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VERTICAL: ADAPTING CLASSIC LONG-FORM IP TO MOBILE

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MIPCOM 2026

TRENDS THAT SHIFT ENTERTAINMENT FORMATS

ZDF AIMS TO CONNECT CREATIVITY AND FINANCING

#258 ∙ YEAR 26 ∙ OCTOBER 2026

VERTICAL CONTENT

ADAPTING LONG-FORM IP TO MOBILE Executives from COL Group, ReelShort, Globo, Gennial, RoseBerry Media, Banijay Rights, and Fremantle analyze the transformation of traditional content into vertical microcontent.

They explore the technical and creative aspects of visual reframing, the restructuring of narrative pacing, and the emerging monetization models unlocked by adapting extensive IP libraries.

FOCUSED ON GLOBAL GROWTH

CREATIVITY, FINANCING, AND MARKET ACCESS

A BROADER GLOBAL APPROACH

INTER MEDYA

Can Okan, Founder and CEO of Inter Medya, analyzes the global potential of "Caged Love," the first co-investment title with Rise Studios, and defines the company’s focus for the microdrama business.

ZDF STUDIOS

Tim Gerhartz, Chief Commercial Officer at ZDF Studios, highlights the company’s key growth drivers in a highly competitive global distribution market.

CALINOS

Ismail Dursunov, Deputy General Manager at Calinos, describes the main launch of Mipcom, “Ugly,” and explains the strategy behing the company’s international catalog expansion.

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NUMBER OF US-PRODUCED SERIES ORDERS, LINEAR VS VOD, 2020-2025 1716

1756

1556 1388

1131

931

26%

1773

1144

1304 Linear

767

775

678 VoD

2020

2021

2022

2023

2024

2025

ACCORDING TO THE LATEST AMPERE DATA, BETWEEN 2022 AND 2025 USPRODUCED LINEAR ORDERS DROPPED 26%, FROM 1,773 TO 1,304 — A FAR SMALLER DECLINE THAN VOD.

Source: Ampere Commissioning

SCRIPTED

13%

FREE-TV COMMISSIONING LEVELS HAVE BEEN PARTICULARLY RESILIENT, DROPPING JUST 13%.

41%

PAY TV REDUCED ORDERS FROM 1,144 TO 678 TITLES (41%) BETWEEN 2022 AND 2025.

Scripted orders in the USA, however, have recovered well, increasing 11% from 236 to 262 between 2023 and 2025, with linear commissioners targeting existing IP with large fanbases for low-risk content, such as franchise comedies “The Simpsons” and “American Dad” for multi-season orders.

KOREA’S SLL AND MEDIAWAN CLOSED IP DEAL Korea’s SLL and Mediawan have signed a partnership to exchange content IP across Korea and Europe and develop co-productions for the global market. The two companies will explore each other’s scripted catalogues to identify titles with strong remake potential in Europe and Korea. They will also pursue co-productions that pair their creative and production resources with their respective regional networks. They aim to develop stories rooted in Korean and European cultures that can travel across markets. ∙

JC ACOSTA, NEW HEAD OF TELEMUNDO STUDIOS Telemundo appointed Juan C. (JC) Acosta as Head of Telemundo Studios. In this new role, Acosta will lead Telemundo Studios’ growth strategy and develop and produce scripted content for all linear and streaming platforms. He will build, scale, and monetize Telemundo Studios’ long- and shortformat scripted content, including drama series, vertical formats, and feature films, among others. He will also develop and manage long-term business plans, annual operating models, and greenlight evaluation frameworks across all studio verticals. ∙

SPHERE ABACUS ACQUIRED ROCKET RIGHTS/RIGHTS BOOSTER Bell Media’s Sphere Abacus has completed the full acquisition of digital distribution rights agency Rocket Rights/Rights Booster. Following the transaction, the acquired entity will operate under the new banner Rocket Booster, a Sphere Abacus company. Rocket Booster is set to spearhead the growth of all multi-platform, digital, and social media distribution across the joint catalogs of Sphere Abacus and Rocket Booster. Meanwhile, traditional broadcast and licensing operations for both portfolios will continue to be managed directly by the Sphere Abacus sales team. ∙

BOAT ROCKER APPOINTED NOEL HEDGES TO LEAD GLOBAL ACQUISITIONS

BANIJAY UNVEILED NEW DISTRIBUTION LEADERSHIP AFTER ALL3MEDIA MERGER

Boat Rocker Studios has appointed Noel Hedges as SVP, Global Acquisitions and Content Strategy, in a newly created role focused on expanding the company’s content portfolio. Hedges will be based in London and report to Jon Rutherford, President, Global Content & Rights. Hedges will oversee strategic IP acquisitions, rights ownership and co-production partnerships, with a remit to increase the long-term value of Boat Rocker’s owned and third-party content. He will join the company in early October and attend Mipcom with the Boat Rocker team. ∙

Banijay Entertainment has introduced its newly combined distribution business, Banijay Rights, following its merger with All3Media International. The division represents 265,000 hours of content and serves more than 1,200 global clients. Led by Chief Executive Officer Cathy Payne, the ƒnewly appointed, cross-territory leadership team includes Matt Creasey as Senior Executive Vice President, World excluding EMEA; Stephen Driscoll as Senior Executive Vice President, EMEA; Rachel Job as Executive Vice President, Content; Shaun Keeble as Senior Vice President, Monetisation; and Andrew Dickens as Executive Vice President, Communications & Marketing. ∙

BBC STUDIOS NAMED SALLY HABBERSHAW PRESIDENT OF GLOBAL DISTRIBUTION BBC Studios has appointed Sally Habbershaw as President of Global Distribution, a newly expanded London-based role overseeing the company’s worldwide content sales business. Habbershaw joins from Mediawan, where she served as Chief Distribution Officer. In her new position, Habbershaw will oversee commercial strategy, content investment priorities and route-to-market planning across genres and territories. She will work with BBC Studios’ Scripted, Unscripted, Global Productions, Kids & Family and Audio divisions to maximise the value of its content portfolio and expand relationships with broadcasters and streaming platforms.ansión de colaboraciones de branded content. ∙

MEDIAPRO WILL BECOME IMAGINA AFTER RETURNING TO GROWTH Sergio Oslé, Executive Chairman at Grup Mediapro, and Carlos Núñez, CEO, announced at an internal meeting that, following several months of restructuring, the group has now returned to a path of growth. The most immediate step is to launch new projects that create unique experiences for audiences around the world and to finance this growth with the company’s own generated funds, which will total more than € 100 million over the next three years. The 2026 transformation process will symbolically culminate on January 1, 2027, when Grup Mediapro will be renamed Imagina. ∙

O MANCUSO

THE FUTURE

PLENTY OF HOURS. HOW MUCH BUSINESS?

platform reports billions of hours watched. A chart appears, someone declares a winner, and LinkedIn does the rest. We are very efficient at turning big numbers into victories. Here is the question nobody asks: how much is all that worth? We can have a large audience, plenty of buzz, and a very unpleasant meeting with finance. One hour of live football, one hour of tutorials, and one hour of videos playing while someone cooks all last the same. The clock has no preferences. The market does. Time spent tells us how much people watched. The problem starts when we ask it also to tell us how much that viewing is worth. We put viewers, advertisers, and distributors in the same basket, as if they were all buying the same thing. Convenient. But each expects something different from those minutes. In advertising, reach matters. But so do context, attention, and the chances of getting a response. In subscriptions, viewing matters, but so does what makes someone sign up and what keeps them from canceling. Comparing these businesses only through hours leaves out much of the explanation. Still, we use viewing rankings to decide who won the entertainment battle. Then we take another

leap: which content deserves investment, which platform should get more advertising, or which channel no longer belongs in a package. The chart can be perfectly correct. The conclusion, not necessarily. Think about someone who pays for a service to follow their team. They may only use it a few hours a week, but those hours justify the subscription. Another customer may watch much more and cancel as soon as a promotion ends. The second wins on minutes. To understand who brings more value, we need more than a stopwatch. That doesn't mean every title with a small audience is a misunderstood masterpiece. Sometimes few people watch because few people care. Calling it “premium” won't solve that problem. That word has worked hard enough. It deserves a vacation. The challenge is to show what content contributes. Does it attract customers, help retain them, generate advertising revenue, or reach an audience the rest of the offer doesn't? We don't always have enough information to know. In Pay TV, a channel is part of a package. We should understand its viewing share and its role within that offer. In streaming, a title may attract subscribers or find its audience long after release. One measure makes reporting easier. It doesn't necessarily make decisions better. Consider the theatrical

market of 2026. Five films have crossed $1 billion worldwide: “Spider-Man: Brand New Day,” “The Odyssey,” “Toy Story 5,” “Michael,” and “The Super Mario Galaxy Movie.” Just five films. Billions in ticket sales. Compare that with platforms reporting millions of hours watched, and the question becomes obvious: how much money did those hours actually generate? This is not a direct comparison between business models. That is precisely the point. A viewing total tells us how much people consumed. It doesn't tell us how effectively that consumption became revenue. For those of us buying, selling, and distributing content, that is the discussion. Collecting more hours won't answer those questions on its own, even if it looks spectacular in a presentation. In Cannes, we will talk about stories, rights, catalogs, and audiences again. All of that matters. So does the difference between getting people's time and building a business with it. Those are not the same deal, and we should know it.

SHAPIRO

OPINION

THE LAST MAP

or the past six years, I have mapped and remapped the media universe. Each month, I redraw the media landscape, using Excel and PowerPoint, wading through all the earnings reports and market caps of the 173 companies represented on the map. I have created more than one hundred versions of the map over the last six years. It is both particularly painstaking and exceptionally educational. The latest, and last ever Media Map is here. That’s because on October 14, live and on stage at MIPCOM, I will release a new, entirely automated, and user-driven app-based version of the Media Universe Map. This will allow users to navigate and drill into the map and the data on their own course – double-clicking on companies, organizing the planets by scale, even going back in history to explore what the industry map looked like going back a decade. We didn’t reimagine the Media Map as an automated app to save me work (believe me the creation of this app has been far more work). Rather, this shift, to the consumer (you) and out of the hands of the gatekeeper (me), is a perfect reflection of this very moment in media.

When I dropped the first map, in 2020, it was not meant to predict anything. It was meant to show the landscape, as it actually was – a view that was in direct conflict with how the industry saw itself. My intention for that original map was to show the media community what was happening all around them: Big Tech had seized the gravitational center of the media ecosystem. With each version of this infographic since, the center of gravity has shifted further toward the Big Tech Death Stars and away from mainstream media in Hollywood. (For perspective, at its last

OPINION valuation, OpenAI, a company without a demonstrable business model, is now worth more than Netflix, WBD, Paramount, Disney, Fox, and Comcast, combined.) Today, for myriad reasons beyond this map, the universe on this map is on the brink of its most seismic changes since I began my cartographic career. After a decade of first ignoring and then misunderstanding what truly ails them, mainstream media is now, aggressively, contracting: the Paramount/Disco Bros nuptials, the Sky + ITV merger, and FOX’s acquisition of Roku are demonstrable symptoms of this constriction. However, simultaneously, Big Tech is facing its own existential crisis – exemplified by the ginned-up valuations and apocalyptic premonitions about AI that have sucked all the oxygen out of the global economy, inflating a massive hype-bubble akin to the first dot-com era. Ironically, my new, user-controlled Media Map shows, starkly, what both Big Tech and Big Media get so wrong about the media universe today: they are NOT in charge. Neither David Ellison nor Mark Zuckerberg is master of this universe any longer – the power and control of the world’s media and entertainment is now entirely in the hands of the consumer, not the C-Suite. This is, now, the User-Centric Era.

The audience – the people of Earth – are now in total control of what they consume, how they consume it, where they are when they watch or listen, and how much (or not) they will pay for the information and entertainment they consume. That’s why, last year, premium streaming lost 89% of the gross new subscribers it acquired.

After a decade of first ignoring and then misunderstanding what truly ails them, mainstream media is now, aggressively, contracting: the Paramount/ Disco Bros nuptials, the Sky + ITV merger, and FOX’s acquisition of Roku are demonstrable symptoms of this constriction. It’s why subscription revenues have plateaued, and ad-supported content, including social media, and YouTube on TV, is now the fastest growing segment of the entertainment economy.

Just as they did six years ago, many of our industry’s most powerful deciders are entirely misreading the current moment. This is because they – Big Media and Big Tech – refuse to listen to their own consumers. Subscription fatigue was inevitable, as was the radical decentralization of content consumption. This is why Hollywood can’t seem to figure out streaming and why Silicon Valley has fallen hard for the lie that individual people will subscribe to AI (exactly the way dot-commers believed people would pay for email). But our CEOs and CFOs are too obsessed with “shareholder value” to hear what their audience is telling them, every day. The single, most important rule of the User-Centric Era is: Put your Consumers at the center of everything you do. Let them guide you to the model that makes the most sense. We are no longer in charge. The power in the Media Universe now rests entirely with the people who we are supposed to serve. And that is why I’ve redrawn my media map, to take me out of it and give YOU control. By Evan Shapiro, Media Cartographer

OVERVIEW

WHAT ARE THE BIGGEST MEDIA AND ENTERTAINMENT FRANCHISES? MARVEL, STAR WARS (BOTH OWNED BY DISNEY), HARRY POTTER, POKÉMON, AND DC COMICS RANK AMONG THE TOP FRANCHISES BECAUSE OF THEIR ONGOING PRODUCTION PIPELINES, MERCHANDISING POWER, AND WIDESPREAD LIVE SPINOFFS, INCLUDING THEME PARK ATTRACTIONS AND LIVE EVENTS.

s there anything new under the sun in the entertainment industry these days? The answer is yes, but you would be forgiven for thinking studios, broadcasters, streamers, and game developers are more likely to mitigate risky investments in new content by sticking to tried-and-trusted properties with established audiences and a track record of success. Streamers Netflix and Prime Video are a good example of the trend. Omdia identified 30 new projects announced by the two companies that are in development or production, based on existing movies, computer games, toys, or books. These include new TV series based on “Assassin’s Creed,” C.S. Lewis’s Narnia books and the board game “Clue” from Netflix, and reboots of “The Pink Panther” and “RoboCop,” plus the TV series “God of War” and “Bob the Builder” from Prime Video. Omdia analysts specializing in cinema, TV, and games put their heads together to create a list of the top 250 media and entertainment franchises in the world today. They ranked each franchise by success in each sector (based on box office, unit sales, and renewals), as well as by its consumer products, live experiences, and potential. Omdia used a points system rather than ranking by revenue, since publicdomain numbers vary and are almost nonexistent for television. (What is “Game of Thrones” worth to HBO? It entirely depends on how Warner Bros. decides to account for it.) 26

It may be no surprise that the five top-ranked properties were Marvel, Star Wars (both owned by Disney), Harry Potter, Pokémon and DC Comics, based on their continuing production pipeline, merchandising power and ubiquitous live spinoffs including theme park attractions and live events. Film (24% of the top 250) and TV (16%) led, but toys, games, and books were close behind (each at 14%). However, our list went well beyond traditional sectors, including new IP originating on social media or other online platforms like “Obsession," “Backrooms” and “Mr Beast." Japanese content features heavily (second only to the US as a source of IP), thanks to a proliferation of manga, anime, computer games, and toys. We also identified major sports like the NFL and Formula One (both heavily engaged in building their brands in film and TV), as well as music IP (Taylor Swift, Michael Jackson, and ABBA). KEY FINDINGS: » Of the top 250, film contributed 70 titles, followed by TV (47 titles). Games and toys contributed 42 titles each, and books, 41. The rise of toys reflects the increasing direct investment of companies like Lego, Hasbro, and Mattel in adapting their IP for film, TV, and games.

