World Screen June/July 2023

Turkish Drama Trends / TV Movies Screenings Festival / ZDF Studios’ Dr. Markus Schäfer

NHK’s Nobuo Inaba / STUDIOCANAL’s Anna Marsh / OSN+’s Andy Grant

WORLD VIEW By Mansha Daswani.

ZDF STUDIOS’ DR. MARKUS SCHÄFER A video interview with the company’s president and CEO on its new positioning.

STUDIOCANAL’S ANNA MARSH Watch this keynote conversation with the CEO of the European studio on attracting talent and scripted trends.

TURKISH TALES Explores the continued interest in Turkish series across Central and Eastern Europe.

NHK’S NOBUO INABA The president of the Japanese pubcaster outlines his threeyear strategy.

MOVIE MAGIC The latest edition of our TV Movies Screenings Festival.

OSN+’s ANDY GRANT A Q&A with the VP of programming strategy at the stream er on what’s resonating with subscribers.

TRENDING ON The most-viewed clips on our video portals for the last 30 days.

Publisher

Ricardo Seguin Guise

Editor-in-Chief

Mansha Daswani

Editor-at-Large

Anna Carugati

Executive Editor

Kristin Brzoznowski

Associate Editor

Jamie Stalcup

Editor, Spanish-Language Publications

Elizabeth Bowen-Tombari

TOON TIME Kids’ media trends.

MERCURY RISING Mercury Filmworks marks its 25th anniversary.

M6’S MAUD BRANLY The recipient of the TV Kids Pioneer Award discusses her content needs.

Production & Design Director

David Diehl

Online Director

Simon Weaver

CANNES CONFIDENTIAL Lucie Lucas, Jamie Bamber and Tamara Marthe discuss the new series.

TRUE COLORS Spotlighting truth-based dramas.

INTER MEDYA’S CAN OKAN A Q&A with the company’s president and CEO.

Sales & Marketing Director

Dana Mattison

Sales & Marketing Manager

Genovick Acevedo

NATURE IN VIEW Distributors weigh in on nature and wildlife shows with a sin glesub ject focus.

STUDIO SILVERBACK’S JOHNNIE HUGHES The director on the power of filmmaking and storytelling to create documentaries that awe and inspire while clearly illustrating the perils impacting our environment.

Ricardo Seguin Guise

President

Anna Carugati

Executive VP

PROGRAM LISTINGS Highlights from several distributors.

Mansha Daswani

Associate Publisher & VP of Strategic Development

BY MANSHA DASWANI

To Binge or Not to Binge?

Everything all at once used to be the mantra for SVOD streamers eager to give subscribers binge-worthy shows that would keep them hooked for hours at a time. But just as audiences burn through content, platforms are burning through their content budgets, only to see their beloved, and expensive, shows fall out of the conversation as quickly as they had arrived.

With the U.S. writers’ strike ongoing—and the prospects of one involving actors potentially on the horizon—the squeeze on subscription revenues and the dawning realization that there is just simply too much content being produced, platforms are beginning to adjust how they release content. And the jury is still out as to what is the most effective strategy for launching with a lot of noise and managing to sustain that buzz.

Analytics firm Samba TV found that weekly releases help drive viewership over time while bulk drops of episodes are better for audience retention. An episode a week is best suited for platforms looking to maximize total viewership, Samba TV says. Bulk releases are more likely to retain fans over the course of the season, making them more appropriate for streamers that want to maximize initial buzz and keep subs bingeing.

“In the battle among streaming providers, success is defined by various metrics: maximizing subscribers, platform engagement and show audience,” said Ashwin Navin, Samba TV’s co-founder and CEO. “As the streaming landscape rapidly evolves, it’s essential to develop innovative, data-driven ways to break away from the pack.”

Brutal Media

Brutal Services

Brutal Media has launched Brutal Services, created to provide tailor-made services to international productions for their shoots in Spain’s mainland and the Canary and Balearic Islands. “We know that with our flexible structure capable of adapting to any TV or film project and our know-how based upon quality and sensitivity, we can carry any project from brief to the screen,” says Arlette Peyret, executive producer. “There is a huge opportunity to shoot in Spain and profit from the great tax incentives of up to 30 and 60 percent, including in the Canary Islands.”

Calinos Entertainment

Farah / Indefensible / EGO

Calinos Entertainment has on offer the Turkish drama Farah, which tells the story of an Iranian woman who escapes to Istanbul, where she works as a cleaning lady until she ends up in the middle of the mafia-police war. Also available, the Canadian crime drama Indefensible follows the Lapointe-Macdonald law firm and its criminal defense team. EGO, adapted from the Korean series Temptation, “is a chain of dramas starting with an indecent proposal done by a beautiful, rich, young but unfortunate woman,” says Asli Serim, head of international sales.

“We are confident we will be shooting in Spain with foreign partners very soon.”

—Arlette Peyret

Farah

“Calinos Entertainment’s mission is to spread joy to global audiences.”

—Asli Serim

Kanal D International

Farewell Letter / That Girl / Three Sisters

In Kanal D International’s Farewell Letter , love is waiting to be in the right place at the right time. However, the fate of Aslı and Mehmet unites in the wrong place at the wrong time. That Girl centers on Zeynep, who spends her days caring for her father and cleaning the home of Ozan. She meets a businesswoman who will help her with her dream of becoming a social media star. Three Sisters is about a set of siblings who, after spending years with their family in a fairy tale, face the harsh facts of real life.

OGM Universe

Miracle of Love / Stickman / Broken Destiny

OGM Universe’s Miracle of Love centers on a brave commander who was resurrected and stopped aging, causing him to live different lives through aliases. Stickman centers on an orphan boy who finds success as a game developer and buys a mansion—then his parents return. In Broken Destiny, a man wakes up after years in a coma to a family he doesn’t remember. Turkish shows’ DNA “encompasses rich storytelling, excellent production quality and compelling performances,” says Ekin Koyuncu Karaman, global distribution and partnership director.

“Turkish productions have a distinct DNA.”

—Ekin Koyuncu Karaman

That Girl

Miracle of Love

Paramount Africa

Black Tax / Unstoppable Thabooty / Love & Hip Hop South Africa

Paramount Africa’s catalog includes a third season of the comedy Black Tax , following a successful woman as she navigates life as a single parent. Also on offer are Unstoppable Thabooty and Love & Hip Hop South Africa, the first iteration of the franchise outside the U.S. Paramount Africa’s aim “is to continue championing African talent and narratives, amplifying diverse voices and offering authentic storytelling,” says Monde Twala, senior VP and general manager of Paramount Africa and peer lead at BET International.

ZDF Studios

Top Dog / The Six Continents Revealed / Spellbound

From the producers of Bron , Top Dog leads ZDF Studios’ spring offering. With two seasons available, the crime drama centers on a Stockholm business attorney who wants to reach the top of her firm and an ex-con who wants to get out of the mafia. The Six Continents Revealed takes viewers on a journey through time to find out how nature has shaped and influenced cultures all over the world. Spellbound follows a young girl who discovers her family’s spellbook and accidentally undoes a spell that has been hiding her identity.

“We believe in the power of storytelling to bridge gaps, foster understanding and inspire change.”

–Monde Twala

Black Tax

Spellbound

The FAST Festival is a virtual event taking plac

The FAST Festival will explore the delivering keynotes and panels with lead acquisition executives and distributors.

DEADLINE TO SUBMIT

For sponsorship opportunities, please contact Dana Mattison at dmattiso

Since taking over as president and CEO of ZDF Studios in July 2022, Dr. Markus Schäfer has been driving integration within the company and with its shareholder, ZDF. “We wanted to become an even better business, which provides even more value to our partners—going along with our claim: Inspire. Create. Produce. Distribute,” he says. And the benefits have been plentiful, including driving greater mutual understanding on both sides: ZDF Studios can better recognize ZDF’s program needs and service needs, and ZDF can better understand ZDF Studios’ strengths and abilities, “resulting in better programs and better service.” The integration also increases the level of transparency, shared knowledge and joint activities.

As broadcasters and platforms have been tightening their commissioning budgets, Schäfer sees a trend in scripted programming “to de-risk, which means that commissioners

Dr. Markus Schäfer ZDF Studios

are looking for programs that are IP-based and content that has multi-season potential.”

Factual programming has garnered solid demand as of late, says Schäfer. “In a world of ‘fake news,’ well-made and well-researched

documentary programs have an increased value,” he says. “We at ZDF Studios are working with partners that adhere to the highest journalistic standards.”

Formats, too, are enjoying a period of high demand. “Formats have been, are and will always be a pillar of the content business,” Schäfer says. In April, ZDF Studios announced a partnership with Tom Gamlich and Jan Fritzowsky to set up Content Laden, focused on the development and production of innovative and high-quality factual-entertainment formats.

And kids’ content, of course, remains a staple of the ZDF Studios catalog, with highlights such as the live-action Spellbound.

With its strong programming slate and ambitious goals for the year ahead, having the right team in place has been paramount to ZDF Studios’ success. “Talent is the scarce resource in our industry,” Schäfer says, touting the company’s culture of appreciation and respect as one of the many assets that make it an attractive employer.

“ We wanted to become an even better business, which provides even more value to our partners. ”

Anna Marsh STUDIOCANAL

By Mansha Daswani

STU DIOCANAL CEO Anna Marsh discussed attracting and nurturing talent and navigating a challenging media ecosystem in her Media Mastermind keynote conversation at MIPTV with World Screen’s Anna Carugati, using the session to unveil How to Stop Time with Benedict Cumberbatch and the company’s investment in Strong Film & Television.

STUDIOCANAL’s heritage is in film, a sector of the media business that remains crucial to the company, but it has dramatically expanded its television output over the last decade. “We’ve been investing quite heavily in building a network of production companies across Europe,” said Marsh, who also serves as deputy CEO of CANAL+ Group. “I do feel like the bubble somewhat has burst; we were enjoying a really wonderful time of productions that were greenlit 20 WORLD SCREEN 6/23

after very short development periods. It seems like some of those development periods are stretching out; a lot of developments aren’t necessarily getting over the hump and getting greenlit as easily as they were in the past. Returning series, getting that second, third season, is harder than it used to be. There are challenges, and we’re going through upheaval. But I would say defi nitely one of the themes of today’s keynote is to say, as my favorite TV hero, Ted Lasso, would say, Believe! I certainly believe in this industry, for many reasons.”

Marsh announced that STUDIOCANAL is working with its affiliated company SunnyMarch—founded by Cumberbatch with Adam Ackland—on How to Stop Time, a six-parter based on the best-selling Matt Haig novel. Cumberbatch will star in the production, to be penned by DC Moore and directed by Tomas Alfredson. It will shoot in London and Europe in 2024.

Marsh also revealed STUDIOCANAL’s investment in Strong Film & Television, led by Broadchurch director James Strong as cofounder and joint creative director, along with executive producer Loretta Preece and executive Matt Tombs. Based in both Bristol and London, Strong Film & Television’s slate includes The Out (w.t.), which is being jointly developed with STUDIOCANAL.

6/23 WORLD SCREEN 21

“We’ve been investing quite heavily in building a network of production companies across Europe.”

Turkish Tales

Central and Eastern Europe (CEE) has long represented a key market for distributors with Turkish drama programming, giving those heading to Budapest for either (or both!) of the back-to-back content markets there in June reason for optimism about the business prospects ahead.

Kristin Brzoznowski explores the continued interest in Turkish series across Central and Eastern Europe.

“Central and Eastern Europe holds immense importance for Turkish distributors,” says Ekin Koyuncu Karaman, global distribution and partnership director at OGM Universe. “Due to our shared historical background, Turkish dramas effortlessly resonate with audiences in each country within the region.”

“Business in CEE has been great, as the audiences enjoy consuming Turkish series,” agrees Çağla Menderes, sales manager for CEE, CIS and Europe at Kanal D International. “One of the main reasons Turkish series are successful there is the similarity in family lives.”

Asli Serim, head of international sales at Calinos Entertainment, adds that the two regions have “historical ties, similar cultural backgrounds and tastes.”

Calinos has found that traditional classic-style Turkish drama works well in CEE. “Love, tears, betrayal, family ties, powerful families, love between women and men, love for a child—this is a long-lasting list,” she says.

Kanal D International also cites classic dramas as working best in CEE. “Those series focus mainly on family values, which is something we all care about,” says Canan Koca, sales

“Business in CEE has been great, as the audiences enjoy consuming Turkish series.”

—Çağla Menderes

executive for CEE, CIS and Europe. “Family is missed more and more as cities get larger and people relocate farther away, which increases the significance of these dramas. For instance, we believe this is why our series Three Sisters is so successful. It brings out family values by sharing the nostalgic sentiment we all missed.”

COUNTRY HOPPING

OGM Universe’s Koyuncu Karaman has seen different preferences across the various countries in CEE. She says, “Historical and costume dramas tend to perform exceptionally well in Poland, while romantic comedies are popular in Hungary, Serbia and Macedonia. However, if we generalize, melodramas emerge as the highlight in most parts of the world. Turkish productions have a distinct DNA that encompasses rich storytelling, excellent production quality, compelling

The Kanal D International slate includes the Turkish drama That Girl .

performances and breathtaking landscapes. Over 100 countries may find the content exciting and intriguing when all of these factors align.”

Koyuncu Karaman adds that the Balkans have consistently shown a strong interest in broadcasting Turkish dramas, and in the past couple of years, there has been a noticeable uptick.

“This expanding market presents an exciting opportunity for Turkish distributors to reach new viewers and expand their presence in the Baltic countries,” she says.

Kanal D International’s Koca cites Romania, Bulgaria and Hungary as key buyers, along with Kosovo, Montenegro and Bosnia and Herzegovina. “We do sell our content to all countries in CEE; however, there has been a rise in interest from countries such as Greece, the Baltic states, Poland and the Czech Republic,” Koca adds.

For Calinos’s Serim, the CEE region is “totally open for us, and we are working with every country in the region. Romania, Bulgaria and Macedonia are the countries where Turkish drama has a strong presence in the region.”

While ready-made dramas remain the focus for Calinos in CEE, the company has been working on format sales and

“Central and Eastern Europe holds immense importance for Turkish distributors.” —Ekin Koyuncu Karaman

evaluating co-production options in the region since the beginning of the 2020s. In 2021, Ruxandra Ion and Dream

Film Production produced Adela , a Romanian adaptation of That’s My Life ( O Hayat Benim ) for Antena 1. “The remake was a huge success and turned into a phenomenon in the region,” Serim says.

This year, Antena 1 started producing the remake of No: 309 as Room 609. Calinos Entertainment has distribution rights for both Adela and Room 609.

RIPE FOR REMAKES

OGM Universe’s Koyuncu Karaman is also eyeing the potential for remakes in the region. “Recently, there has been a notable increase in local production within the CEE territories,” Koyuncu Karaman says. “This is particularly

OGM Universe believes the drama Stickman has potential for sales in the CEE region.

[true] in countries such as Serbia, Croatia, the Czech Republic, Romania, Greece and Bulgaria. As Turkish content continues to be well-received in these territories, Turkish distributors can explore new avenues beyond delivering ready-made content.”

There are also a number of co-production opportunities emerging in the CEE territories, Koyuncu Karaman adds. “This collaborative approach not only facilitates the exchange of creative ideas and resources but also enables the blending of cultural elements from both sides. This results in unique and appealing content for multiple territories.”

And new sales prospects are on the horizon, adding to the roster of reasons that distributors of Turkish series are expecting buoyant business. “We are noticing an increase in the number of countries that are willing to try our content for the first time and beginning to realize the potential in Turkish series,” Kanal D International’s Menderes says. “This, of course, is a great opportunity for us to extend our potential sales throughout the entire CEE region.”

