) Pip and Posy are best friends. Together they navigate the ups and downs of friendship through a world of play.

The Gruffalo & The Gruffalo’s Child (3-7 CGI, 2x27 min.) A mouse must use his wits when he encounters three predators, and a young Gruffalo tiptoes out into the snow in search of adventure.

Pip and Posy

Zog & Zog and the Flying Doctors (3-7 CGI comedy/adventure, 2x27 min.) A young dragon enlists the help of a kind princess to succeed in school and later forms an unlikely flying doctor team to treat patients.

Tiddler (3-7 CGI comedy/adventure, 1x25 min.)

The story of a small grey fish with a big imagination who gets lost in the deep wide ocean until he’s saved by his own storytelling.

The Smeds and The Smoos (3-7 CGI comedy/adventure, 1x27 min.) The red Smeds and

the blue Smoos must learn to overcome their differences and work together to find Janet and Bill— their young relatives who eloped to escape their families’ long-standing divisions and opposition. Superworm (3-7 CGI comedy/adventure, 1x26 min.) Superworm is a super-long, super-strong earthworm who always comes to the rescue of bugs and animals in distress.

The Snail and the Whale (3-7 CGI adventure, 1x27 min.) A tiny snail hitches a ride on the tail of a humpback whale, and together they embark on an epic journey around the globe.

Stick Man (CGI comedy/adventure, 1x27 min.) A tale of a happy-go-lucky father’s epic journey to make it home to his family in time for Christmas.

Room on the Broom (CGI comedy/adventure, 1x26 min.) A kind witch invites a surprising collection of animals to join her on her broom.

MATTEL TELEVISION STUDIOS

m content_sales@mattel.com w www.mattel.com Stand: P4.C10

Barbie: A Touch of Magic (Animation, 26x22 min.) Barbie and Barbie discover a mysterious baby 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 Skip per have a ballooning mishap, Stacie has the right skills to save the day.

Barbie Mermaid Power (Animation, 1x60 min.)

Bar bie “Brooklyn” Roberts, Barbie “Malibu” Roberts and her sisters Skipper, Stacie and Chelsea 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.) When Percy the mail engine discovers a child’s letter to Santa Claus forgotten at the bottom of his mail cart on Christmas Eve, he’s determined to make sure the letter is delivered.

MEDIATOON DISTRIBUTION

O (33-1) 5326-3100

m g.milagres@mediatoon.com w mediatoon-distribution.com Stand: R7.E58

Belfort & Lupin (Adventure/comedy, 26x22 min.) Lupin’s street smarts combined with

Belfort’s know-how make them an unstoppable pair. Together, they explore every nook and cranny of the palace and join forces with animals they meet.

Zouk (Adventure/comedy, 104x11 min.) Zouk is a little witch. She zigzags between skyscrapers, uses toad slime to brush her teeth and casts spells to transform her best friend into whatever pops into her head.

SamSam: Cosmic Adventures (Adventure/ comedy, 52x11 min.) Six-year-old superhero

Sam Sam lives on Planet Sam. When he’s not at school, he’s exploring the galaxy with his friends and defeating not-so-clever villains.

Belfort & Lupin

Living with Dad (Sitcom, 52x12 min.) Dive into the unpredictable and hilarious life of this unconventional family. Sisters Panda, Ondine, Roxanne and Baby Bella have wildly different personalities.

Zoobox (Adventure/comedy, 1x26 min.) Determined to find her parents, Kerala, the enthusiastic and curious baby kangaroo, embarks on an adventure.

Venice, the Most Ancient City of the Future (Adventure/comedy, 1x26 min.) Falling through a mysterious gate, Nanna embarks on a journey thanks to an antique time machine, visiting the Venice of the past and the future.

Barbie and Stacie to the Rescue

MEDIAWAN KIDS & FAMILY

m contact.mkf@mediawan.eu w www.mediawankidsandfamily.com

Stand: P3.B38

Pirate Academy (5-8 CGI comedy, 52x13 min.)

Finn, Sam and Andrew enter the Pirate Academy, where classes are taught by experts, to become the greatest pirates of all time.

Robin Hood: Mischief in Sherwood

Robin Hood: Mischief in Sherwood (5-8 CGI comedy, S4: 52x13 min.) At just 10 years old, Robin is already a real hero. But he lacks the maturity to temper his recklessness. His acrobatics are not always successful, and his plans are often incomplete. His friends are always there to help him.

Barnkidz (5-8 CGI comedy, 52x13 min.) Surrounded by fields and near a vast forest and a lovely stream is the village of Bellefontaine. Here lives a small group of boys and girls, including our heroes: Raphaël, Lina, Little Foot and Beanpole.

Maddie + Triggs (4-6 2D comedy, 52x7 min.) Despite her visual impairment, Maddie has honed her listening skills, finding music and joy in the nuances of everyday sounds. Joining the adventure, Triggs, the lovable Labradoodle cross, adds an extra dose of charm. Idefix and the Indomitables (5-8 CGI comedy, S2: 52x13 min.) Idefix and his indomitable friends are back to resist the Romans.

The Little Prince & Friends (4-6 2D adventure, 52x13 min.) Two ordinary kids embark on a thrilling and cosmic journey with the Little Prince and his amazing crew, the Fox and the Rose.

Sonic Boom (6-10 3D action, S2: 52x13 min.) Sonic will leave a trail of dust across screens all over the world in his first-ever CG- animated TV series.

The Enchanted Village of Pinocchio (5-8 3D comedy, 52x13 min.) A moving and funny adaptation of Carlo Collodi’s masterpiece, where the world of childhood meets the world of fairy tales.

Petronix Defenders (5-8 3D adventure, 52x13 min.) When danger strikes wild animals around the world, a team of heroic 7-year-olds transform their high-tech backpacks into robotic pets and rush off on daring missions to rescue them.

Power Players (6-10 CGI adventure, 78x13 min.) Axel gains a wild new perspective on the world as he wrangles a team of quirky smart toys on the biggest small adventures a kid could ever imagine.

MERCURY FILMWORKS

O (1-613) 482-1814

m connect@mercuryfilmworks.com w mercuryfilmworks.com

Don’t Walk Home Alone After Dark (Tween/teen animated horror/suspense, 12x13 min.) From the hit YouTube channel, this anthology series by Emmy-winning Andy Coyle offers a modern twist on folk tales with gripping, original stories.

Gustavo (Preschool animated comedy, 52x11 min.) In a playful paranormal world, Gustavo and

his ghoulie group of besties discover that being yourself reveals your true magic.

A Mouse Called Julian (Kids/family CGI adventure, 1x26 min.) Tells the story of a solitary mouse who unexpectedly befriends a fox, celebrating the power of friendship found in unlikely places.

Octicorn & Friends (Preschool animated comedy, 52x11 min.) A series about friendship and feelings told with humor, heart, adventure and, occasional ly, sparkles.

Here Comes The Underwear Dragon (Preschool 2D musical comedy, 52x11 min.) Clumsy

knight The Underwear Dragon and his friends tackle whimsical problems with versatile underpants, learning life lessons and singing tunes.

MIAM! DISTRIBUTION

O (33-1) 8919-7010

w www.miam-animation.com

Stand: P-1.E1

The Dangers (Kids adventure, 10x13 min.) From one day to the next, nature took over, animals began talking and almost all human technology was wiped out. A family sets off in search of their missing mother.

The Tinies (Upper preschool comedy, 50x11 min., 1x22 min. & 52x3 min.) In Attic Town, built by toys, living in harmony can be quite a challenge. Its

inhabitants count on Ollie, the enthusiastic and selfconfident doll, and Titus, her tiny, crafty best friend.

Our Summer of Freedom (Family adventure, 6x26 min.) Algiers, 1955, 9-year-old Khadidja meets Lyes, Philippe and Ahmed. Together, they will do everything in their power to rescue Khadidja’s older brother, who has been unfairly arrested.

The MiniWhats (Young kids comedy, 52x7 min.)

Six friends use drawings to find answers to their daily life questions; with a magic pencil, they bring their sketches to life.

The Dangers

Mare the Mermaid (YA comedy, 10x22 min.)

Princess Pelagie ditches her royal life and swims off to college under a new alias, Mare, to escape the media’s spotlight and her mom’s watchful eye.

Goat Girl (Kids comedy, 26x11 min.) Gigi, a 13– year-old girl raised by mountain goats, is sent to boarding school.

MISTCO

O (90) 21669-51300

w www.mistco.tv

Stand: P-1.N1

Come What May (Romance/drama, 89x45 min.)

Alize, who has turned into an aggressive, selfish character, crashes into a repairman’s car and runs away. To make up for her mistake, she decides to marry him.

Gustavo

Bahar (Drama, 114x45 min.) After witnessing the murder of her father, a woman tries to prove that her stepmother is responsible.

Secrets of an Angel (Drama, 90x45 min.) A drama about the struggles of all women who are victims of domestic violence that also offers romance through the love story between Zeynep and Halil.

Barbaros: Sultan’s Order (Historical drama, 64x45 min.) Assigned by Suleiman the Magnificent to support the conquest of Rome, Barbaros Hayreddin establishes a secret espionage organization.

The Town Doctor (Drama, 107x45 min.) A town hospital brings together three idealistic doctors who do their best to help people.