» The top 20 franchises are dominated by legacy powerhouses derived from a range of sectors, with two each from books (Harry Potter, Middle Earth) and comics (Marvel, DC). Notably, three are from games: Pokémon, Minecraft, and Super Mario. Manga and anime account for three of the top 20, including Dragon Ball and One Piece. » Anime has the highest average score across sectors (73%), despite only three titles appearing in the top 250. Many anime are based on manga, which also scores highly (61% from 23 titles in the top 250), reflecting Japanese industry expertise in managing IP across multiple sectors. » The US was the leading source of IP with 153 titles (57%) spanning film (64), TV (26), games (16), and toys (10). Japan provided 50 titles (19%) to take second place overall, with manga (23) and gaming (17) leading as sectors of origin. The UK placed third, led by books (19), reflecting its literary heritage (Harry Potter, Paddington, Beatrix Potter, Sherlock Holmes). » Future potential was assessed on the scope for further development through new films, TV series, or games. While Marvel and Star Wars are mature properties, they scored highly because of a crowded upcoming slate of films, TV spinoffs, and games, plus toy lines and live experiences. Music and sports properties, while few in number in the top 250, score highly on future potential, mainly due to prospects of building their brands in entertainment (for example, the NFL and Taylor Swift). By Omdia

OVERVIEW

VERTICAL CONTENT: ADAPTING LONG-FORM IP TO MOBILE SCREENS EXECUTIVES FROM COL GROUP, REELSHORT, GLOBO, GENNIAL, ROSEBERRY MEDIA, BANIJAY RIGHTS, AND FREMANTLE ANALYZE THE TRANSFORMATION OF TRADITIONAL CONTENT INTO VERTICAL MICROCONTENT. THEY EXPLORE THE TECHNICAL AND CREATIVE ASPECTS OF VISUAL REFRAMING, THE RESTRUCTURING OF NARRATIVE PACING, AND THE EMERGING MONETIZATION MODELS UNLOCKED BY ADAPTING EXTENSIVE IP LIBRARIES.

n a global market where microdramas reached $11 billion in 2025, with China accounting for 83% ($9.2 billion), the vertical format is rapidly redefining international content distribution. According to Omdia, the sector will generate $3 billion outside China this year alone and is projected to reach $22 billion globally by 2030, with one-third of total revenues originating from international markets. Driven by this momentum, media companies are no longer just producing original short-form titles; they are actively adapting proven, long-form IP into short vertical experiences. Fundamental questions guide these strategic moves: How are companies decoding a longform title into vertical short content? Which stories are truly adaptable? How can these projects be monetized, and who are the key strategic partners? To address these issues, Señal

News spoke with Zheyu Liang (COL Group), Sammie Hao (ReelShort), Adriano Mello (Globo), Adrián Garelik (Gennial), Guy Hameiri and Lior Friedman (RoseBerry Media), Shaun Keeble (Banijay Rights), and Lisa Honig (Fremantle). The trend of bringing high-profile IP into vertical environments is already proving successful through high-caliber industry partnerships. A landmark example is the strategic alliance between ReelShort and WWE, which joined forces to produce an original live-action microdrama. “We’ll preserve the core DNA of WWE: big personalities, high-stakes rivalries, action, drama, and larger-than-life storytelling. We take the action, excitement, drama, and intensity of WWE programming and bring it into the fast-paced world of vertical dramas, adding heightened romance, emotional stakes, and addictive cliffhangers designed for mobile viewing,” explained Sammie Hao, Head of Talent & MICRODRAMAS GLOBAL REVENUE, 2025 Business Development at ReelShort. “Our entertainment partnerships, including WWE, and our growing slate of book SA O China M A adaptations demonstrate how recognizable MIE H $1 bn IP can enter the vertical space while preserving US what existing fans love and introducing these stories Japan to new, mobile-first audiences and exploring more $ UK billion opportunities across genres and markets,” Hao added. Simultaneously, Latin American players are actively South Korea testing classic and true-crime properties. Argentinian $9.2 Others platform Gennial is currently producing vertical bn Source: Omdia microdrama versions of classic literary works such as

GLOBAL MICRODRAMA REVENUE, 2022-2030 25

22.3

Revenue ($billion)

11.0 10

3.5

2022 2023 2024 2025 2026 2027 2028 2029 2030 Source: Omdia

"Frankenstein" and "Wuthering Heights," alongside a vertical adaptation of the film based on the Nahir Galarza case. Adrián Garelik, Co-founder and CEO of Gennial, highlights the dual value of this approach. A DR K I “There is a very powerful L IÁN GA R E back-and-forth between both formats. Short-form can serve as a great IP laboratory. It lets you test characters, universes, conflicts, and tones much faster, understand what connects with the audience, and identify which ideas could later grow into a premium series or film. It also works in reverse. A long-form film or series can expand through microdramas, spin-offs, or parallel stories designed specifically for vertical screens. This makes it possible to reach new audiences, create new entry points for the IP, and draw part of that viewership toward the premium content,” he said. Highlighting the growing momentum of catalog adaptation, RoseBerry Media and Fremantle have taken “Neighbours” into the vertical market, reworking selected storylines from the long-running Australian soap into short-form, mobile-first series. Guy Hameiri and Lior Friedman, Founders of RoseBerry

Media, explained they applied RedSnapper, their AI workflow, to a 40-year, 9,300-episode archive to launch standalone vertical titles on Epis, the new global vertical streaming service.

Y H A M EI R I

RETHINKING VISUAL GRAMMAR Transforming a traditional horizontal show into a vertical microdrama involves far more than simply cropping a 16:9 frame down to a 9:16 aspect ratio. It requires completely re-engineering the visual narrative to suit how audiences view video on their phones. Zheyu Liang, Head of Production at COL Group, stresses that “from a storytelling perspective, the first question is: How do we use a narrower frame to tell the story just as effectively?” While horizontal filmmaking provides expansive space to stage multiple actors, vertical framing uses depth, angle, and vertical composition to communicate power dynamics. Crucially, vertical does not mean sacrificing cinematic quality. “The goal is for the frame to feel intentionally cinematic, not simply smaller,” ZH noted Liang. E Y U L I A NG Visual framing on a mobile device also requires careful technical adjustments. “We generally don't want every shot to be extremely tight, if the audience is constantly looking at giant close-ups, it can become visually exhausting. We still want to see body language, wardrobe, hands, movement, and the environment when they matter,” Liang pointed out. When re-editing legacy 16:9 catalog material, editors dynamically reposition the vertical window shot by shot, turning a single horizontal two-shot into two distinct vertical singles. “Ultimately, the best adaptation should 29

OVERVIEW not feel like a horizontal show that has been cropped for a phone. It should feel like the story was intentionally designed for the vertical screen from the beginning,” Liang emphasized. That systemic transition impacts the entire production pipeline. Adriano Mello, Artistic Director at Globo, says the biggest challenge in translating serialized telenovelas into vertical microdramas is adapting long-form narrative AD timelines to a medium where O L RI A NO M E L storylines unfold much faster. “It is thrilling to portray the intensity of a telenovela in a different way, which leaves us very motivated to test this format,” Mello shared. “So, in practice, there is an adaptation across the entire production chain. At the same time, however, the core remains the same. Globo isn't giving up on what it excels at: telling great stories and producing highquality drama. What changes is the language, which needs to align more closely with mobile phones,” he added. For Garelik, the visual and narrative transformation must start from the ground up. “The adaptation begins with the script: condensing storylines, accelerating conflicts, and restructuring the plot into short, high-density episodes with frequent cliffhangers,” he explained. “A good adaptation is not a reduced version of the original, but a new iteration of the same IP designed for a different screen and a different consumption habit,” he added. Detailing the exact process of adapting long-form catalog material, Guy Hameiri and Lior Friedman

outline how their studio operates: “It starts with selecting the right content with the right rhythm. We do this in partnership with the content owners. Then our creative team takes over, using our AI workflow, RedSnapper, which scans the library to map character arcs, storylines, and standout moments, so editors can quickly identify the strongest material rather than manually combing through archives. From there, it's full creative and technical rework: re-editing, reframing, and repackaging for short, vertical-native viewing, including music replacement, GFX/titles, and localization. It's never just cropping the frame LI to fit a phone screen; the story OR AN F R I E DM itself gets rebuilt around vertical pacing,” they stated.

RESTRUCTURING NARRATIVES In the microdrama ecosystem, where episodes typically range from 1 to 3 minutes, scriptwriting undergoes a radical transformation. Writers cannot simply cut a standard 45-minute episode into twenty smaller clips. TOP SHORT DRAMA APPS, BY DOWNLOADS AND REVENUE “We're not really shrinking traditional television. We're TOP 10 SHORT DRAMA APPS TOP 10 SHORT DRAMA APPS re-engineering its storytelling BY DOWNLOADS IN Q12026 (WORLDWIDE) BY REVENUE IN Q1 2026 (WORLDWIDE) engine for a different viewing FREEREELS DRAMABOX 1 behavior, one where attention is earned minute by minute, and REELSHORT REELSHORT 2 sometimes second by second,” NETSHORT NETSHORT 3 said COL Group's Zheyu Liang. Because viewers can swipe DRAMABOX DRAMAWAVE 4 away instantaneously, attention MELOLO GOODSHORT 5 must be earned within critical windows: the first 3 seconds, STORY TV SHORTMAX 6 the first 7 seconds, the first DRAMAWAVE FLICKREELS minute, and the first three 7 minutes. Each micro-episode KUKU TV MY DRAMA 8 operates on its own miniQUICKTV STARDUSTTV arc: Hook  Development  9 Escalation  Payoff/Reversal GOODSHORT FLAREFLOW 10  Cliffhanger. Compression 30

OVERVIEW is essential. “In micro-drama, we're much more aggressive about asking: Does this moment move the plot, deepen the relationship, increase the stakes, or create emotion? If it doesn't, it is eliminated,” asserted Zheyu Liang. Garelik echoes this need to redefine the fundamental narrative unit. “You have to change the narrative unit. In traditional television, you think in terms of the arc of a full episode; in a microdrama, every single minute needs its own journey,” he explained. “The key isn't just speeding things up, but increasing the dramatic density: less exposition, fewer transition scenes, and more moments that change the status quo. Each short episode needs to feel like a small, satisfying unit while simultaneously leaving something open that makes watching the next one inevitable,” he added. Similarly, Adriano Mello notes that microdramas demand a more dynamic narrative where editing plays a critical role in tailoring long-form melodrama for micro-moment consumption. WHAT CAN AND CANNOT BE ADAPTED? Not every celebrated television series or film suits conversion into a vertical microdrama. Determining whether a library title possesses the necessary engine for short-form adaptation requires evaluating specific narrative ingredients. “Microdrama works particularly well when you can understand the central conflict very quickly,” Liang said. Stories built around powerful human desires and high emotional intensity translate exceptionally well, as vertical storytelling is inherently intimate. “This is extremely important when adapting existing content. We ask: How frequently does something meaningful happen? Does the story continuously generate discoveries, confrontations, reversals, romantic escalation, secrets, betrayals, victories, losses, or changes in power?” Liang added.

In terms of genres, high-stakes relationship stories lead the market. “Romance remains one of the strongest genres in vertical storytelling because it naturally lends itself to emotional intensity, escalating conflict, and compelling cliffhangers,” Sammie Hao stated. Furthermore, adaptation strategies do not always require strict adherence to original storylines. “I don't think we need to stay tied to the original structure either. Often, the most compelling approach is to take the universe, characters, or certain recognizable elements of an IP and build new storylines, new characters, and new conflicts specifically designed for vertical screens,” Garelik pointed out. Highlighting the unique demands of mobile consumption and rights management, RoseBerry Media's founders emphasize: “Not every long-form title translates. Vertical needs shorter, self-contained story arcs, faster pacing, and constant hooks or cliffhangers. On mobile, the competition isn't another streaming service; it's your WhatsApp, Uber, or email. Interestingly, some of the best candidates are overlooked catalog titles rather than obvious hits: older daytime content originally built around frequent ad breaks often already has the twists and turns needed to

SHORT DRAMA APP SESSIONS AND TIME SPENT D0

D14

D30

Short drama app sessions per user per day Q1 2026

Short drama app time spent per user per day Q1 2026

OVERVIEW keep a mobile viewer engaged. Crucial business hurdles are rights, music, talent, and residuals. All need to be reviewed, cleared, or adapted specifically for the new format and distribution windows; they don't just carry over,” Hameiri and Friedman explained. BUSINESS MODELS AND MONETIZATION A central question for distributors is whether vertical adaptations drive measurable streaming traffic back to original long-form versions. As Shaun Keeble, VP Digital at Banijay Rights, explains: “A vertical version could act as a discovery point for an audience that has never encountered the original program and potentially encourage some viewers to seek out the full-length series. Vertical viewing may also function as a distinct consumption experience rather than simply a promotional funnel. We therefore see it first as an incremental audience and revenue opportunity, with any uplift to long-form viewing representing a valuable additional benefit.” Lisa Honig, EVP Program Distribution, North America at Fremantle, agrees that vertical acts as a brand builder: “I would view this as a potential opportunity rather than an automatic outcome. Instead, I think we should be seeing vertical as a tool to help build a wider universe of content and brand awareness,” she stated. Honig notes that while vertical series allow rights owners to LIS A HON IG create new character-driven side stories. “We are still exploring and testing cross-platform behavior rather than assuming a direct conversion from vertical content to long-form viewing,” she said. Regarding monetization models, Shaun Keeble highlights that the market is testing advertisingsupported viewing, subscriptions, paid episode or coin-based unlocking, rewarded advertising, and hybrid arrangements. “For distributors, the commercial structures can include license fees or minimum guarantees, revenue shares linked to advertising and consumer payments, or hybrid arrangements,” Keeble added. “It's creating another monetizable layer around IP we already own or control. Vertical gives us a way to reach a mobilenative audience, test stories and characters at relatively low cost, create new advertising and transactional opportunities, and potentially reactivate the underlying library across other platforms,” SH LE AU N B E Lisa Honig emphasized. KE 34

CREATIVE CHALLENGES Despite the clear commercial potential, adapting legacy television shows into vertical formats presents distinct creative hurdles. Adriano Mello highlights that success requires overcoming creative resistance by embracing new production dynamics. “We see vertical productions as an arena for experimentation. Microdramas let us test formats, narrative styles, production models, and talent, from emerging names to actors who have starred in traditional soap operas. It offers a way to expand the horizons of television drama and foster new forms of engagement and connection with the audience,” Mello reflected. Another major hurdle involves condensing complex, slow-burn narratives without stripping away character depth. Adrián Garelik noted that the biggest challenge is preserving the original work's core identity without being held captive by its original form. Simply reframing wide compositions often falls short, requiring teams to rethink staging or create entirely new scenes. “This is where AI tools grant us far more freedom to adapt without having to produce everything from scratch,” Garelik concluded. Addressing the balance between technology and creative judgment, Guy Hameiri and Lior Friedman explained: “It's a genuine creative and technical rebuild, not a reformat. Music almost always needs replacing; editing has to be vertical-native, always identifying the right subject matter. Sometimes it's adding voice-over or graphics to tell a detail that would have taken a few scenes to tell. We're also watching AI closely as it becomes core to the workflow; it brings real speed and cost advantages in production, all while keeping a human in the loop. Ultimately, human-led taste, casting, and star power remain the biggest differentiators; the technology accelerates the work; it doesn't replace the judgment,” they proclaimed. By Romina Rodríguez

INTERVIEW

“WE PIVOTED TOWARD HIGH-VALUE CO-PRODUCTIONS, LOCALIZED ADAPTATION LICENSING, AND MULTIPLATFORM DISTRIBUTION FRAMEWORKS” CAN OKAN, FOUNDER AND CEO OF INTER MEDYA, ANALYZES THE GLOBAL POTENTIAL OF "CAGED LOVE," THE FIRST CO-INVESTMENT TITLE WITH RISE STUDIOS, AND DEFINES THE COMPANY’S FOCUS FOR THE MICRODRAMA BUSINESS.

ollowing the strategic deal established last December, Inter Medya and Rise Studios are producing their first co-investment title, "Caged Love." At Mipcom, Inter Medya will launch the show for global clients. Señal News spoke with Can Okan, Founder and CEO, to understand the title's potential and its role in the company’s catalog. How would you define Inter Medya's global expansion strategy? “Inter Medya’s global expansion strategy is anchored in diversification, strategic coinvestments, and scaling the footprint of Turkish storytelling beyond traditional linear broadcast blocks. Rather than relying solely on finished-content distribution, the company has pivoted toward high-value coproductions, localized adaptation licensing, and multi-platform distribution frameworks. By forging strategic alliances with international powerhouses like Rise Studios and expanding into fast-growing digital sectors such as microdramas, Inter Medya ensures long-term agility, mitigating regional market saturation while capturing younger, mobile-first audiences worldwide.” 36

What will be the main launches for Mipcom? “Inter Medya's catalog features powerful multi-genre flagships and innovative content formats. The headline launches are ‘Caged Love’ and ‘Black Sea, My Love.’ These are accompanied by fresh portfolio additions, including highprofile drama series, alongside a curated collection of vertical, short-form narrative content designed to capture the booming mobile entertainment ecosystem.” Inter Medya and Rise Studios closed a co-production deal. What are the business reasons behind that partnership? “The strategic partnership with Rise Studios was forged to bridge high-end Turkish production values with global co-financing capabilities and international distribution reach. Key business drivers include risk mitigation and cost-sharing for high-budget premium dramas; creative and cultural synergy that combines Inter Medya's deep expertise in traditional storytelling with Rise Studios’ market positioning; and accelerated global monetization through synchronized international distribution rollouts rather than sequential postbroadcast sales.”

 Can Okan

What is the global potential of "Caged Love," the first coinvestment with Rise Studios? “As the first co-investment asset with Rise Studios, ‘Caged Love’ possesses immense cross-border commercial viability. Its narrative blends classic elements of highstakes romantic drama, such as forced arrangements, hidden pasts, and forbidden loyalties, which traditionally resonate exceptionally well across Latin America, MENA, Central and Eastern Europe, and digital OTT platforms globally. Furthermore, crafted with international streaming standards in mind, its visual aesthetics and tight pacing make it an attractive acquisition for both traditional linear channels seeking prime-time tentpoles and global SVOD services looking for proven, addictive melodrama.” How has Inter Medya's microdrama strategy evolved in the past months? “Inter Medya's entry into the microdrama sector has evolved from an exploratory digital content experiment into a structured, dedicated vertical pipeline. Recognizing the explosive global rise of short-form, mobile-first video consumption, the company has rapidly built a specialized catalog of titles. This evolution focuses on tight, high-hook narrative structures tailored specifically for vertical viewing habits, enabling rapid user acquisition and new monetization avenues outside traditional broadcast windows.” By Diego Alfagemez

INTERVIEW

 Tim Gerhartz

“OUR KEY DIFFERENTIATOR IS OUR ABILITY TO CONNECT CREATIVITY, FINANCING, AND MARKET ACCESS”

TIM GERHARTZ, CHIEF COMMERCIAL OFFICER AT ZDF STUDIOS, HIGHLIGHTS THE COMPANY’S KEY GROWTH DRIVERS IN A HIGHLY COMPETITIVE GLOBAL MARKET AND OUTLINES ITS CO-PRODUCTION AND LICENSING STRATEGY TO MEET CHANGING FINANCING MODELS AND COMMISSIONING TRENDS.

