OF INTERNET USERS NOW WATCH YOUTUBE EVERY MONTH, AND NEARLY ONE IN FIVE (18%) OF THEM ARE TURNING TO THE PLATFORM TO CONSUME FULL-LENGTH MOVIES AND TV SERIES.
32%
INDIA LEADS WITH 32% OF INTERNET USERS WATCHING FILMS AND TV ON YOUTUBE.
HOUSEHOLDS WITH CHILDREN ARE KEY DRIVERS OF THE NEW YOUTUBE’S CONSUMPTION TREND.
YouTube’s long-form content surge is being driven by older demographics, with 35–64-year-olds emerging as the platform’s most engaged audience for fulllength films and TV shows, according to new research from Ampere Analysis.
Abu Dhabi Media signed a strategic partnership with Starzplay under which all ADtv content will move to the new Abu Dhabi Media Network (ADMN) section, fully integrated within Starzplay. This strategic agreement represents a transformative step in the regional digital broadcasting sector, reaffirming both parties’ commitment to digital innovation and to offering a premium viewing experience, available for free, supported by the latest high quality streaming technology. •
Italy’s MFE –MediaForEurope is advancing its pan‑European expansion strategy through a structured investment in
Portugal’s Impresa, an ally that controls national commercial broadcaster SIC and the newspaper Expresso. According to an announcement by Impresa, MFE will inject between €15 million and €40 million via a capital increase to acquire just under 33.3% of the company, thereby avoiding a mandatory takeover offer under Portuguese regulations. •
Warner Bros. Discovery and CJ ENM have struck a major partnership deal. The two companies will co produce original Korean drama series to air on HBO Max, as well as make the streaming service the home of CJ’s TVING in a number of markets across Asia-Pacific. The multi-year partnership will see hundreds of hours of K drama launch on HBO Max across 17 markets, including Southeast Asia, Taiwan, and Hong Kong. Beginning in 2026, TVING’s new K drama titles, as well as library titles, will stream on HBO Max. The rollout began with the launch of drama series “Dear X” on November 6. •
Artificial intelligence is rapidly emerging as a pivotal strategic factor in the future of production. Beta Film has launched a new AI focused start up, Chapter41, in partnership with Hannes Jakobsen, Dominik Böhm, and Lars Stark. Headquartered in Berlin, Chapter41 will focus on three primary areas: developing AI-powered tools and workflows for creative use; providing training and consulting services for broadcasters, creative professionals, and media companies; and producing AI generated moving images, including historical reenactments, special effects, and animation. •
Taiwan is significantly ramping up its investment in cultural content and digital media exports, the Ministry of Culture announced in a joint initiative. The ministry has committed NT$30 billion over the next five years to expand the nation’s audiovisual content industry and build a new online distribution platform that aims to reach 1 billion streaming views per year. The move reflects Taiwan’s ambition to leverage its creative sector as a strategic export industry. Taiwan’s content exports have grown steadily, but the new funding and platform are designed to scale that growth significantly. •
RTL Group will have a new leadership for its next phase of development. RTL’s Board of Directors has decided that Clément Schwebig, currently President and Managing Director Western Europe & Africa at Warner Bros. Discovery, will succeed Thomas Rabe as CEO of RTL Group in May 2026. Schwebig is also expected to join RTL Group’s Board of Directors as Executive Director. Elmar Heggen will step down, at his own request, from his current position as RTL Group’s Deputy CEO and COO by the end of 2025. He will continue to serve on the Board of Directors of RTL Group as Non Executive Director. •
Nippon TV closed its first-ever partnership with CJ ENM for the coproduction of a new cross cultural romantic comedy drama series titled “Merry Berry Love” (working title). The series follows a down on his luck spatial designer and a strawberry farmer who find love on a remote Japanese island, and features top Korean and Japanese actors.
Scheduled to air on Nippon TV in 2026, the drama will also stream globally on Disney+, as part of the strategic collaboration between Nippon Television Holdings and The Walt Disney Company Japan. •
“FLEXIBILITY IS KEY, AND WE NOW HAVE THE
ollowing the completion of a management buyout, Boat Rocker Studios has entered a new phase as an independent, privately owned company. In conversation with Señal News, Jon Rutherford, President, Global Rights, Franchise & Content Strategy at Boat Rocker Studios, discusses the company's global vision, the value of flexibility in today's market, and how new formats and data driven collaboration are shaping the next stage of its business.
Boat Rocker Studios recently underwent a significant transition. How has becoming a private company influenced your strategy?