“Romania, Bulgaria and Macedonia are the countries where Turkish drama has a strong presence in the region. ”

—Asli Serim

Book your Exclusiv WORLDSCREE

Nobuo Inaba NHK

Like other public broadcasters across the globe, Japa n’s NHK is firmly focused on maintaining its output of high-quality, informative content while grappling with catering to all audience demographics, rapid shifts in consumption habits and pressures on funding mechanisms.

Nobuo Inaba, a former executive of the Bank of Japan, was brought in by the pubcaster at the start of this year for a three-year term as president. He tells World Screen about his plans for the organization.

WS: What’s your strategy for NHK?

By Mansha Daswani

INABA: I wish, as president, to make various efforts to further NHK’s mission as a public-service media. NHK has the mission to serve the public across Japan, providing a rich and high-quality broadcasting service while also maintaining its independence and autonomy and contributing to the development of a healthy democracy and cultural improvement. We are expected to produce and provide high-quality news, documentaries and entertainment programs. The first and most important thing is establishing the

systems and furnishing the right environment so our employees and staff can achieve this public mission.

I want to move NHK forward to produce even higher-quality content in a cost-effective manner. NHK is funded by receiving fees, which are charged equally to every household in Japan that has installed a TV set. To reflect the result of the structural reforms and management efforts implemented so

far, the receiving fee will be reduced by 10 percent from October this year. That will produce a temporary dip in revenues, but to permit the quality or volume of our services to drop for this reason would defeat the purpose of the structural reform. I would rather seek ways to use digital technology to raise both the volume and the quality of our services. This includes expanded use of the digital archive and digital revision of program-making processes from production to broadcast and distribution.

On the daily news side, NHK’s essential stance is to take the time required to uncover the truth and deliver information continuously, accurately, fairly and without bias. As for the entertainment side, we would like our production team to pursue new ideas and styles that could be enjoyed by viewers not only in Japan but throughout the world. We hope we can enrich people’s everyday

“I want to move NHK forward to produce even higher-quality content in a cost-effective manner.”

lives and culture by offering high-quality programs and, in that way, contribute to society.

These endeavors can also provide effective answers to the diverse contemporary issues confronting us in an information space inundated with fake news.

WS: Tell us about the pillars guiding your programming strategy.

INABA: In December 2023, we will reorganize the number of our channels. We will revamp our satellite channels to one 2K channel and one 4K channel, and the 8K channel will remain the same. With the start of this new 4K channel, we will deliver content that will enable viewers to experience the full and immersive ultrahigh-definition images of 4K. The upcoming lineup will include a big historical drama about a famous Ukiyo-e artist; a major documentary series about the mysteries of the Nazca, the Mayans and other ancient civilizations; and a series of live programs showcasing magnificent views of the World Heritage sites from land, sea and sky. We are committed to making high-quality programs that have global appeal. We are also placing a strong emphasis on international co-productions and the acquisition of foreign

SCAN PYRAMID—Secret Chambers of King Khafre is a new science doc from NHK.

dra mas and documentaries. Investing in outstanding foreign productions secures high-quality content for our audience and brings them in contact with diverse viewpoints and values from around the world.

Furthermore, 2025 will mark the 100th anniversary of broadcasting in Japan. We are planning a Mars Project for this anniversary year. In 2024, JAXA will launch a Mars probe equipped with NHK 8K and 4K cameras. This is JAXA’s MMX (Martian Moons eXploration) mission, which will collect and bring back samples to Earth that could provide vital information to solving the mystery of the formation of the planets in our solar system. We will follow

this journey and offer the discoveries in ultra-high-definition images. Also, we have a big series coming up called The Human Age, which will re-examine the global issues confronting us today from the perspective of human history.

WS: Public broadcasters the world over are facing funding challenges. How is the outlook for NHK?

INABA: In Japan, too, the TV reach and ratings are declining, especially among the young, and our population is also declining. As in other countries, we are facing challenges in funding. NHK is supported by the receiving fee system in which every household is

“Investing in outstanding foreign productions secures high-quality content for our audience.”

asked to pay equally. The issue for us is to find ways to keep on providing high-quality content in a cost-efficient manner, even if our receiving fee revenues decline. We are looking at several new schemes for this purpose, such as using digital technologies for organizational reform and increasing collaboration with production companies and broadcasters for content creation. With our network of international friends and colleagues that we have fostered over the years, there is more room for strategic investment in programs that have global market appeal. I hope to join forces with our friends around the world in various forms in the future.

WS: How are you meeting the needs of Japanese audiences outside of the traditional linear broadcasts?

INABA: In 2020, NHK launched the NHK Plus service, which provides simultaneous streaming and catch-up of terrestrial TV programming. People living in Japan who have a receiving fee contract with NHK can access this service for no extra charge.

NHK produces many educational programs, and the content is also offered on the internet to ensure children’s learning. It proved especially useful during the Covid-19 pandemic. In 2022, the NHK Learning site was launched to provide educational content for people of all ages.

Our international TV and radio service, NHK

NHK’s nature doc slate includes Nature ’s Hidden Miracles.

WORLD-JAPAN , is also available online. News, videos, programs and so on are provided on Facebook, Instagram, YouTube and other platforms, and these are valuable sources of daily information for foreign residents and visitors to Japan. Our live streaming of NHK WORLD in English is automatically translated and offered in subtitles in other languages, too.

WS: How are you positioning NHK Enterprises as you look to drive commercial revenues?

INABA: I have high expectations for NHK Enterprises and our other affiliate companies because they can potentially contribute to reducing the financial burden on the viewers by offering supplementary revenues. Unlike NHK, which is funded by the receiving fee, NHK’s affiliates can be more flexible in working with universities, expert institutions and other external companies. Their antennas are always up to further make use of their creativity across a wide range of fields, and I think they have enormous commercial potential and can create seeds of innovation in the market.

NHK is tapping into global partnerships to produce series like Amazing Dinoworld II .

MOVIE MAGIC! MOVIE MAGIC!

The

third edition of the TV Movies Screenings Festival illustrates the breadth of the film offering available to buyers today.

Uplifting stories of love lead Nicely Entertainment’s highlights for the TV Movies Screenings Festival: The Art of Christmas and Romance at the Vineyard. Scott Kirkpatrick, the company’s executive VP of distribution and co-productions, describes the former as a “charming film that perfectly captures the romance of the holiday romance genre. Built on the premise of classic meet/cute love, it delivers on a fun journey of selfdis covery in a cozy/feel-good package with a setting filled with snow and warm Christmas memories.” Starring Susie Abromeit and Tim Ross, “Romance at the Vineyard offers a fresh take on the classic romance story,” Kirkpatrick says. “Filmed on location at a beautiful vineyard, the setting is as prominent a character as our leads. And the chemistry that actors Susie Abromeit and Tim Ross share captivates beyond words. This film absolutely delivers the escapism its artwork promises.”

Nicely Entertainment’s The Art of Christmas

A+E Global Content Sales is showcasing the diverse range of its Lifetime TV movie offering at the TV Movies Screenings Festival, highlighting four thrillers inspired by true stories. “Stories in the true-crime bucket, which take you on a thrilling, emotional journey, have long been part of Lifetime’s DNA, and we make sure to tell them with great care for the real-life people involved,” says Liz Soriano, senior VP of international programming at A+E Global Content Sales. Hoax: The Kidnapping of Sherri Papini with Jaime King recounts the true tale of the Northern Californian woman who faked her own kidnapping in 2016, while Let’s Get Physical with Jenna Dewan is a ripped-from-theheadlines thriller about a fitness instructor operating a prostitution ring. Kelly Ripa and Mark Consuelos executive produced that title, along with An Amish Sin starring “Lifetime fan-favorite Kellie Martin, who has been acting in our

A+E Global Content Sales’ Black Girl Missing

Cinevest Interactive’s Herdsmen

movies since 1994,” Soriano says. “Lifetime creates riveting, of-the-moment movies that feature beloved stars in front of and behind the camera, many of whom come back to work with us again and again. Garcelle Beauvais returns to Lifetime as both an EP and the star of Black Girl Missing, which explores the disparity in how missing persons of color cases are treated when a white teen girl and a Black teen girl go missing at the same time.”

Cinevest Interactive is offering up two gritty films from Nigeria. Herdsmen, from producer Tunde Aina and director Toka McBaror, tells the story of a former assassin who comes out of retirement when his niece is kidnapped. The film is based on conflicts in Nigeria and “is compelling with stunning beauty and excellent acting, elevating this production above all Nollywood movies,” says Arthur Schweitzer, president and CEO. Aina and McBaror are also

Wonderphil Entertainment’s Bullets and Katanas

Nicely Entertainment’s Romance at the Vineyard

behind Underbelly, set in 1976 West Africa. “They portray the dynamic characters with their flaws and strengths in this cinematic gem,” Schweitzer says.

Wonderphil Entertainment is touting four distinct independent features, all unique in tone and style. Bullets and Katanas “is one of the most creative and unique films I’ve ever seen,” says Phil Gorn, CEO. “The first 50 minutes is shot in one take as the viewer accompanies the protagonists in their quest. The second half is shot in the purest style of classic Hong Kong cinema of the ’80s with plenty of nods to the genre, cameos and tributes.” Sentinel is a new sci-fi/action film currently in postproduction, while Shifter is a thriller that Gorn bills as “a female Bourne with a sci-fi twist. Plenty of action, real-deal martial arts and a diverse cast.” Meanwhile, Jessie and the Elf Boy is a feelgood family story inspired by Scottish legend.

A+E Global Content Sales’

Hoax: The Kidnapping of Sherri Papini

Wonderphil Entertainment’s Jessie and the Elf Boy

Long-running Turkish series, blue-sky dramas and animated features are among the priorities on Andy Grant’s wish list at OSN+. The VP of programming strategy at the streaming service in the Middle East and North Africa—owned by the region’s leading pay-TV operator—talks to World Screen about OSN+’s positioning, navigating the evolving strategies at the Hollywood studios and the importance of exclusivity.

Andy Grant OSN+

By Mansha Daswani

WS: What’s your overall programming strategy at OSN+?

GRANT: We are the home of Western content for the Middle East and North Africa, whether it’s movies or top-flight series. We are the home of quality for fans of Western content. We try to ensure everyone in the household has something, so we underpin that with Arabic content. We do make our own originals in Arabic. We also buy long-running Turkish series; they’re super popular in the Middle East. And then we’ve got a very good kids’ selection. We’re Western-oriented, but we’re very much a comprehensive service that offers everyone in the home something.

WS: What kinds of shows drive subscriber acquisition versus those that serve as retention tools?

GRANT: These are inevitably the big noisy shows. In the last year or so, the two big ones have been House of the Dragon and The Last of Us from HBO. They’re big budget. There’s an opportunity for them to continue after the first season. They have the talent. They’re the sorts of shows you could easily imagine on the big

billboards. These are the ones that attract people’s attention, and they are exclusive on OSN+, which means people have to sub scribe to get them. And then, of course, the job is keeping subscribers with a regular throughput of quality content and messaging so they know that each week or each month, there’s going to be something they can try out.

WS: The approach to licensing content at the Hollywood studios has been in flux as they roll out their own D2C services. Has that impacted your acquisition strategy?

GRANT: It has. For instance, Disney+ is in the Middle East. We formerly were the home of Disney. HBO is not coming to this part of the world at the moment, so there’s regular licensing there. The withdrawal of a certain amount of content is apparent. We don’t have quite the same level of choice that we would have had

“We are the home of Western content for the Middle East and North Africa.”

before. But we are the leading Western service in the region, so we are the first port of call for all of the studios when they are making their sales.

WS: You mentioned Turkish content. They have been experimenting with shorter-run series. What are you looking for out of that market?

GRANT: We’re still looking for the longer ones. They can get a very loyal viewership that keeps coming back again and again. Our most popular show is Forbidden Fruit. That’s on its sixth season. It runs to 100-plus episodes each season. That’s powerful for us on engagement. It means that a significant chunk of our viewership visits three, four or five times a week to catch up with the show. We drop three or four episodes at a time each week. In the week, it plays out on our linear channels, and then when we drop them on OSN+, they get consumed quickly.

WS: How important is exclusivity? Does everything have to be first-run?

The HBO series The Last of Us has been a hit on OSN+, which has the drama as an exclusive.

GRANT: There has to be a significant amount of exclusive content. What is the point of somebody subscribing to you if they can get it elsewhere? You’re then competing on technical ability or price. There needs to be hype; there needs to be a significant number of high-profile exclusive titles, whether it’s movies or series. After that, we do take second runs of movies and series. On the library side of things, it’s non-exclusive. It’s having those layers in the content offering, but exclusivity is still very important.

WS: Do you find some shows play better in a linear environment than a streaming one?

GRANT: A procedural like Chicago Fire has a small audience on streaming, whereas it does pretty well on the linear channels. A crime miniseries like Mare of Easttown does well on streaming and linear. Movies are also successful on linear; they are not quite as important to us on the streaming service. The movies tend to perform well initially and then fall away quite rapidly, whereas the series tend to tick along regularly.

OSN+ has seen success with Turkish dramas such as Calinos Entertainment’s Forbidden Fruit.

Trending On

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

Top Dog

Emily has left Leijon and is working for a billionaire. When Teddy’s nephew is arrested for murder, Emily reluctantly represents him. Distributor: ZDF Studios

Shasha & Milo

Shasha and Milo are next in a long line of shapeshifting feline guardians tasked with preventing dark magic from taking over. Distributor: Zodiak Kids & Family Distribution

Home Sweet Rome!

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 an Italian pop star. Distributor: Superights

Golden Boy

This family drama tells the story of two sisters whose paths have crossed with golden boy Ferit and his family, full of betrayal, lies and secrets. Distributor: Eccho Rights

Mystery Lane

A new classic à la Scooby-Doo meets Sherlock Holmes packed in a feature-quality CGI animation that will captivate kids and families. Distributor: HARI

Truth-Based Dramas / Behind the Scenes of Cannes Confidential Inter Medya’s Can Okan

TVDRAMASCR

CREENINGS.COM

The only video portal for the global TV drama community.

Lost in the Shuffle

I’ve been telling anyone who will listen that they absolutely must make time to watch Jubilee on Prime Video. The response has largely been, “What’s that?”

CONTENTS

CANNES CONFIDENTIAL

Stars Lucie Lucas, Jamie Bamber and Tamara Marthe offer up an inside look at the new European crime procedural.

Now I know that even though peak TV has peaked, there is still a shocking number of scripted TV shows for one to sample. So I guess I shouldn’t be expecting everyone to have heard of Prime Video’s lush, stunning drama set against the backdrop of the early days of Indian cinema. But given how long it took me to discover it, and I actively seek out new Indian dramas to watch on a regular basis, I’m beginning to think that the platforms aren’t doing the best job of making sure that the shows they’re spending a lot of money on to deploy globally are actually being sampled globally. It never came up in my recommendations—I maintain that those algorithms are deeply flawed—and I’m fairly certain I was scrolling for a long, long time before I saw the thumbnail in Prime’s long list of originals. Addressing subscriber erosion at Disney+ last month, Disney CEO Bob Iger alluded to the abundance of content being made by the streamers—and the need to be “surgical” in the months ahead. Will beautiful, expensive pieces like Jubilee , which perhaps have niche appeal, still get made? And if they do, will they even be discovered? —Mansha

TRUE COLORS

Distributors and producers share the keys to creating and selling dramas inspired by real stories.

Daswani

INTER MEDYA’S CAN OKAN

The Turkish distributor is finding success with a new generation of miniseries as well as long-running hits.