The Blackboard (Drama, 64x45 min.) Atlas returns to his hometown, where he was bullied as a child, as a mathematics teacher.

The Great Seljuks: Alparslan (Historical drama, 205x45 min.) Tells the story of Sultan Alparslan, who opened the doors of Anatolia to the Turks.

An Anatolian Tale (Drama, ongoing) A young inventor in a small town convinces a company to invest in an airplane he built with his cousins. The engineer sent to look at the invention is his childhood sweetheart.

The Shadow Team (Drama/crime, ongoing) Tells the story of the fight, devotion and sacrifice of seven patriots who accept a challenging duty that

requires them to leave their own lives behind and become ghosts among the crowd for their country, going underground for this purpose.

MONSTER ENTERTAINMENT

O (353) 8660-32165

m andrew@monsterentertainment.tv w www.monsterentertainment.tv

Stand: P-1.J21

Reggie Rex! (3-6 CGI, 52x5 min.) Stars a young pescatarian T-Rex who wanders around a prehistoric world with his dino pals, learning curriculumbased and social-emotional lessons.

Tiny Toot (2-6 2D, 26x7 min.) Tiny Toot, her cat Gato and Pixie, the magician elf, embark on daily adventures, exploring the magical world and learning new things.

The Day Henry Met (3-6 2D, 104x5 min.) Every day, Henry meets something new—a whale, a moon, a car. What Henry’s going to meet today?

Jungle Beat (4-8 CGI, 91x7 min.) Best friends Munki and Trunk navigate wild adventures, discovering that friendship and caring always triumph in the end.

Earth to Luna! (3-6 2D, 208x12 min.) Follows 6- year-old Luna, a science-obsessed girl who explores the world with boundless energy, turning everyday moments into exciting discoveries.

Come What May

Reggie Rex!

Doodle Girl (4-8 2D, 26x7 min.) Doodle Girl lives in a sketchbook and solves problems by doodling her way through endless adventures with her magic friends.

Holt (6-11 2D, 26x11 min.) Three shipwrecked teens from planet Krill must unite as HOLT to survive a dangerous world and save the universe from the evil Ckrook to return home.

The Sand Box (2-5 2D, 52x3 min.) Explores diversity and sibling dynamics through the eyes of 2-year-old Bror and 4-year-old Marie.

Fia’s Fairies (3-6 CGI, 52x5 min.) Six-year-old Fia and her friend Ameer explore Fairy World, learning a new language, kindness and bravery through magical adventures with their fairy friends.

Pins & Nettie (3-6 2D, 52x5 min.) Pins and Nettie, shy hedgehog besties, explore their suburban world, showing preschoolers that shyness is just a different way of experiencing new adventures.

MOVISTAR PLUS+ INTERNATIONAL

m movistarplus.international@telefonica.com w www.movistarplusinternational.com Stand: R7.N7

The New Years (Drama, 10x50 min.) Ana and Oscar are 30 years old. On January 1, 2016, they meet. Over the next ten years, they will have to face the passage of time and the decisions they make.

Querer (Drama, 4x50 min.) Isabel (53) goes to the police station with her lawyer and accuses her husband of ongoing sexual assault throughout a seemingly perfect marriage.

Marbella (Thriller, 6x50 min.) A lawyer with a strong desire for power will guide the viewers through the process of legalizing the “illegal,” ending up in a war between unscrupulous drug lords.

Second Death (Thriller, 6x60 min.) A 29-yearold police assistant in a northern village joins a group of workers to shore up a cabin on the brink of collapse. Their plans are disrupted when, inside, they discover an elderly woman who has recently passed away.

Death & Co. (Comedy, 8x25 min.) A workplace comedy unfolding in a funeral home. When the efficient owner and founder passes away, the business is left in the hands of his septuagenarian wife.

Fine Arts (Comedy, 6x30 min.) The IberoAmerican Museum of Contemporary Art in Madrid welcomes a new director who must navigate day-to-day challenges.

Galgos (Drama, 6x50 min.) The Somarriba family belongs to the elite but they are now facing an economic crisis, testing their loyalty.

NACELLE COMPANY O (1-818) 526-5450

m hwoodle@nacellecompany.com

w www.nacellecompany.com

Stand: P-1.K59

Icons Unearthed: Harry Potter (6x60 min.) J. K. Rowling’s orphan boy wizard took the world by storm. Before the first book was published, Warner Bros. looked for a franchise. How did they make Potter soar?

The New Years

Icons Unearthed: Tom Cruise (6x60 min.) See the highs and lows of Tom Cruise’s career through the eyes of the people who worked with him.

Game Changers (8x60 min.) Welcome to a world where programmers are revered as rock stars and industry titans battle for billions. Explore the history of popular games and their influence on society.

Toys That Made Us

Discontinued (10x30 min.) It’s the year 2037. We’re in the dystopian bunker with host Bruce Campbell, where he broadcasts a show about the successes and failures of humankind’s past.

Billy Corgan’s Adventures in Carnyland (8x30 min.) The Smashing Pumpkins’ Billy Corgan is a wrestling promoter and owns the storied National Wrestling Alliance.

“Comedy Dynamics Presents” Jinkx Monsoon: Red Head Redemption (1x72 min.) Follow Jinkx Monsoon ( Doctor Who , RuPaul’s Drag Race ) through the weaving tale of her booze-addled, sexfilled, gender-defying life.

Fully Torqued (30x30 min.) Steve Pazmany teaches Boomers about Millennial muscle car culture, creating a one-of-a-kind hot rod shop focused on delivering automotive dreams. Up for Auction (8x30 min.) Chris Hardwick takes viewers behind the scenes of the Van Eaton Auction House as it races to bring the largest privately owned collection of Disneyland Park items to the auction floor.

Toys That Made Us (4x60 min. & 4x60 min.)

Seasons four and five coming soon.

RoboForce (Animation, 6x30 min.) It’s the year 2104. In Detroit, Michigan, Maxx 89 and RoboForce rise up to reclaim their place as protectors of a society that needs them more than ever.

NBCUNIVERSAL GLOBAL

TV DISTRIBUTION

O (1-818) 777-1300

w www.nbcuniversal.com

Stand: P4.C4

Suits: L.A. (Drama, 60 min. eps.) Ted Black, a former federal prosecutor from New York, has reinvented himself representing the most powerful clients in Los Angeles.

Suits: L.A.

Grosse Pointe Garden Society (Drama, 13x60 min.) Four members of a suburban garden club get caught up in murder and mischief as they struggle to make their conventional lives bloom.

The Hunting Party (Drama, 10x60 min.) A highconcept crime procedural about a small team of investigators who are assembled to track down dangerous killers who have just escaped from a top-secret prison that’s not supposed to exist.

Lockerbie: A Search for Truth (Drama, 5x60 min.)

On December 21, 1988, Pan Am Flight 103 exploded

over Lockerbie. Dr. Jim Swire (Colin Firth) is nominated as spokesperson for the U.K. victims’ families.

The Americas (Event series, 11x60 min.) Marking the first time Tom Hanks will narrate an unscripted entertainment series, will also feature music by two-time Oscar winner Hans Zimmer.

St. Denis Medical (Comedy, 18x30 min.) A mockumentary about an underfunded, understaffed Oregon hospital.

Teacup (Drama, 8x60 min.) Inspired by the bestselling novel Stinger by Robert McCammon, the series follows a disparate group of people in rural Georgia who must come together in the face of a mysterious threat in order to survive.

Sed de Venganza (Drama, 90x60 min.) Poisoned since a young age to hate the Del Pino family, Fer nanda is determined to take ownership of the company and break the family apart.

Dostoevsky (Drama, 6x60 min.) Enzo Vitello, played by Filippo Timi, investigates the bloody trail of a ruthless serial killer, nicknamed Dostoevsky, because of the letters left at crime scenes.

Fight Night: The Million Dollar Heist (Drama, 8x60 min.) Based on the iHeart podcast, follows the story of how an armed robbery on the night of Muhammad Ali’s 1970 comeback fight changed one man’s life and transformed Atlanta into the “Black Mecca.”

NBCUNIVERSAL GLOBAL TV

DISTRIBUTION KIDS & FAMILY

O (1-818) 777-1300 w www.nbcuniversal.com Stand: P4.C4

Megamind Rules! (Animation/comedy/action, 16x30 min.) Megamind goes from being a supervillain to a superhero who’s learning on the job. Using

his trusty brainbots to record everything, he becomes the world’s first superhero influencer.

Fright Krewe (Animation/action/adventure/mystery, 20x30 min.) Five high school kids from New Orleans accidentally unleash a great evil onto the world. This band of unlikely friends are gifted with magic powers and must fight off this supernatural threat.

Rules!

Gabby’s Dollhouse (Animation/live-action, 80x30 min.) The preschool show with a surprise inside. Join Gabby in her fantastical animated world full of adventure and adorable cat friends.

Kung Fu Panda: The Dragon Knight (Anima tion/comedy/action/adventure, 41x30 min. & 1x60 min.) When the fate of the world is at stake, Po (Jack Black) must partner with an Eng lish knight and embark on a quest for redemption and justice.

Not Quite Narwhal (Animation/adventure, 26x30 min./52x15 min.) Kelp has grown up thinking he was a narwhal until the day he discovers he’s actually a unicorn.