"We recently went private again after completing a management buyout of our core business. It's an exciting opportunity because it allows us to focus on long term goals without the short term pressures of being a public company. We can now move more freely, build strategies that truly reflect market needs, and invest in projects we believe will last. Flexibility is key, and we now have the freedom to respond more agilely to change."
You've mentioned flexibility. How important is it in today's global content business?
"It's the single most important
thing. We work across kids and family, including scripted, unscripted, and documentary content, and every year has its ups and downs. A diverse portfolio gives us balance. We're rooted in Canada but have offices in the U.S., the U.K., and Hong Kong, allowing us to tap into a wide range of opportunities. You can't fund a show with just one broadcaster; you must build multi partner models. Over the past decade, we've built strong international relationships that enable us to secure financing and partnerships from around the world. That's one of our biggest advantages."
How do you track shifting client and audience needs in such a fastmoving industry?
"Our sales team is closely aligned with the buyers, allowing us to receive direct feedback from the market. Now that the company is more streamlined, it's easier to share that feedback internally and react quickly. We constantly monitor industry data, analytics, and ratings to understand what's working. It's all about listening. When a partner tells us what they need, we respond with something that aligns with their goals. It might not always be the perfect show, but they know we're paying attention. That's how you build trust and long term relationships."
What do you look for in potential partners?
"Alignment is everything. We love working with creative partners who also understand the commercial side of production. If someone knows it's hard to finance a $6 million an episode drama today and instead designs a great story that can be produced for $3 million, we're already on the same page. When everyone is aligned on the creative and financial vision, things usually work. Not everything will be a hit, but shared goals give you the best chance at success."
Short-form and micro-dramas are gaining popularity. Do you see business potential there?
"Definitely. Short-form content isn't new, but the current wave, driven by younger audiences and social media, is unique. The key is finding a model that fits our strategy as a rights management company. We used to be primarily a production company, but now rights ownership and long term monetization are at the core of what we do. If a short form project can be repackaged or sold across platforms, that's interesting for us. It's the same logic behind YouTube content that later finds a second life on streamers or AVOD platforms."
By Roxana Alcalá & Diego Alfagemez
“IT’S NOT A FILM ABOUT FERRARI; IT’S A FILM ABOUT LIFE”
FREMANTLE LAUNCHED “LUCA: SEEING RED”, A CAPTIVATING DOCUMENTARY THAT EXPLORES THE EXTRAORDINARY LIFE OF FERRARI
Fremantle recently acquired global distribution rights to “Luca: Seeing Red,” a feature documentary that explores the extraordinary life and legacy of Ferrari legend Luca Cordero di Montezemolo. Directed, written, and produced by Manish Pandey (“Senna”) and co directed by Christopher M. Armstrong, the film traces Montezemolo’s remarkable journey from his early days working alongside Enzo Ferrari to leading the iconic brand through its golden eras with Niki Lauda and Michael Schumacher.
Señal News spoke with Luca di Montezemolo and Manish Pandey to discuss the making of the film and the vision behind a story that fuses sport, business, and a life lived at full speed.
What made this the right moment to move forward with the project?
MP: "As an independent filmmaker, timing and opportunity go hand in hand. I had just finished working on
the 'Bernie Ecclestone' series, and Luca was always one of my three heroes. What he accomplished with Ferrari is extraordinary: he took a team people were laughing at and turned it into a champion, twice. And beyond Formula 1, he helped transform Ferrari into a modern, thriving business."
Why do you consider Luca a hero?
MP: "Because of what he did with Ferrari and the way he did it. Whether you're a fan or not, you can't deny the impact. He made the team competitive again and built a culture of excellence. Under his leadership, Ferrari was always either winning or fighting until the very last race. That level of consistency and drive is rare."
Luca, what encouraged you to share your story now?
LM: "For me, there are two reasons this film is interesting. First, it's not a movie about Ferrari. The rest is about my life: organizing the World Cup in Italy, running Cinzano in Argentina, the Azzurra boat in the America's Cup, and building Italy's first private highspeed train company. What makes this special is that it's not fiction. You see Enzo Ferrari, Niki Lauda, Michael Schumacher, and Ayrton Senna. It's all real, and that makes it emotional and human."
What was it like to go back to those years while working on the film?