DF 'Studios' strategy for Mipcom is backed by a deep catalog, including long-running, successful brands that attract broad audiences across genres. Señal News spoke with Tim Gerhartz, Chief Commercial Officer, to understand the German company's growth strategy. What are the key growth drivers for ZDF Studios' distribution business in today's highly competitive global content market? “The breadth and the proven track record of our content allow us to be a reliable partner for content platforms and broadcasters in many different regions. At the same time, we are well equipped to adapt to new business models in the digital space. For example, we currently operate a portfolio of more than 100 channels across AVOD, FAST, and SVOD platforms. We can also license these channel concepts and associated content to third-party platforms, creating opportunities beyond traditional content distribution. New opportunities continue to emerge as audience behavior and content trends evolve, whether it is microdrama, young adult as a genre, or other new formats and consumption patterns. As an integrated studio, we are well positioned to test and explore these emerging areas together with our partners, learn quickly, and develop new business opportunities around them.” How has ZDF Studios adapted its co-production and licensing strategy to meet changing financing models and commissioning trends? “In the current market, we are showing maximum flexibility as a company, while at the same time focusing on scalability in terms of brands and business models. The changing financing environment means that we increasingly need to be flexible about how projects are financed, structured, and brought to market. This includes 38

adapting our co-production and licensing models to the needs of different partners and markets, while making the most of the strength and scalability of our existing brands and IP. Our role can be different from project to project. We help turn creative ideas into international brands, whether our contribution is in development and creation, financing, distribution or, increasingly, digital distribution. This flexibility allows us to work with different partners and tailor our role to what a project needs to succeed internationally.” As production financing becomes increasingly complex, what distinguishes ZDF Studios from other European co-production partners? “I believe our key differentiator is our ability to connect creativity, financing, and market access. We have more than three decades of experience working with producers across Europe and beyond, and we understand what it takes to develop projects that resonate both locally and internationally. We bring expertise in development, financing, co-production structuring, and distribution, all within one organization. We build long-term partnerships. Producers are not looking for a sales agent at the end of the process. They want partners who can help finance a project, maximize its reach, and build long-term franchise value. That is exactly the role we aim to play.” How does the close collaboration between production and distribution teams influence project development, financing, and international sales potential from the earliest stages? “Collaboration between production and distribution is becoming much more fluid. Rigid divisions of roles, as we might have seen in the past, are breaking down. Today, ideas can come from anywhere and can develop in different directions depending on the opportunities that emerge in the market. As a company, we need to be flexible while focusing on scalable business models. We can strike this balance because we have been active in the market for more than 30 years and have a team of experienced and, importantly, still highly enthusiastic people who understand both the creative and the commercial side of the business.” By Diego Alfagemez

INTERVIEW

 Ismail Dursunov

“WE ARE CONTINUING TO BUILD A BROADER INTERNATIONAL CATALOG”

ISMAIL DURSUNOV, DEPUTY GENERAL MANAGER AT CALINOS ENTERTAINMENT, DESCRIBES ITS MAIN MIPCOM LAUNCH, “UGLY,” AND EXPLAINS WHY EXPANDING THE COMPANY’S GLOBAL CATALOG HAS ALWAYS BEEN A KEY PART OF ITS STRATEGY.

alinos Entertainment will have a splashy launch at Mipcom: “Ugly.” The company has planned a dedicated press conference for the series, where the international press will have the opportunity to meet the cast and directors and hear more about the story directly from them. Later that evening, Calinos and its global partners will join for a special event celebrating the series and the beginning of its second season. Señal News spoke with Ismail Dursunov, Deputy General Manager, to understand the power of this title and business focus for Mipcom. What are the expectations around the launch of "Ugly” at Mipcom? “We believe ‘Ugly’ has strong global potential because it combines a powerful love story with a deeply emotional character journey. At the center of the series is Meryem’s transformation as she faces love, betrayal, family conflicts, and difficult choices that gradually change the way she approaches life. These themes resonate across cultures and markets, and that emotional connection is one of the series’ key strengths. Together with its strong characters, dramatic storytelling and distinctive visual identity, we believe ‘Ugly’ has the elements to build a lasting connection with international audiences. Interest has continued to grow among our partners, and having the cast and creative team with us in Cannes gives us an important opportunity to bring the series even closer to the international market.” 40

What does it mean for Calinos to have added 12 Spanish-language titles from TIS Productions? “Expanding our international catalog has always been an important part of our strategy. We already represent content from territories such as Canada, Serbia and Romania, and adding 12 Spanish-language titles from TIS Productions is another significant step in broadening both the geographical and creative diversity of our catalog. It allows us to offer our partners a wider selection of stories, genres and languages alongside our Turkish content. Titles such as ‘Lynch,’ ‘The Envoys,’ ‘Pedal to Metal’ and ‘The Followers’ already have strong international recognition, and we are currently in conversations with several international partners. This partnership reflects how Calinos has evolved as a distributor. Turkish drama remains at the core of our business, while at the same time we are continuing to build a broader international catalog that can serve different buyers, platforms and markets.” Calinos will also launch “Salted Love” at Mipcom. What are the main characteristics of this series? “’Salted Love’ is a romantic comedy with a strong ensemble cast, which is one of the elements that immediately makes the series stand out. It brings together many well-known, much-loved actors in one story, supported by strong production quality and natural chemistry among the characters.

Another important strength is its humor. The comedy comes naturally from the characters, relationships, and family dynamics, which makes the story accessible beyond its local setting. We have already seen a positive response in Türkiye, as well as encouraging interest from our international partners. For us, the combination of romance, humor, family dynamics, and a strong ensemble cast gives ‘Salted Love’ the potential to connect with audiences across a wide range of markets.” Another addition for Mipcom will be Show TV’s “Love in the Ashes.” What is the show’s global appeal? “’Love in the Ashes’ has strong global appeal because it brings together many of the elements international audiences have traditionally connected with in Turkish drama: a powerful love story, complex family dynamics, secrets, conflict, and strong emotional stakes. It also has a very distinctive visual identity. Cappadocia gives the series a unique atmosphere and becomes an important part of the storytelling itself. Murat Ünalmış and Özge Özacar are already well known to international audiences and bring great strength to the story. The response in Türkiye has also been very strong. The series led across Total, AB, and ABC1 with its second episode, while also delivering a significant ratings increase across all three audience groups. For us, that combination of strong storytelling, a recognizable cast, distinctive setting, and proven local audience response gives ‘Love in the Ashes’ a clear position in the international market.” By Diego Alfagemez

INTERVIEW

ARD PLUS AND BAVARIA MEDIA SET SIGHTS ON GLOBAL DISTRIBUTION  Ingo Vandré

INGO VANDRÉ, MANAGING DIRECTOR AT ARD PLUS, DISCUSSES THE COMPANY’S UPCOMING MERGER WITH BAVARIA MEDIA AND ITS PLANS TO STRENGTHEN THE INTERNATIONAL DISTRIBUTION OF GERMANLANGUAGE CONTENT.

s the European streaming market continues to consolidate, ARD Plus is preparing for a major step with its planned merger with Bavaria Media. From 2027, ARD Plus Distribution and Bavaria Media International will combine their distribution expertise and content catalogs under one umbrella. Speaking with Señal News, Ingo Vandré, Managing Director at ARD Plus, discusses the new strategy, changing demands from buyers and audiences, and opportunities for German content in global markets. How does ARD Plus’ distribution strategy evolve with the industry? “One of our most important strategic steps this year is the merger with Bavaria Media. From 2027 onwards, we will combine the distribution expertise and extensive catalogs of ARD Plus Distribution and Bavaria Media International under one umbrella. This will position us as a key distribution partner for Germanlanguage content in both national and international markets. The market has become more competitive, but I also think this creates opportunities for strong, distinctive content. The key is not 42

trying to compete with the global platforms on volume. It is about quality, strong storytelling, and titles that have a clear identity. At ARD Plus, we have access to an incredibly broad catalog, from established, successful brands to new productions. From an international distribution perspective, our strategy is to identify the titles that can travel and position them individually for the right markets and partners. There is no longer a one-size-fitsall approach. We look much more closely at territories, platforms and audiences and try to find the best home for each program.”

How has your acquisition strategy adapted to the current industry? “Buyers are definitely more selective. Budgets are tighter in many markets, and there is much less appetite for buying content to fill schedules or libraries. Every title has to have a reason to be there. For our international line-up, I am therefore looking very closely at what makes a show different and

where I see a realistic market for it. Drama remains very important, particularly crime, mystery, and character-driven series, but we are also seeing opportunities for family and young-audience content, as well as strong factual programming. At the moment, projects such as ‘Celtic Shadows’ are a good example of what we are looking for: a very German setting and identity, but combined with mystery, history and themes that are easy to understand internationally. The same applies to ‘Uncle Ruben and the Hole in the Garden.’ It is rooted in Germany, but at its heart it is an entertaining family adventure about children, secrets and a rather unusual uncle. Those are stories that can travel.” How do you balance Germanlanguage hits with global trends? “I actually think the local element is increasingly an advantage rather than a limitation. Audiences have become very comfortable watching stories from different countries, and they want something authentic. So I would not try to make German content look international by taking away what makes it German. The important thing is that the story's core is universal. Family, crime, love, ambition, secrets, humor. These themes work everywhere. From the distribution side, our job is then to understand which elements of a German production will resonate in a particular territory and position the title accordingly. A show does not need to work everywhere. It needs to work very well in the right markets.” By Romina Rodríguez

INTERVIEW

“‘LAND OF THE SUN’ HAS EXCELLENT INTERNATIONAL POTENTIAL”  Muge Akar

MÜGE AKAR, HEAD OF SALES & DISTRIBUTION AT ATV, DESCRIBES THE NEW SHOWS THE COMPANY IS LAUNCHING TO GLOBAL BUYERS AS PART OF ITS EXPANDING PREMIUM DRAMA SLATE, AIMING TO INCREASE GLOBAL EXPOSURE FOR THE TURKISH SERIES.

TV Distribution has secured international distribution rights to “Land of the Sun,” the new drama from Timsbi Productions that premiered on ATV on September 17. Alongside this show, the Turkish distributor will launch a new content slate, which Müge Akar, Head of Sales & Distribution, described to Señal News. ATV recently launched “Land of the Sun.” What gives this show its international appeal? “Produced by Timsbi Productions, ‘Land of the Sun’ tells the story of a powerful family whose lives are shaped by long-buried secrets, love, and conflict stretching between Germany and Adana. The series blends family drama, romance, and a distinctive regional backdrop, starring Burak Özçivit and Beyza Gümülcine. Its domestic launch has been very encouraging. Premiering on September 17, the series became the highest-rated prime-time drama among the AB and ABC1 demographics and continued its strong performance the following week. We believe this combination of compelling storytelling, strong ratings, and high production values gives ‘Land of the Sun’ excellent international potential.” 44

“Different Lives” started as a summer series but, due to its impressive ratings, will continue in the main season. How would you define the show's impact in the Turkish market? “’Different Lives’ follows Emir, a talented young footballer from a modest neighborhood in Istanbul, whose dreams of building a better future for his family are shattered after a tragic incident involving his brother. As he seeks justice, his path crosses with people from very different social backgrounds, bringing family, ambition, friendship, love, and the contrast between wealth and poverty to the heart of the story. The series has been one of the season's standout success stories, delivering the strongest launch of the summer and continuing to grow into one of the most-watched dramas even after the start of the main season. The show's success comes from its ability to blend classic Turkish drama elements with relatable characters, realistic life experiences, and a compelling story that appeals to a broad audience. Its strong domestic performance was quickly followed by its first international deal with Noor Play, which launched it simultaneously across 20 countries in the MENA region alongside its Turkish broadcast.”

Another new title is "Villa Coral." What are the expansion expectations around it? “’Villa Coral,’ starring Hafsanur Sancaktutan and Kubilay Aka, is a romantic drama built around love, mystery, and an unexpected love triangle. Cemre, a young woman who dreams of becoming a police officer, travels to Cyprus after a difficult period in her life, where she meets Asil. They quickly fall in love and marry, but Asil mysteriously disappears just minutes after their wedding. Determined to find him, Cemre follows a photograph to Mercan Mansion in Tarsus, home to the powerful Mercandağ family. There, she meets Aras, a charismatic businessman protecting a dangerous family secret, and discovers that her search for Asil is connected to the family’s hidden past. As the truth gradually emerges, Cemre and Aras find themselves drawn together despite their conflicting interests. Following its launch in Türkiye, we are presenting ‘Villa Coral’ to international buyers as part of ATV Distribution’s new season lineup. With its romantic storyline, mystery element, and strong cast, the series offers an appealing proposition for audiences of character-driven Turkish drama.” By Diego Alfagemez

OVERVIEW

THE FUTURE OF ENTERTAINMENT FORMATS

EXECUTIVES FROM BBC STUDIOS, BE-ENTERTAINMENT, ITV STUDIOS, KESHET, NBCUNIVERSAL, SOMETHING SPECIAL, AND SONY PICTURES TELEVISION EXPLAIN THE LANDSCAPE FOR A BUSINESS FACING CHALLENGES ACROSS CREATIVE, PRODUCTION, AND DISTRIBUTION.

ithout rating it as better or worse, there is no question that the entertainment format business is going through a really interesting time. On the one hand, paper formats have been under pressure in recent years as the industry’s ability and appetite to take risks on new-format creation have shifted. At the same time, buyers still want entertainment, but there has been a significant lean toward known brands, proven formats, and recognizable IP. “It's an exciting time for entertainment formats right now. We are all too well Ella Umansky aware of the challenges in the market. Still, in many ways, this is firing creativity, both in terms of IP development and in terms of deal-making,” Ella Umansky, VP, Format Acquisitions at ITV Studios, stated. “In terms of big swings and mainstream hits, entertainment formats will always be a crucial part of the ecosystem. In a difficult and changing world, audiences turn to the warmth, fun and nostalgia of entertainment brands. At the same time, broadcasters and streamers can make the most of clever production models and studio hubs to build a hit,” she added. 46

"Love Island USA"

“The state of the industry is always changing; the challenge is to adapt! We all see market Gepke Nederlof fragmentation and rising production costs while commissioning budgets are decreasing. However, the need for great content keeps growing. That means the value of strong, sustainable IP is clearer than ever. With the enormous amount of content on offer across different platforms, well-known brands act as anchor points to draw in fragmented audiences,” Gepke Nederlof, MD at Be-Entertainment, noted.

“The more risk-averse the industry becomes, the more valuable a genuinely Sumi Connock new global hit becomes. Audiences haven't stopped wanting new entertainment ideas; the industry has become a bit more selective about how many and which new ideas it is prepared to back,” Sumi Connock, EVP Global Creative Network & Formats at BBC Studios, expressed. “We are beginning to see signs that there is an appetite for fresh ideas and a real opportunity to look at both how we develop new IP and how we evolve successful brands. For BBC Studios, that means being very selective. We only launch around six to eight formats a year, so we focus on titles that will complement our existing portfolio but also bring something new to the market,” she said.

"The Yacht"

“The formats business remains incredibly dynamic. Audiences still respond Laura St. Clair to great ideas that are simple to understand, distinctive and adaptable, but the routes to reaching those audiences are multiplying. What matters is having a broad portfolio and the flexibility to find the right creative and commercial model for each format, each market and each buyer,” Laura St. Clair, SVP International Formats at Sony Pictures Television, said.

“We’re all aware of the forces disrupting our traditional business, from Hannah Mabruk consolidation and the advertising downturn to YouTube, creator-led content and microdramas. But audience appetite for well-produced entertainment hasn’t gone anywhere, and formats continue to meet that demand,” Hannah Mabruk, SVP Formats Sales & Production at NBCUniversal Formats, explained. “The entertainment formats business is competitive, but there is Salomé Peillon strong demand for distinctive ideas that can reach audiences across television, streaming, and social platforms. The most exciting formats are no longer confined to a single broadcast slot: they create stories, personalities, and moments that audiences can follow, discuss, and share wherever they consume content,” Salomé Peillon, SVP of Business Development and acting MD of Distribution at Keshet International, noted. “The formats business is going through a period of recalibration. Buyers are much more Jin Woo Hwang selective, and proven performance matters more than ever, but everyone is still looking for the next fresh idea. The strongest formats have a concept you can understand quickly, a repeatable engine, and enough flexibility to travel,” Jin Woo Hwang, CEO of Something Special, said.

CURRENT CHALLENGES When describing the main challenges the entertainment formats business faces today, all executives agreed that budget constraints, more competition, and new business models are redefining how deals get closed in this arena. “The competition has never been tougher. With continued pressure on budgets, producers are having to find ways to fill funding gaps, compete for brand money, distribution deficits, and other pots to get things over the line. Distribution teams are asked to fill greater deficits at earlier stages in the creative process, whilst defining 'industry standard' for format rights packages is becoming increasingly difficult,” Ella Umansky said. “In a shifting environment, collaboration has become the way through. Whether international co-development projects or earlystage co-financing opportunities, partnerships can keep a project alive. Honest conversations about the value we can bring are the key,” she added. Gepke Nederlof defines challenges in one word: “Economics! We need bigger and bolder ideas to stand out. But those ambitious ideas carry higher price tags at a time when buyers are operating under strict budget caps. The challenge is striking a fine balance between high visual production value and a viable return on investment. We are also seeing a shift in the traditional licensing model. Historically, format licensing fees were tied to the production budget. Today, the model is shifting toward a totalvalue proposition. A strong format produced on a modest budget can deliver immense brand value, digital engagement, or crossplatform monetization, which is no longer just about the linear hour; it’s about the ecosystem surrounding the IP.”