Dew Drop Diaries (Animation/adventure, 26x30 min.) Follow the adventures of a trio of tiny fairies assigned to secretly look after kids in the big city.

Dragons: The Nine Realms (Animation/ action/adventure, 52x30 min.) Tom Kullerson and his friends explore an immense fissure and discover a hidden world where dragons exist.

Megamind

Superbuns (Animation/comedy, 39x7 min./ 13x30 min.) Buns Bunny (aka Superbuns) saves the day with kindness every time. With the power of a kind heart, she bounds through her neighborhood ready to help her friends.

Team Mekbots: Animal Rescue (Animation/ adventure, 78x7 min./26x30 min.) Four animalloving kids use their tech skills to become giant Mekbots—each inspired by a different animal.

Spooky Files (Live-action/mystery/comedy, 10x30 min.) When spooky creatures start appearing in Sunny Valley, Australia, an unlikely group of local kids work hard to capture them and figure out where they are coming from and why.

NEW DOMINION PICTURES

O (1-757) 923-1300 x102 m kristen.eppley@newdominion.com w www.newdominion.com

Stand: P-1.E55

A Spy in the FBI (Doc., 1x128 min.) Robert Hanssen is a contradiction. On the surface he is a family man, devout Catholic and career FBI agent. Secretly, he is a spy.

A Haunting (Docudrama, 115x60 min.) Through mesmerizing first-person accounts and dramatic re-creations, delves into the true and horrific events that plague innocent people.

FantomWorks (Reality, 70x60 min.) Restoration expert Dan Short and his team only have a heart for those who genuinely love their cars.

Fame Kills (Docudrama, 6x60 min.) The stories of rising stars whose journeys were cut short during deadly encounters.

Catch My Killer (Docudrama, 6x60 min.) Homicide investigators reopen old wounds and old cases.

FBI Takedown (Docudrama, 6x60 min.) With exclusive access to the FBI and their case agents, go inside the true stories of its high-stakes and most adrenaline-fueled manhunts and takedowns.

Happily Never After

(Docudrama, 33x60 min.)

For some, the reality of “til death do you part” comes sooner than expected.

Monsters and Mysteries (Docudrama, 28x60 min.) Everyday people share firsthand accounts of their close encounters with real-life folktale fiends.

FBI Criminal Pursuit (Docudrama, 49x60 min.)

Dive into the modern FBI as they solve high-profile, challenging crimes.

Wicked Attraction (Docudrama, 79x60 min.)

Some of the world’s leading criminal psychologists explore couples who kill by delving into the minds of some of the most infamous criminals in history.

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

Stand: R7.H6

The Great Passage (Drama, 10x49 min.) After a fashion editor lost her job, she began working as an editor for a dictionary alongside some unique colleagues. It turns out to be her dream job.

Fame Kills

FRONTIERS: Alternative Medicine

￥30,000,000 (30M JPY) (Crime/mystery, 8x49 min.) An accident changes one family’s fortunes. The biker’s bag the son brings home contains a block of cash for a criminal ring.

Omusubi (Morning drama, 15 min. eps.) Yone da Yui has boundless energy, which fuels her quest to help others by becoming a nutritionist. She connects people one rice ball (omusubi) at a time.

MY FAMILY (Family drama, 10x49 min.) High schooler Kishimoto Nanami is hit with compounding problems. Her younger brother with Down syndrome is accused of shoplifting. Dad suddenly dies. Granny’s forgetfulness is getting worse.

Mighty Monkey (w.t.) (Nature, 1x50 min.) Shot in beautiful 4K, the cameras travel through Japan to unveil how Japanese macaques can thrive in diverse habitats.

Ryuichi Sakamoto: Last Days (Arts/culture, 1x59 min.) The Oscar-winning composer Ryuichi Sakamoto passed away. With exclusive access to his diaries and private footage, NHK follows how the maestro grappled with death and lived out his final days.

Hayao Miyazaki and the Heron (Arts/culture, 1x120 min.) With NHK’s exclusive access to Studio Ghibli, follows more than six long years of work during the making of The Boy and the Heron , the latest film by the master of Japanese animation.

FRONTIERS: Alternative Medicine (Health/ sci ence/tech., 1x51 min.) Science is elucidating the efficacies and mechanisms of alternative therapies using acupoints and herbs.

Chasing Perfection: Four Seasons with Japan’s Master Gardeners (Arts/culture, 1x50 min.) Two world-renowned gardens in Japan offer breathtaking views for all who visit. NHK cameras exclusively follow the professionals chasing perfection.

Quiz 100 (Format, 65 min. eps.) Experts go headto-head against 100 contestants, who all share a love for bizarre hobbies and interests.

NICELY ENTERTAINMENT

O (1-323) 682-8029

m info@nicelytv.com

w www.nicelytv.com

Stand: P3.B22

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 Par adise 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.

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 that require leaving her best friend and writing partner behind.

Heartstrings Attached (Romance, 1x84 min.)

With the promise of an inheritance from her grandfather, a former child prodigy promises to tutor a young and gifted violinist, unaware her grandfather is playing matchmaker from the grave.

Her Likeness (Thriller, 1x87 min.) Lily, a therapist, begins experiencing unsettling dreams. When one of her patients believes they share a mysterious connection beyond therapy, Lily uncovers a dark reality that blurs the lines between her professional and personal life.

The Christmas Brew (Holiday romance, 1x89 min.) A young consultant must acquire a local brewery, but upon meeting the crafty owner, she falls in love with not only him, but the brewery itself.

A Christmas in New Hope (Holiday romance, 1x90 min.) An aspiring influencer and single mother of a girl living with Down syndrome enters a home improvement competition in order to save her bungalow before Christmas.

A Heart for Christmas (Holiday romance, 1x90 min.)

A young girl’s Christmas wish for her dad to find

someone special comes true but is complicated when the mom she never knew comes home for the holidays.

OFF THE FENCE

O (31-205) 200-222

m info@offthefence.com

w www.offthefence.com

Stand: R7.C30

Pharaohs: Rise and Fall (History, 6x60 min.)

Pharaohs were Gods among men. This series tells the story of these iconic figures from the first pharaoh Narmer through to Cleopatra VII.

We Are Guardians (Nature/wildlife, 1x90 min.)

As the Indigenous forest guardians combat relentless encroachment of illegal loggers, a broader narrative unfolds linking science, politics and the Amazon rainforest’s destiny.

Pharaohs: Rise and Fall

The Amazon Review Killer (Crime, 2x60 min.)

Intertwines the gruesome real-life crimes of Todd Kohlhepp with the chilling Amazon product reviews he left, which eerily foreshadowed his actions.

Giants Rising (Science, 1x90 min./60 min.)

Explore America’s magnificent redwood forests and uncover the stories of the planet’s tallest and most ancient inhabitants on Earth.

The Universe in a Grain of Sand (Science, 1x90 min.) Explore technological advancements within

Technically Yours

art and film that illuminate the universe’s profound mysteries.

Paramedics: Emergency Response (Lifestyle, 31x30 min.) Experience the real-life drama of MD ambulance emergency responders as they navigate the city streets, attending 911 calls ranging from minor mishaps to life-threatening emergencies.

Resident Orca (Nature/wildlife, 1x90 min./60 min.) Tells the shocking story of a captive whale’s fight for survival and freedom.

Project Tiger (Nature/wildlife, 1x90 min./60 min.)

The extraordinary untold story of India’s audacious mission to save a global icon from extinction.

Travel Filmmakers (Travel/adventure, 50x12 min.) The “Travel Filmmakers” traverse the world, showcasing unique adventures and diving deep into the remote natural wonders of the planet.

Drinking with Joe & Maya (Travel/adventure, 6x30 min.) Joe and Maya invite viewers to raise their glasses and join them on an unforgettable quest to uncover the essence of Nordic spirits.

ONEGATE MEDIA

O (49-40) 6688-0 m chris.lederer@onegate.de w www.onegate.de Stand: R7.E59

Dangerous Truth (Thriller, 6x45 min.) A young man who lives in a witness protection program investigates the mystery behind the murder of his father and uncovers the dangerous truth.

Vet Jacobs (Light crime, 24x90 min.) A former city cop tries to start fresh as a vet. But unforeseen, mysterious crimes keep pulling him back into detective work.

Lost in Fuseta (Light crime, 4x90 min./8x45 min.)

In the sunny town of Fuseta, a smart but quirky

German detective joins a local team to unravel murder and corruption in Portugal’s shadows.

The Underdog—In the Midst of Murder (Crime, 4x90 min.) In a picturesque town, Inspector Behringer restores order and puts criminals behind bars.

Heaven, Hell and Hallelujah (Feel-good, 6x45 min.) Pastor Hans is determined to save his church through unconventional methods to expand its congregation.

Simply Nora (Feel-good, 22x90 min.) A doctor leaves the city life behind to start a new life by the sea. But is she ready to tackle the challenges of rural life?

SimsalaGrimm (Kids/family, S1-2: 26x25 min.)

Once upon a time, a magic spell opened the gateway to Simsala, the enchanted world where all the fairy-tale characters lived.

Animals Upstairs (Kids/family, 22x30 min.) After moving from Africa to a German village, vet Kajo and his sons navigate new adventures with their unique animal companions.