LEONINE Studios

Bonn / The Seed / Troppo

LEONINE Studios’ Bonn charts the true untold story of a young woman’s struggle to find her place in a male-dominated society amid the battle between Germany’s separate intelligence agencies formed after WWII. In the thriller The Seed, two detectives searching for a missing journalist in Norway’s Arctic wastes find their lives on the line when they uncover a conspiracy of global proportions. The crime drama Troppo centers on ex-police detective Ted Conkaffey, who is drawn into the criminal cases of an eccentric private investigator.

Onza Distribution

Godless John / Forever / Parot

Based on a sexual abuse scandal in Brazil, Godless John leads the drama highlights from Onza Distribution. Forever is a telenovela about the mysterious life of Pedro, who was abandoned as a child and grew up in a church. The only thing that has ever made sense to him is his first love, Clara. Parot is a psychological thriller about criminals released after the annulment of the Parot legal doctrine. It features “strong characters, which raise a social debate about justice, the limits of forgiving and reinsertion” into society, says Béatrice Nouh, head of sales.

“Forever presents a story of love, betrayal and unexpected plot twists.”

—Béatrice Nouh

ORF-Enterprise Days That Never Were / Azra (Tatort)

In Days That Never Were , which leads ORF- Enterprise’s drama slate, an accident suddenly turns into a murder case and the friendship of four women who have known each since their school days is tested. There are eight episodes available, each 48 minutes long. The 90- minute film Azra, part of the Tatort franchise, centers on an investigation into the crime boss Tariel Tasic. The case ends up in jeopardy when the detectives’ informant fails to appear, leading to a dangerous search that pits the investigators against Tasic’s organization.

ZDF Studios

Top Dog / Clean Sweep / The Swarm

ZDF Studios’ spring and summer drama catalog features a second season of Top Dog, which comes from the producers of Bron. The series focuses on the clash between a Stockholm business attorney and a Södertälje ex-con. In Clean Sweep, an unassuming wife and mother makes a fatal choice to prevent a dark secret from her past from being exposed as detectives, including her husband, close in on her. The Swarm follows as a group of international scientists rush to discover what is causing strange happenings in the world’s oceans.

Days That Never Were

Clean Sweep

Cannes Confidential

Set against the backdrop of Cannes, France, Acorn TV’s Cannes Confidential weaves together a classic storyof-the-week procedural and an intriguing underlying arc. The six-episode series, from Midsomer Murders creator Chris Murray, centers on the relationship between idealistic, local underdog cop Camille Delmasse, played by Lucie Lucas (Clem), and ex-conman Harry King, played by Jamie Bamber (Marcella, Battlestar Galactica), who form an unlikely crimefighting partnership.

The series debuts on Acorn TV in North America, New Zealand, Australia and the U.K. on June 26.

Lucas, Bamber and fellow star Tamara Marthe all note that they were drawn to the series because of the writing. “Our characters are really rich and subtle,” Lucas says. “I think the viewers [will] feel a real attachment to them.”

What drew Bamber in was “the dialogue, the relationship between Lucie’s character and my character, and it reminded me of shows I grew up watching, like Moonlighting.”

Each episode features a different murder investigation, while moving forward the underlying story. “Fundamentally, it’s a drama about family,” Bamber says. “It’s about Camille, who is from a family of police officers. Her dad was the head chief of police in Cannes and now finds himself incarcerated for a corruption scandal.”

“The crux of the show is there is this tacit deal between [Camille and Harry],” Bamber continues. “He’s got a shady past. He says, I know how to get your dad out of prison; I know what’s going on there. Because he’s got hands in many different areas. They have this sort of bargain, which is combative bargaining at the beginning, but gradually they grow to trust each other.”

The procedural element combined with the season-long story arc allows the series to work for multiple platforms. With linear TV, “it’s very advantageous to [broadcasters] to have a closed story each week that every viewer can get into, can jump aboard,” Bamber says. “We’re also on Acorn TV. We’re on a platform, where, actually, it’s probably more advantageous to give the audience something that they can continue with in their own time. We’re doing two things at once.”

“ Fundamentally, it’s a drama about family . ” —Jamie Bamber

True Colors

Distributors and producers share the keys to creating and selling dramas inspired by real stories.

By Jamie Stalcup

Real life can sometimes prove to be stranger and more inspiring than fiction. While documentaries are the obvious format for telling a true story, broadcasters and streamers have been finding success with dramas that fictionalize real events, especially those that have taken place in more recent history.

“Audiences have be en consuming and enjoying true-crime drama for many years, and the expansion into historical events is

Cineflix Rights’ Sugar .

a natural extension to this,” notes Simon Cox, executive VP of content and acquisitions at Banijay Rights, which counts among its catalog Bali 2002, about the 2002 terrorist attacks in Indonesia, and Stonehouse, about disgraced Labour politician John Stonehouse.

“Events in living history provide audiences with insight into worlds they have only had glimpses of on the news, expanding into these environments through the small screen,” Cox says.

“Viewers can more easily identify with stories that happened in real life,” adds Helge Köhnen, head of content sales at Bavaria Media International, distributor of The Heart of Cape Town, an event drama telling the story of the first heart transplant in 1967.

“When it’s authentic, a story hits even harder,” says Pablo Salzman, president of Connect3 Media, producer of the Cineflix Rights-distributed film Sugar , centered on the Cocaine Cowgirls, two influencers who were pulled into a drug smuggling operation. “There’s always been a fascination with stories inspired by real events, especially in the true-crime space. Wrapped in strong, dramatic storytelling, audiences enjoy learning about key characters and events.”

“When the story seems unbelievable, or so huge, and you learn that it is indeed true—or inspired by true events—it changes the way you look at it,” notes Béatrice Nouh, head of sales at Onza Distribution. “It gives it authenticity.”

“Any drama’s success is rooted in the original true story.” —Tom Misselbrook

Of course, the obvious difference between a documentary and a truth-based drama is that the latter requires more than just an interesting story; it needs a full-fledged intriguing script with wellwritten characters, which may require some embellishment, all the executives say. When basing programs on recent historical events, those involved may still be around, and this is something writers must take into consideration when adding elements to the stories.

TRUTH BE TOLD

Banijay Rights’ Cox notes that the company ensures that “the level of embellishment is appropriate and respectful. Each story is thoroughly researched to ensure accuracy and authenticity. For example, the involvement of Bali bombing survivor Polly Miller in the creative process for Bali 2002 really established a truthful and realistic representation of the events of that tragic time. Drama still needs to be entertaining but also respectful of the past and the truth, as well as those involved.”

Bavaria Media’s The Heart of Cape Town delves deeper into the historical event than ever before and tells the story of those who were overlooked in the past. Christian Popp, CEO of Producers at Work and producer of the film, says, “ The Heart of Cape Town is not just about the 20th century’s milestone event of the first heart transplant. It also tells the story about people

Onza Distribution represents Godless John, based on a true story about a “healer” in Brazil.

in the shadow of this historical event. The life of Hamilton Naki, who, as a Black man in an Apartheid state, secretly helped prepare the first heart operation in Cape Town, can’t be found in medical history books. The fact that women in Germany had no career opportunities in surgery because of their gender, like our fictional character Dr. Lisa Scheel, is a historical side note, too. ”

FACT VS. FICTION

“These fates must be told in a film to give them voices,” even if a made-up character must be used to do so, Popp adds. “Fictionalizing true events is always a fine line between fiction and truth.”

Onza Distribution’s Nouh notes that “one of the first precautions is to say that [a project] is inspired by true events; that not everything is real.” For Godless John, about “John of God,” a notorious sexual predator in Brazil, she says that they took the testimonies of hundreds of women into account but that many characters,

Bali 2002, sold by Banijay Rights, dramatizes the terrorist attacks on the Indonesian island.

particularly those working in John’s spiritual health center, were fictional.

Ultimately, though, “the key to the international success of any drama is having a good script,” Banijay Rights’ Cox says. “In the real-story genre, the theme or story has to have a level of relevance or relatability for a global audience. Even the smallest of stories with the most unusual storylines can travel if the key themes are relatable.”

It does help, however, if the story being told is already somewhat known to the public. “Any drama’s success is rooted in the original true story, particularly one that is wellknown and in the public domain,” says Tom Misselbrook, senior VP of scripted sales and development at Sugar distributor Cineflix Rights. Then, it is amplified by the characters and themes within the story.

As an example, he says Sugar “is an extraordinary story about two young women who were unwittingly lured into trafficking a large amount of cocaine into Australia via a cruise ship, which made headlines across the world. At the center of it are two women, seemingly naive and out of their depth, but it also

“When the story seems unbelievable and you learn that it is indeed true, it changes the way you look at it.”

—Béatrice Nouh

explores some really interesting themes, from the price of fame through the prism of social media to identity and sexuality.”

With the development of every project, Sugar producer Salzman says he and his team consider how the story would make waves. “We often ask ourselves if it would make good conversation at a dinner party. Is it noisy? Is it something you would bring up?”

Dramas based on real events fit the bill, with viewers eager to share the unbelievable real stories they watch on the screen.

Nouh adds that “in the case of Godless John, we are talking about a major sexual scandal, with hundreds of women affected in a renowned spiritual center that received visits from everywhere. Even people like Bill Clinton and Oprah Winfrey visited the center, which makes it particularly captivating.”

“In an age where you can Google everything, the power of stories inspired by real events has only grown,” Salzman adds. “For broadcasters and platforms, it’s important to get people talking and curious about a new series.” And expanding on a true story that previously made headlines is a surefire way for platforms to intrigue and draw in audiences.

Inspired by true events, The Heart of Cape Town is on the Bavaria Media International slate.

Can Okan Inter Medya

Can Okan founded Inter Medya in 1992 and initially focused on Turkish feature films, first for the domestic market and later extending into Eastern Europe, Russia and other international territories. Through the years, he expanded into longrunning dramas, Turkish telenovelas, which developed loyal audiences, first in the Middle East and North Africa and then Latin America and the U.S. Hispanic market. In 2016, Inter Medya began developing and producing entertainment, reality and game-show formats and, more recently, “new generation Turkish series,” shorter-run miniseries. These dramas, which have proven very popular, have allowed the company to reach new platforms and viewers. Okan talks to TV Drama about the strategy behind the new generation series.

By Anna Carugati

TV DRAMA: In the past year, Inter Medya has moved into miniseries. Why was that important?

OKAN: When we decided to move into the production business, we did not want to have a conflict of interest with producers who are our suppliers. So we said, instead of producing traditional long-running Turkish dramas, let’s go into

production of titles made for the OTT platforms. We are also going into preproduction on two feature films, where, again, there is no clash or conflict of interest with any third party. That’s how the whole journey started.

These miniseries are much faster-paced than Turkish dramas; they are edgier and even sexier. When Naked started streaming, on its fourth day, it became number one among viewers.

In a country like Brazil, with 300 million people, being number three on its fourth day is a big success. Tainted Love started streaming, which is again a short-form series, and it has been number one on the platform. I’m very proud of it. This means that not only the long-running Turkish series are successful, but the miniseries, the ones that we call “new generation Turk ish series,” are going to be a big success.

TV DRAMA: Have miniseries brought you new clients?

OKAN: We have seen a lot of interest from Western European and Nordic companies, streaming platforms and also from English-speaking U.S. and Canada. These are different territories from Latin America or U.S. Hispanic or Central and Eastern Europe, where Turkish content is already very strong.

“These miniseries are much fasterpaced than Turkish dramas; they are edgier and even sexier.”

TV DRAMA: In May 2022, you closed a co-production deal with Telemundo. How has that been progressing?

OKAN: It’s going very well. In January, we finished the first series, Hicran . We’re handling international distribution, and sales are going quite well. We are in production for the second one, Blue Cage , which started during MIPCOM 2022 and finished at the end of April. Delivery will take place in June 2023, and Telemundo is planning on airing it in the U.S. Things may change, but most probably the first broadcasters of Blue Cage will be in either Israel or the Mid dle East, even before Telemundo.

TV DRAMA: How are you keeping up with rising production costs?

OKAN: It is quite tough. All costs have increased not only because of the inflation rate but also because of the new big international players that entered the market. They overpaid all the talent, writers, directors and crews. Once you reach a certain level, you can’t go back down. But still, with our good relations and amazing team, we can continue to produce. As I said, we are going to begin production on two feature films

Miniseries such as Naked have been successful for Inter Medya.

soon and two miniseries. One will start shooting by the end of summer 2023, and the other one probably by February 2024.

TV DRAMA: What demand do you see in the market? Are buyers being more cautious?

OKAN: In certain territories, some broadcasters that had been weak on the production side have started producing themselves. So, on the one hand, demand in some countries has gone down, but we are still opening up new territories, which balances revenues. Also, in some regions, the economic situation is not that good, and prices go down. While in others, prices go up because of the success of the content and the numbers increase, so again, it balances out. I cannot complain because, in some cases, we are getting less, while in others, we are getting more; so there is always a balance.

Inter Medya worked with Telemundo on the drama series Hicran .

Wildlife Docs / Studio Silverback’s Jonnie Hughes

TVREALSC

SCREENINGS.COM

The only video portal for the factual programming industry.

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Anna Carugati

Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup Associate Editor

David Diehl

Production & Design Director

Simon Weaver Online Director

Dana Mattison Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

FAST Times Ahead

FAST has emerged as a buzzword across all sectors of the business, but factual distributors appear to be benefiting the most from the quickly growing segment.

“AVOD and FAST services are becoming a significant revenue stream for us,” reports Anne Olzmann, the managing director of Albatross World Sales. “We have been working with different operators for quite a while now, and while it has taken some time to set up, it is becoming more and more lucrative each year, especially for titles that have made their TV round and are ready for third and fourth runs. It is safe to say that we have extended the shelf lives and have longer distribution periods for suitable genres.”

CONTENTS

NATURE IN VIEW

Distributors discuss nature and wildlife programs that take a single-subject focus.

Ricardo Seguin Guise President

Anna Carugati Executive VP

Mansha Daswani Associate Publisher & VP of Strategic Development

“We collaborate with numerous platforms, licensing programs to their AVOD services, owned-and-operated FAST channels or entirely single IP channels, both in the German- and English-speaking territories, with other regions of the world envisaged for the near future,” notes Nikolas Huelbusch, Director Unscripted at ZDF Studios.

We’ll be taking a deep dive into the potential of FAST for factual distributors at our upcoming FAST Festival, a virtual conference taking place next month. Register for free here Mansha Daswani

STUDIO SILVERBACK’S JONNIE HUGHES

The applauded director on harnessing the power of filmmaking and storytelling to create documentaries that awe and inspire while illustrating the perils impacting our environment.

Autentic Distribution

Morava—River of Ancient Times / Climate Chronicles / Mission Saving Paradise— Expedition to the Last Treasures of the Indian Ocean

Autentic Distribution is showcasing a pair of titles focused on climate change. “The climate crisis and its environmental repercussions have an impact worldwide, making it a universally relevant and pressing topic,” says Mirjam Strasser, head of sales and acquisitions. “Climate Chronicles and Mission Saving Paradise—Expedition to the Last Treasures of the Indian Ocean captivate audiences by focusing on the issues and offering solutions that give hope.” Morava—River of Ancient Times is also a highlight.

Onza Distribution

“Our mission is to deliver gripping and captivating documentaries that meet the needs of broadcasters and platforms, captivating audiences with relevant and engaging content.”

—Mirjam Strasser

Young Addictions / The Wind Sentries / Real Madrid: The White Legend

Onza Distribution is highlighting three programs from very different genres: the socialissues documentary Young Addictions, the environment and conservation title The Wind Sentries and the sports history series Real Madrid: The White Legend. “Young Addictions focuses on a highly universal issue: the virtual addictions of young people from all over the world,” says Béatrice Nouh, head of sales. The Wind Sentries addresses climate change. Real Madrid: The White Legend is about the football club and its history.