LM: "I was really surprised by how many different things I had done. Watching the film felt like reliving my youth. The photography is beautiful, and the mix of archival footage with new interviews works perfectly. You can see Enzo Ferrari speaking, Niki Lauda's crash, and even the atmosphere of the Italy–Argentina World Cup semifinal in Naples, where half the stadium was cheering for Argentina and Maradona. It brought everything back."
You've had such a diverse career. Was it challenging to select what to include in the film?
LM: "Yes, because when you watch your life on screen, you realize how full it's been. I started as a young assistant to Enzo Ferrari, became a team manager, organized the World Cup, and later led Ferrari and Fiat. Then I built the high speed rail network from scratch. Seeing all that together for the first time made me proud."
What went through your mind the first time you saw the finished film?
LM: "It was emotional. I thought of everything I'd done, all together. I also remembered my last day at Ferrari. The team organized a surprise farewell; more than 2,500 people attended, and many were in tears. Usually, when someone leaves, people are happy to see a new boss. That day, I thought, maybe I had done something good."
By Roxana Alcalá & Diego Alfagemez
Julia Matyash
JULIA
MATYASH, DIRECTOR OF CONTENT DISTRIBUTION AT RTR, HIGHLIGHTS THE COMPANY'S GLOBAL STRATEGY, AS IT HEADS TO ATF WITH AN INTERNATIONAL LINEUP BUILT ON UNIVERSAL STORIES AND HIGH-QUALITY PRODUCTIONS, INCLUDING HISTORICAL DRAMAS, PSYCHOLOGICAL THRILLERS, AND CLASSIC ANIMATION.
With a solid track record in bringing Russian content to international audiences, RTR arrives at Asia TV Forum with a catalog that blends tradition and modernity. Señal News spoke with Julia Matyash, the Director of Content Distribution at RTR, who shared insights into the company's key projects for the market, current global trends in content demand, and its goals for strengthening its worldwide presence in 2026.
What key projects are you presenting at ATF this year?
"We are bringing to the market
the historical drama 'The Princess of Mercy,' the psychological detective/action series 'Inside The Criminal Mind,' as well as a lineup of melodramas such as 'Sisters,' 'Besties,' and 'The Color of Pomegranate,' along with the Golden Collection of Restored 'Fairy Tales Animation'"
What makes this catalog different? "Each title reflects current global buyer demand and opens an entire section within Russia TV and Radio’s diverse, multi-genre catalog."
How do you approach acquiring or producing titles about international appeal and market trends?
"Our international catalog is built around top-quality content with global potential. We focus on universal narratives anchored in traditional human values: family, love, and loyalty. Buyers today are seeking stories that blend emotional depth with a modern, cinematic style, engaging, dynamic, and unencumbered by geography. Something gripping, with a detective storyline or action twist, always catches buyers' attention."
RTR has built a strong reputation in the historical series and drama genres. What global trends are you seeing in demand for this type of content right now?
"Large-scale costume dramas based on real historical characters continue to dominate demand across Asia and beyond."
Looking ahead, what are your priorities and objectives for 2026 as you continue to develop the company's global footprint?
"Our priorities remain clear: to provide audiences worldwide with captivating, emotionally engaging stories that inspire empathy and immersion in the lives of their characters."
By Romina Rodriguez
RICHARD BRADLEY, CO FOUNDER AND CHIEF CREATIVE OFFICER, AND DANIEL PEARL , CREATIVE DIRECTOR, DISCUSS THE EVOLUTION
As part of All3Media, the British production company Lion TV has built a reputation for bold factual formats and premium documentaries that resonate across borders. From “Cash Cab” and “Horrible Histories” to titles like “Saving Venice” and “Alexander: The Making of a God”, the company evolves its storytelling for an audience that moves between television, streaming, and social media. In this conversation with Señal News, Richard Bradley, Lion TV’s Co founder and Chief Creative Officer, and Daniel Pearl, Creative Director, discuss the company’s creative philosophy, short form storytelling, and how factual producers can succeed in a world where TikTok and traditional broadcasters coexist.
How would you define Lion TV's current focus within the All3Media group?
RB: "Our mission has always been to tell true stories in a way that feels cinematic and authentic. Whether it's 'Alexander: The Making of a God' for Netflix or 'Saving Venice' for Sky, our goal is to create factual content that resonates globally while still feeling deeply human. The landscape has changed: audiences now expect the storytelling quality of drama, even in documentaries, and that's precisely where we've positioned ourselves."
How has the rise of streaming and new digital platforms influenced your creative process?