42—The Answer to (Almost) Everything (Science, 38x26 min.) Unusual questions—and some surprising answers.

Kenya’s Hidden Treasures (Travel/adventure, 3x52 min.) Discover a land of contrasts, where passionate locals protect wildlife and ancient traditions blend with modern life.

Dangerous Truth

ONZA DISTRIBUTION

O (34-91) 562-0671

m onza@onzadistribution.com w onzadistribution.com

Stand: R7.J11

Cacao (Telenovela/drama/romance, 222x50 min.) Cacao finds out her real father owns the rich farm and that she is his heir. Her sweetheart, Tiago, will protect her from her enemies.

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.

Flowers Over the Inferno (Crime/thriller, 12x60 min.)

Criminologist Teresa Battaglia leads a team investigating unsolved crimes in the Friulian Alps while confronting the early signs of Alzheimer’s disease.

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, 56x50 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.

Iberia & Savanna: One Wildlife (Wildlife, 1x52 min.) This 4K documentary compares Europe’s Dehesa and Africa’s Savannah, examining the lives

and survival strategies of large predators in these similar but distant ecosystems.

The Daughter (Drama, 6x50 min.) Inspired by true events, revolves around the legal and emotional battle between the adoptive and biological parents of Maria Júlia, both fighting for her custody.

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

FC Barcelona: A New Era (Sports doc., 9x40 min.) FC Barcelona’s total reconstruction journey to regain the lost throne and the excitement of supporters following Xavi’s leadership and the achievements of the 2022-2023 season.

Allende The Thousand Days (Historical drama, 4x60 min.) Manuel Ruiz, a close friend of Salvador Allende, witnesses his final moments during Pinochet’s coup. He later exposes Chile’s political turmoil and Allende’s referendum plan.

ORF-ENTERPRISE

O (43-1) 87878-13030

m contentsales@orf.at

w contentsales.orf.at

Stand: P-1.L1

The Curious Cases of Gerti B. (Crime/comedy, 6x45 min.) Gerti Bruckner, a seasoned detective overlooked for promotion in favor of a younger colleague, continues to solve cases with her experience and wit.

Fast Forward (Crime, 78x45 min. & 4x90 min.)

Angelica Fast is a successful investigator in Vienna’s criminal investigation department. In season eight, she faces personal turmoil as she questions her identity and desires.

Me and the Others (Comedy, 6x40 min.)

Explores ego, environment and context through

Cacao

surreal scenarios, altering protagonist Tristan’s relationships and worldview in each episode.

Wildlife 2.0—Adapting to a New World (Wildlife/nature, 1x45 min./52 min.) Explores how human activities like agriculture, construction and climate protection structures transform rural habitats, affecting wildlife and showcasing futuristic landscapes with urban elements.

Saalbach-Hinterglemm—Where Nature Comes Out On Top (Wildlife/nature, 1x52 min./45 min.)

Saalbach-Hinterglemm, host of the 2025 Alpine World Ski Championships, is pioneering ways to balance human activity with wildlife conservation, benefiting various local species.

Green Antarctica (Wildlife/nature, 1x90 min.)

Delves into the depths of the Antarctic Peninsula to explore the clues this region can provide about climate change.

Women Pirates—Rebels of the Seas (History/bio., 2x50 min./1x90 min.) Four remarkable pirate women defied patriarchal and colonial Western powers to lead adventurous lives across Caribbean history.

Pirates of the Mediterranean—A Game of Greed and Power (History/bio., 1x52 min./45 min.) A 2023 expedition explores a 16th-century shipwreck and sheds light on a largely unknown piece of European history: piracy and slavery in the Mediterranean.

Mothers of the Minotaur—Rise, Reign and Ruin of the Minoans (History/bio., 1x45 min./52 min.) The Minoans of Bronze Age Crete have remained mysterious, but recent scientific research uncovers new insights into this advanced, possibly female-centric civilization.

OUTFIT7

m mediacontentsales@outfit7.com w outfit7.com

Talking Tom Heroes Suddenly Super (Kids CGI, 52x11 min.) In this action-packed new comedy series from the creators of Talking Tom, four friends discover a strange device that grants them amazing powers and makes them “Suddenly Super”! Unfortunately, there is no instruction manual for being a hero. They’ll have to figure it out together.

PARAMOUNT GLOBAL CONTENT DISTRIBUTION

O (1-323) 956-9994

m gdgsales@viacomcbs.com w www.paramount.com

Stand: C14

NCIS: Origins (Drama, 60 min. eps.) Follows a young Leroy Jethro Gibbs (Austin Stowell) in 1991,

The Curious Cases of Gerti B.

Talking Tom Heroes Suddenly Super

years prior to the events of NCIS, and is narrated by Mark Harmon.

Matlock (Drama, 60 min. eps.) Stars Kathy Bates as the brilliant septuagenarian Madeline “Matty” Matlock, who achieved success in her younger years and decides to rejoin the workforce at a prestigious law firm.

Poppa’s House (Comedy, 30 min. eps.) Stars Damon Wayans as legendary talk radio host and happily divorced “Poppa” and Damon Wayans Jr. as a brilliant dreamer who is trying to pursue his passion while being a responsible father and husband.

The Real CSI: Miami (Factual, 60 min. eps.) Each episode features gripping real-life crime cases and the cutting-edge forensic science used to solve them. Tales of the Teenage Mutant Ninja Turtles (Kids, 25 min. eps.) Explores the adventures of everyone’s favorite pizza-loving heroes as they emerge from the sewers onto the streets of NYC.

PASSION DISTRIBUTION

O (44-207) 199-9214

m sales@passiondistribution.com w www.passiondistribution.com Stand: P4.C18

Virgin Island (Fact-ent., 6x60 min.) This social experiment puts 12 virgins who experience intimacy

anxiety through a bespoke program, created by the world’s leading sexologists, on a luxury island retreat.

Love My Face (Fact-ent., 4x60 min.) People with visible facial differences are given choices and support to make the decisions they feel will shape happy, confident and fulfilling lives.

Emma Willis: Delivering Babies (Fact-ent., S4: 6x60 min.) Emma returns to work in maternity services, but this time she’s got a new role working in a bigger hospital, Watford General in Hertfordshire.

The Plymouth Shootings (Doc., 1x60 min.)

Exploring killer Jake Davison’s connection to the “incel” movement, a deeply misogynistic ideology that is growing at an alarming rate and has been linked to violent extremism.

Being Hijra: India’s

Trans Model Agency (Doc., 1x60/90 min.) Discover the transgender community of Delhi as they set about creating India’s firstever trans modeling agency and an extravagant, paradigm-shifting catwalk event.

Monsters of the Deep (Doc., 2x60 min.)

Renowned explorer and wildlife presenter Steve Backshall takes viewers on a journey to the depths of our oceans to find out its secrets and what truly lies beneath.

Paddy & Molly: Show No Mersey (Doc., 8x30 min.) Follows the lives and careers of UFC’s Paddy

NCIS: Origins

Virgin Island

“The Baddy” Pimblett and “Meatball” Molly McCann, as they enter the next phase of their professional and personal lives.

Yorkshire Air 999 (Doc., 10x60 min.) Gives exclusive access to the high-risk, high-adrenaline world of some of the U.K.’s most advanced medics, saving lives in a place of savage beauty.

Sophie Morgan’s Fight to Fly (Doc., 1x60 min.)

Sophie Morgan takes direct action to hold airlines to account for the mistreatment of disabled flyers. The Incident Room (True crime, 6x60 min.) Truecrime format takes murder detectives back into a custom-built precinct to relive a homicide.

PBS DISTRIBUTION w www.pbsinternational.org Stand: R7.F7

Leonardo da Vinci: A Film by Ken Burns, Sarah Burns and David McMahon (History, 2x120 min./4x60 min.) Leonardo apprentices as an artist and craftsman in Florence, where the Renais sance is in full bloom. He shows extraordinary talent but struggles to finish commissions.

Decoding the Universe (Science, 2x60 min./1x60 min.) Trace groundbreaking discoveries that have transformed our picture of the universe over the past 50 years.

Carl the Collector (4-7, 40x22 min.) Meet Carl, a warmhearted young raccoon with autism who loves to collect things. Features neurotypical and neurodiverse characters and explores self-identity and community.

Suddenly Royal (History, 3x60 min.) The stories of everyday women and men who unexpectedly meet their real-life prince or princess and marry into royalty.

World’s Greatest: Myths and Mysteries (Arts/culture, 3x60 min.) Explores the history, science and folklore behind sites like Stonehenge, Pompeii, Loch Ness, Cappadocia, Waitomo Caves, the Northern Lights, Qin Shi Huang’s tomb and Angkor.

World’s Greatest: Transportation Marvels (Arts/culture, 3x60 min.) Explores innovative transportation marvels that shape our world.

Playing to Survive: von Cramm vs Hitler (His tory, 2x60 min./1x100 min.) In the 1930s, Gottfried von Cramm becomes a tennis star, but with the rise of the Nazis, his aristocratic roots, Jewish wife and hidden homosexuality draw the Gestapo’s attention.