“Creatively, there is the obvious tension between the heritage superbrands and the creation of new IP. But the biggest challenge is finding ideas that genuinely stand out in a crowded market. Competition for buyers’ attention remains huge, and commercial pressures mean broadcasters and platforms must be selective about what they invest in. So for us at BBC Studios, it’s about ensuring that we not only invest in the idea, but in the creative team behind it,” Sumi Connock said. “Creatively, a format needs a clear idea that can cut through in a crowded market while leaving enough room to feel authentically local. From a production perspective, scalability is increasingly important, as budgets and market conditions differ significantly from territory to territory and even platform to platform. We have to understand not just whether an idea works in its home market, but whether it has the potential to travel, refresh over time and extend beyond a single commission,” Laura St. Clair noted. “Buyers are cautious, and that’s reflected in new format adaptations being down year on year. Commissioning a new format is always a risk, and it’s our job to minimize that as much as possible by bringing compelling creative, cost-effective production solutions and being the best possible partners to our network of local producers and commissioners,” Hannah Mabruk narrated. 47

OVERVIEW “The creative challenge is finding genuine originality within concepts that audiences can grasp immediately. From a production perspective, budgets are under pressure, so formats must be scalable and adaptable without losing what makes them distinctive. For distributors, the challenge is identifying ideas that can travel culturally as well as commercially,” Salomé Peillon said. “One of the biggest challenges is balancing originality with risk. Creatively, you need something that feels new without becoming too complicated. Production budgets are tighter, so the idea also has to be scalable. Increasingly, it’s about selling both the success of the original and the potential of a local adaptation,” Jin Woo Hwang stated.

GLOBAL BRANDS Building a global brand can be a difficult enterprise in today’s world, defined by fragmented audiences and almost infinite entertainment options. “That is the million-dollar question in unscripted TV today. First, the format's core must be very strong. It needs to stand out, be universally relatable, and instantly adaptable across different cultural markets. On top of that, it needs a strong title and an iconic visual hook that immediately clicks. Second, building a global brand requires a well-thought-through marketing and launch strategy,” Nederlof stated. “There is no one-size-fits-all route to a global brand. Great formats combine a universally compelling proposition with the flexibility to adapt to local culture, talent, and audience behavior. Increasingly, brand-building also extends beyond the show itself, as social content, digital experiences, consumer products, and other extensions can keep audiences engaged between seasons and 48

introduce established IP to new generations,” St. Clair stated. “In the simplest terms, it’s about creating a format with a simple, but universally understood, central idea which feels totally at home in each local market, because that connection to the audience is more important than ever. We can create the shows, but the audience will build the fandom and keep those stories going on social media. They value shows where they can interact, have an opinion, or use the content to create something new and shareable by relating it to their own lives. They are also incredibly creative, and if they really love a show, they will do all the hard work for you to help create that global brand,” Connock defined. “Fandoms are what is driving success. A truly global format needs a compelling idea at its heart, but tapping into existing fandoms and world-building our brands is what cements these shows in the fabric of culture,” Umansky explained. “In the last 12 months we have launched new versions of ‘Saturday Night Live’ and ‘The Tonight Show’ internationally. Both US shows have been on air for more than 50 years, but they are seeing an upturn in local production interest because of the global reach of YouTube and social media. International audiences already know those brands from the US clips they’ve watched, and they’re curious to see a version of their own, so the new show arrives with an existing fanbase.

"Make Up Your Mind"

Clip consumption shouldn’t be underestimated as a brandbuilding tool!” Mabruk highlighted. “A global brand no longer requires every audience to experience it in exactly the same way. It needs a recognizable core that can be adapted across territories, platforms, and communities. That begins with a simple idea and a strong visual and emotional identity,” Peillon said. “Building a global brand today doesn’t necessarily mean making exactly the same show everywhere. The core idea has to stay recognizable, but it also needs enough flexibility for each territory to make it feel local. Even if an adaptation looks different, it should still give audiences the same sense of enjoyment and entertainment that made the format work in the first place,” Jin Woo Hwang described.

THE IMPACT OF A GENERATION Streaming platforms, social media, and influencers have had a very specific impact on entertainment formats. The key question is how that environment is shaping the genre's future. “Social media has completely changed the relationship between a format and its audience. Formats need to exist beyond their linear broadcast. You can’t just create a show and expect people to come to it anymore. The strongest formats create shareable, clickable moments that spark conversations and let

OVERVIEW "The Art Game"

audiences build a community around the show. We’re seeing that with established brands, but it’s also something we’re thinking about when developing new IP. The audience is integral when it comes to creating a global brand, as they are the ones continuing the stories between broadcasts through social media,” Connock explained. “The creator-economy is obviously huge, with many producers and distributors collaborating in this space, as well as the casting of creators like Mr Beast and The Sidemen, as they have a huge following in addition to fresh, creative thinking. Recent industry interest in creator-led formats shows how seriously broadcasters are taking this shift. This move towards collaboration presents a fascinating opportunity for formats: producers can provide scale, production and event television, while creators provide discovery, fandom, continuous audience feedback and year-round engagement,” she added. “Social media and digital content have helped build out the world of the big, juggernaut brands like ‘Dancing With the Stars’ and ‘I'm a Celebrity,’ bringing a new audience to mainstream linear entertainment,” Umansky

"Dancing With The Stars"

said. “But as well as creators and influencers helping drive new audiences to existing brands, entertainment content is also particularly well-suited to native digital content. This can only grow, as influencers, producers and IP owners continue to use digital platforms as a testing ground for entertainment formats. Similarly, we are seeing some of the grammar of digital content bleed into linear storytelling,” she added. “Streamers have created a whole new demand in storytelling, pacing and rhythm. Social media and influencers are no longer an afterthought or secondary PR outlet; they play an essential role in both casting and promotion. We are seeing creators integrated into formats not just as talent, but as co-promoters who bring built-in, highly engaged communities with them,” Nederlof described. “Viewers increasingly discover and engage with entertainment across multiple platforms rather than in a single linear environment, so discoverability, shareability and community are becoming part of the creative conversation from the outset,” St. Clair said. “Social platforms can amplify local versions and extend the life of established franchises, while creator-led entertainment opens up new ways to develop talent and scalable IP. It is another creative canvas for building entertainment brands with global potential,” she added. “Streaming platforms, social media, and influencers have changed how formats are conceived, cast, and consumed.

Social media is no longer simply a promotional outlet after broadcast; it is part of a format’s ecosystem from the outset, if not the starting point,” Peillon described. “Celebrities and influencers bring established communities, but the format must give those audiences a reason to stay engaged. The opportunity is to create formats that deliver a satisfying television experience while giving audiences personalities and stories they want to follow between episodes and across platforms,” she added.“ Viewing may look highly fragmented across television, streaming, social media, and shortform platforms, but these spaces are actually interconnected and increasingly influence how people discover and consume content. Influencers can also bring their own communities into a program, while television can turn contestants into digital personalities. Rather than existing as separate spaces, these platforms increasingly work together. Social media has become an important part of how formats build awareness, reach new audiences, and ultimately travel,” Woo Hwang analyzed. “Creator-led talent and ideas are also increasingly part of the formats ecosystem. Creators are being cast in adaptations, fronting spin-offs and developing formats of their own, and broadcasters are partnering directly with creators and with digital platforms. Digital platforms are also becoming a testing ground, where new concepts can refine their proposition before a wider rollout. The formats business has always been dynamic, and that hasn’t changed,” Mabruk concluded. By Diego Alfagemez

INTERVIEW

 Handan Özkubat

“TURKISH DRAMA IS A PERMANENT PART OF INTERNATIONAL SCHEDULES RATHER THAN A TREND”

HANDAN ÖZKUBAT, DIRECTOR OF TURKISH DRAMA AT ECCHO RIGHTS, ANALYZES THE GLOBAL POSITIONING OF TURKISH DRAMAS TODAY, AS CLIENT NEEDS AND BUYING STRATEGIES HAVE SHIFTED.

for five seasons, ‘The Promise’ and ‘Legacy’ for four each, and ‘Behind the Veil’ is returning for its fourth now. On the weekly drama side, we have had ‘Golden Boy,’ ‘Chrysalis,’ ‘I Am Mother,’ and many more series that topped the charts and ran for several seasons, continuing to pull in audiences while competitors have often struggled.”

How do you analyze the global positioning of Turkish dramas today? “Turkish drama is now a permanent part of international schedules rather than a trend. When we started, a Turkish series on a Latin American or European channel was a novelty. Today many broadcasters have a regular slot for it and an audience that expects it. The market has also matured. More producers and distributors are selling Turkish content than ever, and buyers are more selective about what they take. The production side is changing too. Local platforms such as TOD now commission their own shorter originals, which widens the range of stories being made. Three of our major Mipcom launches are TOD originals.”

t Mipcom, Eccho Rights will celebrate 15 years of Turkish drama distribution with new global launches. The main title will be “The Hatmaker,” a new collaboration with O3 Medya featuring a period drama set in 1920s Türkiye. The series stars Pınar Deniz and Selahattin Paşalı and is available for presales. Eccho Rights will also launch three TOD originals, each from a different producer: “Doors of Destiny,” the first collaboration with Medyapım; “Alikara,” from Karga Seven Pictures; and “The Florist,” a brand-new romantic series from OM Content. Señal News spoke with Handan Özkubat, Director of Turkish Drama, about the company’s current positioning amid the global boom in Turkish drama. Eccho Rights is celebrating 15 years of Turkish Drama distribution at Mipcom. What does that milestone mean for the company? “It shows our selection holds up over time. In a volatile market like Turkish TV, what matters is how often you choose right, and over fifteen years we have backed relatively few series that didn't work. Our long-running titles show it: ‘Elif’ ran 52

How have the client's needs shifted in the past 15 years, and how has that context refocused your strategy? “Fifteen years ago, our clients were almost all free-TV broadcasters, and they wanted volume: long series that could hold a daily slot for months. That need is still there, and dailies like ‘Behind the Veil’ remain core to our business. But the client base is much broader now. Streamers and platforms often want shorter series. Budgets

are tighter across the board, and buyers want more certainty before they commit. That has changed our strategy in two ways. First, we have built a line of shorter premium titles such as ‘Beneath the Surface’ and ‘Another Chance’ alongside the traditional long-running Turkish dramas so that we can serve both kinds of buyers. Second, we get involved as early as possible, which means working with producers from the project stage. Our major launch, ‘The Hatmaker,’ will not air until January, allowing us to gain early traction at Mipcom, and have pre-buyers on board even ahead of the Turkish launch.” How would you define Eccho Rights' positioning inside the global boom of Turkish drama? “We have always aimed for quality series and being the most reliable partner that delivers long-running results for our clients. We put real work into evaluating each acquisition, knowing that a strong story can be worth at least as much as a big budget, while a weak script can get canceled quickly. The other part is range. A buyer can come to us for a long-running daily and a short premium thriller in the same meeting, and more buyers now want to plan a large part of their schedule with one distributor they trust.” By Diego Alfagemez

INTERVIEW

“‘MAGIC LILLY’ HAS ALL THE INGREDIENTS TO BECOME A GLOBAL FRANCHISE”  Diego Ibáñez Belaustegui

DIEGO IBÁÑEZ BELAUSTEGUI, CHIEF BRAND OFFICER AT DEAPLANETA ENTERTAINMENT, EXPLAINS THE GLOBAL POTENTIAL OF “MAGIC LILLY,” ONE OF THE COMPANY’S KEY BETS FOR THE COMING YEARS, WHICH WILL HAVE ITS OFFICIAL PRESENTATION AT MIPCOM.

ipcom will mark the launch of one of DeAPlaneta Entertainment’s major bets for the coming years: “Magic Lilly.” With a universe that blends adventure, magic, humor and relatable characters, the series will be the first step in an ecosystem that will expand across digital, publishing, consumer products and gaming. Diego Ibáñez Belaustegui, Chief Brand Officer, spoke with Señal News to discuss the brand’s potential. What are your expectations for the launch of “Magic Lilly” at Mipcom? “We are incredibly excited about ‘Magic Lilly.’ It is one of our major bets for the coming years, and Mipcom represents a very important moment for us to begin showing the market the ambition behind the project. We are coming to the market with an extraordinarily strong foundation, with very important partners already on board, and we want these coming months to serve as the starting point for continuing to build a network of international broadcasters and licensees ahead of the premiere, which is scheduled for late 2027.” How would you describe the show’s potential for global expansion? “We see enormous potential. ‘Magic Lilly’ has all the ingredients to become an international franchise: adventure, magic, humor, highly recognizable characters and a universe that allows us to constantly 54

travel to fantastic places and distant eras, alongside stories that take place in settings that are highly relevant to the target audience, such as school and conflicts with family and friends. In addition, at DeAPlaneta Entertainment we are not thinking solely about a television series. We are building a brand universe that will grow across digital, publishing, consumer products, gaming and experiences. Our ambition is for children to discover Lilly on screen, but to be able to continue connecting with her far beyond each episode.” How does the show reflect what today’s 6-to-10-year-old audiences are looking for? “Today’s children are a very demanding audience. They are looking for pace, humor, epic stories, characters with personality and worlds that truly spark their imagination. ‘Magic Lilly’ brings all of those elements together. Lilly is curious, brave, imperfect and incredibly relatable. Through magic, she can experience extraordinary adventures, but the emotions, relationships and challenges she faces are completely recognizable to children. That combination of the extraordinary and the everyday is, for us, one of the series’ greatest strengths.” How was the brand developed in collaboration with The Magic Lilly Company?

“The development of ‘Magic Lilly’ comes with a very special responsibility: taking a character with an enormous history and strong recognition and making her relevant to a new generation. Together with The Magic Lilly Company, we have worked to preserve what makes Lilly unique while, at the same time, greatly expanding her universe. We have evolved the characters, storytelling, adventure elements and visual dimension to create a contemporary, cinematic series with a clear international appeal. The result retains the spirit of the original property while opening a completely new chapter for the brand.” How does the property’s publishing success help drive the expansion of “Magic Lilly”? “It is an extraordinary advantage. ‘Magic Lilly’ was born from the publishing universe of Hexe Lilli, a book series that has accompanied generations of children and built a very strong connection with families across numerous markets. Starting from that legacy gives us something extremely valuable: a character with an established history, recognition and enormous narrative richness. The series now allows us to take that universe much further, introduce it to a new generation and transform a highly successful publishing property into a global entertainment franchise.” By Diego Alfagemez

INTERVIEW

ELIF TATOĞLU, DIRECTOR OF SALES AT KANAL D INTERNATIONAL, TALKS ABOUT THE COMPANY’S MAJOR LAUNCHES FOR MIPCOM, “TORN APART” AND “DIGNITY,” WHICH WILL APPROACH THE MARKET IN COMPLETELY DIFFERENT WAYS.

“A GOOD STORY CAN HAVE MORE THAN ONE LIFE”

anal D International will have two major launches for Mipcom: “Torn Apart” and “Dignity.” These two very different titles allow the Turkish company to take two very different approaches to the market. In conversation with Señal News, Elif Tatoğlu, Director of Sales at Kanal D International, describes the potential of its new slate. How would you define Kanal D's international expansion strategy? “For us, international expansion is not simply about being in more countries. It is about understanding where our content has potential, finding the right partners and, increasingly, finding the right model for each market. Of course, we want to continue strengthening our position in key markets such as MENA, Latin America, CEE and the CIS, while expanding further across Europe and Asia. But our view of expansion has also changed. Today, it is not only about selling a finished series to a broadcaster. It can be a local adaptation, an SVOD or AVOD deal, FAST, YouTube, or another digital opportunity. We are fortunate to have a strong catalog, with titles that have traveled internationally for many years. What we have learned from this is that a good story can have more than one life. It can return in a new market, on a new platform, for a new generation of viewers, or even in a completely new local version.” How would you describe the global impact of "Sins and Roses" after landmark deals in Europe and Asia? “’Sins & Roses’ has had a very 56

 Elif Tatoğlu

exciting international journey. It has now reached around 120 countries, but more important than the number is how the story has connected with audiences across very different markets and cultures. We have seen strong interest across Europe, Asia, MENA and Latin America. Spain has been particularly encouraging, with the series performing strongly since its launch on Antena 3. Seeing audiences in different territories respond to the same characters, relationships, and emotional conflicts is always the strongest indication that a story can travel. What is also very exciting is that the journey is now moving beyond the finished series. We have local adaptations in Greece and Portugal, which opens another chapter for the title and shows that the strength of the IP goes beyond the original production. The journey is far from over. We have several other discussions progressing in different territories, and we expect to announce more deals very soon.” What is the international potential of "Torn Apart" after its local success in the Turkish market? “Torn Apart has given us very strong reasons to be confident about its international potential. Its success in Türkiye wasn't just a strong launch or a successful summer run; it carried that momentum into the new fall season and has established itself as one of the season's leading titles. At the same time, its digital performance has been exceptional. That combination matters because it shows the story is connecting with audiences in different ways.

What is particularly interesting is how broad that audience has become. Of course, with its young cast, romance, and fresh energy, the series is extremely strong with younger viewers, but we're also seeing strong results among 45+ viewers and female audiences. I would never define ‘Torn Apart’ simply as a youth drama. It is a strong family drama told through a younger generation. I think this is one of its biggest strengths internationally. The young cast, pace, and digital engagement can bring in Gen Z. At the same time, the family dynamics, secrets, revenge, mystery, and emotional relationships give the story a much broader, multi-generational appeal. This also makes it flexible in where and how it can be positioned, both on linear channels and digital platforms. ‘Torn Apart’ has now reached around 90 countries, with several new deals to be announced very soon. And this is just the beginning.” What will be the approach for “Dignity” at Mipcom? “Dignity is our big new-season launch. It is a completely different world, bringing together two families from very different backgrounds through the impossible love between Mehmet and Simay. It has all the strong emotional elements we know travel well in Turkish drama: love, family, pride, loyalty and class conflict. It also brings together established names with a very promising younger generation of talent.” By Diego Alfagemez

OVERVIEW

FRANCE’S INDUSTRY SHOWS RESILIENCE AND GLOBAL VISION AMID MARKET REALITIES THE LATEST EDITION OF THE UNIFRANCE RENDEZVOUS BROUGHT TOGETHER FRENCH SALES COMPANIES AND GLOBAL BUYERS IN LE HAVRE FOR FOUR DAYS OF SCREENINGS AND BUSINESS MEETINGS, SERVING AS A CRITICAL TOUCHPOINT FOR AN INDUSTRY NAVIGATING ECONOMIC CHALLENGES THROUGH SOLIDARITY, STRATEGIC ADAPTATION, AND INTERNATIONAL PARTNERSHIPS.