“We are coming with a wide slate of documentaries from many genres: nature, travel, sports, social issues, religion, mystery, history and more.”

—Béatrice Nouh

Climate Chronicles

Young Addictions

ORF-Enterprise

A Raven’s Tale—Mystic Czechia / Life on the Wing—Miracle of Bird Migration / High Life in the Dead Mountains

The ORF-Enterprise catalog features a number of wildlife and nature titles, including A Raven’s Tale—Mystic Czechia, looking at the landscapes of the Czech Republic. Life on the Wing—Miracle of Bird Migration showcases the wonder of bird migration. High Life in the Dead Mountains delves into diverse ecosystems. “We are experiencing high demand for our blue-chip titles in both the nature and wildlife and history segments,” notes Armin Luttenberger, head of content sales international.

ZDF Studios

The Six Continents Revealed / Naked—Sex and Gender / Bison: An American Icon

The docuseries The Six Continents Revealed, distributed by ZDF Studios, provides a geological and cultural-historical biography of the world. It reveals how nature has shaped and influenced cultures throughout history. Naked—Sex and Gender explores whether gender differences are innate or acquired, how puberty affects children’s perception of gender, the history and future of the patriarchy and more. Bison: An American Icon takes a deep dive into how the bison played a key role in shaping the North American continent and the U.S., despite being hunted to near extinction.

“Maintaining a balance between volume and quality is what distinguishes us as a distribution unit belonging to ORF.”

—Armin Luttenberger

The Six Continents Revealed

A Raven’s Tale—Mystic Czechia

Saving our planet is hardly idle talk to Jonnie Hughes, a director at Studio Silverback. For years, he has been harnessing the power of filmmaking and storytelling to create documentaries that awe and inspire while clearly illustrating the perils impacting our environment. At MIPTV, Hughes was awarded a MIP SDG Award in recognition of Silverback Films and Studio Silverback’s work supporting the UN’s Sustainable Development Goals.

Jonnie Hughes Studio Silverback

By Anna Carugati

TV REAL: How do you balance making a show that will draw an audience while at the same time imparting somewhat depressing news about climate change?

HUGHES: It’s getting easier. Because there was no good news a few years ago, and because we were heading into a car crash and didn’t know how to steer away from it, environmental films were a very niche activi ty. But that’s not so much the case anymore. We can point to real change already happening. There is a huge

PHOTO: CONOR MCDONNELL, WWF

market change going on, which means that it’s mainstream. That allows commissioners to take a risk on those stories. And the average person is more engaged, more interested in it.

TV REAL: What are some of the takeaways from your work?

HUGHES: Nature is remarkable, and evolution is remarkable. My love originally was for science and ecology. There absolutely is a world in which human beings and wild

ani mals can be in harmony. If you look at the tiger parks in India, for example, the tiger numbers are escalating now. In the ’90s, you’d go there, and most of the people visiting the parks would be international tourists. When I went five years ago, 90 percent were Indian domestic tourists. That means that in India, the people and tigers are coming into harmony. Again, in the ’90s, most tigers dying early were dying of poaching. These days, if tigers die, it’s mostly from car accidents. Poaching is virtually gone in many parts of India. That harmony is possible. I have this dream of the whole world being like that in a hundred years’ time if we do the right things.

“Environmental films were a very niche activity. But that’s not so much the case anymore.”

.

Nature in View

Distributors discuss nature and wildlife programs that take a single-subject focus.

By Jamie Stalcup

Wildlife and nature programming has been a key component of broadcasters’ slates for many years. Sweeping, high-quality pieces that survey an area and its species are loved by audiences everywhere. It’s a crowded market, however, and it’s only becoming more so. Standing out can be tough. Distributors have found one way to break through the overly saturated genre: offering focused, single-subject programs.

“ Since there is hardly anything left that has not been filmed, it can only ever be a matter of finding a new approach,” says Armin Luttenberger, head of content sales

international at ORF-Enterprise. “James Cameron was not the first to make a film about the Titanic, but he was probably the first to think that a sinking ship alone is not enough.”

Luttenberger continues, “There are dozens of high-quality documentaries about lions and leopards in the market that all show more or less the same thing. Standing out from the crowd is a great art—and that is defined solely by profound storytelling and a unique visual language.”

“Premium wildlife content was formerly defined by high-end camerawork, but 4K and even 8K filming is not enough anymore to make a film stand out,” notes Mirjam Strasser, head of sales and acquisitions at Autentic Distribution. “Now, it is either neverbefore-seen animal behavior, access to an animal habitat that

hasn’t been shown before or fresh storytelling that stands out. By focusing on a single species that is mysterious, elusive and has not yet been covered by many wildlife programs, films can still compete for viewership.”

“You need to find your special approach and what makes your film different,” concurs Anne Olzmann, managing director of

“Standing out from the crowd is a great art—and that is defined solely by profound storytelling and a unique visual language.”

—Armin Luttenberger

Albatross World Sales. “This can be a new way of storytelling, for example, in an in-depth portrait of a particular species that the audience might even be very familiar with or through unique access to a specific topic or area. Find the unknown in the known, and for this, you need to dive deeper into the subject matter (or species).”

Olzmann offers Superbirds—The Secret Life of Tits, produced by Altayfilm, as a prime example. “It is a species that almost everybody knows, and you think there’s nothing special or surprising about them, but we now know that they have individual character traits and show different behavior.”

LESSONS TO LEARN

“There is still so much to learn about the different animals in their beautiful and varied forms,” Autentic’s Strasser adds. “Focusing on a single species allows viewers to fully immerse themselves in the world of an individual animal, a world they may not have known much about before. These documentaries get up close and are therefore captivating and emotional.”

The Autentic catalog features an array of titles that fit the bill, including The Himalayan Ibex—Monarchs of the Mountains and Spirit of the Mountains—The Snow Leopard. It also includes the Terra Mater Studios slate, which features its own single-species programs such as Alien Contact about manta rays.

Autentic Distribution’s catalog features the Terra Mater Studios doc Alien Contact .

ZDF Studios, meanwhile, has in its slate Bison: An American Icon , a profile of this enduring icon of North American wilderness.

Along with singlespecies docs, high-quality factual fare that takes viewers deep into the heart of a specific location are in high demand. “There seems to be an appetite to discover parts of the world that have been underrepresented in documentary filmmaking in the past,” says Nikolas Huelbusch, Director Unscripted at ZDF Studios.

He points to Africa from Above—produced by Off the Fence in association with ZDF, Arte, ORF and UKTV—as an example. “Africa in the past was mostly present when it came to the archaeological sites of Ancient Egypt, the Rift Valley as the home of early humans and a handful of well-known national parks such as the Serengeti or the Maasai Mara. In our series Africa from Above, we show a much broader vision of ten African countries, their landscapes, wildlife and people, including such rarely shown countries as Mozambique, Ghana, Cameroon and Morocco. We realize there is a big demand for such series in the market.”

While a compelling feature of wildlife and nature documentaries is the cutting-edge technology used to produce them, all of the executives agree that storytelling is the most important element.

“Storytelling is crucial,” Albatross’s Olzmann says. “As a filmmaker or producer, you have to find the personal, emotional story that the audience can relate to but still learn something new.

Desert Phantoms—Surviving the Skeleton Coast is among the offerings from ORF-Enterprise.

In addition to that, you have to make this interest last for 50 minutes. The story needs strong characters and fresh insights, and, in combination with cutting-edge technology, this can be a real winner.”

In both Superbirds and Wolf—Wanderer Without Borders, one lead animal is followed the entire time. Superbirds sees an individual male fly from his origins in Germany to Southern France, where he starts his own family. Wolf—Wanderer Without Borders, meanwhile, follows a wolf named Scout, who roamed from Eastern Germany all the way to the Netherlands.

“Viewers appreciate it when they can accompany a main character through the film—or, in the case of wildlife, an animal with whom they can laugh, empathize and sympathize,” ORFEnterprise’s Luttenberger says.

In ORF-Enterprise’s catalog, Will and Lianne Steenkamp have followed leopards and lions in Africa for many years, telling their stories across generations. “Those who, like these two, take the time to do so and are able to do so, naturally achieve extraordinary results,” Luttenberger notes. “Their new documentary Desert Phantoms—Surviving the Skeleton Coast , which will be on the market in early 2024, will prove that once again.”

“There seems to be an appetite to discover parts of the world.”

—Nikolas Huelbusch

All manner of broadcasters and platforms are interested in this hyper-focused style of doc, and FAST channels are presenting new opportunities. “AVOD and FAST buyers are currently standing out, as interest from these clients is increasing rapidly and more and more clients join the queue,” Strasser says.

“VOD platforms tend to be more open to experiment,” Olzmann explains. “When it comes to single-species films, there is a difference between VOD platforms and public broadcasters. Broadcasters have a few fixed slots—and the market for these is very competitive—so they have to be more selective, as the offer to their audience is simply limited.”

At the moment, she notes, “broadcasters usually decide to go with the ‘safer’ wildlife docs,” meaning those centered on the “Big Five” and other predators, which could be a single-species documentary, and programs that cover wide areas.

For distributors, producers and broadcasters alike, though, “it is a very rewarding genre,” Olzmann says. “It is universally attractive to a global audience, does not really seem to age and has a long shelf life.”

“There is still so much to learn about the different animals in their beautiful and varied forms.”

—Mirjam Strasser

Kids’ Viewing Trends / M6 Group’s Maud Branly / Mercury Filmworks’ Heath Kenny

A Special Thanks to

to All Our Sponsors

SPONSORS

SPONSORS

The only video portal for the kids’ media industry.

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Anna Carugati

Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Associate Editor

David Diehl

Production & Design Director

Simon Weaver Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

Battling for Screen Time

“Discoverability” is a word that’s cropping up in all of our conversations with children’s media executives these days. Indeed, the sector is facing its own version of peak TV—except it’s not just other TV shows you’re up against.

TikTok, YouTube, Snapchat, Roblox, Discord and so many other platforms are taking up that little bit of time kids have outside of school and hanging out with friends. How do you begin to make an impact, let alone build a 360-degree brand that will have young ones playing the game, asking for the apparel and a ticket to go see their favorite characters live?

CONTENTS TOON TIME

Leading distribution executives weigh in on the styles, tones and narrative techniques needed to make an impact with kids today.

Ricardo Seguin Guise President

Anna Carugati Executive VP

Mansha Daswani

Associate Publisher & VP of Strategic Development

TV Kids

©2023 WSN INC.

1123 Broadway, #1207 New York, NY 10010

Phone: (212) 924-7620

Fax: (212) 924-6940

Website: www.tvkids.com

Evan Shapiro, a veteran media executive who now spends much of his time tracking media usage, has some clear advice for children’s content executives: you need a yes/and strategy. Netflix and YouTube and TikTok and, well, anywhere else children are spending an abundance of their time. “The content still is king, and you have to think like these young consumers if you’re going to get inside their minds, their pockets, their eyeballs,” Shapiro said at the TV Kids

Summer Fes tival this month.

We hear from several distributors about how they are navigating the landscape in this edition. We also showcase TV Kids

Pioneer Award recipient Maud Branly and spotlight the latest developments at Mercury Filmworks. —Mansha Daswani

M6 GROUP’S MAUD BRANLY

For her achievements as children’s acquisitions director and international TV channels children’s programming director at M6 Group, Maud Branly is being honored with the TV Kids Pioneer Award.

MERCURY RISING

Mercury Filmworks’ Heath

Kenny on how the studio has evolved over the last 25 years.

9 Story Distribution International A Kind of Spark / That Lion Show / Lu and the Bally Bunch

The live-action series A Kind of Spark follows a bright and sparky autistic girl dreaming of acceptance in a conservative community. That Lion Show, for ages 13-plus, is based on the South Korean emoticon Ryan the maneless lion. “That Lion Show will appeal to teens who love animated comedy,” says Alix Wiseman, senior VP of distribution and acquisitions at 9 Story Distribution International. “Music is another draw, with its main character trying to make it as a K- pop star in Seoul.” There’s also the animated preschool dramedy Lu and the Bally Bunch.

BBC Studios Kids & Family

Supertato / Hey Duggee / JoJo & Gran Gran

The preschool animation Supertato is based on the books by Sue Hendra and Paul Linnet. It has been a top show on CBeebies. Also a top performer on the channel, Hey Duggee is now in its fourth season. A third season of JoJo & Gran Gran is rolling out from now until December. Viewers “love the quietly groundbreaking portrayal of family and community in JoJo & Gran Gran, the hilarious heroics of Supertato and the warmhearted, inspirational activity club of Hey Duggee,” says Cecilia Persson, managing director of BBC Studios Kids & Family.

A Kind of Spark

“Our content is distinctive and bold, with universal themes and great characters and stories at their heart.”

—Cecilia Persson

“9 Story has some exciting announcements coming up that include new series and partnerships.”

—Alix Wiseman

JoJo & Gran Gran

Boat Rocker

Dino Ranch / Trulli Tales / The Next Step

Set in the Wild West, Boat Rocker’s Dino Ranch features the themes of teamwork, friendship and the great outdoors. The series “perfectly blends two longtime international preschool favorites— cowboys and dinosaurs—in their own unique universe,” says Gia DeLaney, senior VP of global sales for kids and family. Trulli Tales blends the ancient art of magic and cooking as four young children are chosen to protect their kingdom’s most prized possession: the Enchanted Cookbook. Also on offer from Boat Rocker, the tween dance drama The Next Step is in its eighth season.

Cookbook Media

Monkey Sing Monkey Do / The Great Wolf Pack / Snow Bunny Lodge Extreme

Cookbook Media has a busy June: it’s bringing new shows for commissioning and distribution to Annecy, embarking on projects with a few new partners and attending Licensing Expo to secure deals for properties it represents. “We have three exciting new projects across different age demos,” notes Claudia Scott-Hansen, partner. In the preschool space, there’s the dance- and musicdriven, social-emotional learning show Monkey Sing Monkey Do. For the bridge demo, there’s The Great Wolf Pack. For kids 6 to 11, there’s the slapstick comedy Snow Bunny Lodge Extreme.

“Our aim is to tell stories and build iconic brands across all genres and mediums.”

—Gia DeLaney

Trulli Tales

Monkey Sing Monkey Do

“Creating fun and funny shows with co- viewing appeal is so important today.”

—Claudia Scott-Hansen

Dandelooo

Billy the Cowboy Hamster / The Upside Down River / Royals Next Door

Dandelooo’s partner studio, Ooolala, is in full production on the preschool animation Billy the Cowboy Hamster for France Télévisions and the serialized series The Upside Down River for Canal+. “Both of these productions are adapted from cult children’s books that sold millions of copies, thanks to their intelligence and charm,” says Emmanuèle Pétry-Sirvin, producer and head of international at Dandelooo. The company also highlights Royals Next Door , a fishout-of-water comedy produced by Pikkukala that is based on the real experiences of its creator.

HARI

Billy the Cowboy Hamster

Mystery Lane / The Weasy Family / Grizzy & the Lemmings World Tour

Leading HARI’s slate, Mystery Lane follows as two hamsters investigate and solve cases that Scotland Yard cannot. Sophie “Kido” Prigent, head of sales, describes the series as “Scooby-Doo meets Sherlock Holmes.” The Weasy Family, a 78-part series with 7-minute episodes set to deliver in 2025, centers on the father-daughter relationship between a weasel father and two duckling girls. Seasons three and four of Grizzy & the Lemmings, Grizzy & the Lemmings World Tour , follow as the characters land in unexpected places around the globe.