Make it Funky: The History of Funk Music (History, 1x120 min.) This film explores funk music’s roots and examines its evolution amid 1970s racial dynamics, cultural impact and role in redefining Black culture, dance and hip-hop.

The Choice 2024: Harris vs. Trump (Current affairs, 1x120 min.) Investigating the lives and characters of Kamala Harris and Donald Trump as they seek the presidency. Those who know the candidates best reveal key moments that shape how they would lead America.

Building Stuff (Science, 3x60 min.) Explore how engineers think, learn and build to extend our range, amplify our abilities and alter our environment.

Carl the Collector

PINNACLE PEAK PICTURES/ PANORAMIC PICTURES

O (1-310) 713-7486

m ron.assist@pinnaclepeakpictures.com w pinnaclepeakpictures.com

Stand: R7.M2

God’s Not Dead: In God We Trust (Drama, 1x90 min.) With the help of a skilled strategist, Reverend David Hill runs for political office to preserve religious freedom and heal the divide in his country.

Average Joe (Drama, 1x120 min.) Based on a true story. When his public display of faith turned the ire of the nation against him, a soldier turned high school coach battles in the courts to restore the religious freedoms of all.

Disciples in the Moonlight (Drama, 1x126 min.)

In a dystopian future where the Bible has been outlawed, seven brave Christians risk everything to transport the Holy Book to underground churches across the country.

Forty-Seven Days with Jesus (Drama, 1x97 min.) A heartwarming Easter tale centered on the Burdon family, led by Joseph and Juliana (Yoshi Barrigas and Catherine Lidstone from The Chosen). Love on the Rock (Action/comedy/romance, 1x100 min.) A burned-out former cop from the

Midwest finds his Maltase charter-boating lifestyle turned upside down when he’s catapulted into a web of international espionage.

An Unlikely Angel (Family, 1x82 min.) Successful, married and pregnant, Jamie Caswell is about to have it all. Until she wakes up seven years in the future, where ‘’having it all’’ is not what she expected. Divine Influencer (Comedy, 1x105 min.) A wealthy 20-something influencer loses financial support from her parents and takes a job at a homeless shelter for the wrong reasons. She soon discovers the true meaning of influence.

High Expectations (Drama, 1x115 min.) A soccer player cut from his legendary father’s club joins their rival team as a last resort.

Revelation Road Series (Action, 7x45 min.) A chain of events unfolds, revealing another chapter in the saga of Josh McManus—warrior, drifter and preacher—as he’s caught between the prophecies of heaven and hell.

Saved by Grace (Drama, 5x30 min.) Each episode involves two angels that interact with a group of new people to help guide them to make the right choices during difficulties.

POCKET.WATCH

O (1-424) 298-8234

m content@pocket.watch w pocket.watch

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.

Toys and Colors Kaleidoscope City (Liveaction/CGI, 10x22 min.) Starring global sensation

God’s Not Dead: In God We Trust

Toys and Colors, a magical world where kids learn to see the world through new perspectives.

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

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

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.

Toys and Colors Ultimate Mishmash (Liveaction, 90x22 min.) YouTube’s number one kids ensemble learn life skills, letters, numbers and more through musical and pretend play adventures.

Kids Diana Show Ultimate Mishmash (Liveaction, 45x22 min.) Join family vlog superstar Diana, aka the Princess of Play, and her brother Roma on their hilarious pretend play adventures.

LankyBox Ultimate Mishmash (Liveaction/gameplay, 60x22 min.) YouTube’s number one gamers, LankyBox is Justin and Adam, two best friends who love playing Roblox and making funny videos with sidekicks Foxy, Boxy and Rocky.

Onyx Family Ultimate Mishmash (Live-action, 45x22 min.) Best known for their silly and spooky adventures, follow YouTube’s most popular AfricanAmerican family creators as they sing, try fun challenges and investigate mysterious occurrences.

Onyx Monster Mysteries (Animation, 8x22 min.)

The Onyx family comes to cartoon life to save the most endangered species of all: monsters.

Kid City Ultimate Mishmash (Live-action, 30x22 min.) DadCity, MomCity, Lil’ Flash and Ava do challenges and DIY projects and play all sorts of kids’ games that are fun for the whole family.

RAINBOW

O (39-071) 7506-7500

m info@rbw.it w www.rbw.it/en

Stand: R7.H2

Winx Club Reboot (Adventure/action/comedy, 26x24 min.) Reimagines the classic tales of Bloom and her friends, blending the show’s cherished themes with contemporary storytelling and sensational visual effects.

Mermaid Magic (CGI adventure/action, 10x24 min.) A magical story set between the ocean and the surface world starring a young mermaid called to save the ocean from an evil threat.

Gormiti—The New Era (Action/adventure drama/ comedy, 20x22 min.) The popular franchise is reinvented into a live-action series starring four young heroes called to save Gorm and Earth from war and destruction.

Love, Diana

Mermaid Magic

Pinocchio and Friends (Adventure/comedy, S1-2: 52x11 min.) A bridge show combining fantasy, friendship and big adventures.

Summer & Todd—Happy Farmers (Comedy/ edutainment, 52x7 min.) Summer, the enthusiastic bunny, and Todd, the handy raccoon, live at Sun shine Farms.

44 Cats (Comedy, S1-2: 106x12 min.) The adventures of the Buffycats, four special musician cats, always ready to play new songs and help all friends in need with their Noodle Power.

Winx Club (Adventure/action comedy, S1-8: 208x24 min.) The fantasy saga that follows Bloom, Stella, Flora, Aisha, Tecna and Musa, six special fairies always ready to save anyone in danger.

Regal Academy (Comedy, S1-2: 52x23 min.)

Fairy-tale heroes and their grandkids come to life at Regal Academy, where Rose Cinderella and her friends combine their hero life with magic studies.

Maggie & Bianca Fashion Friends (Comedy, S13: 78x23 min.) Maggie and Bianca meet at the Milan Fashion Academy, where they follow their dreams and discover secrets that change their lives forever.

World of Winx (Action/mystery, S1-2: 26x23 min.) As talent scouts for WOW!, the Winx fairies travel the world searching for talented kids to prevent the mysterious Talent Thief from kidnapping them.

RECORD TV

O (55-11) 3300-4022

m mcscosta@recordtv.com.br w www.recordtvnetwork.r7.com

Stand: P-1.G67

Topíssima (Telenovela, 145x45 min.) Brings to light the conflicts of modern women. In parallel, a police investigation full of twists and turns.

Ultimate Love (Telenovela, 148x45 min.) The beauty of old age, the struggle of young athletes, social prejudices and other parallel plots.

The Slave Isaura (Period telenovela, 167x45 min.)

Based on the 1875 novel by Bernardo Guimarães.

Topíssima

The Slave Mother (Telenovela, 151x45 min.) Prequel to The Slave Isaura, about the light-skinned slave who lived persecuted by the stubborn Mr. Leoncio.

The Hospital (Doc., 12x45 min.) The daily routine in a reference hospital for the treatment of highly complex cases.

Doc Investigation (True crime, 12x45 min.)

Exposes the most shocking police cases in Brazil, featuring exclusive interviews with victims’ families and convicted criminals.

La Bestia (Doc., 2x60 min.) For 21 days, the Record TV team followed families who crossed Central America clandestinely, fleeing poverty and violence to reach the U.S.

RIVE GAUCHE TELEVISION

O (1-818) 784-9912

m info@rgitv.com w rivegauchetelevision.com

Stand: P-1.N2

Wild Odyssey (Wildlife/ecology, 3x30 min.) Follow the flow of water across the Australian continent in

an epic adventure across unique landscapes uncovering connections linking all creatures and humans on Earth.

In Their Own Words (Bio., 6x60 min.) A journey into the lives and minds of Elon Musk, Pope Francis, Diana Princess of Wales, German Chancellor Angela Merkel, Chuck Berry and President Jimmy Carter. The Case Against Cosby (Docudrama, 2x60 min.) The harrowing journey for justice driven by the only survivor whose case could be tried in a court of law: Andrea Constand.

Very Scary People (True crime, 60x60 min.)

Trace twisted lives of some of the most frightening, diabolical characters and their crimes and evil deeds and how they were ultimately caught.

My Strange Addiction: Still Addicted! (Factual, 6x60 min.) Return to the compelling stories of people who are battling obsessive behaviors. Follow addicts as they reveal their strange addictions and meet with psychological experts.

Homicide Hunter (True crime, 142x60 min.)

Lieu tenant Joe Kenda and his Colorado Springs crime-fighting team have a 92 percent solve rate. Come behind the scenes to see murders solved. Trace of Evil (True crime, 78x60 min.) Explore and reconstruct some of the most intriguing criminal cases where technology changed the course of the investigations and brought the guilty to justice.

Evil Twins (True crime, 30x60 min.) Everyone is fascinated by twins—especially if they are evil. Follow real-life cases of evil siblings.

Homicide’s Elite (True crime, 39x60 min.) The most baffling, shocking and heartbreaking cases Detectives David Quinn and Vince Velazquez have worked in their combined 50 years on the street. Something’s Killing Me (Crime/investigation, 18x60 min.) Delve into the investigations of medical mysteries and crimes. Investigators act as medical sleuths to solve the mystery in which life hangs in the balance.