Alexandre Adam Effervescence

Chloé Persyn-Preljocaj and Milena Sjekloca Incognita Distribution

he 32nd edition of the Unifrance Rendez-Vous (September 7–10) was held in Le Havre, perhaps for its last dance in the Normandy city, providing an essential gathering place for French distributors and international buyers to kickstart the autumn content market against the backdrop of Les Docks. The four-day event featured screenings, business meetings, and networking sessions showcasing the breadth of French drama, animation, and documentary offerings. While the overall global market continues to experience contraction, the atmosphere among delegates remained determined, grounded in a shared commitment to 58

Sepideh Shirazi Ankana Animation

collaboration and long-term industry growth. Speaking with Señal News, Sarah Hemar, Director of Audiovisual at Unifrance, emphasized the vital role of in-person gatherings during challenging economic periods. "I think it is a very good edition. We all know we are going through hard times across the audiovisual industry, affecting both buyers and sellers," Hemar noted. "It is always energizing to get together, and participants truly appreciate the all-inclusive formula because it allows them to focus entirely on working, discussing, and building interpersonal connections. More than ever, we need to stick together to navigate these challenges, and this market provides the ideal

Emmanuelle Persson and Guillaume Ange INA

environment to make that happen," she noted. Addressing Unifrance’s role as a supporting institution, Hemar underscored the organization's unique structure and agile approach to market shifts. "Unifrance is a unique institution because we combine cinema, TV, short formats, and VR under one roof alongside producers, distributors, and artists," she explained. "This enables a 360-degree approach to the moving image world, backed by refined market data. In an everchanging landscape where dates and locations shift, we can test, learn, and remain agile. We amplify our members' work and create broader opportunities for them.

Staying united during difficult times is complex given everyone's distinct interests, but in France, it is invaluable when we come together hand in hand," she added. Meanwhile, a persistent topic of discussion among attendees in the corridors of Les Docks was the market's future location. While rumors circulated throughout the venue suggesting that this edition might mark the final gathering in Le Havre, Unifrance did not confirm any immediate relocation. Addressing the market buzz, Hemar stated: "We are not confirming anything at this time. We are constantly evaluating

encompassing sales, pre-sales, and co-productions, stood at €282.7 million, down 28.1% from the record high of €393.0 million in 2024. International program sales totaled €164.3 million (down 21.6%), while pre-sales fell sharply by 59.3% to €30.7 million as global buyers and streaming platforms adopted more selective acquisition strategies. Despite the broader economic downturn, French content demonstrated sustained demand across core genres and distribution channels. French fiction remained the top export genre for the fourth consecutive year, generating

Frédéric Gentet Franka Schwabe, Joséphine Létang & Alexandra Marguerite Mediatoon Distribution ARTE Distribution

how to remain attractive and serve as the preferred market for buyers of French content. While we are always asking ourselves if changes are needed, we know how important it is to maintain a major rendezvous that kickstarts the final part of the year. We will be together somewhere, and it will be great wherever it is, but for now, I cannot confirm a location change." FRENCH CONTENT PERFORMANCE The market coincided with the publication of two joint studies by the Center national du cinéma et de l'image animée (CNC) and Unifrance, which provide a comprehensive evaluation of French audiovisual exports in 2025. Total export revenues,

Alexis Reybet Degat SND Distribution

€54.9 million in sales and capturing a 33.4% market share, driven primarily by light crime procedurals and event series. Documentaries formed the second-largest sector, securing €43.1 million in sales and a 26.2% market share, driven by history, science, and current affairs titles. Furthermore, Unifrance’s report revealed that France maintained its rank as the 3rd country globally, and 1st within the European Union, for the volume of works broadcast on international linear television, while securing 7th place for SVOD releases worldwide. FRANCE-KOREA, A MULTILATERAL COOPERATION Directly preceding the statistical presentations in Le Havre, Gilles

Pélisson, President of Unifrance, referenced his participation in the Lumière Summit, an event co-organized by French President Emmanuel Macron and President of the Republic of Korea, Lee Jaemyung. Bringing together about 250 prominent figures across cinema, television, and creative technology, the summit addressed key industry issues, including artistic freedom, artificial intelligence, piracy, media literacy, and sustainable production financing. Opening the statistical presentation session in Le Havre, Pélisson emphasized the critical need for comprehensive data transparency across global

Hye Jin Moon Superights

Lucy Le Gruiec Kwanza

platforms to value and finance independent production properly. He stressed that without access to complete performance metrics, particularly from global streaming services, producers face significant hurdles in securing the necessary backing for high-quality, creative works. Advocating for closer international alignment and reflecting President Macron's call for a new form of multilateralism in production, Pélisson concluded that sharing data and protecting creative freedom across every format remains essential to preserving industry expertise and cultural heritage for future generations. By Romina Rodríguez

INTERVIEW

"WE HAVE TO GIVE AUDIENCES CONTENT THAT CHALLENGES THEM"  Rebeca Aguilar

ONE YEAR AFTER TAKING ON THE ROLE OF HEAD OF INTERNATIONAL DISTRIBUTION AT MOVISTAR PLUS, REBECA AGUILAR LOOKS BACK ON GROWTH IN NEW MARKETS, EXPLAINS WHAT MAKES A MOVISTAR PLUS ORIGINAL RECOGNIZABLE, AND PREVIEWS ITS TWO NEW THRILLERS.

ebeca Aguilar is marking her first year as Head of International Distribution at Movistar Plus, leading Movistar Plus International, the company’s distribution division, and she sums it up in two words: "Challenging and rewarding. Since the decision was made to put me in charge, it has been a huge challenge, both personally and professionally, and one I have taken on with a great sense of responsibility," Aguilar said. "A lot of good things have happened, for the company and for the department. It is very rewarding to see how we keep growing, expanding into new markets, working with more clients and consolidating our presence. Overall, I would say it has been very positive," she added. For Aguilar, the main achievement of this period has been diversifying the company’s buyer profile. "We believe we have managed to consolidate our position with different types of clients. There is no single client we go after, and we don’t work in just one way," Aguilar noted. "It is very positive to see how different parts of the world believe in our 60

content, and how different ways of programming content also believe in it. That is what has allowed our content to travel beyond a single standard, so that many different audiences can enjoy it," she said. A RECOGNIZABLE SIGNATURE How does the team decide what carries the Movistar Plus brand and what doesn’t? Aguilar rules out a fixed formula. "Movistar has a fairly clear editorial line, but I wouldn’t say specific parameters or standards define it. When you see it, you know it’s Movistar: because of the quality, the way the stories are told, because the character is at the center of everything, or because the character has many layers," she explains. "There is no single way of working and no single universe we move in. It is more about quality, the people we work with, and the ways of storytelling, regardless of genre. A signature has been built around that, and we are very proud that it is recognizable content," she expressed. Toward the end of the year, Movistar Plus will premiere two series crucial to its international strategy: “Matar un Oso” and “El Castillo.” "Both are extremely

relevant for us, not only in the domestic market but internationally. They are thrillers, content we believe clients will really like," Aguilar anticipates. “Matar un oso” is a coproduction with ARTE. "We are very proud to keep working with them and that they trust our content," she notes. Furthermore, “El Castillo” was presented at the San Sebastián Film Festival, where critics and the audience acclaimed it. “It is based on the book ‘El proxeneta,’ and we believe it will draw a lot of attention because of the way the story is told and the people involved in it," Aguilar said. Faced with younger audiences who now make their own viewing decisions, Aguilar rejects the easy route. "At the end of the day, audiences have always been, and will continue to be, very demanding. We can’t expect to give them easy content. We have to give them content that challenges them, that leads them to explore or to feel things," she says. "That is the reason and the driving force behind our daily work: trying to challenge our audience and our clients with content we believe is a step above and that brings something different." By Fernando Calviño

INTERVIEW

“WE WANT TO WORK WITH GREAT CREATIVE PARTNERS AND TELL STORIES THAT FEEL DISTINCTIVE” BRAD HORVATH, VP, CONTENT SALES AT BOAT ROCKER STUDIOS, DESCRIBES THE HIGHLIGHTS FOR MIPCOM, WHERE THE COMPANY WILL SHOWCASE MORE THAN 30 TITLES, COMBINING KIDS AND FAMILY, SCRIPTED, AND UNSCRIPTED.

rad Horvath, VP, Content Sales at Boat Rocker Studios, will have a busy Mipcom for sure. The company will feature new acquisitions at the market, showcasing a slate with more than 30 titles. In conversation with Señal News, Horvath described the company’s content strategy and previewed the highlights of the new catalog. Boat Rocker will showcase more than 30 titles at Mipcom. How would you define the company's content strategy? “Since returning to private ownership last year, Boat Rocker has really focused on developing, producing, and acquiring great content where we can retain meaningful ownership and rights. That’s reflected in the slate we’re bringing to Mipcom, across scripted, unscripted and kids & family. We want to work with great creative partners and tell stories that feel distinctive, but we’re also always thinking about how those shows can travel and connect with audiences around the world.” What are the catalog's new acquisitions for the market? “We have several new acquisitions on the unscripted side that I’m really excited to share with buyers. ‘Doula: A True Crime’ from Muse Entertainment tells the remarkable 62

story of Kaitlyn Braun, a young woman who contacted more than 40 doulas claiming she was pregnant and needed their help. We also have ‘The Carve Off,’ a fun competition series where the world’s best chainsaw artists transform massive logs into incredible sculptures, and ‘Deadliest Dinners: Australia,’ which combines food, adventure, and survival. On the scripted side, we’ve acquired ‘Unconventional,’ which follows two queer siblings and their partners as they try to start an unconventional family while navigating life in their 30s. We’re also bringing two seasons of ‘Last Second’ to the market. It takes us into the incredibly tense world of police bomb technicians, including their lives outside the job. And for Kids & Family, we’ve added ‘Harlo,’ a charming preschool series produced by Boat Rocker Studios and Industrial Brothers, about a five-and-a-half-year-old bunny growing up with his single dad and best friends. We also have ‘The Sunnyridge 3,’ produced with Blink Industries, about three best friends investigating some very strange things happening at a shopping centre outside London.” How do you build your catalog in order to adapt to buyers' evolving content needs? “A lot of it comes down to listening. We have a global distribution team

 Brad Horvath

with people in Toronto, LA, New York, London, and Hong Kong, and we’re talking to buyers all the time about what they’re looking for and, just as importantly, what they’re not looking for. We bring that information back to the wider team and regularly discuss new projects from both a creative and commercial perspective. Obviously, we want shows we love and believe in, but we also must be realistic about the market and where we think there’s an audience and a home for them. There really isn’t a one-size-fitsall approach anymore.” How do you mix scripted and unscripted titles in order to balance your global offering? “There really isn’t a formula. Some markets we’ll have more new scripted series, others more unscripted or kids & family. A lot of that simply comes down to production schedules and when shows are ready. The nice thing about having such a deep catalogue is that we always have a lot to talk about beyond the newest titles. Sometimes a buyer needs something brand new, and sometimes there’s a show in the library that’s exactly right for them and can find a whole new audience. I think that’s become more important in the current market. Buyers are being very thoughtful about what they acquire, so our job is really to understand what they need and then find the right show, new or library, to meet that need.” By Diego Alfagemez

INTERVIEW

“WE ARE AN AGILE, FULL-SERVICE CREATIVE PARTNER READY TO CO-BUILD GLOBAL HITS”

 Mia Desroches

MIA DESROCHES, VICE-PRESIDENT OF GLOBAL SALES & PARTNERSHIPS AT KO DISTRIBUTION, HIGHLIGHTS THE STRATEGY OF LEVERAGING FRENCH-CANADIAN CREATIVITY, EXPANDING ITS ENGLISH-LANGUAGE CO-PRODUCTION PIPELINE, AND DIVERSIFYING ITS CATALOG THROUGH STRATEGIC THIRD-PARTY ACQUISITIONS.

head of MIPJunior and MIPCOM 2026, KO Distribution is expanding its global footprint by building upon its strong French-Canadian creative foundation. In an exclusive interview with Señal News, Mia Desroches, Vice-President of Global Sales & Partnerships at KO Distribution, discussed the distributor's evolution into a fullservice creative partner. You highlighted that KO Distribution has a dual strategy: preserving its strong French-Canadian DNA while actively pushing into Englishlanguage projects and international co-productions. How is this strategy shaping your lineup and priorities? “Our strategy isn't about replacing one core focus with another; it’s about using the distinct strengths of our French-Canadian creativity as the foundation to build scale globally. Our heritage gives us our creative edge through high-concept, character-driven storytelling and strong format adaptability. We have proven track records with series like 'Plan B,' alongside recurring comedies like 'Squall' and 'Perfect Storm.' Most recently, 'Sur le fil' ('On the Margins') had its broadcast debut on Ici TOU.TV, perfectly capturing this balance of local storytelling with international appeal. Our unique cultural specificity and high-concept IPs are further strengthened by an 64

English-language development and co-production pipeline that gives us new opportunities to tap new markets. At Mipcom and MIPJunior, we’re coming to the table not just as a distributor selling completed tapes, but as an agile, full-service creative partner ready to co-build global hits.” What are the main content launches for Mip Junior and Mipcom? “Strengthening our position as a premier curator and distributor of Canadian creative content, KO Distribution has expanded its international slate ahead of Mipcom with two strategic thirdparty acquisitions: 'Wowanimo' (Gregg Productions) and 'Don’t Feed the Animals' (Urbania). These acquisitions demonstrate how we continue to evolve beyond our own internal KOTV IP. By onboarding highenergy, universally appealing factual and youth series from top third-party producers like Gregg Productions and Urbania, we're giving global buyers a broader, highly versatile catalog to choose from.” What is the expansion strategy for the Latin American market? “Latin America is experiencing a surge in demand for fresh, compelling stories, and regional buyers are actively seeking highquality original content with global appeal. To meet this appetite, we are expanding our footprint across the region by dubbing key

highlights of our slate directly into Spanish. We carefully selected titles that resonate across diverse demographic groups, from family entertainment like 'How to Survive My Family' and 'Toopy & Binoo 2' to teen sci-fi like 'Liam' and comedies like 'Lakay Nou' and 'Perfect Storm'.” What is your overall assessment of KO Distribution’s performance in 2026? “I’ve been leading KO Distribution for five years now, and 2026 has been our strongest year to date. I often find that when the industry faces headwinds, it actually creates strong momentum for distributors. Buyers are actively seeking high-quality, proven content that doesn't require them to bear the cost and risk of dynamic in-house development. It’s an incredibly exciting moment for us.” What are the company’s main goals and vision for 2027? “Our team is working really hard to penetrate the Latin American market, which we are confident will bear fruit next year. If so, our goal is to continue along this path by dubbing more series. Combined with our new English-language line-up and potential developments for a new adaptation of our musical competition 'Zenith', 2027 is shaping up to be an exceptionally dynamic year for opening up new territories.” By Romina Rodríguez

DISTRIBUTION

COL GROUP EXPANDS ITS DISTRIBUTION ECOSYSTEM Timothy Oh

EXHIBITING FOR THE FIRST TIME WITH A DEDICATED BOOTH AT MIPCOM, COL GROUP IS EXTENDING ITS INTERNATIONAL CATALOG, THE GLOBAL REACH OF FLAREFLOW, AND ITS DISTRIBUTION ECOSYSTEM ACROSS PLATFORMS, CREATORS, BRANDS, AND AI-ENABLED PRODUCTION.

or the first time, COL Group is exhibiting at Mipcom with a dedicated booth (P-1.D62), bringing its expanding portfolio of vertical entertainment and international distribution capabilities to Cannes. The company arrives at the market after a period of rapid international expansion across content licensing, platform distribution, localization, IP adaptation, and original production. COL Group’s distribution network now includes more than 5,000 liveaction titles from the United States, Europe, Southeast Asia, and China, giving international partners access to a broad catalog while creating a foundation from which proven IP can be adapted and developed further. Alongside its third-party distribution business sits FlareFlow, COL Group’s flagship vertical entertainment platform. FlareFlow has surpassed 52 million registered users and offers nearly 7,000 premium short-drama titles to audiences across more than 200 countries and regions worldwide. The platform also ranked first among all rights holders in TikTok’s Q1 2026 short-drama revenuesharing rankings.