The Weasy Family

“In The Weasy Family, HARI innovates the genre by combining slapstick comedy and a heartwarming narrative.”

—Sophie “Kido” Prigent

“We have been developing five new (secret) projects for various age targets, but all animation, which we will tease to top players in Annecy.”

—Emmanuèle Pétry-Sirvin

Magic Light Pictures

Pip and Posy / The Smeds and The Smoos / Tabby McTat

Magic Light Pictures’ Pip and Posy, based on books by writer Camilla Reid and illustrator Axel Scheffler, follows friends whose lives revolve around play. The Smeds and The Smoos, a special based on a story by Julia Donaldson and Scheffler, sees two rival families forced to cooperate after young members of each fall in love and run away together. Tabby McTat, another special based on Donaldson and Scheffler books, “tells of the warm and wonderful friendship between a musical cat and a talented busker called Fred,” says Muriel Thomas, international distribution director.

Mattel

“We take a craft-like approach to developing our projects, imbuing them with love and care, which is reflected in their high quality.”

—Muriel Thomas

Hot Wheels: Ultimate Challenge / Barbie Dreamhouse Challenge / Pictionary

Mattel has on offer multiple live-action programs, including Hot Wheels: Ultimate Challenge, which sees superfans compete to build the best full-size Hot Wheels-style vehicle. Barbie Dreamhouse Challenge features HGTV stars as they transform a California home into a real Barbie Dreamhouse. The latest game-show version of Pictionary features in Mattel’s catalog as well. “These liveaction adaptations present fans with the chance to interact with Hot Wheels, Barbie and Pictionary in new, exciting ways,” says Phil Breman, head of live-action television.

Hot Wheels: Ultimate Challenge

“We are bringing all-new co-viewing opportunities for families and fans of all ages to experience their favorite Mattel IPs in new formats.”

—Phil Breman

Pip and Posy

Mercury Filmworks

Octicorn & Friends / A Mouse Called Julian / Tales of the Underwear Dragon

Mercury Filmworks partnered with Stim Studio for the preschool series Octicorn & Friends. The slate also includes Tales of the Underwear Dragon for kids 6 to 8 and A Mouse Called Julian, about finding friendship in unexpected places. “All three animated series are based on acclaimed literary works, so we have a wealth of creativity to draw from,” says Chantal Ling, VP of original series and co-productions at Mercury Filmworks. “All three series deliver positive messaging that crosses cultural boundaries, along with a tremendous amount of entertainment value.”

MIAM! animation

The MiniWhats / Our Summer of Freedom / It’s my body!

The June period is dedicated to MIFA/Annecy for MIAM! animation. “We plan to meet broadcasters to spread our shows all over the world,” says Mélanie Errea, head of sales and acquisitions. “We are proud to see two of our series in the Annecy Film Festival official competition: Edmond and Lucy and Boys Boys Boys.” Further series highlights from MIAM! animation include the preschool show The MiniWhats, following six joyful friends, along with the family-targeted Our Summer of Freedom and the YA-skewed It’s my body!

Octicorn

“The

viewers and creating an impact.”

“Our aim is to spread the messages of our content across the world, connecting with

—Mélanie Errea

The MiniWhats

goal in everything we do is to lead with our core values, which are integrity, boldness, leadership, diversity, innovation, commitment and passion.”

—Chantal Ling

& Friends

Mondo TV Group

MeteoHeroes / Monster Loving Maniacs / One Love

Mondo TV Group’s summer slate features two seasons of the environmental series MeteoHeroes. The 2D comedy Monster Loving Maniacs, centering on three siblings who are being trained as monster hunters but would prefer to look for a way to save them instead, “touches on bigger themes like families, relationships and coping with our fears,” says Luana Perrero, head of sales. One Love, meanwhile, teaches children about handling emotions, kindness, courage and friendship. Other titles on offer are Agent 203, Grisù, Leo’s World, The Tales of Wonder Keepers and Action Kidz.

Riki Group

Beardy Bodo / The Fixies / Tina and Tony

The preschool series Beardy Bodo leads the offering from Riki Group, currently celebrating its 20th anniversary. “Our goal was to create an unusual educational project that would combine cognitive elements and ludicrous humor, a bit of hooliganism with a proper system, the impression of free communication in a strict framework of education,” says Anna Mysskaya, head of international development. The catalog also includes The Fixies, following little creatures that keep technology running, and Tina and Tony, about a hippo and elephant duo.

“We can hardly wait to bring these great productions to young audiences everywhere.”

“Watching Beardy Bodo with children is not boring; you should try it yourself, and you will fall in love with our imperfect beardy man.”

—Anna Mysskaya

Beardy Bodo

—Luana Perrero

Monster Loving Maniacs

Serious Kids

The Sound Collector / The Ghastly Ghoul / Flix

Serious Kids’ The Sound Collector follows a hardof-hearing being who loves discovering new sounds, including the blooping of sea anemones and the scuttling of beetles. The special The Ghastly Ghoul sees a fluffy monster who doesn’t believe he is scary enough form a bond with a girl struggling with her own fears. Flix comes from a book by artist Tomi Ungerer. “The core values of the show are widely sought-after, such as tolerance, courage, friendship, community and family,” says Leila Ouledcheikh, senior VP of global distribution and commercial development.

Toon2Tango

Monster Loving Maniacs / The Wee Littles / Agent 203

Toon2Tango is highlighting Monster Loving Maniacs, a 2D comedy that follows monsterhunting kids who secretly love the paranormal creatures. It comes from a production agreement with Mondo TV Group. The Wee Littles centers on a tiny forest family. “They work together to figure out how to overcome life’s little obstacles— like raindrops the size of your head—with imagination, positive support and humor,” says Ulli Stoef, CEO and producer at Toon2Tango. Agent 203 , another co-production with Mondo TV, is also among the highlights.

“Our shows have stories with universal messaging and emotional moments reflective of real life.”

“We’re busy now and in the near future with genuinely exciting ideas and collaborations, but we’re always looking for more that fit our needs.”

—Ulli Stoef

Agent 203

—Leila Ouledcheikh

The Sound Collector

ZDF Studios

Spellbound / Grisù / Törtle

The ZDF Studios highlight Spellbound is a liveaction series about a teenager who relocates from a small town in the U.S. to study at the Paris Opera Ballet School. Things turn upside down when she discovers a book of family spells in the back room of her Aunt Ginger’s apothecary. In animation, Grisù centers on a fire-fighting dragon who’s always ready for missions around the world. Törtle is about a tortoise who grew up in a pet shop and constantly finds himself in a culture clash between humans and animals.

Zodiak Kids & Family Distribution

Shasha & Milo / Silverpoint / Topo Gigio

Zodiak Kids & Family Distribution, part of Banijay Kids & Family, has a mix of genres to offer up, including the action-comedy Shasha & Milo, coproduced by Zodiak Kids & Family France and South Korea’s Pingo Entertainment. The catalog also features the sci-fi drama Silverpoint. “From the brilliantly talented team at Zodiak Kids & Family Productions UK, its second season has just launched on CBBC and iPlayer in the U.K.,” says Cécile Cau, senior VP of sales, co-productions and acquisitions. There are two seasons of Topo Gigio, reimagined by Movimenti Production in Italy.

“Banijay Kids & Family’s six labels are led by great producers with strong teams behind them.”

—Cécile Cau

Spellbound

Shasha & Milo

TOON TIME

Leading distribution executives weigh in on the styles, tones and narrative techniques needed to make an impact with kids today.

By Mansha Daswani

Generation Alpha may be unlike any other demographic kids’ media executives are used to catering to. A huge majority are spending at least part of their busy days on gaming. And they’re consuming all kinds of content, from the beautifully animated, expensive-to-make shows on broadcasters and streamers all the way through to made-on-ashoestring-budget videos found across the creator economy.

“When you look at where they spend their video time, increasingly there’s this ‘yes/and’ point of view among all consumers, but especially among those under the age of 20,” says media cartographer and thought leader Evan Shapiro. “YouTube is one of the first places that they’ll go for video content. Netflix is the second place. Twitch is a place that they spend a tremendous amount of time, but then also Disney+. There’s this real acceptance of the idea that I’m going to jump from free media on social video to premium video on a subscription platform and back and forth. The idea that publishers don’t see social video as premium video is a big mistake. They’re going to miss a whole generation if they don’t pay attention to social video consumption, which younger consumers see as equal to premium video.”

Gaming is a primary entry point into content for this demo, as is TikTok. So, it’s incumbent upon IP owners to be everywhere.

“If you own a really big brand like Snoopy or Teletubbies or something like that, it makes a lot of sense to make a deal with an Apple or a Netflix because they’re going to pay you enormous sums of money to get exclusive access to that intellectual property,” Shapiro says. “However, if you’re an IP rights holder or a producer of content, 50 percent of the value that you’re going to get out of your intellectual property from this point forward is going to come from what most people call the creator economy, but what I call the community economy.”

If you focus solely on the “gatekeeper economy,” Shapiro says, “you’re going to leave so much of your relationship with your audience and the value you can get out of your intellectual property if you do not practice in the community economy.”

A little over a year into her appointment as managing director of a new kids and family unit at BBC Studios, Cecilia Persson has

been focused on setting a clear content strategy that will allow the division to take advantage of all the opportunities in the market today. Working in tandem with broadcast partners, digital and consumer-products teams has been key “to make sure that we are pulling together and approaching the audience at the same time and really harnessing what the characters and stories are about and ensuring that we’re giving the best opportunity for our shows to land. [We’re] also making sure that there’s consistency in how our characters are presented and that they embody the characteristics and the joy that the shows are about. It’s essential for this audience as they’re coming up now, particularly in preschool, that they are able to connect and see the characters that they love and see the stories that they enjoy in many places, and that they can dig deeper and learn more and understand more. That sort of access is important for kids today. And that’s what we’re working on accomplishing with our content.”

Of course, being everywhere doesn’t mean you will automatically have a hit on your hands. And figuring out exactly what will move children to consume the content, play the game and plead with their parents for the merchandise is an ever-evolving conundrum.

Jasmine & Jambo is among the series being rolled out by France’s Dandelooo.

“For preschool, we need our brands to have high visibility,” says Delphine Dumont, the chief commercial officer at Banijay Kids & Family. “As a result, there is currently a big demand for wellknown IP, and we are seeing increased interest in the revival of classic shows. At Banijay Kids & Family, we are home to iconic shows such as Topo Gigio and Mumfie, which have been lovingly reimagined for today’s preschoolers.”

“Discoverability is, of course, a key factor for everybody,” observes Katharina Pietzsch, Director at ZDF Studios’ Junior department. “If you already have a known brand, it’s just simply easier to find. But we’ve actually been rebooting classic IPs for a long time, and not just for the streamers. There’s always been a trend to revisit classic properties. It’s not a trend that is new. It’s sometimes an easy way or a safe bet; your chances for success might be higher.”

Successfully executing a reboot is no easy feat, Pietzsch notes. “It’s really important to keep the DNA, so parents can recognize the original. They will still see what they loved about it. Sometimes it’s really fun to work with subtle references, inside jokes, visual references, character names, voices, iconic lines. Parents really go for that. We get a lot of feedback from properties where the new version is really different look-wise from the original. And that’s a tricky part because a lot of people don’t like that. Keeping something visually and tonally from the original keeps the DNA alive.”

Toon2Tango is working with Baboon Animation on the CGI series Bek and the Bunnies.

Pietzsch says she and her team use a track record of success to determine if a brand should be resurrected. “We always look at what’s at the heart of the IP. What do we love most about it? What is it known for? And then, can it still be relevant for kids today and how can it be made that way?”

And even though kids are spending a lot of their time consuming shows that were made in a gamer’s basement with a webcam or shot-on-iPhone TikTok videos, producers continue to invest in cutting-edge animation technology to ensure they have the tools at their disposal to tell stories the way they want to—and at the budgets the market is now demanding.

“We are all pushed to create more innovation by the market itself,” says Ulli Stoef, CEO and producer at Toon2Tango. “Quite some money has been taken away from the market. So at the moment, budgets are a little bit tighter. We have to be really innovative and cost-effective in order to produce great shows with the utmost creativity. That almost cries for innovation.”

Animation innovation has always been part of the DNA at Cyber Group Studios, with the company most recently experimenting with real-time animation. Raphaëlle Mathieu, the company’s COO, calls using Unreal Engine a “game-changer.” Its use is “complementary” to the company’s traditional animation pipeline. “It gives us more possibilities, more flexibility and more ability to speak in a language that is appropriate to the content or to the cost-effective need of creating content with budgets that are

Banijay Kids & Family’s Topo Gigio has been rebooted for contemporary audiences.

getting smaller. Or when you need to create content that is digital-native.”

In subject matter, mean while, commissioners are looking for “lovable characters who spark empathy, who are experiencing everyday situations that kids can relate to, but also emotional intelligence,” reports Sophie “Kido” Prigent, head of sales at HARI. “And a lot of comedy. With all that, if you can bring the family to watch the shows together, then you tick so many boxes.”

Emmanuèle Pétry-Sirvin, producer and head of international at Dandelooo, also references the enduring demand for comedy but adds that commissioning partners are also “asking for more meaningful programs. Parents and broadcasters don’t want kids to just be eyeballs anymore and be entertained, but they want to have takeaways. Not in an educational or preachy way, but intertwined into the story to have things that are helping kids feel better about themselves.”

As for how kids find your show, though, that remains a challenge that the entire sector is grappling with. “Distributors need to ensure content is as visible as possible,” Banijay’s Dumont explains. “As a platform-agnostic business, we have the freedom to work with any platform and are open to nonexclusive deals, in order to maximize availability and strengthen our viewership.”

The exclusivity question is in flux, especially as broadcasters look to up their presence in the free on-demand space. “They

ZDF Studios is offering up the updated take on the beloved Grisù brand.

require the whole series to be there, unlimited, at any given time,” HARI’s Prigent says. “That is making it a bit challenging for us to get the pay services to come in and have these multiple windows. In that sense, FAST channels work much better, I think, because it’s linear still.”

Even just choosing promotional art for a show can be difficult, Dandelooo’s Pétry-Sirvin notes.

“One of the platforms is saying that they are looking for sticky programs. They’re talking about the thumbnail choice. The kid has to click on something they recognize as a brand or something extremely striking. That scares me; I have to say. It’s good in a way because it’s the essence of what the show is about. But at the same time, your series is judged on a very small image. You cannot explain what it’s about and how good it’s going to be. It’s a way of judging that is extremely harsh. You have to be extremely impactful on two centimeters.”

Tapping into social media is key. “You can really start creating or building momentum before the launch and then just keep feeding social media, even if it’s only snippets,” ZDF Studios’ Pietzsch says.

“Behind the scenes, pictures from the cast or the crew, it just creates such a buzz even before you launch. And that’s really helping on a lot of our brands as well.”

“We have created this series of walled gardens that makes finding content

Cyber Group Studios’ Press Start! is headed to Peacock.

incredibly hard,” says Shapiro on the discoverability question. “We’ve also oversaturated the market in storytelling to a certain extent. We’ve created a massive paradox of choice issue for publishers and audiences. The more choice you give consumers, the fewer choices they will actually make. I think that’s why testing things out and building audience and community in direct-to-consumer relationships is incredibly important. Just because you sell a show to Netflix doesn’t mean they’re going to surface it well and it doesn’t mean anyone’s going to see it. If you operate exclusively through the gatekeeper economy, even if you’re lucky enough to sell a show to a gatekeeper, the odds that it’s going to get a second or third season are decreasing at a very rapid rate.”