SEVEN.ONE STUDIOS

INTERNATIONAL

O (49-89) 9507-7303 m sales@sevenonestudios.com w sevenonestudiosinternational.com Stand: P4.C14

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.

Wild Odyssey

Vienna Blood

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.

Love Costs (Dating format) 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.

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

Claim to Fame (Reality, S3: 10x45 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.

A League of Their Own: Road Trip (Fact-ent., 12x60 min.) Join the stars from the BAFTA-winning series A League of Their Own on an epic road trip with wild challenges and fierce competition.

who end up involved in a secret deal, giving rise to conflicts but also forbidden passions tangled up in a complicated plot.

Azul (Drama, 6x45 min.) A year has passed since the last sighting of a whale on the entire planet. Olivia, daughter of a famous biologist, joins a group of environmental activists on a mission to bring the whales back. George (Doc., 1x57 min.) George Wright was involved in a gas station robbery at 19; at 27, he escaped from prison in the U.S.; at 29, he hijacked an airplane, and then his trail was lost, until 40 years later, the FBI discovered that he was living peacefully in Portugal.

Lady of Tides (Telenovela, 200x45 min.) Joana wants to start a new life and raise her unborn son after escaping a violent husband. She reaches the Azores islands by sea and is greeted like a saint.

Timeless Love (Telenovela, 110x45 min.) Catarina is a humble girl desperately searching for her missing mother. Seeking the truth, she infiltrates the mansion of the powerful Torres family.

m cfrancisco@sic.impresa.pt w internationaldistribution.sic.pt Stand: P-1.K2

Broken Promise (Telenovela, S1: 106 eps., S2) Focuses on the relationship between two families

The Secret (Telenovela, 235x45 min.) Twins who have never seen each other find out that they were torn apart at birth. Are they so similar to the point of falling in love with the same man?

The Medalists (Sports/teen drama, S1: 26x45 min., S2: 25x45 min.) At a high-performance sports academy, a group of young athletes share the same goal: to become the best in the world.

Timeless Love

The Good Girls Club (Crime/thriller, S1: 8x45 min., S2: 7x45 min., S3: 8x45 min., S4: 6x45 min., S5: 6x45 min., S6) Step into Lisbon’s most elegant night club, where anything can happen—if you follow the rules. Visas for Life (History, 5x30 min./1x57 min.) During WWII, facing the invasion of Nazi troops, thousands of refugees managed to reach Bordeaux, but they were trapped. Aristides de Sousa Mendes, the Portuguese Consul, defied the orders of a dictatorial government to save thousands of lives.

Lucia of Fatima (Drama, 3x45 min.) During her childhood, the Fatima prophet was arrested, subjected to cruel interrogations, taken away from her family and denied the right to her own identity.

SPI INTERNATIONAL

O (48-22) 35-674-00 m contentsales@spiintl.com w www.spiintl.com

Stand: R8.C17A

Skyline: Warpath (Action) Follows Sua as he leads the resistance against the aliens. When he discovers the powerful alien Radial Gauntlet, he must deal with both the corrupt Eric and the army of alien invaders.

Panda Plan (Action/comedy) An international action superstar and his assistant are involved in a transnational rescue operation of the mysterious protagonist P, the top international superstar.

Four Letters of Love (Romance) Based on Niall Williams’ best-selling novel. Nicholas and Isabel were made for each other. As ghosts, fate and the sheer power of true love pull them together, life threatens to tear them apart.

Daughter of the Nation (Drama, 6x30 min.)

Focuses on Zdeňka Havlíčková, the daughter of

pioneering Czech journalist Karel Havlíček Borovský. Following her father’s death, Czech revivalists aim to shape her into a symbol of Czech culture.

Arcadian (Action/horror, 1x92 min.) A father and his twin teenage sons fight to survive in a remote farmhouse at the end of the world.

Damaged (Crime/thriller, 1x97 min.) Dan Lawson, a Chicago detective, travels to Scotland to link up with Detective Boyd following the resurgence of a serial killer whose crimes match an unsolved case that he looked into five years ago.

Arthur’s Whisky (Comedy, 1x94 min.) Joan and her friends Linda and Susan find the bottles of whisky Joan’s deceased husband stashed away, and they realize he’s invented an anti-aging elixir that can make them young again.

Marmalade (Crime/comedy, 1x99 min.) Follows a man in jail who narrates the colorful tale of a romantic bank heist to his cunning cellmate to escape and reunite with the love of his life.

Sunrise (Horror/thriller, 1x93 min.) Fallon (Alex Pettyfer) roams the land as a creature of the night as he comes to terms with the tragic loss of his family at the hands of a brutal demagogue, Reynolds (Guy Pearce).

Super Icyclone (Disaster, 1x87 min.) A climatologist cuts her anniversary celebration short to save her family—and all of North America—from an unimaginably destructive storm.

Four Letters of Love

STUDIO 100 INTERNATIONAL

O (49-89) 960855-0

m distribution@studio100int.com w www.studio100international.com

Stand: R7.K17

DINO MATES (2D/CGI comedy/adventure/action, 26x11 min.) Inspired by the theme park family attraction and associated internationally successful picture book series, a mystical comedy-adventure series.

DINO MATES

Waiko (Live-action 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 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

sor ceress threaten Milford and the werewolves, so Freddy, the fluffy pink were-poodle, must lead his friends through another series of hilarious action adventures, to prove once again that he is definitely 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.

Heidi (CGI adventure, S1-2: 65x22 min.) Heidi is a happy and communicative orphan girl. She lives with her grandfather in the scenic idyll of the Swiss Alps.

SUPERIGHTS

m sales@superights.net

w www.superights.net

Stand: R7.K28

Harrison & Me (Adventure/comedy, 52x13 min.)

How do you take care of the planet when you are 6-and-a-half years old? There’s nothing better than adopting a plant-based friend.

Silly Sundays (Comedy, 78x7 min.) A feel-good comedy series that centers around the family. It’s focused on Sunday journeys and mostly fun times, embracing every little moment together.

Maelys’ Mysteries (Adventure/comedy, 30x13 min.) Maelys is a 10-year-old girl eager to solve mysteries. With the help of her best friend Lucien,

she is always ready to investigate the enigmas she is witnessing.

Puffin Rock (Comedy, S1-3: 78x7 min.) Life goes on peacefully on the pretty island of Puffin Rock, where Baba, Oona and their friends discover the joys of nature, friendship and family.

Chasing Horrifox (Adventure, 1x26 min.) Since their parents fall asleep before finishing their bedtime story, three little marmots venture into the snowy mountains to ask Horrifox to finish the tale.

Clay Time (Edutainment, 90x4.5 min.) Young viewers are invited to develop their imagination with a universal activity: modeling clay.

Croco Doc (Edutainment, 52x7 min.) Through fun and educative episodes addressing a different health issue each time, Croco Doc, a gentle crocodile doctor, heals animals while giving advice to take care of themselves.

Koumi’s Animated Picture Book (Edutainment, 104x5 min.) Koumi, a playful 6-year-old girl, observes the animals of the world in her picture book and takes you to meet them on every continent. The spin-off Draw with Koumi is also available.

Home Sweet Rome! (Live-action, 13x26 min.) A coming-of-age series about Lucy, a 13-year-old girl who moves from the U.S. to start a new life in Rome with her dad, who just married Francesca, an Italian pop star.

I Love This Job (Edutainment, 26x7 min.) Three adventurous preschoolers—Daniel the Cat, Ruby the Monkey and George the Elephant—discover the universe of different professions through a series of unusual encounters.

TBN (TRINITY BROADCASTING NETWORKS)

O (1-714) 665-3691

m distribution@tbn.tv w tbn.org

Route 60: The Biblical Highway (Faith-based, 1x90 min.) Carving through the Promised Land is the Biblical spine of Israel, “Route 60,” a historic, sacred link to the roots of Judaism and Christianity. Drive Thru History: Ends of the Earth (History/travel, S6: 19x28 min.) Hosted by Dave Stotts, takes viewers on a global trek to every corner of the Earth.

Route 60: The Biblical Highway

Insights Israel & the Middle East (History/travel, 13x24 min.) Take an inside look at modern Israel, including stories of what the nation has accomplished in technology, innovation, faith and more. One Night with the King (Faith-based, 1x119 min.) Chronicles a young Jewish girl’s rise from peasant to princess and her courageous role in saving her people from destruction.

Harrison & Me

The Homeschool Awakening (Doc., 1x84 min.) Families across the nation are experiencing the homeschool awakening, taking advantage of the freedom and opportunities for self-discovery—with the world as their classroom.

One on One with Kirk Cameron (Talk/variety, 12x27.5 min.) Features a one-on-one activity with Kirk Cameron and his inspiring friends, pushing their limits with some California fun.

Danny Go! (Preschool musical comedy, 10x22 min. & 10x4 min. songs) A dance-along favorite for enthusiastic preschoolers.

Maggie’s Market (Preschool educational comedy, 10x18-20 min.) Maggie runs a specialty market helping neighbors get things they can’t find.

Backseat Driver (6-11, 10x6-11 min.) The world’s first car show for kids. Join Cam, Remy and Jack as they rev the engines on the world’s fastest, sleekest and rarest vehicles.

Three Little Words Christmas Special Part 1 (Kids faith-based animation, 1x2.5 min.) Our little friends embark on an adventure to share the true meaning of Christmas.