Together, the distribution network and owned platform give COL multiple ways to bring content to market. Finished titles can be licensed internationally, existing IP can be localized or adapted for new audiences, and new projects can be developed with partners before reaching viewers through FlareFlow or external distribution channels. “For us, Mipcom is an opportunity to show how our distribution ecosystem has evolved. The next step is not simply about bringing more titles to market, but creating more ways for IP to travel, whether through licensing, localization, new formats, platform partnerships or co-development,” said Timothy Oh, General Manager of COL Group International and CMO of FlareFlow. “That flexibility allows us to build longer-term relationships with partners and find the right route to audiences in each market,” he added. THAILAND’S SHORT-FORM ECOSYSTEM In Thailand, COL Group and CP Group, Thailand’s largest conglomerate, have entered a 360° strategic partnership spanning talent development, content and distribution. The two groups are working with a leading Thai academic institution on a short-form drama talent incubation program designed to connect emerging creators with industry opportunities across storytelling, production and audience engagement. The partnership also brings COL Group’s IP closer to Thai audiences. Under a

planned Thai Remake Collaboration, selected FlareFlow titles will be reimagined with Thai characters, settings and language, supported by AI-enabled production tools and CP Group’s local creator network and market expertise. On the distribution side, FlareFlow Mini has launched within Tatang by TrueID, True Corporation’s Thai short-drama platform, providing a dedicated destination for localized FlareFlow content with new titles added regularly. Together, the initiatives connect talent development, localized production and distribution, and create a pathway for Thai stories and creators to reach wider audiences in the future. COL CREATOR STUDIO COL is also developing new sources of original content that can feed into its wider distribution ecosystem through the COL Creator Studio, an initiative designed to bring established creators directly into entertainment development. Depending on the project, creators can participate as actors, writers, directors, or showrunners, working with COL to build original vertical series around their creative voice and audience. COL provides the production infrastructure behind those projects, spanning development, financing, production, and worldwide release. At the same time, creators can participate in downstream revenues and take a negotiated ownership position in the IP they help build. The model also creates a closer connection between content development and discovery. Creators bring existing communities and direct audience relationships into a project from its earliest stages. By Romina Rodríguez

OVERVIEW

TALENT FROM SPAIN, STORIES THAT TRAVEL SPANISH COMPANIES WILL HAVE AN ENHANCED PRESENCE AT MIPCOM UNDER THE AUDIOVISUAL FROM SPAIN UMBRELLA. IN THAT CONTEXT, LEADING COMPANIES DESCRIBE THEIR GLOBAL EXPANSION STRATEGY AND NEW LAUNCHES FOR THE MARKET.

udiovisual From Spain is the umbrella brand created and supported by ICEX Spain Trade and Investment, bringing together Spanish companies from the audiovisual content sector, including film, television, animation, documentaries, and video games, to promote their work in international markets. At Mipcom 2026, Audiovisual from Spain will have two spaces to help companies develop its global expansion: the traditional stand at Riviera 7.J11 and the Creative Hub outside the Palais des Festivals. Inside the Audiovisual From Spain pavilion will be Amuse, Anafilms Productions, Ártico Distribution, Asymmetric Studios, Brands & Rights 360, B-Water Animation Studios, Canary Islands Film, Canarias Zec, Deep Com Roots, El Reino Infantil, Echo Post House, Filmax, Egeda, Event Conecta, Hark Media, Honestree Studios, Huri Tv, Imaco89, Krakatoa, Lilicar Films, Modfie, Morgana Studios, Onza Distribution, Plano A Plano, Rcaudio, Secuoya Studios, Squirrel Media, Vértigo Films, Video Mercury Films, and Wild Stories Distribution. Señal News spoke with some Spanish companies attending Mipcom to understand their international strategy and business focus for the event.

ÁRTICO DISTRIBUTION Carlos Sevillano, CEO

“The international market is more selective than it was a few years ago. Buyers are working with tighter budgets and looking for content with a clear hook, strong storytelling, and proven international appeal. Buyers want programs with a long shelf life, but also stories that can generate discussion around a current event, an anniversary, or a topic of interest. At the same time, the growth of FAST and AVOD services is creating additional opportunities for documentaries with broad, timeless appeal.” “In the documentary space, we are seeing steady demand for topics related to wildlife, nature, travel, history, and specialist documentaries, particularly when the subject has a strong visual component or a clear reason for being relevant today. Series are also attractive because they offer greater value and encourage repeat viewing, although there is still room for standout feature-length documentaries.” “The main change we are seeing is that rights have become more complex. Broadcasters and platforms are collaborating more frequently, and this can affect exclusivity, distribution windows, and the territories available to independent distributors. This means we have to be much more precise when negotiating rights and developing a distribution strategy for each title. A documentary may have different opportunities across linear television, streaming, FAST, or digital platforms, so protecting the value of each window has become increasingly important.”

 "Leo XIV"

Islands’ audiovisual sector. This allows a foreign production company to find co-producers, suppliers, crews, and local resources without having to build that network from scratch.”

BRANDS & RIGHTS 360 Iñaki Orive, Founder & President

“To give just a few examples, between 2024 and 2026, titles filmed in the Canary Islands include: ‘Pluribus,’ ‘Just Play Dead,’ ‘Black Tides,’ and ‘Day Drinker.’ If we look at Spanish productions, I will highlight the following recent titles: ‘El Ser Querido’ and ‘Amarga Navidad’.”

“The biggest opportunity is the greater variety of potential clients, including linear television (free-to-air, pay TV, etc.) and non-linear platforms (SVOD, AVOD, etc.). This is particularly significant given that the situation was very different a few years ago, when each country had only a limited number of linear channels. There is also strong global demand for content, as well as greater circulation of international titles. This has been driven in part by the early commitment made by streaming platforms to testing international content from around the world, helping audiences discover and embrace programming from different territories.” “When creating a brand aimed at children and families, YouTube has become a key strategic piece of the puzzle, alongside non-linear platforms such as Netflix and Prime Video, social media, and linear channels.”

CANARY ISLANDS FILM

Natacha Mora Yanes, Director of Audiovisual Departament, Canary Isles Government

DEEP COM ROOTS Emir Duzel, Head of International Sales

“International buyers are much more selective today. There is an enormous amount of content available, and every broadcaster or platform is looking for titles that precisely match its audience, editorial positioning, and programming strategy. We are seeing growing demand for content with a clear premise, a distinctive visual identity, and an easily identifiable potential audience. Flexibility in the configuration of rights, territories, and windows is also becoming increasingly important. Having good content is no longer enough: buyers need to quickly understand what sets a title apart, who it is aimed at, and how they can position it in their market.” “Deals between platforms and broadcasters are changing the way rights are structured and marketed. Each transaction requires a more detailed analysis

“Canary Islands Film is particularly attractive because it offers more than just a tax incentive; it serves as a gateway into the Canary Islands’ audiovisual ecosystem. We provide guidance on applying for the tax deduction available in the Canary Islands for international productions: up to 54% on the first €1 million of the qualifying deduction base and 45% on the excess.” “In addition, Canary Islands Film brings together information and contacts from the different Film Commissions across the islands and provides support with location scouting, as well as connecting producers with institutions and companies within the Canary

 "Auri"

OVERVIEW

of windows, exclusivity periods, territories, and the availability of linear, on-demand, and digital rights. Although feature films represent an important part of our catalog, these changes also have a direct impact on our strategy. We therefore work with flexible models tailored to each market, seeking to maximize each title’s lifespan without compromising future exploitation windows.”

EL REINO INFANTIL Ylka Tapia, Head of Growth Partnerships & Producer

“We are seeing a very clear shift: buyers are no longer looking solely for content; they are looking for brands capable of building communities. Audience metrics remain important, but the ability of a property to drive long-term engagement, generate repeat consumption, and expand across multiple platforms is becoming increasingly important. In our case, that ability is supported by a community of more than 240 million subscribers, a presence in 11 languages, and a network of 67 channels. This gives us first-hand insight into how family viewing habits are evolving and allows us to adapt our strategies accordingly.” “We are no longer competing solely for territories; we are competing for global attention. In that environment, brands capable of building international communities have a distinct advantage. We are also seeing growing interest in intellectual properties with the potential to develop under a 360-degree model, expanding

 "Bartolito" · EL REINO INFANTIL

beyond audiovisual content into multiple business verticals such as licensing, merchandising, live shows, mobile apps, and video games. Our IPs are designed to evolve into brand ecosystems that engage audiences across different touchpoints, creating new business opportunities and building global franchises with longterm growth potential.” “Although we are often associated with distribution, our primary focus is on the development, management, and international expansion of our own intellectual properties. We also operate a digital network that incorporates third-party content on YouTube, but our international growth strategy is fundamentally built around our own catalog and content library. Rather than viewing the convergence between broadcasters and platforms as a threat, we see it as creating new opportunities for brands capable of working across multiple environments. Audiences are consuming content in increasingly diverse ways, which benefits properties that are conceived with a multiplatform strategy from the outset.”

KRAKATOA

Víctor López, CEO

“We are seeing a much more selective buyer who is highly attuned to the digital world. A good story or strong animation is no longer enough; buyers are looking for properties that can connect with audiences across different windows and demonstrate a genuine relationship with them. We are also seeing tremendous fragmentation in the way content is consumed. Children discover characters and songs in digital environments, encounter them again on television or platforms, listen to their music, and then want to engage with them through a book, a toy, or a live experience. That is why we increasingly believe in developing IPs that can become true content ecosystems rather than standalone formats.” "In our case, the digital ecosystem allows us to constantly learn from the audience: which characters they recognize, which songs they return to, and which content becomes part of their routines. That

ONZA DISTRIBUTION Erika Gómez, Head of Sales  "Bumpy" · KRAKATOA

information feeds back into the creative process and helps us build properties that are more relevant to new generations. ‘Bumpy’ was created precisely from this approach: thinking from the outset about how an IP can connect with its audience, learn from them, and grow organically across different windows and experiences.” “At Krakatoa, we work on the development, production, and international expansion of intellectual properties. From that perspective, the changes taking place between platforms and broadcasters are fundamentally reshaping the way an IP is designed and exploited. The consolidation of major entertainment groups and the proliferation of distribution windows mean that each territory requires an increasingly flexible strategy. For us, television, platforms, and digital are not necessarily competing spaces; they can play complementary roles in the lifecycle of a property.”

"Celeb Challenge" · ONZA DISTRIBUTION

“It depends very much on the territory, but there is one thing we are seeing very clearly: telenovelas continue to perform exceptionally well. In Central and Eastern Europe, for example, they remain among the types of content most in demand from us. We are also seeing strong interest in entertainment formats that have already proven successful in their original markets and have significant adaptation potential.”

SECUOYA STUDIOS

Andrés Zamora, Director of Global Sales & Distribution

“International buyers are looking for content with a strong identity of its own, such as ‘The Butterfly Maze,’ ‘The Tribute,’ and ‘Caldas: The Last Ship.’ In an increasingly saturated market, the series that stand out are those featuring internationally recognizable casts, such as ‘The Butterfly Maze,’ or telling impactful stories capable of connecting with local audiences, as is the case with ‘The Tribute’ and ‘Caldas.’” “We believe these deals simply demonstrate the importance of distribution in financing projects. However, Secuoya Studios is fundamentally a production company, and we have a responsibility to protect creators and producers. What is clear is that, when negotiating a new series with a broadcaster, we cannot take it for granted that the distribution rights will remain with them.”

By Diego Alfagemez, in collaboration with Audiovisual from Spain

DISTRIBUTION

NEW RULES FOR GLOBAL DISTRIBUTION

he international content business is going through a period of adjustment, and for sales teams, simply matching finished programs with buyers is no longer enough. With production budgets rising, license fees under pressure and advertising revenues declining across markets, distributors are having to find increasingly creative ways to finance projects and build international partnerships. Tatiana Grinkevich, Head of Sales at Bossanova, is overseeing sales at a time of significant change within the team, and for her, flexibility has become essential. “Funding is probably number one,” she stated when discussing the biggest challenge facing the business today. Once the right idea has been identified, the focus quickly turns to determining which partners could support it and how the project can be structured to work across multiple territories. That means listening closely to buyers and understanding not only what they want today, but where their needs may be heading. Development meetings, she explains, have become an important part of that process, helping to connect producers and broadcasters while providing insight into the projects and formats that could form the pipeline for the following year. According to Grinkevich, the challenge is particularly acute because the economics of the business have shifted. Ad revenues continue to fall in many markets, while license fees are under pressure and production costs are increasing. “Everyone needs to be creative,” she said. One response has been to 72

TATIANA GRINKEVICH, HEAD OF SALES AT BOSSANOVA, DETAILS THE COMPANY’S APPROACH AS BUDGETS TIGHTEN AND THE INTERNATIONAL DISTRIBUTION LANDSCAPE BECOMES INCREASINGLY COMPLEX.

rethink the traditional structure of international deals. Rather than simply negotiating a license fee, Bossanova’s team increasingly looks at combinations of shorter license periods, shorter holdbacks and multiple windows across territories. Grinkevich describes this as “smart windowing” or “creative dealmaking.” A project might have one partner taking an initial window in one market, followed by another opportunity elsewhere, while additional thirdparty sales can help close the remaining financing gap. It is a more complicated process than it might have been a few years ago, requiring sales, acquisitions and buyers to work together from an earlier stage. “We do it on a daily basis,” she explained, describing the process of identifying where an additional partner or sale could make the difference. The objective is ultimately straightforward: to make sure the money invested in a production can come back. But achieving that increasingly requires several pieces of the international puzzle to fall into place. FLEXIBILITY IS CRUCIAL That same flexibility is influencing the way Grinkevich approaches programming. With audiences facing an enormous range of choices across platforms, buyers are experimenting with genres and formats that might previously have been considered outside their traditional remit. Her approach is therefore not to make assumptions. ““If I just focus on what would be the obvious fit for them. I continue mentioning some new genres to them because everyone is on the search of

something new” she explained. There may still be recognizable patterns. A male-skewing channel, for example, may continue to target a predominantly male audience, while experimenting within genres that have traditionally attracted different demographics. But buyers are increasingly willing to test those boundaries and see what the results reveal. One example involved a fourpart true-crime documentary, “The Flight Attendant Murders,” developed in-house. Grinkevich initially would not have considered it an obvious fit for German public broadcaster ZDF. She was discussing history, mystery and archaeology with the buyer when she decided to mention the project almost as an afterthought. As she states, the experience reinforced the value of presenting buyers with possibilities rather than restricting conversations to what appears to be an obvious genre match. “It just teaches me not to assume things,” she said. By Diego Alfagemez

INTERVIEW

“AUDIENCES WANT TO FEEL CONNECTED TO WHAT THEY’RE WATCHING”  İzzet Pinto

İZZET PINTO, FOUNDER & CEO OF GLOBAL AGENCY, DESCRIBES THE GLOBAL POTENTIAL OF “THE GREATEST DUO,” THE MAJOR FORMAT LAUNCH THE COMPANY WILL DEBUT IN CANNES.

usic competition formats have shifted considerably in recent years, but, in one way or another, have always stayed relevant on screens worldwide. Global Agency will have a new launch at Mipcom that promises to revolutionize the genre. Señal News spoke with Izzet Pinto, Founder & CEO, to explore the title's potential. 74

What's Global Agency’s big-format launch at Mipcom? “We’re heading to the market with a strong new format that we’re really excited about: ‘The Greatest Duo’. It is a fresh competition format with music at its heart. We’re looking forward to revealing the project and sharing much more at Mipcom. We are bringing what we believe is a truly unique format, where relationships are put to the test through music. We wanted to do something very special for its international launch, so we will host an exclusive world premiere at the Olympia Cinema in Cannes for around 80 selected guests, including leading format buyers from around the world. At Global Agency, we always try to bring creativity not only to the content we represent, but also to the way we introduce it to the international market.”

How does this show revolutionize the music competition format business? “Most music competition formats are traditionally built around either talent or songs. This new format brings something different to the genre because it adds a strong human and emotional dimension, combining music with real relationships. That human touch is what makes the format stand out and creates a completely different experience for the audience.”

What do global clients demand today from a music format? “Today, audiences want to feel connected to what they’re watching. This family-oriented format brings together music, reality, and relationships, so it has a strong emotional, human core. At the same time, it reflects the way younger audiences experience music today, especially through social media. So it has something for the whole family, while still feeling fresh and relevant to a new generation.”

“Shopping Monsters” returned to Greece for a 10th season. What does that milestone mean for the brand? “The show has been one of our biggest format successes to date, with more than 30 local adaptations worldwide. In several territories, the format has demonstrated remarkable longevity, with some producing up to 16 seasons. Greece has long been one of the most successful territories for ‘Shopping Monsters,’ so its return for its 10th season is a major milestone for the brand. It demonstrates not only the format's longevity, but also its ability to stay relevant and keep connecting with local audiences season after season.” By Diego Alfagemez

INTERVIEW

“’VITÓRIA’ HAS ALL THE INGREDIENTS THAT GLOBAL AUDIENCES LOOK FOR IN A LONG-RUNNING DRAMA” CARLOTA VIEIRA, CONTENT SALES DEPUTY DIRECTOR AT SIC, EXPLAINS THE NEW VERSION OF “VITÓRIA,” ONE OF THE PORTUGUESE COMPANY'S MAIN BETS FOR MIPCOM, WHICH NOW FEATURES 140 EPISODES DIVIDED INTO THREE SEASONS.

ortugal’s SIC International Distribution will reinforce its international presence at Mipcom with a catalog led by a shorter version of its blockbuster long-running drama "Vitória". Señal News spoke with Carlota Vieira, Content Sales Deputy Director at SIC, who described the business focus of the new version of the show and explained the strategy behind the change. How would you define the new “Vitória” that SIC will present at Mipcom? “This new version of our blockbuster “Vitória” now has a total of 140 episodes divided into three seasons of 77, 39 and 24 episodes. We’re not changing the essence of “Vitória” at all; we’re adapting how we present it internationally and giving the story a new rhythm. We’ve created a shorter, more dynamic version of the show, focusing on its strongest storylines and key emotional turning points. It remains the same inspiring and powerful story about maternal love, resilience, and the fight for justice, but now presented in a more flexible format that we believe can connect even more easily with audiences around the world.” Why did you decide to split the show into three seasons? “The division into three seasons came quite naturally as it follows the structure we already have in place for SIC’s linear broadcast. Each season ends at a key moment in the story, creating a natural dramatic arc and a strong hook to keep audiences wanting more. We know that many buyers today work with programming and consumption models that are quite different from the traditional long-running telenovela format. Our ambition is to enter new markets, and we want to make that process as easy and flexible as possible for buyers. Restructuring “Vitória” into shorter seasons also makes the dubbing investment more manageable and allows clients to 76

introduce the title with greater flexibility and less risk. We’re completely comfortable selling just the first season because we genuinely trust the strength of the story and its ability to connect with audiences. We’re already starting to see that this more flexible, segmented, and binge-friendly approach is resonating very positively with clients, and we expect to share more news very soon.” What is the global appeal of “Vitória” as a long-running drama? “’Vitória’ has all the ingredients that international audiences look for in a long-running drama. First, it is built on an incredibly strong Turkish script, Tims&B and Global Agency’s ‘Gulperi,’ and its multiplatform release across SIC, Opto, and Disney+ reflects the high production standards behind our premium scripted content. It’s a deep and moving storyline with a fierce and inspiring female protagonist that explores the limits of love and justice, ideal for markets that value powerful female-led casts, charismatic villains, and stories with complex relationships and power dynamics. Our clients have responded well to our local strategy of filming two alternative endings for our dramas. What if love could take a different path? What if audiences want to experience a different outcome? We know that the same story can resonate differently across cultures. So this adds an innovative layer to the traditional drama format and offers buyers greater flexibility to adapt, surprise, and connect with their local audiences.” SIC will also showcase "Chapters of Life"; what does this show offer to global buyers? “It was the first telenovela resulting from our renewed partnership with TV Globo, released simultaneously on SIC, Opto, and Prime Video, and we’re very happy that it has quickly established itself as one of our biggest audience successes. It continues to lead Portuguese audiences in its time slot, and it ranks among the top 10 most-watched programs on Prime Video week after week. It’s based on ‘Pages of Life,’ an incredibly beloved Globo story. It’s a powerful and socially relevant story that tackles complex relationships and family conflicts and has characters that audiences can really become invested in.” By Diego Alfagemez