On what’s ahead, Shapiro says, “Disruption is now the operating system of the ecosystem. Generation A is going to be extremely different than every generation that came before it, more so than previous generations because of what they just went through in their most formative years, but also because they are so technologically savvy. They factor it into who they are and what they do. Change is now a constant state and you’re going to have to be OK with that. And if you’re not OK with it, that’s OK—but don’t be in the entertainment or media business.”

HARI’s Grizzy & t he Lemmings has been a huge hit on YouTube.

MERCURY RISING

Mercury Filmworks’ Heath Kenny on how the studio has evolved over the last 25 years and where it’s headed next.

By Kristin Brzoznowski

Celebrating its 25th year in the animation industry, Mercury Filmworks has grown in a number of ways to position the studio where it is today. “We went from trying to prove to the industry that hand-drawn, really high-end animation could be done in Toon Boom’s Harmony to not only proving it, but going beyond that initial promise,” says Heath Kenny, chief content officer. “We’ve been able to push it beyond what anyone expected to be able to do with that software, which has given our community and the industry opportunities to do much more with 2D digital animation than what was expected.”

Mercury Filmworks’

A Mouse Called Julian.

Mercury Filmworks remains an agile and collaborative partner, producing acclaimed content such as Hilda for Netflix. “We’ve established ourselves as not only creative, but incredibly reliable, very much well-rounded and mature partners that can take on complex, valuable problems for our clients and not only solve them, but solve them in a way that protects them from collaboration chaos,” Kenny says. “That reassurance for third-party service work is a badge of honor that we’re proud to wear.”

As that core business has expanded, Mercury Filmworks has built its originals strategy over the last two and a half years with projects such as Octicorn & Friends , Bunny McBee , A Mouse Called Julian , Tales of the Underwear Dragon and more. “We’ve embraced innovation and pushed into telling our own stories and inspiring our creators to step up and take a swing at creating their own characters and building the worlds they live in,” Kenny says.

“People are intrigued; they want to know more, and they want to collaborate with us,” he adds. “We’re building partnerships, and we continue to be trusted with book properties and originals from our community and beyond.”

“We’ve embraced innovation and pushed into telling our own stories.”

—Heath Kenny

Maud Branly

The M6 Group boasts a broad array of o ff erings for kids and families, from Gulli, the M6 Kid block, Canal J and TiJi in France to Gulli Girl and TiJi in the Baltics and CIS, Gulli Bil Arabi and Gulli Africa. Maud Branly, children’s acquisitions director and international TV channels children’s programming director, oversees the content mix across this varied bouquet. Her work is being recognized with the TV Kids Pioneer Award.

By Kristin Brzoznowski

TV KIDS: How has yo ur acquisition strategy had to adjust to kids’ changing viewing habits?

BRANLY: We all know that the media industry as a whole is still going through an intensive shift. We communicate with children of the digital-native generation, and we have to adapt our content and strategy to these new consumer habits. It is now more and more important to acquire “deep rights” and to be able to propose the right combination between

lin ear broadcast and nonlinear exploitation. We are looking for content that we can exploit across all our platforms.

TV KIDS: Has securing exclusivity become more important?

BRANLY: Competition is stronger as there are more and more [players] in the market. In this competitive context, it is essential for us to propose exclusive content for kids that they will find only on our channels and services. So yes, we are taking exclusive rights wherever we can and covering broader usage across VOD. Having said this, if something is outstanding and already on pay TV or a [digital] platform, we are happy to be part of it anyway. We work on a case-by-case basis and have different approaches depending on the program.

TV KIDS: With regard to acquisitions, what are you looking for?

BRANLY: We have very diverse needs! We have such a wide range of channels, platforms and targets throughout all the territories, so we are flexible and broadminded. We are always looking for high-profile content, shows in live action

Mattel’s Enchantimals is among the offerings on M6 Group’s Gulli channel.

and animation. We want well-told stories with fresh and funny designs.

On Gulli, we propose a lot of original creations, but we also have well-known and beloved franchises such as The Loud House , Pokémon , Barbie and Alvinnn!!! and the Chipmunks . We are looking for shows that fit the Gulli DNA: comedy, laughter and based in reality for kids to recognize themselves. Mainly, what we will be looking at in the animation space is comedy. The positioning of Gulli is to target kids from 4 to 12, so we’re also looking for upper-preschool, action-adventure, girls’ shows and live-action series. We want to keep offering all kinds of content to our audience.

For TiJi in France, our priority is to find upper-preschool shows targeting kids from 5 to 7. The channel is slightly more girly. Our top series are Polly Pocket , Spirit and Zoom the White Dolphin .

Canal J is our action-adventure channel for kids from 6 to 10. The top shows are Pokémon, Power Rangers and Kung Fu Panda.

The TiJi lineup includes the animated series Dino Ranch from Boat Rocker Studios.

For all our channels, we are looking for shows with a lot of volume, if possible, so that we can create big blocks of programs in the grid and create brands in the long term.

TV KIDS: How are you localizing the channels outside of France?

BRANLY: It’s very important to have content available on all our channels for the brands’ consistency and because we share a similar DNA in terms of values (tolerance, openness and cheerfulness). This is often the case for the French content. This is also a way to contribute to the promotion of French animation, which has a substantial share of the grid. We adapt the programming grids to the kids’ habits and school rhythms and broadcast local content. So, our acquisition strategy for those channels is to propose the right balance between French animation, international blockbusters and local content.

THE LEADING SOURCE FOR PROGRAM INFORMATION

9 STORY DISTRIBUTION

INTERNATIONAL

O (353-1) 872-1608

m distribution@9story.com

w www.9story.com

PROGRAM HIGHLIGHTS

A Kind of Spark (8-12 live-action, 10x24 min.) Past and present interweave as Addie, an autistic girl, embarks on a journey filled with friendship, sisterhood, mystery, magic and the drama of growing up.

Lu and the Bally Bunch (2-5 animation, 75x7 min., 1x22 min.) Exploring everyday life in preschool, looks at what happens when six centers of the universe must learn to coexist.

Rosie’s Rules (3-5 animation, 80x11 min., 20x1 min.) Follows the adventures of Rosie Fuentes, an inquisitive and hilarious 5-year-old girl, as she learns about the wow-mazing world beyond her family walls.

Karma’s World (6-9 animation, 40x11 min., 1x22 min.) Karma Grant is an aspiring musical artist and rapper who learns about the power of her words while helping others around her.

A Kind of Spark

Andy and the Band (4-8 live-action, 15x14 min., 1x30 min.) Meet Andy and the Odd Socks: the world’s best band (according to their moms), starring Andy, Rio, Moxy, Blu and Cousin Mac.

Atom Town (3-6 animation, 26x5 min.) Discover the magic of the universe with the Atoms of Atom Town, a community of characters based on the elements of the periodic table.

Circle Square (4-6 animation, 40x7 min.) Vanessa the Dragon is always ready to help her neighbors with everyday dilemmas, and sometimes she needs their help too.

Clifford the Big Red Dog (2-5 animation, 78x11 min., 20x1.5 min.) Join Emily Elizabeth and her big red dog, Clifford, as they explore their island home and go on big new adventures.

Daniel Tiger’s Neighborhood (2-5 animation, S6: 36x11 min., 1x40 min.) This animated preschool series features Daniel, a shy but brave 4-year-old tiger who lives in the Neighborhood of Make Believe.

Donkey Hodie (3-5 animation, 78x11 min.) Donkey Hodie lives in the land of Someplace Else—clouds can talk, pandas are purple and Donkey spends her days pursuing her ambitions with gusto.

AUTENTIC DISTRIBUTION

O (49-89) 673-469-797

m sales@autentic.com

w www.autentic.com

Sunny Side: C02

PROGRAM HIGHLIGHTS

Wanted—The World’s Most Dangerous Arms Dealer (Current affairs, 1x45 min./1x90 min.)

Despite the efforts of intelligence agencies, Karl Lee remains a phantom, while missiles and nuclear warheads are increasingly becoming a tangible threat to humanity.

A Cold War of Spies (History, 4x50 min.) They passed intelligence, intercepted communications and mapped targets. Ultimately, they drove the deep-seated paranoia and distrust that would forever change the course of history.

Berlin 1933—Diary of a Metropolis (History, 3x52 min./2x90 min./1x180 min.) In early 1933, Berlin is one of the most modern cities in the world. Twelve months later: the city is in the thrall of one Führer.

Inside Guggenheim (Lifestyle/arts, 1x52 min.) An intimate tour of the legendary Guggenheim Bilbao Museum in Spain.

Michael Caine—The Becoming of a Hollywood Star (Lifestyle/arts, 1x52 min./1x90 min.) An exploration of Sir Michael Caine’s career from his early days in 1950s British theater to gaining Holly wood fame for his contribution to cinema.

Alien Contact (Nature/wildlife, 1x50 min.) Is there a higher intelligence inside giant manta rays’ alien-looking bodies? Might they be trying to make contact with us?

Morava—River of Ancient Times

Morava—River of Ancient Times (Nature/wildlife, 1x50 min.) One of the last and most exceptional remaining riparian wildernesses: join us on an exploration of the Morava River in the heart of Europe.

Western Cape—Africa’s Garden Eden (People/places, 1x52 min.) Discover the beauty, diversity and uniqueness of the South African province of Western Cape and the people who call it home.

Mapping Disaster (Science/tech., 6x52 min.)

Disasters can strike, anytime, anywhere. But what can be learned in the aftermath of Earth’s most catastrophic forces?

Mission Saving Paradise—Expedition to the Last Treasures of the Indian Ocean (Science/tech., 2x52 min./1x90 min.) Everyone on board the Argulhas II shares a common, ambitious goal: preserve the unique flora and fauna of the Indian Ocean for generations to come.

BBC STUDIOS KIDS & FAMILY

w productions.bbcstudios.com/our-productionbrands/kids-family

PROGRAM HIGHLIGHTS

Popularity Papers (7-12 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.

Hey Duggee (Preschool animation, S4: 40x7 min.)

Lovable club leader Duggee and his Squirrels are back for more fun and adventure in the hugely popular animated series for preschoolers.

Andy’s Global Adventures (Live-action/animation, 30x15 min.) Andy, Jen and new AI team member

Scout explore all seven continents and discover incredible wildlife and habitats.

Supertato (Preschool animation, 52x7 min.) Good battles evil among the aisles of a local supermarket in this slapstick comedy animation series featuring the world’s greatest potato superhero.

Lagging (7-12 live-action, S2: 10x24 min.) A lively comedy about a tight-knit group of 12-year-old gamers who play for fun and navigate life as tweens together.

Horrible Histories (7-12 live-action, S9: 15x28 min.) Puts a comedy spin on history’s dirty deeds, famous events and quirky characters in a mix of sketches and songs.

Go Jetters (Preschool animation, S3: 50x11 min. & 1x22 min.) Our plucky international heroes Xuli, Kyan, Lars and Foz, together with their disco-grooving mentor Ubercorn, discover more about our world.

Jamie Johnson (7-12 live-action, S7: 13x30 min.)

Exploring themes of friendship and family, this series includes shocking twists, incredible cameos from sports stars and the most epic football matches ever seen.

Bluey (Preschool animation, S3) Follows the adventures of a lovable and inexhaustible 6-year-old

Supertato

Blue Heeler puppy who lives with her dad, mom and 4-year-old little sister, Bingo.

JoJo & Gran Gran (Preschool animation, S2: 42x11 min & 1x22 min.) The delightful and heartwarming animated series celebrating the special relationship between an inquisitive girl and her vibrant grandmother is back.

BOAT ROCKER

O (1-416) 591-0065 m sales@boatrocker.com w www.boatrocker.com

MIFA: D03

PROGRAM HIGHLIGHTS

Dino Ranch (2-5 3D comedy adventure, S3: 52x11 min.) Follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical, “prewestoric” setting where dinosaurs still roam.

The Next Step (Teen/tween live-action, S8: 27x30 min.) Follows the lives of a group of dancers at the Next Step Dance Studio as they attempt to win regional, national and international dance championships.

Daniel Spellbound (6-11 3D action/adven ture, 20x30 min.) In modern-day New York City, magic is real but hidden from the public. Daniel Spellbound makes his living selling rare goods to sorcerers and wizards for their spells.

Rebel Cheer Squad: A Get Even Series (Tweens/teens, 8x60 min.) The old DGM might have left Bannerman School, but their spirit remains, and there’s still a need to get even, wrongs must be righted and injustice has to be fought.

Kingdom Force (3-6 3D action/adventure, 52x11 min.) Follows the thrilling, fast-paced exploits of five mighty animal heroes as they serve and protect the citizens of five unique animal kingdoms.

Remy & Boo (2-5 3D adventure, 52x11 min.) Remy is an adventurous 6-year-old girl with a unique best friend Boo, a big, squishy pink robot. Their days in Dolphin Bay are filled with new adventures.

Curious Crafting (2-5 educational/art, 40x3 min. & 40x1 min.) A short-form series about the joy of making art, how accessible art can be and how art can help kids understand themselves and the world around them.

Badanamu (2-5 3D edutainment, 52x11 min. & 52x12 min.) Explores themes central to the lives of preschool children in ways that inject whimsy, imagination and wonder into the everyday.

Trulli Tales (Preschool 2D comedy/adventure, S1: 52x11 min. & 1x23 min., S2: 52x11 min.) The adventures of four young, gifted Trulliland kids who attend classes at the famous school of magic and cooking.

The Bigfoots (4-7 3D sitcom/adventure, 26x11 min.) The last dinosaur family of this era lives on a chaotic island floating alone in the far sea.

Kingdom Force

CALINOS ENTERTAINMENT

O (90-216) 999-4999

m info@calinosentertainment.com

w www.calinosentertainment.com

NATPE Budapest: 223

PROGRAM HIGHLIGHTS

Farah (Drama) Adapted from La chica que limpia, the story of an Iranian woman who had to run away from her country. Struggling to live in Istanbul, she works as a cleaning lady to maintain her son’s medical treatments but becomes a mafia accomplice.

a family struggling to survive in one of the poorer districts of town.

COOKBOOK MEDIA

O (1-914) 844-5439

m info@cookbook-media.com

w www.cookbook-media.com

PROGRAM HIGHLIGHTS

Monkey Sing Monkey Do (4-6 CG comedy, 11 min. eps.) Four fuzzy monkeys welcome their jungle friends to the Song Shack, exploring socio-emotional themes through the power of music and dance.

Twisted Lives (Action/drama) Korkmaz and Iskender have been dear friends for 40 years, but an event involving their children turns them into enemies.

Indefensible (Drama, S1: 120x22 min., S2) A daily legal series that plunges us into the world of the Lapointe-Macdonald law firm and its criminal defense team.

Adela (Drama, 158 hrs.) Two sisters live with their parents in a slum near Bucharest. One day, the secret identity of one will be revealed when her biological grandfather decides to repair his past mistakes.

Our Story (Drama, 200 hrs.) Adapted from the award-winning U.K. drama Shameless, the story of

Toof & Doof (4+ CG non-dialogue slapstick comedy, 80x2 min.) Toof, a chicken-sized predator from the Jurassic, has one aim: to eat Doof, the largest dino of all. But his oversize plans always go astray.

Great Wolf Pack (6+/co-view/family 2D, 1x45 min., 4x22 min., 5x5 min.) Five woodland animal friends are called upon by a magical mountain spirit to embark on adventures to help other animals in need.

Snow Bunny Lodge Extreme (6-11 CG comedy, in dvpmt.) Greg Grabianski’s new series is set on a

Farah

Monkey Sing Monkey Do

mountain where two bunny siblings run a ski lodge while being hunted by a ridiculous, relentless wolf.

Ali and the Secret Gate (7+/family/co-view 2D adventure, in dvpmt.) When Ali mistakenly opens a gate into a parallel dream-verse, he must harness his newly awoken powers and battle a dark force to save mankind from falling into an eternal nightmare.