TELEFILMS

O (54-11) 5032-6000 m telefilms@telefilms.com.ar w telefilmsgroup.com

Stand: P-1.K3

Longlegs (Thriller, 1x101 min.) Set in 1974, the film focuses on Lee Harker, a new FBI agent who has been assigned to an unsolved case of a serial killer. The Apprentice (Biopic, 1x120 min.) Starring Sebastian Stan as Donald Trump, the film examines Trump’s career as a real estate businessman in New York in the 1970s and ‘80s.

Conclave (Drama, 1x120 min.) After the unexpected death of the former Pope, Cardinal Lawrence (Ralph Fiennes) is appointed to lead one of the most secret and antiquated rituals worldwide: the new Pope selection.

Terrifier 3 (Horror, 1x125 min.) Art the Clown unleashes his malevolence, bringing tension and horror to new levels of chaos upon the unsuspecting residents of Miles County during a quiet Christmas Eve.

Better Man (Biopic, 1x131 min.) Based on the true story of the meteoric rise, dramatic fall and remarkable resurgence of British pop superstar Robbie Williams.

THE TELEVISION SYNDICATION COMPANY

O (1-407) 788-6407

m cassie@tvsco.com w www.tvsco.com

Stand: P-1.E55

The 77—A City of Neighborhoods (Travel, 5x30 min.) Looks at the complicated stories of five of the 77 neighborhoods in Chicago through the lenses of food and history.

Authentic Escapes (Travel, 6x30 min.) Promotes meaningful experiences that connect travelers to the true essence of their destinations.

Conclave

Hidden (Travel, 8x60 min.) A special look at travel destinations: no gift shops, tour buses, brochures or traditional guidebooks.

The Royal Tour (Travel, 6x60 min.) These specials open the door to a country in an unprecedented way: through the eyes of its head of state, who becomes our tour guide.

The Travel Detective (Travel, 83x30 min.) A cut ting-edge news magazine that explores fascinating destinations around the world.

Eating Inn (Food, S1: 17x30 min., S2: 17x60 min.)

The first series dedicated to the world’s best “inhotel” fine dining featuring the extraordinary fivestar restaurant venues of highly acclaimed chefs.

The History of the Most Violent Neighborhoods in Chicago (Crime, 5x30 min.) The history of these neighborhoods is examined to reveal the factors that have brought these communities into cultural decay.

Military Sites—World War

II Now and

Then (History, 6x60 min.) Exploring the places and events from WWII where the combat cameramen and war correspondents exposed their film during history’s biggest military conflict.

Happy Yoga (Fitness/wellness, 104x30 min.)

Relax and recharge while enjoying the beauty of some of nature’s most tranquil and scenic settings with certified yoga instructor Sarah Starr.

TERRA MATER STUDIOS

O (43-1) 87003

m office@terramater.com w www.terramater.com

American Amazon (Nature, 2x50 min.) A journey into the last secret wilderness in North America. A world where big mysteries still tread around every corner of the swamp, where life doesn’t come easy. Christmas in the Alps (Nature, 1x50 min.) Join us on a magical journey into the heart of the Alps during the most enchanting season, Christmas. Experience the Alpine wildlife as never before.

Kosha—The Secret Life of a Pangolin (Nature, 1x50 min.) Tells the story of a baby pangolin rescued from poachers and a team of conservationists who support her right to be wild and free.

Leopard Dynasty (Nature, 1x50 min.) There are 3.1 million people living in Jaipur, the royal pink city of India. Amid the buildings and traffic lies a refuge ruled by wild leopards.

Mara: Rebirth (Nature, 1x50 min.) Looks at one of the most well-known ecosystems in natural history but dives deeper into a side of it that is almost never seen. Same Same—But Different: Children of the Evolution (Nature, 1x50 min.) Nature—evolution— has spawned countless creatures, connected by differences or similarities.

The 77—A City of Neighborhoods

American Amazon

The Dirty Dozen (Nature, 1x50 min.) We like to live in an ultra-clean world, but in nature, dirt provides a good living. Meet 12 extraordinary creatures that thrive in dirt.

Nature of Christmas (Nature, 1x50 min.) Explore the fascinating connection between animals, plants and mystical landscapes with this beloved holiday; a connection that has been cherished by many cultures for centuries.

The Weight of Life (Nature, 1x50 min.) Life—there’s a lot of it. Who or what actually weighs the most? What is there most of? Hint: It’s not humanity!

Weird, But Wonderful (Nature, 1x50 min.) Why does it always have to be about the handsome, the beautiful, the cute? It is time to celebrate the less attractive members of nature.

THE MEDIAPRO STUDIO

O (34-917) 28-57-40

m themediaprostudio@mediapro.tv w www.themediaprostudio.com/en Stand: R7.N1

Quiet (8x50 min.) March, 2020, Barcelona. A homeless man is murdered on deserted streets in his sleep. The first in a series of crimes that all follow the same pattern: always homeless, always while sleeping, always with extreme brutality.

Celeste (6x40 min.) A treasury inspector, on the eve of retirement, gets the most important assignment of her career: to prove that Celeste, the big Latino star, is residing in Spain and needs to pay her taxes there.

The Head (S1-3: 6x50 min. each) After the failure of Arthur’s experiment, his daughter Rachel, funded by the head investor Laurent, sets up a base in Bir Tawil, a lawless and completely isolated territory in

Africa, to investigate how to eliminate the toxin that makes the algae poisonous and finally solve climate change.

Express (S1-2: 8x50 min. each) In the second season, Bárbara will discover that the express kidnappings they have been entrusted with are just the tip of the iceberg of an industry built and sustained on fear.

THE WIGGLES

O (1-646) 251-0908

m jill@jgoldsteinpr.com w thewiggles.com

The Wiggles: Wiggle and Learn (Preschool, S12: 40x30 min.) Explores crucial early childhood themes, offering comprehensive and engaging educational experience for preschoolers focused on learning through the joy of music and play.

The Wiggles: Wiggle and Learn

Quiet

The Wiggles: Ready, Steady, Wiggle! (Preschool, S4-6: 65x11 min., S7: 26x11 min.)

Featuring brand-new songs and Wiggles classics, the series spotlights eight diverse and gender-balanced Wiggles: Anthony, Lachy, Simon, Tsehay, Evie, John, Caterina and Lucia. (Worldwide digital)

TOON2TANGO

O (49-89) 999513-0 m info@toon2tango.com w www.toon2tango.com Stand: P-1.J22

Monster Loving Maniacs (2D comedy/adventure, 52x11 min.) Three siblings go into training with their grandfather to become Monster Hunters—but they want to get to know the monsters rather than hunt them.

Agent 203 (CGI adventure/comedy, 26x22 min.)

Zoe is Agent 203, on a quest to save the universe and find her father while also coping with everyday teenage social and emotional issues.

The Wee Littles (Preschool simulated stopmotion comedy/adventure, 46x5 min.) A tiny family of four, living in the forest, handle their compact size with their own unique and inventive flair.

Hey Fuzzy Yellow (Preschool 2D/live-action edu tainment/emotainment, 52x11 min.) An unconventional curriculum-designed show to equip children

with 21st-century skills, with an approach that mirrors the parenting values of millennials.

Showtime (Bridge CGI comedy, 52x11 min.) Introducing Luana, a theatrical 6-year-old girl who proves that any problem can be solved—if you’re willing to get your jazz hands dirty.

Dinomite & Lucy (Kids CGI comedy/adventure, 39x11 min.) The adventures of teenage dinosaur and madcap inventor Dinomite and his wild and unruly human pet Lucy in the sleepy but eccentric dinosaur town of Fernham.

Pocats (Preschool CGI action/comedy, 13x7 min.)

The Pocats are tiny beanbag kittens with magical abilities that only kids can see.

Littlest Robot (Preschool CGI comedy/adventure, 52x11 min.) Takes us to a world filled with glorious new discoveries.

TURKISH RADIO TELEVISION CORPORATION (TRT)

O (90-312) 463-2475

m isik.uras@trt.net.tr

w www.trtsales.com

Stand: P-1.N51

Fatih: Sultan of Conquests (Period drama, S1: 48x45 min., S2: ongoing) Şehzade Mehmet quells Şehzade Orhan’s rebellion, ascends the throne after Sultan Murad II and focuses on conquering Istanbul.

Saladin: The Conqueror of Jerusalem (Period drama, S1: 99x45 min., S2: ongoing) In the 12th century, Nureddin Zengi raises Yusuf (later Saladin) to unite the Islamic world and retake Jerusalem, facing family conflicts and relentless challenges.

Legend of the Black Tree (Drama, S1: 48x45 min., S2: ongoing) Celal Aga kills Osman Aga and

Monster Loving Maniacs

unknowingly raises his son Ömer. Years later, Osman Aga’s daughter Sultan returns seeking revenge, reuniting with Ömer.

An Anatolian Tale (Drama/comedy, S1: 110x45 min., S2: 126x45 min., S3: 129x45 min., S4: 125x45 min., S5: ongoing) Young inventor Taner builds a plane with his cousins. Meanwhile, his childhood love, Dilek, returns to town, reigniting his feelings amidst unfinished dreams.