INTERVIEW

"WITH GOOD CONTENT, SALES ARE LIKELY TO FOLLOW" CHRISTINE GIRARD, HEAD OF INTERNATIONAL DISTRIBUTION AT ENCORE GROUP, HIGHLIGHTS TWO PRIME SHOWS THE COMPANY IS BRINGING TO CANNES: "THE LUMINOUS ABYSS" AND "DARK SOUL."

head of Mipcom, Christine Girard, Head of International Distribution at Encore Group, spoke with Señal News about the company's new slate for the market. The distributor is currently pushing two major scripted titles: the brand-new female-driven drama "The Luminous Abyss" and the final chapter of its hit anthology series "Dark Soul." Girard details the narrative hooks driving these productions, market trends, and what sets Encore's content apart. Encore will launch "The Luminous Abyss" at Mipcom. What core themes and narrative hooks make the series stand out in today’s global marketplace? “Adapted from the best-selling book by Anick Lemay, ‘The Luminous Abyss’ touches upon a very human story. The series will find a home in some countries in its original version and in others,

as an adaptation. Viewers enjoy stories that show human resilience in life-threatening situations, our capacity to reinvent ourselves and move on. Female-driven and family-oriented, ‘The Luminous Abyss’ celebrates human life and sisterhood; it makes us cry, laugh, and long for a big glass of Chardonnay.” The fourth season marks the finale of "Dark Soul." How does this season conclude the franchise, and what makes it a strong selling point for global buyers? “In this increasingly competitive global market, ‘Dark Soul’ is a highend anthology crime series that has consistently managed to stand out and attract audiences from around the world, such as in France, French-speaking countries, the USA, Latin America, Poland, the Nordics, and Australia. I’m a big fan of the series and its universe: the investigators as the backbone of the series, crime cases, the original music, and melancholy. It is powerful and addictive. Since the series deals with such sensitive topics, selling it was far from being a sure bet. For instance, the first season deals with a school mass shooting. When I first took it to the market, many buyers turned it down, as they considered it too risky. Fortunately, others saw it differently, or perhaps were less risk-averse, and thanks to them and to the response of their audiences, the series became the success story we know now. Each season is written with great care and aims to offer an angle audiences would not expect. For instance, in the school mass shooting, the angle was to have the viewers see the

 Christine Girard

aftermath of the shooting from the perspective of the shooter’s family instead of the victims’. Each season also takes viewers to a different physical environment: in the first season, a school; the second, a courtroom; the third, a campsite. Season four deals with a woman’s disappearance and follows the DNA of the previous seasons. This time, when the investigation ends, so will the investigation team of Dr. Eliane Sirois and Major Crime investigator Jasmin Boisvert, and a special moment will close the ‘Dark Soul’ chapter altogether.” What trends are you seeing in the market for premium scripted content, and how does Encore’s slate meet those needs? “My way to read the market is by listening to the buyers. That said, we also need to bring something that differentiates from what circulates; this is also what buyers want. Again, if I'd paid attention to the trends back in 2021, I would never have taken ‘Dark Soul’ and the school mass shooting to market, because it was too risky. The same applies to our comedy series ‘Les Beaux Malaises.’ Many say comedy doesn’t travel. Yet the show has been licensed in a number of countries and adapted in France, Belgium (French and Flemish), and Serbia. I have high hopes for ‘The Luminous Abyss’ at Mipcom. With good content, sales are likely to follow. Trends fade; content remains.” By Romina Rodríguez

PRODUCTION

 Dave de Bie

AS CONTENT MOVES INCREASINGLY FLUIDLY BETWEEN LINEAR, STREAMING AND DIRECTTO-CONSUMER PLATFORMS, BANIJAY IS EMBRACING A MORE FLEXIBLE APPROACH TO IP. DAVE DE BIE, SENIOR INTERNATIONAL FORMAT & PRODUCTION CONSULTANT, HIGHLIGHTS NEW OPPORTUNITIES FOR DISTRIBUTION, MONETIZATION AND DEVELOPMENT.

or Dave de Bie, Senior International Format & Production Consultant at Banijay Entertainment, one of the key trends shaping the content business is the growing flexibility around intellectual property. “The broadcaster doesn't have the exclusive right on the IPs anymore, and shares it,” he says, describing an environment in which formats can move across platforms and generate value through multiple windows rather than being tied to a single outlet. Banijay’s “MasterChef Creators” in Brazil offers a clear example. Building on the established “MasterChef” franchise, the digital extension brought content creators already active on YouTube into the format. Three episodes were fully funded by LATAM Airlines and released exclusively on YouTube, creating an additional monetization opportunity alongside the linear version of the show. A similar philosophy is behind a “MasterChef” spin-off in Thailand. There, eliminated contestants move into a digital extension that 80

WHEN FLEXIBILITY BECOMES THE NEW IP STRATEGY can be monetized through YouTube and sponsorship, while the nonexclusive structure also allows the producer to explore additional distribution opportunities, including streaming. The model is changing not only how existing formats are exploited, but also how new ideas are developed. De Bie points to “Let’s Play Ball” in the Netherlands, a simple concept that was initially piloted on YouTube before moving to a linear broadcaster as a full series. For producers, digital platforms can therefore become testing grounds: content can be launched, monetized and measured before being presented to traditional buyers. “We have a lot of data today,” says de Bie, noting that producers can understand who is watching and use that information to redevelop a concept. A successful digital pilot can then strengthen the pitch to a linear broadcaster by demonstrating that an audience already exists.

CREATIVITY AT THE CENTER While platforms and commercial partners can enter the process at different stages, de Bie maintains that the creative idea remains at the center. “IP is still king,” he says. Sometimes YouTube brings an idea to the producer; sometimes a brand approaches with a commercial opportunity. The key is having the flexibility to build the right model around the IP. That flexibility is also pushing Banijay beyond its traditional B2B model. Through initiatives such as Creators Lab in France, the company is developing content that can be published and monetized through its own YouTube channels, without a broadcaster intermediary. It represents a move toward direct business-toconsumer relationships alongside the company’s established broadcaster business. For Banijay, then, the future is less about choosing between television and digital than about making IP work across both and remaining open to whatever new windows and business models emerge next. As de Bie puts it, producers need to stay flexible and open-minded as the definition of where and how content is consumed continues to evolve. By Diego Alfagemez

INTERVIEW

 Ben Flint

“THE AMBITION IS SIMPLE: LESS ADMINISTRATION, BETTER DISCOVERY AND MORE DEALS”

BEN FLINT, CHIEF COMMERCIAL OFFICER OF VUULR, OUTLINES THE RETURN OF THE END-TO-END RIGHTS TRANSACTION PLATFORM AT MIPCOM, DETAILING HOW AI INTEGRATION AND THE LAUNCH OF ITS NEW WHITE-LABEL SOLUTION, VUULROS, ARE TRANSFORMING GLOBAL RIGHTS TRADING.

uulr is marking a major industry return by rebuilding its business from the ground up to address an increasingly complex and fragmented global content economy. In an interview with Señal News, Ben Flint, Vuulr's Chief Commercial Officer, discussed how the B2B platform is positioning as an essential infrastructure for global content distribution.

Rights Transaction Platform rather than simply bringing back the old marketplace. We're also applying AI where it can genuinely make a difference, particularly around discovery, matching, localization, and communication. The ambition is simple: less administration, better discovery and more deals. Technology should take friction out of the process, not take relationships out of the business.”

Vuulr significantly transforms how rights are traded. What are the main drivers behind this efficiency? “The biggest efficiency comes from removing friction. Traditionally, even relatively straightforward rights deals can involve weeks or months of emails, spreadsheets, rights checks, negotiations, and paperwork. Vuulr brings much of that process into one purposebuilt environment, so buyers can discover content, establish what is available, engage with sellers, negotiate and transact far more quickly. But speed isn't really the end goal; it's a consequence of making the process work better. Buyers today have less time and are looking across a much bigger universe of content, while rights owners are under enormous pressure to monetize more of what they have. That's why we've rebuilt Vuulr as an end-to-end

How does Vuulr help niche and independent content find its audience? “That's actually one of the most powerful things about a global digital platform. In the traditional market, visibility is often determined by the size of your stand, your sales team, or your marketing budget. Online, we can make relevance more important than scale. We’re democratizing access to content from sellers of all sizes, while giving buyers a powerful tool to complement, not replace, their daily workflows. The challenge today isn't a shortage of content; it's finding the right content. A buyer in Latin America, for example, may be looking for something incredibly specific, a particular genre, audience, language, price point, or rights configuration. Our job is to make sure the most relevant titles surface, regardless of whether

they come from a major studio or an independent producer. We're building Vuulr for a market that now includes traditional film and television alongside creator-led content, microdramas and other emerging forms. An enormous amount of commercially valuable content doesn't necessarily have a traditional international sales machine behind it. Digital discovery can give that content a route to market.” How does Vuulr complement a distributor's physical market's yearly strategy? “I don't think it's digital versus physical at all. Mipcom remains hugely important because this is a relationship business, and nothing replaces sitting down with somebody, talking about what they need and building trust. What doesn't make sense is limiting the commercial opportunity to three or four days in Cannes. Vuulr can extend that activity: helping buyers discover a wider catalog, enabling conversations to continue, opening opportunities in territories a seller may not and cannot physically cover, and ultimately turning interest into transactions." By Romina Rodríguez

INTERVIEW

"THE INDUSTRY DOESN'T HAVE AN IDEAS PROBLEM ANYMORE. IT HAS A VALIDATION PROBLEM"

 Wouter van der Pauw

WOUTER VAN DER PAUW, FOUNDER OF SIGNAL.STREAM, DETAILS THE LAUNCH OF THE OUTSIDERS, AN AUDIENCE-FIRST TESTING GROUND DESIGNED TO REDUCE RISK AND REFINE NEW FORMATS THROUGH REAL-TIME VIEWER DATA BEFORE SECURING MAJOR BROADCAST BUDGETS.

n a market defined by tighter budgets, fragmented audiences, and heightened financial pressure on every commissioning decision, traditional development models are facing unprecedented challenges. To address that shift, Signal.Stream recently launched The Outsiders, a public testing platform where fresh talent, new formats, and creative concepts are introduced, tracked, and iteratively refined weekly based on live viewer interactions. Speaking with Señal News, Wouter van der Pauw, Founder of Signal.Stream, explained how this methodology replaces speculative pitches with behavioral data, allowing creators, producers, and media companies to mitigate risk and cultivate global hits in today's evolving landscape. What environment did you observe in the global industry when you launched The Outsiders? “For decades, our industry has relied on the same development model. Someone has a great idea, creates a pitch deck, presents it to broadcasters or streamers, and if they're convinced enough, big money is invested before a real audience has seen a single frame. That model worked when broadcasters commissioned dozens of new formats every year. One major hit could pay for many misses. Today's market is different. Budgets are tighter, audiences are fragmented, and every commission carries much greater pressure. That creates a problem: the more original an idea is, the harder it can be to get commissioned. The next global hit probably won’t look like what is already on television, but those are exactly the ideas that can feel too risky to back with a major budget. An audience-first approach gives those ideas a chance to prove themselves before making that investment. The industry doesn't have an ideas problem anymore. It has a validation problem.” How does The Outsiders replace traditional pitch meetings and pilot episodes with real-time behavioral data? “The Outsiders doesn't replace creative instinct; it strengthens it. Instead of asking commissioners to predict audience behavior, we let audiences show us. Every week we test new entertainment concepts, mechanics, casting ideas, and talent with real viewers. 84

Their behavior becomes part of the creative process. What's important is that this isn't an experiment for us. We’ve been developing entertainment this way for over fourteen years through our creator ecosystem, generating more than 1.6 billion views on our YouTube channel alone. The difference is that we're now combining that experience with much richer behavioral data and opening the methodology to creators, producers and media companies outside Signal.Stream. Over the past eighteen months alone we've tested eighteen completely new entertainment concepts. Eleven never made it beyond testing. Seven were commissioned. Five are already traveling internationally. That's exactly how development should work. Ideas deserve proof before they deserve millioneuro budgets.” How do you track and adjust concepts, and which specific viewer metrics signal that a format is ready for linear TV or SVOD platforms? “Having nearly 850,000 subscribers certainly helps, but our biggest advantage isn't the audience size. It's the benchmark. We've been developing entertainment inside creator platforms for more than fourteen years. That means we understand what healthy audience behavior looks like. We can immediately compare every new concept against hundreds of previous productions. Today, we can combine creative intuition with objective behavioral data. We look at completion rates, audience retention, watch time, returning viewers, gender split, age groups, click-through rates, engagement, sharing behavior, comments, and more. Every format has its own success profile. But the numbers themselves aren't the objective. They're conversation starters. If viewers consistently stop watching after eight minutes, we ask why. If women engage differently than men, we ask why. If audiences replay one specific sequence or share one particular challenge, we ask why. That allows us to make creative decisions based on evidence instead of assumptions. We're not trying to let data replace creativity. We're using data to make creativity better.” By Romina Rodríguez

INTERVIEW

"THE GREATEST VALUE WE BRING TO OUR PLATFORM PARTNERS IS OUR CATALOG" DAVID BUOYMASTER, CHIEF INVESTMENT OFFICER OF RADIAL ENTERTAINMENT, DISCUSSES THE COMPANY’S EXPANDING PARTNERSHIPS WITH PREMIUM CONTENT PROVIDERS AND ITS STRATEGY FOR 2027.

adial Entertainment is entering a new phase of growth built around scale, ownership and an expanding international footprint. Speaking with Señal News, David Buoymaster, Chief Investment Officer, discusses the company’s partnerships with major companies such as ITV and Blue Ant, its launches for Mipcom, and the strategy behind its 2027 pipeline. Radial recently closed distribution partnerships with ITV Studios and Blue Ant Media. What makes these multiplatform deals strategic for Radial? "Radial's business was built on partnerships like this, and we are very excited to continue to add depth and breadth to a wide range of partnerships with premium content partners like ITV and Blue Ant, among many others. The greatest value we bring to our platform partners is our catalog, which is dynamic and growing through our combined content strategies (Originals, Catalog, and 86

Creator). By bringing premium catalog titles from partners like this, we can provide platforms and their audiences with content spanning all genres, vintages, and origins. These deals are and will always be a central pillar to being the most valuable partner in the market, where our goal is to be as close to a one-stopshop as possible." What are the main titles that you will promote at Mipcom? "Mipcom is where buyers see the full depth of our slate, not just the top of it. Leading our conversations in Cannes are two new installments of the ‘World's Most Evil’ franchise: 'World's Most Evil Women' and the fourth season of ‘World's Most Evil Prisoners.’ The brand has traveled well, and buyers keep coming back. We are also bringing two titles with real heritage value. 'FBI Files' returns with new episodes for the first time in 20 years, and we have other Radial Originals coming back to the market. All are proven library performers that international audiences already recognize, which gives buyers a way to refresh an existing strand rather than gamble on something unknown. Alongside those, we are showcasing 'Hashtag Homicide,' 'Unspeakable,' and 'Untold Stories of the ER,' which are popular and broaden the offer across contemporary true crime and medical factual. Behind those headliners, we have hundreds of hours of first-run factual content moving through the pipeline. For buyers building out true crime, investigative and paranormal blocks, the story we are telling in Cannes is scale plus reliability."

Looking ahead to next year, what is your roadmap for 2027 in terms of international reach, co-productions, and business projections? "Our roadmap follows the demand. North America remains strong for factual, and the clearer signal over the past year has been Germany, Switzerland, and Austria, where we are seeing real appetite for highquality factual programming that was not there at this level before. It is why 'World’s Most Evil Prisoners' fourth season launches across the US, Canada and GSA rather than as a US show we try to place abroad afterward. The wider backdrop is that commissioning has tightened across the UK and parts of Europe at exactly the moment we are accelerating. Buyers still need hours. What's scarce is a supplier who can deliver reliably and at a workable price. We are in over 50 global markets across every major distribution format and can move quickly. 'World's Most Evil Prisoners' is the clearest template for where we are heading. It is a Radial Original produced with Woodcut International; it went into production in September and launches in 2027 across the US, Canada, Germany, Austria, and Switzerland. It's a co-production structure with a built-in multiterritory footprint from day one. That is a model we want to repeat in 2027. We are also broadening the genre base of the Originals slate beyond true crime, into historical, weather, and pop culture with titles like 'Days That Shocked The World' and 'Last Captains.' On the business side, our 2027 projections depend heavily on volume and ownership. We now have 700+ originals and an overall catalog of 75,000 movies and episodes, and the shift toward owning more of what we distribute changes the margin profile." By Romina Rodríguez

DISTRIBUTION

“SOUTH BORDER”: SPI TAKES THE ALGARVE TO GERMANY IN A NEW INTERNATIONAL DRAMA THE NEW EIGHT-PART SERIES MOVES BETWEEN PORTUGAL AND GERMANY, WITH THE ALGARVE AT THE CENTER OF A STORY ABOUT IDENTITY, JUSTICE, AND POWER.

he Algarve is set to become the starting point for the new international drama series “South Border,” an eight-episode series created as a Portuguese-German production, with SPi as production partner. The story is rooted in the Algarve but moves beyond Portugal, with Germany also playing a central role in the narrative. For SPi, the project follows the international path established with productions including “Glória”, the company’s Netflix Original, and “Codex 632”. But “South Border” is also firmly grounded in Portugal: its landscapes, history and cultural heritage are not simply a backdrop, but part of the story itself. The project brings together professionals from different areas of the audiovisual and cultural sectors, including film, television, academia and heritage. The Universidade do Algarve is also involved, linking production with research areas such as cinema, audiovisual media, communication, history, archaeology, and cultural heritage. That collaboration is intended to extend beyond the academic sphere. The production will also create opportunities for a new generation of Portuguese professionals to work alongside an international team across cinematography, sound, postproduction, communication, and audiovisual production.