Aiko and the Masters of Time (7+ CGI sci-fi adventure, 10x24 min.) In an age when all human eras have been combined, samurai, cowboys, knights, African warriors and Stone Age scavengers all live together.

Dramaworld (12+ live-action comedy/drama, 10 eps.) Follows the adventures of a 20-year-old American girl who gets magically transported into her favorite Korean drama.

CYBER GROUP STUDIOS

O (33-1) 5556-3232/(1-818) 844-1660 m sales@cybergroupstudios.com w www.cybergroupstudios.com

MIFA: B61

PROGRAM HIGHLIGHTS

Gigantosaurus (Preschool CGI/2D comedy/ adventure, S1-3: 156x11 min./78x26 min.) Four young dinosaur friends are about to leave the family and explore a world full of mysteries and danger.

Alex Player (Kids 2D/CGI adventure/esport, 26x22 min.) Kids used to want to become pro footballers; now they dream of being pro gamers.

Press Start! (Bridge CGI comedy/adventure, 52x11 min.) Captures the wish-fulfillment of kids being able to have epic adventures inside a video

game world alongside their best friend: an iconic video game hero.

50/50 Heroes (Kids 2D comedy/adventure, 52x11 min.) Mo and Sam are half-siblings and have powers—well, half-powers. Managing their abilities isn't easy when they need to do everything together. And living their daily lives is a challenge.

Droners (Kids CGI/2D adventure/comedy, S1-2: 52x22 min.) Young droners Corto, Mouse and Enki put their unique skills together in order to save their island. But help from scientist and genius Wyatt Whale might be more than needed.

Taffy (Kids/family 2D comedy, S1-2: 156x7 min.) Follows the nonstop, slapstick extravaganza faced by loyal hound dog Bentley when his billionaire old lady owner, Mrs. Muchmore, takes in a raccoon imposter posing as a wide-eyed, fluffy Angora cat.

Nefertine on the Nile (Preschool 2D/CGI comedy, 52x11 min.) Nefertine is a special little girl endowed with lively intelligence, inexhaustible curiosity and great courage. She aspires to be the first female scribe in the history of Egypt so she can describe the wonderful world that surrounds her.

Chloe’s Closet (Preschool 2D edutainment, 104x13 min.) Chloe is an adorable, imaginative little girl who

Press Start!

discovers a magical world while playing dress-up in her closet. With each new costume Chloe tries on, she is swept up in a fantastical journey.

Sabrina: Secrets of a Teenage Witch (Kids CGI adventure/comedy, 52x13 min.) Follow Sabrina as she leads two vastly different lives: one as a clumsy high school student, the other as a top sorcery student in a magical world.

Zak Jinks (Kids 2D adventure/comedy, S1-2: 104x13 min.) The hilarious life of a mischievous and lovable 8-year-old boy.

DANDELOOO

O (33-9) 7264-4601

m contact@dandelooo.com

w www.dandelooo.com

MIFA: A16

PROGRAM HIGHLIGHTS

Billy the Cowboy Hamster (Preschool adventure, 52x11 min.) Billy, the little hamster, dreams of being a cowboy, but is still just a child.

Royals Next Door (Kids comedy, 52x11 min.)

Crown Princess Stella has just received the best news ever: due to water damage in the castle, the royal family has to move out.

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, a funny and surreal land where music and life go hand in hand.

Petit (Preschool animation, S3: 26x7 min.) Discover Petit's unique and imaginative perspective about daily situations.

Kosmix, Underwater (Upper preschool edutainment, 26x5 min.) In their second grand adventure, little robot Kit and his buddy Mr. Battery dive underwater.

The Superheroes of Nature (Kids/family edutainment, 30x3 min.) Uses humor to share and make accessible to the youngest the formidable inventiveness of nature and the importance of preserving it.

Hungry Bear Tales, to the Pole! (Preschool adventure, 1x26 min.) Ned and Mishka get an invitation to the polar popsicle festival. But they don't know where the pole is.

Pompon Little Bear (Preschool adventure, S2: 72x7 min. & 2x21 min.) Pompon is a 6-year-old cub. He is mischievous, cheerful and playful.

Taina and the Amazon’s Guardians (Preschool adventure, S1: 26x11 min.) When the forest is in distress, the "Cru-Cru" call echoes all the way to the Great Tree, where Taina and the Guardians of the Amazon are always ready to help.

Ernest & Celestine (Preschool animation, S2: 26x11 min.) In this new season, Celestine is more mischievous than ever, as she and her new friends explore their fun and sometimes mysterious surroundings.

Video interviews with leading players in the media business, industry analysis and a recap of the week’s events—delivered to your inbox every Thursday.

Billy the Cowboy Hamster

HARI

O (33-1) 4307-6577

m kido@studiohari.com

w www.studiohari.com

MIFA: A86

PROGRAM HIGHLIGHTS

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

and Karlı families will cross again after 30 years; their fates now lie with Aslı and Mehmet.

That Girl (Drama) Zeynep, who spends her days caring for her father and cleaning the home of Ozan, meets a businesswoman who will help her with her dreams of becoming a social media star.

Three Sisters (Drama, 101x44 min.) An adaptation of the bestseller by İclal Aydın. At the end of the ’90s, three sisters dream of a promising future.

The Weasy Family (Animation, 78x7 min.) HARI innovates the genre by combining slapstick comedy and a heartwarming narrative with emotional stakes. Grizzy & the Lemmings World Tour (Animation, S4: 78x7 min.) Sees the multi-awarded slapstick phenomenon—1 billion views a year on YouTube— traveling the world.

KANAL D INTERNATIONAL

O (90-212) 413-5111

m hello@kanaldinternational.com

w www.kanald.international

PROGRAM HIGHLIGHTS

Farewell Letter (Drama) The paths of the Yıldız

Love and Hope (Drama) A story about growth, the conflict of generations, families falling apart and domestic feuds.

Love and Hate (Rom-com, 61x44 min.) Tolga is a young actor at the peak of his fame but dissatisfied; Asya is a mall clerk who dreams of studying at university.

LEONINE STUDIOS

O (49-89) 999-513-0

m worldsales@leoninestudios.com

w screenings.leoninestudios.com/en

NATPE Budapest: Table VS-6/Content

Budapest: Table 34

PROGRAM HIGHLIGHTS

Bonn (Period event drama/political thriller, 6x48 min.) True untold story of a young woman’s struggle

REACHING 22,000 EXECUTIVES EVERY FRIDAY SUBSCRIBE HERE: SUBSCRIPTIONS.WS

The Weasy Family

Farewell Letter

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.

SurrealEstate (Blue-sky action, 10x45 min.) Real estate agent Luke Roman and his team specialize in closing haunted houses by solving metaphysical problems and making the properties sellable.

The Name of the Rose (Thriller, 8x50 min.) A suspenseful crime thriller set in an intriguing and gloomy medieval world with a modern take and new details to a multilayered story.

Bellevue (Crime/suspense/thriller, 8x45 min.) A thrilling mystery set in a small town where a detective must unravel the disappearance of a bullied teen while confronting her past.

The Seed (Eco-thriller, 6x45 min.) Two detectives searching for a missing journalist in Norway’s Arctic wastes uncover a conspiracy of global proportions: a power struggle between stop-at-nothing multinationals and international politicians to gain control over humanity’s most important resource.

Troppo (Crime drama, 8x60 min.) Ex-police detective Ted Conkaffey left Sydney in disgrace to find redemption in a Queensland rainforest town. But 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.

Herzogpark (Comedy/drama/thriller, 6x45 min.)

The perfectly polished existence of a glamorous, champagne-fueled world is on the brink of chaos, as carefully hidden secrets threaten to surface.

Professionals (Blue-sky action, 10x48 min.)

Tom Welling plays security operative Vincent Corbo, who is hired by billionaire futurist Peter Swann (Brendan Fraser) to investigate a medical satellite explosion suspected to be sabotage.

Flashpoint (Action, 75x40 min.) Follows the Strate gic Response Unit (SRU), a team of elite cops who handle high-risk incidents and use their training in tactics and psychology to make split-second decisions.

MAGIC LIGHT PICTURES

O (44-20) 7631-1800

m meetdistribution@magiclightpictures.com w www.magiclightpictures.com

PROGRAM HIGHLIGHTS

The Gruffalo & The Gruffalo’s Child (Animation/ family/kids, 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.

Room on the Broom (Animation/family/kids, 1x26 min.) A kind witch invites a surprising collection of animals to join her on her broom.

Stick Man (Animation/family/kids, 1x27 min.) A moving tale of a happy-go-lucky father’s epic journey to make it home to his family in time for Christmas.

REACHING 22,000 EXECUTIVES EVERY MONDAY SUBSCRIBE HERE: SUBSCRIPTIONS.WS

The Seed

Revolting Rhymes (Animation/family/kids, 2x27 min.) A mischievous twist on the classic fairy tales of Little Red Riding Hood, Snow White, The Three Little Pigs, Jack & the Beanstalk and Cinderella.

Pip and Posy (Preschool animation, 104x7 min.)

Pip and Posy navigate the ups and downs of friendship through a wonderful world of play.

MATTEL TELEVISION

m content_sales@mattel.com

w www.mattel.com

PROGRAM HIGHLIGHTS

Barbie: Skipper and the Big Babysitting Adventure (Animation, 1x60 min.) Barbie’s younger sister Skipper takes a summer job at a water park when her babysitting business hits a snag.

The Highway Rat (Animation/family/kids, 1x27 min.)

Tells the tale of a greedy rat whose desire for buns, biscuits and all things sweet leads him to a sticky situation. Zog & Zog and the Flying Doctors (Animation/ fam ily/kids, 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.

The Snail and the Whale (Animation/family/kids, 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.

Superworm (Animation/family/kids, 1x27 min.)

Superworm is a super-long, super-strong earthworm who always comes to the rescue of bugs and animals in distress.

The Smeds and The Smoos (Animation/ fami ly/kids, 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.

Barbie: It Takes Two (Animation, 26x22 min.)

Follows Barbie “Malibu” Roberts and Barbie “Brooklyn” Roberts as they attend a year of performing arts high school in NYC.

Barbie Mermaid Power (Animation, 1x60 min.) Join Barbie “Brooklyn” Roberts, Barbie “Malibu” Roberts and her sisters Skipper, Stacie and Chelsea on an underwater adventure as they transform into mermaids to help save the world of Pacifica.

Thomas & Friends: All Engines Go! S25 (Animation, 52x11 min.) Thomas and his friends work

REACHING 22,000 EXECUTIVES EVERY TUESDAY SUBSCRIBE HERE: SUBSCRIPTIONS.WS

Revolting Rhymes

Barbie: Skipper and the Big Babysitting Adventure

together and form lasting bonds that help them overcome any obstacle on the Island of Sodor.

Thomas & Friends: Race for the Sodor Cup (Animation, 1x60 min.) Kana is convinced that her speed is all she needs to win the Sodor Cup. But when she ends up paired with Thomas, she discovers that it takes much more to really be a champion.

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.

MERCURY FILMWORKS

O (1-613) 482-1814

m connect@mercuryfilmworks.com

w mercuryfilmworks.com

PROGRAM HIGHLIGHTS

Octicorn & Friends (Preschool animated comedy, 52x11 min.) A series about friendship and feelings told with humor, heart, adventure and occasionally sparkles.

A Mouse Called Julian (Kids/family animated adventure, 1x25 min.) The series conveys the importance of friendship, taking time to look at people a little deeper and celebrating finding friendship in unexpected places.

Tales of the Underwear Dragon (6-8 animated comedy, 52x11 min.) A musical series about valiant

knights and dastardly dragons, infused with a fresh new spin, original music and life lessons for kids.

MIAM! ANIMATION

O (33-6) 7787-9560

m melanie@miam-animation.com

w www.miam-animation.com

MIFA: B54

PROGRAM HIGHLIGHTS

Edmond and Lucy (Preschool animation, 52x12 min.) Meet Edmond, the squirrel, and Lucy, the bear cub, with their daily adventures in the forest. Our Summer of Freedom (Family animation, 6x26 min. & 52x3 min.) A life-changing summer for four kids… and a country.

Goat Girl (Kids animation, 52x11 min.) Gigi was raised by goats. This is a comedy about being comfortable in your own skin, quirks and all.

The MiniWhats (Young kids animation, 52x7 min.) Six friends use drawing to find answers to their daily life questions. But they use a magic pencil, bringing all their sketches to life.

It’s my body! (YA animation, 20x3 min.) Questions the taboos around sex.

REACHING 25,000 EXECUTIVES EVERY WEDNESDAY SUBSCRIBE HERE: SUBSCRIPTIONS.WS

Octicorn & Friends

Boys Boys Boys (YA animation, 10x5 min.)

Between old and new models, traditions, and modernity, where do men stand today?

Yeti Tales (Preschool puppetry, 280x8 min., 40x2.5 min. & 2x26 min.) Puppet series for preschoolers showing them how entertaining reading can be.

Little Malabar (Preschool animation, 52x4 min., 24x2 min., 6x1 min.) Everything in this series is at children’s scale, playful and interactive.

Brazen (Family animation, 30x3.5 min.) The portraits of 30 women, each revolutionary in their own way, who wrote their own destinies and changed the world.

Unsung Women (YA animation, 28x3.5 min.)

Profiles 28 women who contributed to changing the world but despite their achievements, their names didn’t make history.

MONDO TV GROUP

O (39-06) 8632-3293

m silvia.darchivio@mondotvgroup.com w www.mondotvgroup.com

MIFA: B47

PROGRAM HIGHLIGHTS

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. (Presented by Mondo TV & Toon2Tango)

Agent 203 (CGI sci-fi 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.

(Presented by Mondo TV & Toon2Tango)

MeteoHeroes (2D comedy/adventure/edutainment, S1: 52x7 min., S2: 52x13 min. & 4x26 min.) Six superpowered kids fight to protect the planet from climate change and pollution in a contemporary series full of adventures that educates and entertains.

Grisù (CGI comedy/adventure, 52x11 min.) Grisù wants to be a firefighter. There’s just one problem: he’s supposed to be a fire-breathing dragon when he grows up.

One Love (Preschool 2D, 26x7 min.) Visit Amo and Ama on the planet One Love and learn about emotions, kindness, courage, friendship and the power of love.

Leo’s World (2D preschool/ASD kids, 10x12 min.) The daily adventures of little Leo as he explores the world in a show that welcomes children on the autism spectrum and neurotypical preschool children.

The Tales of Wonder Keepers (CGI fantasy/adventure/comedy, 78x11 min.) Icy, Gerda and Kai turn into fearless superheroes to protect

Goat Girl

MeteoHeroes

their town and fight for justice with magic, science wisdom and courage.

Action KidZ (Live-action sports, 57x7 min.) A children’s action series designed to introduce kids to sports and inspire them to lead active lives, featuring 35 different and unique sporting pursuits.

The Wee Littles (Simulated stop-motion comedy/adventure, 46x5 min.) A family of four very small creatures—the Wee Littles—handle their tiny size with their own unique and inventive flair. (Presented by Mondo TV & Toon2Tango)

Robot Trains (CGI comedy/adventure, S3: 26x13 min., S4: 26x13 min.) When villainous Train X takes control of a deadly source of energy, an unexpected new ally joins Railwatch. Can they defeat their most dangerous foe?

OGM UNIVERSE

m ekinkoyuncu@ogmuniverse.com

w www.ogmuniverse.com

PROGRAM HIGHLIGHTS

Miracle of Love (Drama) A brave commander who fought in the Battle of Sakarya in 1921 is resurrected by the “water of life” and stops aging. In 2023 he meets a young and beautiful writer; will she be able to help him find the answers he has been searching for?