DP: "It's been transformative. Streamers like Netflix or Sky demand global storytelling, but social platforms like TikTok are teaching us new lessons about pace, tone, and how audiences engage with content. People are consuming history, science, and culture through 30 second bursts. You can't ignore that energy; it's reshaping how younger audiences discover stories."
RB: "We're experimenting with short form as both a marketing tool and a storytelling medium in its own right. TikTok and YouTube Shorts allow us to extend the life of our content, building communities around shows like 'Horrible Histories' or 'Homes Under the Hammer' and reaching audiences who may never watch linear TV. It's not about competing with those platforms; it's about learning from them."
What are the key ingredients for creating factual content that resonates worldwide?
RB: "Authenticity is everything. Audiences are incredibly sophisticated; they can sense when something feels forced. Even when we're producing large scale factual entertainment like 'Cash Cab' or 'Horrible Histories,' the human connection is what drives success."
DP: "That applies to every platform. The reason TikTok works so well is because it feels real and unfiltered. That same principle applies to premium factual: clarity, honesty, and emotion. In 'Saving Venice,' for instance, we weren't just talking about art restoration; we were showing people risking their lives to save a city. That emotional truth connects everywhere."
Lion TV operates across diverse genres, including history, documentaries, entertainment, and social formats. How do you balance scale and creativity?
RB: "That's one of our great strengths. We can make a global documentary series like 'Alexander: The Making of a God' and produce long running formats like 'Homes Under the Hammer.'
The ability to transition between premium factual and returning entertainment formats provides us with creative flexibility and financial stability."
DP: "It also keeps our teams creatively cross pollinated. The people who cut their teeth on 'Horrible Histories' bring playfulness to serious documentaries, while our factual filmmakers bring cinematic precision to entertainment shows. That exchange of ideas is part of our DNA."
By Roxana Alcalá & Diego Alfagemez
The International Academy of Television, Arts, and Sciences has launched an educational initiative aimed at young professionals seeking to deepen and accelerate their understanding of the evolving TV landscape and engage with leading experts in the field.
"The education initiative is an accelerator of growth for young television professionals interested in breaking into the international market. The goal is to equip the next generation of executives with the tools they need to be one step ahead in this fast growing industry and decode the global market dynamics driving the next era of television," the academy expressed.
The intensive educational module spans three days, where participants will immerse themselves in interactive sessions, expert presentations, and hands on exercises. The curriculum is strategically structured to balance thought leadership, practical learning, exclusive meetings, and collaborative dialogue. Each candidate must complete three global modules and one genre specific module to receive the final certificate of completion from the International Academy. Modules can be taken with some flexibility over time. "This initiative comes right at a time when the industry is going through one of its biggest shifts. The technology is rewriting the narrative with new codes, and we felt that creating
“The education initiative is an accelerator of growth for young television professionals interested in breaking into the international market”
this opportunity fell right into our mandate. It so happens that our former head of judging came from the education sector and had stepped down from running a group of TV & film schools when this idea came to fruition. He appeared as an obvious choice to spearhead the initiative, and we decided to move forward together again," the academy stated.
The program is led by Nathaniel Brendel, Director of the Education Initiative at the International Academy of Television Arts & Sciences. It is tailored for junior executives within the television industry and for companies that aspire to empower their teams and invest in the development of future industry talent. "Candidates must apply. They are often recommended by an International Academy member or juror, and need to send a short personal statement. The program consists of 6 in person modules, all focusing on crucial aspects of production. Each of these 3 day modules will take place before a major industry event around the
world, making attendance easier for young industry professionals. Applications are submitted online through our website and are already being accepted for any of the upcoming modules," the academy explained.
Among the key benefits and objectives, the education initiative aims to gain a comprehensive perspective on emerging trends, viewer analytics, and content consumption in global television markets, and explore the disruptive impact of generative AI, data analytics, and new marketing strategies on content creation and distribution. Furthermore, it seeks to develop actionable strategies for international content sales and marketing and engage in high level discussions with Emmy nominated professionals and international industry leaders. It also aims to establish and strengthen connections with peers and potential collaborators from around the world. By the end of this module, participants will be able to analyze different current global TV market trends and identify opportunities for their own company. "The idea is to bypass the legendary 'learning the hard way,' and help the young professionals understand the mechanics of today's industry. With this initiative, students can strengthen their critical skills as well as their decision making abilities," the academy detailed.