Code Name Swift (Adventure/action, S1: 26x60 min., S2: ongoing) After his parents’ death, Yiğit Efe builds a drone for a competition, forming “Team Swallow” to overcome challenges from a corrupt engineer, Aspar.

Balkan Lullaby (Drama/comedy, 75x45 min.) A Turkish and Macedonian couple face impossible love, divided by culture, religion and family feuds. Like Romeo and Juliet, their love challenges deepseated conflicts.

Melek: A Mother’s Struggle (Drama, S1: 108x45 min., S2: 136x45 min.) Melek elopes, leaving behind her arranged marriage. Years later, battling cancer and a divorce, she returns home to rebuild her life for her children.

Tale of Ashes (Drama, 32x45 min.) Arat Giraylı marries Özge, a humble chef, but their love faces challenges from family intrigue, past grievances and the shadow of Arat’s deceased wife.

Tears of a Bride (Drama, 42x45 min.) After being raped and kidnapped, Yeşil kills her rapist and goes to prison. Upon release, she plans to protect her children and unexpectedly falls in love with Ersin’s twin.

The Shadow Team (Action/thriller, S1: 44x45 min., S2: 114x45 min., S3: 105x45 min., S4: 103x45 min., S5: ongoing) A foreign intelligencebacked attack targets a SIHA factory in Türkiye. Mr. Mete assembles a covert team of experts, declared officially dead, to eliminate the enemy.

TV ASAHI CORPORATION

O (81-3) 6406-1952 m ml-intl-contact@tv-asahi.co.jp w www.tv-asahicontents.com/en

Stand: R7.E67

Doctor-X the movie (Drama) The megahit TV drama series returns as a movie this December. Michiko is a stunningly beautiful and stubbornly self-reliant freelance surgeon who prides herself in her skills and dignity as a surgeon.

Destiny (Romance/suspense, 9x60 min.) A female prosecutor must confront the suspicious death of her friend. This leads her to examine the truth behind her father’s death from 20 years ago and uncover the secret faces of her ex-boyfriend.

The Dance Master

Fatih: Sultan of Conquests

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.

The Dance Master (Dance competition, 60 min. eps.) Four challengers face a Dance Mas ter. They only have 30 minutes to practice and perfect a choreography.

Meta Love (Romance/reality, 30 min. eps.) A male celebrity and a popular female idol go on a date in the metaverse. At the end, the female idol will judge if the male celebrity could be her boyfriend.

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

Doraemon (Animation, 1,000+x22 min. & 42 movies) A robot cat from the future, with his gadgets, saves a boy from getting into trouble. Celebrating its 30th anniversary in Spain in 2024.

Shin chan (Animation, 800+x22 min. & 31 movies) A slice-of-life show about a fun and cheeky 5-year-old boy. The 31st movie, produced in 3D CG for the first time, is scheduled to be released in Spain in October.

Obocchama-kun (Animation, 26x22 min./52x11 min.) Based on the hugely popular manga by Yoshinori Kobayashi. A gag comedy about a “crazy rich” boy in his outrageous school and family life.

Targeted for kids 6 to 11.

Gregory Horror Show -Save Our Souls- (Animation, early-stage development) Jack must save the souls of the monster guests of a supernatural hotel after he makes a bet with the evil hotel owner Gregory.

VIAPLAY CONTENT DISTRIBUTION

O (44-208) 742-5100

m contentdistribution@viaplaygroup.com w www.viaplaycontentdistribution.com Stand: R7.F15

Mafia (Crime/drama, 6x45 min.) Set in 1990s Sweden, tracks Jakov’s rise to criminal power, and Gunn, the lone cop’s fight against the mafia’s cigarette smuggling.

Mafia

The Hunt (Crime/drama, 6x50 min.) A spine-chilling period drama inspired by a real-life murder that gripped the Dutch nation for more than a decade.

Rebus (Crime, 6x45 min.) A hit on BBC One, it reimagines Ian Rankin’s novels, introducing a young John Rebus (Richard Rankin) as a Detective Sergeant in a violent conflict.

Ronja, the Robber’s Daughter (Family/ action/drama, S2: 6x45 min.) Following season one’s success, continues the beloved family action and adventure story as Ronja navigates loyalty, survival and family betrayal.

Secrets (Drama, 8x30 min.) In this Dogmastyle Danish drama, siblings Eva and Mads navigate family conflict, abuse and co-depen dency while struggling to set boundaries and break old patterns.

Stayer (Drama, 6x30 min.) Rock musician Even faces his toughest challenge after his child’s mother dies, forcing him to rediscover life and find meaning in both music and fatherhood.

Chaos (Drama/comedy, 8x30 min.) Lise, Denmark’s morning TV star, faces a thrilling choice between her predictable life and the wild allure of charming, adventurous Johannes. Comfort or chaos awaits.

Meaning of Life (Drama, 8x30 min.) The new season of the thought-provoking comedy-drama explores family life, social pressures and the gap between our deepest dreams and daily realities.

Little Did I Know (Drama, 1x90 min.) Petra’s world shatters after her husband’s infidelity, leading her on a journey of self-discovery across two pivotal ages.

Listen Up! (Comedy/drama, 1x82 min.) This LGBT+ drama follows teenager Mahmoud as his summer is upended by Uncle Ji’s arrival and his brother Ali’s secret.

WILDBRAIN

O (1-416) 363-8034

m sales@wildbrain.com w www.wildbrain.com

Stand: R8.C18

Badjelly (7-11/family 2D fantasy/adventure/ comedy, 13x22 min.) The tale of Badjelly the Witch is a ripping yarn of two curious kids whose futures are in the balance after their beloved cow is cow-napped.

Secrets at Red Rocks (9-14 live-action family drama, 8x24 min.) Twelve-year-old Jake is drawn into a world of mythical creatures and adventure when he finds a sealskin hidden on the rocky shores of his father’s seaside home in Wellington, New Zealand.

Storybooth (9-14 2D, 243x3 min.) Features real stories from real kids, offering a glimpse into their daily trials and tribulations, while providing a platform to be heard and understood.

Caillou (4-7 CG, 52x11 min. & 5x44 min.) Follows the life of a sensitive and imaginative boy named Caillou and the supportive family and friends that help him navigate his big feelings.

Boy & Dragon (7-9 2D action/adventure, S4: 23x2 min.) In a boundless notebook world lives a brave young knight and his oafish pet dragon.

Fireman Sam (4-7 CG action/adventure, S16: 26x10 min.) Fireman Sam and his team continue saving the people and animals of Pontypandy but with an upgraded Fire Station and a state-of-theart Mobile Command Unit to help them.

Jonny Jetboy (4-7 CG action/adventure, 40x11 min./20x22 min.) Jonny Jones and his family are secretly superheroes known as The JetFleet. Together, they face off against their city’s villains all the while learning what it is to be a true hero.

Louise Lives Large (9-14 live-action dramedy, 8x24 min.) Thirteen-year-old cancer survivor Louise creates her “Live Large List” to experience everything she missed out on while sick. Louise makes an unlikely partner-in-crime, school loner Jess.

Polly Pocket (7-11 2D adventure, S6: 38x11 min. & 2x66 min.) Polly and friends discover a lost cat

Badjelly

belonging to a Brazilian dancer. To reunite the duo, they venture to Rio for an adventure of a lifetime.

Ruby and the Well (Family live-action drama, S4: 8x44 min.) After a trip to Ireland, where Ruby learned the legends of ancient wells, she is more determined than ever to protect a secret of her own.

ZDF STUDIOS

O (49) 6131-991-0 m info@zdf-studios.com w www.zdf-studios.com

Stand: R7.D5

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.

Weiss & Morales

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

Explore Earth’s tumultuous history, marked by solar system collisions, asteroid impacts, volcanic eruptions and mass extinctions. Despite the devastation, the planet has rebounded. 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, 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.

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. Will their love survive? Welcome to the Forest (Wildlife/nature, 3x50 min.)

Delve into German forests. Using cutting-edge technology, the series debunks myths about forest animals and showcases their interactions beyond the trees. Concordia (Drama, 6x45 min.) Concordia, a municipality focused on surveillance and data collection for societal benefit, faces challenges when a murder and an AI hack occur.

Hack My Yard (Format, 45 min. eps., 120+) Two gardening experts compete to transform a dull family garden into a relaxing oasis.

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

Fateful Planet

Learn about the turbulent history of the planet we call home. Scientists have identified five periods of mass extinction in the past 500 million years. After each, the Earth has recovered, becoming covered in water and habitable once more. (ZDF Studios)

Badjelly

For those unlucky few that don’t know the tale of Badjelly the Witch, this is a ripping yarn of two curious kids whose future is in the balance after their beloved cow is cownapped. (WildBrain)

Ancient Greece by Train

Professor Alice Roberts travels on the trains of Greece and Turkey, exploring and learning about the incredible power and influence of Ancient Greece on modern life.

(BossaNova Media)

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)

Bad Boyfriends

Unsuspecting bad boyfriends are flown to a Greek island under the premise of filming a different series before getting the shock of their lives when Love Island star Olivia Attwood appears to reveal the true purpose of the show—to whip them into better boyfriend shape at the behest of their long-suffering girlfriends, whose surprise, dramatic arrivals cause mayhem. (All3Media International)