Stickman (Drama) Tamer, a wealthy game developer, meets Peri, a successful private bank manager in her early thirties who had a traumat ic childhood.

Broken Destiny (Drama) After five years in a coma, Toprak wakes up to a family he doesn’t remember.

ONZA DISTRIBUTION

O (34-91) 562-0671

m onza@onzadistribution.com

w www.onzadistribution.com

NATPE Budapest & Sunny Side: Spanish Pavilion

PROGRAM HIGHLIGHTS

Godless John (Drama, 3x50 min.) Inspired by real events and based on the life of “John of God,” the biggest recent sexual predator in Brazil.

Parot (Thriller, 10x60 min.) After the annulment of the “Parot” legal doctrine, dozens of terrorists, rapists and multiple murderers are released without completing their time in prison.

Motel Valkirias (Crime/thriller, 8x50 min.) In a cross-border motel, three women discover a briefcase with €1 million. Now that they’ve stolen it, their lives are in danger.

Broken Destiny

Godless John

Forever (Telenovela, S1: 100x50 min., S2: 100x50 min.) Pedro’s life has always been shrouded in mystery. The investigation of his past leads him back to his hometown, only to find out that his first love is engaged to Pedro’s biological brother.

Broken Bonds (Telenovela/romance, 295x50 min.) Maria Rita has lived her whole life in the countryside. But her quiet life changes when a lawyer, David, shows up in their farm to tell her that her father is still alive.

Unlimited Love (Telenovela, S1: 110x50 min., S2: 120x50 min.) Zeca goes to jail for a crime he did not commit in exchange for money from a wealthy family. But he was betrayed by them. Now, Zeca will seek vengeance to win his life back.

Young Addictions (Social issues/tech., 3x45 min.) The causes and consequences of the most common drug use among teenagers: non-substance addictions consumed through the screens of their cellphones like social media, porn and online gaming.

The Wind Sentries (Environment/conservation, 1x55 min.) A study of the falcon population links the survival of this species’ nestlings to changes in wind patterns on a global scale, making them bioindicators of climate change.

Real Madrid: The White Legend (Factual/sports, 6x50 min.) Epic victories, magnanimity in defeat, legendary superstar players and great humanity have all contributed to Real Madrid becoming the world’s greatest football phenomenon.

The Celeb Challenge (Talent format, S1: 8x120 min., S2: 10x120 min., S3: 10x120 min.)

Eight celebrities must overcome impossible challenges. A coach will help them face challenges each week that will test their physical and mental limits.

ORF-ENTERPRISE

O (43-1) 87878-13030

m contentsales@orf.at

w contentsales.orf.at

Sunny Side: B17

PROGRAM HIGHLIGHTS

Days That Never Were (Series, 8x48 min.) An accident suddenly turns into a murder case, and the friendship of four women who have known each other since their elite school days is put to the test.

Azra (Tatort) (Crime, 1x90 min.) An investigation against the criminal head Tariel Tasic is in jeopardy when their informant fails to show up, leading to a dangerous search that pits the investigators against Tasic’s organization and their own moral dilemmas.

A Raven’s Tale—Mystic Czechia

(Wildlife/nature, 1x52 min./1x45 min.) A magical journey through the enchanted landscapes and castles of the Czech Republic, where the natural world and fairy tales intersect.

Life on the Wing—Miracle of Bird Migration

(Wildlife/nature, 1x52 min./1x45 min.) Showcases the wonder of bird migration from a new perspective, highlighting the incredible journeys and adaptations of millions of birds.

A Raven’s Tale—Mystic Czechia

High Life in the Dead Mountains

(Wildlife/nature, 1x52 min.) The “Dead Mountains” are a mystical, apparently inhospitable world— and yet, this harsh wilderness is one of the most diverse ecosystems in the Alps.

Qatar—Pearls in the Sand (Wildlife/nature, 1x50 min.) Join us on our journey to the home of the 2022 FIFA World Cup—a country where unexpected wildlife flourishes in dramatic settings.

Family in the Wild (Wildlife/nature, 16x24 min.)

Renowned wildlife filmmaker Kim Wolhuter’s behindthe-scenes-look at his personal and professional life in an untamed corner of Zimbabwe.

Copernicus’ Secret—Triumph of Science

(His tory/bio., 2x52 min./1x90 min.) Ptolemy’s view of the sun revolving around Earth was held true for 1,500 years—until Copernicus’ revolutionary discovery caused conflict with Christianity.

Age of Queens (History/bio., 2x52 min./2x45 min.)

Queen Elizabeth I reminisces about her rivals “Bloody”

Mary Tudor and Mary Stuart, providing a highly detailed yet historically accurate account of their lives.

The Builders of the Alhambra (History/bio., 1x108 min./2x52 min./1x90 min.) Celebrated writer-director Isabel Fernández takes viewers on a journey inside the walls of the Alhambra.

PARAMOUNT AFRICA

O (27-11) 428-2900

m bonolo.madisakwane@paramount.com

w paramount-africa.co.za

PROGRAM HIGHLIGHTS

DJ Zinhle—The Unexpected (Reality, S1-3: 13x24 min. each) Welcomes viewers into the musical world of Ntombezinhle Jiyane, DJ Zinhle, a South African DJ, producer, media personality

and businesswoman, who has taken millions of viewers by storm with her reality show.

Have Faith (Reality, S1-5: 10x24 min. each) Follows the life of influencer, model and media personality Faith Nketsi, one of South Africa’s biggest social media stars.

Inside the Life with Erica (Reality, 8x24 min.) Chronicles the life of Nigerian actress, model and entrepreneur Erica Nlewedim, also known as Star Girl.

Unstoppable Thabooty (Reality, 10x24 min.) Follows Thando Thabethe, a South African multitalented businesswoman, actress, philanthropist and radio host, through the trials and tribulations of balancing, multiple careers, maintaining close personal relationships and being unstoppable.

Love & Hip Hop South Africa (Reality, 13x24 min.) Follows the careers and life journeys of OGs, game-changers and up-and-coming artists in the Mzansi rap game.

RIKI GROUP

O (7-812) 777-7788

m international@riki.team

w en.riki.team

PROGRAM HIGHLIGHTS

The Fixies (Edutainment, 260x6 min.) Tells the story of the Fixies, tiny creatures who

DJ Zinhle—The Unexpected

secretly live inside of our machines, appliances and devices. With the Fixies, kids learn about things and how to use complicated equipment carefully through play and entertainment.

The Ghastly Ghoul (Animation, 1x26 min.) Every year, the monsters from Halloween Town come to Earth to trick or treat for one night of mischief before the gateway back to their world closes again. Gary, a cute and fluffy monster who doesn’t believe he’s scary enough, disguises himself as The Ghastly Ghoul and then finds himself trapped in the human world. The Sound Collector (Stop-frame/live-action, 60x5 min.) Sixty short stories about sound, as heard through the ears of a small but very active little being called the Sound Collector, who has a passion for sound despite the fact that he is very hard of hearing.

Beardy Bodo (Edutainment/comedy, 60x4 min.)

Beardy Bodo, who doesn’t speak any foreign languages and can’t tell Australia from the North Pole, will guide children to different places of interest.

BabyRiki (0-3 live-action/3D edutainment, 264x5 min.) An animated program with content that covers all aspects of a child’s life.

Tina and Tony (Family comedy/adventure, 156x5 min.) Baby hippo Tony and baby elephant Tina are best friends. Their cozy world is a reflection of games that happen inside kids’ rooms, where kids make their own rules and bring their favorite toys to life.

SERIOUS KIDS

O (44-20) 8771-7310

m leila.o@seriouskids.com

w www.seriouskids.com

MIFA: C27

PROGRAM HIGHLIGHTS

Flix (Animation, 13x11 min./6x26 min.) The first animated series based on the work of one of the world’s most famous children’s authors, Tomi Ungerer. Flix is a pug dog born to cat parents living in Cat Town.

Messy Goes to Okido (Animation, 104x11 min.) Inquisitive and lovable monster Messy brings science to life as he adventures with his best friends Zoe and Felix through the colorful world of Okido. Girls of Olympus (Animation, 26x24 min.) Three high school girls discover their true identities as reincarnations of Athena, Aphrodite and Artemis. Embracing their supernatural talents, they move between reality and fantasy worlds.

Tulipop (Preschool animation, 52x5 min.) Modernday fairy tales set on the fantastical island of Tulipop, where anything can happen. Follow the adventures of Gloomy, Bubble, Fred, Miss Maddy and Mister Tree, a group of unique and equally lovable characters. The New Legends of Monkey (Live-action adventure, 20x26 min.) This series opens as a young girl

The Fixies

The Ghastly Ghoul

discovers a lost statue of the legendary Monkey King, an ancient god who has been imprisoned for 500 years.

Tik Tak (Live action/animation, 104x5 min.) An eclectic, universal show that stimulates children’s cognitive development in a relaxed, simple way.

Operation Ouch! (Fact-ent., 176x26 min. & 30x15 min.) This ongoing, double BAFTA-winning, Emmynominated factual-entertainment show helps kids combat their fears of hospitals by showing them how amazing the human body is at fixing itself.

What’s In Your Bag? & What’s On Your Head (Live-action fact-ent., 30x7 min., 10x5 min.)

SUPERIGHTS

O (33) 516-500-016

m sales@superights.net

w www.superights.net

PROGRAM HIGHLIGHTS

Home Sweet Rome! (Comedy, 13x26 min.) A com ing-of-age series about a 13-year-old girl who moves from the U.S. to start a new life in Rome with her dad, who just married an Italian pop star. Deep in the Bowl (Comedy, 52x5 min.) Over the course of punchy episodes, we take a look at the lives fish lead when humans aren’t looking.

Sullivan Sails (Adventure, 26x7 min.) Sullivan is fascinated by maps and aspires to grow up to be a cartographer and explorer. In front of his atlas, Sul livan creates a world of his own.

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 set in their hometown.

Go! Go! Cory Carson (Comedy, 63x7 min., 16x3.5 min., 3x22 min., 1x42 min.) Centers on

Cory Carson, a friendly and curious orange car learning to navigate the wildling roads of childhood.

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.

Clay Time (Edutainment, 90x4.5 min.) Young viewers are invited to develop their imagination with a universal activity: modeling clay.

Momolu and Friends (Comedy, 78x7 min.) Momolu, a gentle panda, and his friends have a knack for stumbling into far-fetched situations.

The Adventures of Little Penguin (Adventure comedy, 52x5 min.) Follows the hectic adventures of Oscar, a little penguin who lives in a unique environment.

Pebble Hill (Adventure, 1x26 min.) A small family of shrews lives on the edge of a stream. .

TOON2TANGO

O (49-89) 2080-471-0

m info@toon2tango.com

w www.toon2tango.com

MIFA: E22

PROGRAM HIGHLIGHTS

Monster Loving Maniacs (2D comedy/adventure, 52x11 min.) Three siblings go into training with their grandfather to become Monster Hunters—but they

Deep in the Bowl

want to get to know the monsters. (Belvision, Ja Film, Ginger Pictures, Toon2Tango & Mondo TV)

Lily of Fawonia (Live-action/CGI comedy/adventure, 26x22 min.) Fifteen-year-old Lily’s adventures start when she finds out that she is part of a real-life fairy tale. Santa.com (Animated adventure, 1x90 min.) An outcast Elf becomes the North Pole’s only hope of saving Christmas from a vengeful hacker. (Toon2Tango, M.A.R.K.13 & Curiosity Ink Media)

ZDF STUDIOS

O (49) 6131-9910

m info@zdf-studios.com

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 issues. (Cosmos Maya, Toon2Tango & Mondo TV)

The Wee Littles (Simulated stop-motion comedy/ adventure, 46x5 min.) A tiny family of four, living in the forest, handle their compact size with their own flair. (Magpie 6 Media, Toon2Tango & Mondo TV)

Hey Fuzzy Yellow (2D/live-action edutainment/ emotainment, 52x11 min.) A cur riculum-designed show to equip children with 21st century skills. (Toon2Tango, Jungle Fruit, Hotel Hungaria & Treehouse Republic)

Shadowcat (CGI comedy/adventure, 52x11 min.) When Samantha moves to small-town Melinka, she finds herself part of an extraordinary series of events. We Be Monsters (2D comedy, 52x11 min.) What if humans and monsters lived side by side? Follow the adventures of Jeffy becoming the best of both worlds. (Dan Clark Productions & Toon2Tango)

Showtime (CGI comedy, 52x11 min.) Luana, a theatrical 6-year-old girl, proves that any problem can be solved—if you’re willing to get your jazz hands dirty.

Bek and the Bunnies (CGI comedy, 52x11 min.) A 7- year-old girl has no friends living nearby—so she invents some. (Baboon Animation & Toon2Tango)

w www.zdf-studios.com

PROGRAM HIGHLIGHTS

Top Dog (Drama/thriller, S2: 6x45 min.) Emily has left Leijon and is working for a billionaire. When Teddy’s nephew Nicola is arrested for murder, Emily reluctantly represents him.

The Swarm (Drama/thriller, 8x45 min.) Based on Frank Schätzing’s bestseller; scientists delve deep within the Arctic Ocean in search of an unknown menace threatening mankind.

Clean Sweep (Crime/suspense, 6x52 min.)

Shelly Mohan seems like an unassuming mom, but when a dark secret emerges from her past, she makes a fatal choice to prevent the truth from surfacing.

Dear Vivi (Crime/suspense, 7x45 min.) Uncovers the mystery behind the murder of a wife and mother.

Monster Loving Maniacs

Grisù

Naked—Sex and Gender (Science/knowledge, 6x50 min./1x90 min.) Finds out how our view of gender has shaped humanity and what is known about sex and gender today.

The Six Continents Revealed (History/bio., 6x50 min.) Around 200 million years ago, the primeval continent of Pangaea broke up and the continents began their journey to the places they now occupy on the world map.

Bison—An American Icon (Wildlife/nature, 1x50 min.) Nothing says the “Wild West” like the profile of a bison.

Spellbound (Junior live-action, 26x26 min.) Cece Parker Jones, a spirited 15-year-old at the Paris Opera Ballet School, stumbles upon a book of family spells in the backroom of her aunt’s apothecary.

Grisù (Junior animation, 52x12 min.) Meet Grisù, the world’s first fire-fighting dragon. Ready for any mission, Grisù dreams of being a firefighter.

Törtle (Junior animation, 26x24 min.) Törtle is a tortoise from a pet shop. With his unique perspective, he finds creative solutions to the conflicts between humans and animals.

ZODIAK KIDS & FAMILY DISTRIBUTION

O (44-0370) 042-0042

m sales@zodiakkids.com

w zodiakkidsandfamilydistribution.com

MIFA: F30

PROGRAM HIGHLIGHTS

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.

Topo Gigio (Preschool comedy, 78x11 min.) The daily adventures of a cute little mouse living in the human world.

The Unstoppable Yellow Yeti (Adventure/ com edy, 50x11 min. & 11x2 min.) Small-town life above the Arctic Circle snowballs out of control when an enormous, outrageous and unstoppable Yellow Yeti arrives and befriends two kids.

Corpse Talk (Comedy, 13x7 min.) A comedyled chat show hosted by history-loving Adam, who is very much alive, even though his famous guests are not.

Mumfie (Preschool comedy, 78x7 min.) Told with heart and humor, this reboot features Mumfie, Pinkey and Jelly Bean, who are the helpful heroes of the whimsical world of Flutterstone.

Street Football (Adventure/drama, 104x26 min.) Little Dragon forms The Blues to enter the next Street Football world cup.

Shasha & Milo