By Diego Alfagemez
DEAN DEVLIN, CEO OF ELECTRIC ENTERTAINMENT, REFLECTS ON THE ROLE OF LINEAR TELEVISION IN TODAY’S FRAGMENTED MARKET, THE SUCCESS OF “THE LIBRARIANS: THE NEXT CHAPTER” AND “THE ARK,” AND HOW OPTIMISM AND ESCAPISM REMAIN KEY ELEMENTS IN THE COMPANY’S STORYTELLING.
In an era where major Hollywood studios are restructuring or considering the sale of their Pay-TV business units, Dean Devlin, CEO of Electric Entertainment, stands firm: “Cable TV in the United States is not dead.”
For the producer, who currently has two successful titles on linear television, “The Librarians: The Next Chapter” and “The Ark,” Pay-TV still plays a vital role in today’s entertainment ecosystem. “There are all kinds of new ways to be entertained and all kinds of different screens to take our attention, and that’s great. But one doesn’t have to eliminate the other,” he said. “In times of pandemics, wars, economic strife, and political division, sometimes the average person needs to just escape for an hour. An excellent escapist piece of entertainment can take you away and reduce your stress, and I think it has a real role,” he added.
Devlin believes that while
streaming has transformed viewing habits, there’s still a large audience that prefers the traditional, relaxed TV experience. “It’s a great experience to sit down, have dinner, and choose what to watch. Sometimes you just want to fold your laundry and watch television. Sometimes, you don’t want to make a choice. We’re starting to see a slowdown in the erosion of linear TV. It’ll never be what it was, but it will still have a place in our lives. Many people want a lean-back experience, not always a lean-in experience,” he explained.
For Devlin, this balance between tradition and innovation is also reflected in the success of Electric Entertainment’s productions across both linear and streaming platforms. “The nicest thing people say about our shows is that they feel relief watching something that’s actually optimistic, a show that makes you feel good at the end. That’s not to take anything away from dark, edgy, intense shows; those are great. But sometimes you need something where the bad guys get punched in the neck and the good guys win,” he asserted.
This year marks a significant milestone for Electric Entertainment: its 25th anniversary. Devlin described the moment as both humbling and inspiring. “It’s overwhelming to hit that milestone. We’ve seen so many independent
companies fall by the wayside, especially recently. It’s very hard to be independent. I’m filled with gratitude for our partners and fans who have supported us. We can only make shows if people allow us to,” he highlighted.
Looking ahead, Devlin revealed that the company is expanding its slate with new seasons and original productions. “We just finished shooting season three of ‘The Ark,’ which we’re really excited about for next year. We’ve also wrapped season two of ‘The Librarians,’ and we’re launching our first two original shows on our FAST channel, ElectricNow. One is an adult animated series called ‘Sloane and the Cosmic Schlep,’ and the other is a single-camera comedy titled ‘The Poly Couple,’” he concluded.
By Romina Rodriguez
SIMON TCHOKONTE , CEO AND FOUNDER OF DALINO MEDIA, DETAILS THE COMPANY’S RAPID GLOBAL EXPANSION SINCE ITS LAUNCH IN 2024, ITS STRONG PRESENCE ACROSS MAJOR TV AND FILM MARKETS, AND ITS MISSION TO SERVE AS A ONE-STOP SHOP FOR INTERNATIONAL BUYERS.
Established in October 2024, Dalino Media has already built a catalogue of 70,000 hours of content across all genres and sold over 50,000 hours globally, while expanding its buyer network to 145 countries. With a presence at 24 international markets in its first year, the distributor continues to strengthen its global footprint.
Señal News chatted with Simon Tchokonte, CEO and Founder of the company, who outlines his key objectives for the event—including acquiring content for Dalino Media’s upcoming global streaming platform and sourcing series and films from Asia, Europe, Africa , and America for clients worldwide. He also discusses the company’s mission to support independent producers internationally and highlights the challenges ahead, from the rise of AI-generated content to growing demand for YouTube rights.
As you prepare for ATF, what are your main objectives for the event?
“ATF is among the Top 3 most
important TV markets in the world. It is a must-attend market for me. I am attending ATF this year to acquire content for our new streaming platform that is launching globally. I am looking for content of all genres (Films, TV series, Sports, Animation). I will also be looking for Turkish, Filipino, Korean drama series, Microdramas, Animation, Films for my buyers in Europe, Africa and Asia. Any company looking forward to exploring African, European, and US markets can reach out to us.”
Will you use ATF as a platform to highlight certain region-specific content or stories that reflect Dalino Media’s global footprint? “Although we acquire content, Dalino Media is a distribution company with buyers in 145 countries including Asian, European, African and American territories. We have a catalogue of 70,000 hours of all genres (Feature films, TV Series, Documentaries, Animation, Lifestyle). We are a onestop shop for buyers looking for international content. Our mission is to help all the independent producers from across the globe to have their content delivered to every region of the world. Our content are sourced from Asia, Africa, Europe, America and we distribute them to every corner of the world.”
How could you describe this year for your company?
“This year has been a very
successful one for Dalino Media. Founded in October 2024, Dalino Media managed to acquire 70,000 hours of content for Distribution in such a short period of time. We sold over 50,000 hours of content globally. We attended 24 TV & Film markets in 12 months (MIPCOM 2024, SICA Abidjan, ATF Singapore, India, EFM Berlin, MIP London, Joburg Film Festival, Cannes Film Festival, Uganda Film Festival, BCWW Korea, TIFF Toronto, MIP Africa, DICM Dubai…). We released many movies in cinemas across Africa. All the success got us interviews on major TV channels such as CNN and Radio France Internationale / France 24.”
What will be the main challenges you have to face next year?
“Keeping up with the acquisition of great content for our clients. There will be more AI content. The question is, will TV channels start buying AI content next year? If yes, would it have an impact on the current market pricing? Another challenge is that clients are also looking for YouTube rights in addition to the TV rights. It is not always easy to convince our producers to grant Youtube rights, although it is a great income stream.”
By Romina Rodriguez
ZOE STINSON, ACQUISITIONS AND PRODUCTIONS EXECUTIVE AT TVF INTERNATIONAL, HIGHLIGHTS THE COMPANY'S GROWING INTERNATIONAL REACH AND ITS RENEWED FOCUS ON COPRODUCTIONS, WHILE KEEPING DISTRIBUTION AT THE HEART OF ITS BUSINESS.
ith a new slate of 120 hours of factual content and a robust international sales division, TVF International continues to strengthen its position in the global distribution landscape. The company introduced several new titles to the market, including "The Ozempic Effect," a CBC documentary that represents the first in-depth investigation into the meteoric rise of the so-called wonder drug everyone's talking about: Ozempic. "We're only just beginning to find out what the side effects are. It goes into much detail about not just the health side effects, but also the social effects," said Zoe Stinson, Acquisitions and Productions Executive at TVF International. Covering the scientific breakthroughs behind the drug as well as its potential social impacts, the film follows real-time weight loss stories to reveal how Ozempic rewires the body to think differently about food. It also explores the drug's
potential in treating a wide range of addictions, from drugs to gambling and sex.
TVF is also promoting "Escape From Chernobyl: 48 Hours That Changed The World," a Channel 4 and SBS documentary produced by Like A Shot Entertainment. The film dives into the first 48 hours of the Chernobyl disaster, from the fateful safety test that triggered the explosion to the heroic divers who risked their lives to prevent a second, far more catastrophic blast, and the evacuation of Pripyat, the city of 50,000 residents suddenly forced to leave everything behind. "It's coming out for the 40th anniversary next April, we're really excited about that, and it's getting a lot of pre-sale interest," Stinson said.
The company has returned to production with "Great British Train Journeys From Above," a series that uses cutting-edge drone technology to showcase the UK's most iconic steam train routes from a unique aerial perspective. "It's our first original production
in about 20 years," noted Stinson. In Scotland, the Jacobite Steam Train, better known as the Hogwarts Express, travels through the Highlands, uncovering the fascinating history of the Jacobite Rebellion. In Wales, the Mountain Spirit traverses stunning coastlines and ancient oak woodlands along the Ffestiniog Railway through Snowdonia National Park. And in England, the North Yorkshire Moors Railway takes viewers from Whitby to Pickering, transporting them back to the golden age of steam, while the West Somerset Railway scales rolling hills to tell the story of its great engineer, Isambard Kingdom Brunel. "We made the series because this year is the 200 th anniversary of train travel," she explained.
TVF International recently announced multiple sales deals across Asia and Scandinavia, but its ultimate goal remains to be as international as possible. "We have ten people working full-time in Sales, which is many people, especially for an independent distributor that is focused solely on unscripted," said Stinson. "We really do aim to have as broad a reach as possible. We are always looking for new partners to work with and ways to expand our footprint," she added.
According to Stinson, in 2025, the company placed a significant focus on pre-sales, co-productions, and international reversions. "It's definitely not going to become the core part of our business. Distribution will remain our core focus," she emphasized.
By Romina Rodríguez