THE STARTING POINT At the center of “South Border” is the Algarve, a region increasingly visible in international productions but rarely used as the starting point for stories that connect Portugal to wider European narratives. The series therefore approaches the region from two directions: as a real location with its own history and identity, and as a place through which a contemporary international story can unfold. Alongside the production itself, “South Border” includes a model for international participation in the support of Portuguese artistic production, within the applicable legal framework. For SPi, the project adds another title to a growing slate of productions designed to connect Portuguese creative talent and locations with partners and audiences beyond the country. By Romina Rodríguez

OVERVIEW

THE DRIVING FORCE OF THE CATALAN AUDIOVISUAL INDUSTRY ALMOST 40 CATALAN COMPANIES WILL ATTEND MIPCOM IN 2026, AIMING TO PROMOTE LOCAL FICTION, DOCUMENTARIES, ANIMATION, TELEVISION SHOWS, AND SHORT FILMS.

atalan Films aims to increase the participation of the Catalan audiovisual industry in international markets and to encourage the co-production and distribution of Catalan projects. 38 Catalan companies will attend Mipcom, with diversified business focuses and content catalogs.

3CAT

Paula Pedemont, Head of the International Sales Department

“Our main business goal is to consolidate strategic alliances with international distributors and broadcasters, positioning 3Cat as a trusted source of distinctive European content. We are looking to build new partnerships and strengthen existing ones, while showcasing the strength and diversity of our catalog to secure international windows for our titles currently in production.” “We are excited to present exclusively ‘Bureau of Traditional Affairs,’ a sharp workplace comedy set inside a government department secretly tasked with keeping mythical creatures under control, alongside a new fiction format, a dark comedy built around a powerful lead character. Our focus also includes two standout documentaries: ‘The Deprogrammer,’ which follows the woman who spent 25 years helping families free loved ones from coercive cults, and ‘La Masia,’ which tells the full story of FC Barcelona's legendary football academy. Finally, we will showcase ‘Valentina,’ our first anime series, created by Miriam Bonastre, the mind behind the worldwide Webtoon sensation ‘Hooky’.”

AGUACATE & CALABAZA FILMS Jorge Velasco & Núria Velasco, Co-Presidents

“Our main goal at Mipcom is to expand our international network and generate new business opportunities. We aim to sell and adapt our original entertainment formats, find international sales and distribution partners for our fiction and documentary projects, and connect with potential co-production partners, while strengthening relationships established last year.” “Our main focus will be ‘La Travessa,’ our successful adventure reality format, and ‘La Jugada de Maquiavel,’ a strategy and hidden-identity reality. We will also present ‘Lia,’ our new fiction series for 3Cat, and our new documentary and non-fiction: ‘Family, A Modern Odyssey.’ We are seeking international distribution, format sales and co-production opportunities.”

DEAPLANETA ENTERTAINMENT

Carlos Biern, Content and Media Sales Director of the Kids & Family Division

“Our main goal is to introduce ‘Magic Lilly’ as one of DeAPlaneta Entertainment’s key new international franchises and continue building its global ecosystem ahead of its launch at the end of 2027. We already have a very strong group of partners on board, including RTVE, Super RTL, RAI, 3Cat and VRT, and Mipcom will be an important opportunity to expand that network with new broadcasters and partners worldwide.”

“’Magic Lilly’ will be our main focus. We will present the latest developments of the series, its universe, and its international potential as we move towards its 2027 launch. One of the market's highlights will be a special ‘Magic Lilly’ presentation cocktail on Monday 12 at the DeAPlaneta Entertainment stand, R7.D19, where we will celebrate the project together with our confirmed partners and introduce the brand to the international industry.”

GOLDBEE

Christophe Goldberger, Managing Director

“Our goal is to strengthen GoldBee’s position in the kids’ and family market by showcasing over 3,000 half hours of premium content, expanding our global reach, and building new partnerships with programming that combines strong commercial appeal and meaningful storytelling.” “Our main highlight will be ’20 Dance Street,’ a high-end animated drama from the producers of ‘Find Me in Paris,’ set at the Paris Opera Ballet School, following a group of young dancers as they chase their dreams and navigate the challenges of growing up. Also, ‘Be With Zee,’ a charming preschool comedy combining mindfulness, emotions and playful everyday adventures; and ‘First Line S3,’ the awardwinning tween/teen sports drama, leading Youth Series on RadioCanada, now spanning three seasons and a spin-off.”

IMAGIC TV

Jordi Oliva, CEO

“Our goal is to promote our new animated TV series ‘Anton Piñon,’ create brand awareness, and attract new business partners. After a successful publishing career in Spain and now in Italy, ‘Anton Piñon’ will be launched on global TV in 2028. There are plenty of opportunities yet to explore, and we believe Mipcom is the perfect market to sign new partners in all fields.”

JAMBIKA DOCS Juan Solera, Co-Founder

“Jambika Docs is a boutique international sales agency for high-end documentary and factual content, built on a curated catalog of around 10 to 12 new titles a year rather than volume-led representation. At Mipcom, our goal is to deepen relationships with broadcasters, streamers, and digital platforms across every territory and window, from linear to AVOD and YouTube, while continuing to build our reputation for hands-on, relationship-led sales.” “We bring five fresh acquisitions to Mipcom: ‘Poster Boy: Becoming Zyzz’ traces fitness icon Zyzz's rise and death amid looksmaxxing culture and manosphere, while ‘Giants of an Ancient Lake’ captures 4K blue-chip wildlife in Botswana's Makgadikgadi Salt Pans. ‘Our Future Planet’ explores solar and wind energy across 13 countries, and ‘Far From Home’ follows the Dalai Lama's exile from Tibet through two decades of archive and testimony. ‘Kabul´s Last Voices’ follows female Zan TV journalists from Kabul through the 2021 Taliban takeover into exile across Europe.”

LIMONERO FILMS Pamela Martínez, CEO, Development, Sales and Acquisitions

“Limonero Films is an independent Barcelona-based distributor specializing in premium documentaries and factual entertainment with international appeal. At Mipcom, our main goal is to expand our network of broadcasters, platforms, and distribution partners while strengthening existing relationships across Europe, Latin America, Asia, and the Middle East. We are looking for new licensing opportunities, co-production partnerships, and acquisitions that complement our growing catalog of globally relevant factual content.” “Our headline launch is ‘Free Joan Little,’ a powerful feature documentary about the landmark 1975 U.S. court case that transformed the conversation around sexual violence, racial justice and women's rights. We will also showcase two science and technology documentaries, ‘The Missing Head’ and the Catalan production ‘Clones: Science Before Fiction,’ highlighting Limonero Films' continued focus on compelling, internationally marketable factual stories across history, science and current affairs.” 91

OVERVIEW LIQUID ROCK ENTERTAINMENT Xavier Mas, Co-Founder

“Our goal is to secure international broadcasters and platforms, advance financing and pre-sales, and build licensing opportunities for Liquid Rock Entertainment’s premium Kids & Family catalog. In addition, Liquid Rock is actively seeking new properties to invest in regardless of the stage of development/production/completion.” “Our focus will be ‘The Secret Explorers’ (52 x 11’), an animated adventure based on the bestselling book franchise by Coolabi and published in 17 languages, with over one million copies sold in English. The series follows a diverse global team of expert kids who use science, knowledge and teamwork to save the day from all kinds of potential troubles and menaces. In coproduction with Pixel Zoo, MGA, TVE and TV3, the show will kick off production by the 1st half of 2027.”

MEGA TV

Eñaut Zuazo, Head of Content & Development

“Mega TV’s primary business goal is two-fold: acquiring proven international entertainment formats for adaptation in Spain, while scaling our original IP globally. Following the success of formats like ‘Make Up Stars,’ we are looking to expand our international distribution and co-production network. Our main focus for this market is introducing a slate of fresh, highly adaptable original non-scripted projects alongside strategic acquisitions tailored for the Spanish broadcasting landscape.”

MINUTO 90 FILMS Renzo Tamariz, Founder

“Mipcom marks a pivotal step for Minuto 90 Films as we expand from acquisitions and distribution into original production. Our goal is to position sports and music 92

storytelling as premium factual content for a global audience, open the door to international co-production partners, and reinforce our catalogue as a trusted reference for the documentary market — built on the same high production values that have defined our work since day one, now applied to a broader creative and commercial scope.” “Minuto 90 Films will spotlight 'Mala Full of Grace,' its international co-production with Mediacrest and JCDe Productions. Directed by Jean-Cosme Delaloye, the documentary weaves the journey of hip hop icon La Mala Rodríguez with four other women, all named María, once dismissed by society as 'bad girls,' turning a music story into a universal portrait of female selfdetermination — a bold factual title built for global buyers, and a clear signal of the ambition behind our new production slate.”

MOTION PICTURES Tony Albert, CEO

“Our main business goal for this edition is to launch our coproduction series ‘The Black Diamond Race,’ which is a 9x45’ preteen animated series. It's a co-production with Gruppo Alcuni, RAI, RTVE, Broadvision Perspectives, and Motion Pictures Entertainment. We're also excited to present to new and regular clients our 2026 catalogue, which includes a few new titles, and keep building those relationships. Besides that, Mipcom is a great chance to review animation trends and opportunities.” “’The Black Diamond Race’ is set in India, 1929. Rani Singh, a 17-year-old Indian girl, whose dream is to be a race car driver, finds herself in the middle of a sketchy challenge. At stake: four world famous diamonds with magical qualities. Working with a small team of underdogs including her older brother and drivers from all over Europe, Rani races to cross the finish line first and foil the plans of the criminal mastermind Mister K, who wants to use the diamonds’ powers to control the world.”

PEEKABOO

Iván Agenjo, CEO

“The goal is to find broadcasters, platforms, and other release windows for our already-made shows, as well as

coproducers and investors for the titles in development and financing stage. This includes our animation series projects ‘Little Heroes’ (52x11’), ‘BFFS!’ (40x11’) and ‘WAW Resort’ (50x11’), all of them looking for international coproducers and partners, as well as season two of our awarded title ‘Mironins’.” “We are taking to the market for first time final episodes to screen of two different titles. ‘The Triplets’ (26x11’), the adaptation of the classical Catalan IP created by Roser Capdevila, which comes back as a new reboot series for a new generation. A coproduction between Spain, Italy and Portugal involving already four public broadcasters (3CAT, RTVE, RAI and RTP), premiering in 3CAT this Christmas. The second season is already in financing stage. ‘Listen to your Body’ (13x10’) is an edutainment TV format mixing live action shooting and animation clips, talking to kids 8-10 in their own language while explaining fun facts of the human body functioning. This program, produced by 3CAT in collaboration with Mun Films and Peekaboo Animation, is available both as a ready-made product or a format to adapt locally, and Peekaboo acts as international distributor.”

SIESTA ENTERTAINMENT Natalia Hebel, Chief Sales Officer

“Our goal is to grow our international business, strengthen relationships with kids' content buyers and reach new audiences. We are introducing ‘Rockolandia Las Cabritas,’ our newest acquisition, with four Suncoast Emmy Awards and over 170M+ YouTube views; alongside ‘Spike,’ our current sales star, rolling out across multiple platforms, including Netflix. ‘Black Moth’ and ‘Target’ round out our slate. We look forward to seeing our industry friends, building lasting partnerships and finding the right homes for these four titles worldwide.”

SOUL PICTURES Nicos Beatty, CEO

“Soul Pictures is seeking international co-production, financing and distribution partners for ‘Cold Love,’ an €8 million sci-fi romance feature written and directed by Nicos Beatty. Blending the dual reality of ‘Inception’

with the emotional intensity of ‘Marriage Story,’ it follows a father confronting loss through virtual reality in a dystopian near future. With international talent attached and Spain’s competitive tax incentives, Soul Pictures is also looking to connect with producers seeking financing for their projects through Spain.”

TOMAVISION

Carmen Marro, Talent Coordinator & Business Operations

“Our main goal is to strengthen our international network within the animation sector and explore new co-production and financing opportunities. We aim to consolidate existing relationships while identifying likeminded partners and projects seeking co-producers. We are particularly interested in connecting with distributors, sales agents, broadcasters, and fellow producers to support the international financing, distribution, and circulation of animated content.” “Our focus is on presenting our studio and services to both new contacts and existing collaborators, showcasing our latest works and exploring new collaborations. We are interested in meeting producers with projects seeking co-producers, as well as distributors, sales agents, and broadcasters who can contribute to international financing and distribution. Additionally, we aim to increase visibility for our company within the global animation ecosystem and build long-term professional relationships.”

VANVELVET STUDIOS

Vanvelvet, Executive Creative Director

“We want to expand Dramabeats’ international partnerships in vertical fiction. We develop original IP and work with thirdparty IP or ideas, combining market intelligence with our proprietary development pipeline to shape market-ready vertical series, with a focus on co-production, licensing and development partnerships.” “We will present a selection of vertical microdrama IPs in development across thriller, horror and other genres, alongside a high-end vertical horror IP by director and producer Vanvelvet, seeking international co-production partners.” 93

INTERVIEW

“OUR STRATEGY IS FOCUSED ON STRENGTHENING THE COMPETITIVENESS AND INTERNATIONAL REACH OF QUÉBEC COMPANIES”  Louise Lantagne

LOUISE LANTAGNE, PRESIDENT AND CEO OF THE SOCIÉTÉ DE DÉVELOPPEMENT DES ENTREPRISES CULTURELLES (SODEC), REVIEWS ITS SUPPORT PROGRAMS TO BOOST INTERNATIONAL POTENTIAL AND THE LAUNCH OF SODEC CAPITAL, A NEW C$200 MILLION INITIATIVE TO DRIVE GLOBAL GROWTH.

head of Mipcom, Louise Lantagne, President and CEO of the Société de développement des entreprises culturelles (SODEC), outlines the agency's key initiatives to elevate Québec’s audiovisual industry on the global stage. In an exclusive chat with Señal News, Lantagne details how SODEC supports producers and navigates the evolving global market. Why should international buyers visit the SODEC Creative Québec Pavilion at Mipcom? “By visiting SODEC’s Creative Québec Pavilion, buyers will have access to nearly 40 Québec companies active in production, distribution and broadcasting. They will discover high-quality content across a wide range of genres, including drama, documentary, animation, youth programming and entertainment, all recognized for their creativity and strong international appeal. The Creative Québec Pavilion also serves as a key meeting point for exploring coproduction opportunities, financing avenues, content acquisitions and strategic partnerships. In one central location, industry professionals from around the world can connect with leading Québec players, build lasting business relationships and 94

identify new growth opportunities in international markets.” Are there any updates on your television funding programs, and how will they impact producers and new projects? “SODEC is currently reviewing its television series support program to better finance productions with strong international potential, particularly drama series. It is also revising its SODEXPORT program to optimize support for Québec companies seeking to expand their presence in international markets. These changes are intended to strengthen the competitiveness of Québec’s audiovisual industry by helping producers develop ambitious projects, access new financing and partnership opportunities, and enhance the international reach of Québec content.” How would you describe the SODEC Capital initiative and how its lowinterest model will support cultural businesses? “SODEC’s mission is to foster and support the establishment and growth of cultural enterprises across Québec, including those active in the digital creativity sector. It also works to enhance the quality of their products and services while strengthening

their competitiveness in Québec, across Canada and internationally. Backed by a modernized mandate and a capital base of C$200 million, SODEC Capital is introducing new financing tools designed to support the economic development of Québec cultural businesses, stimulate their growth and ensure their long-term sustainability. Its objective is to help build a dynamic, innovative, and highperforming cultural sector while addressing companies' financial needs in industry partnerships. These new financing instruments, including equity investments, unsecured loans, and bridge financing, are structured around three key priorities: accelerating the international expansion of cultural and creative businesses; supporting the retention of Québecowned intellectual property; and assisting entrepreneurs during periods of growth, transformation, ownership transfer, and business succession. Through these flexible financing solutions, SODEC Capital will provide cultural enterprises with greater access to the capital they need to scale their activities, seize new market opportunities and strengthen their long-term competitiveness.” By Romina Rodríguez

INTERVIEW

“OUR MISSION IS TO BRING COMPELLING INDIAN STORIES TO THE WORLD”  Siddharth Kumar Tewary

SIDDHARTH KUMAR TEWARY, CEO & CHIEF STORYTELLER OF ONE LIFE STUDIOS, DETAILS THE COMPANY'S STRATEGY ON ITS 10TH ANNIVERSARY, HIGHLIGHTING ITS ENTRY INTO THE KIDS' SEGMENT WITH "RAAYA: THE GREAT INDIAN TALES" AND THE EXPANSION OF ITS MICRODRAMAS SLATE.

n its 10th anniversary, One Life Studios is celebrating a decade marked by major international distribution and acquisition deals, evolving from a producer of large-scale historical dramas into a truly global and diversified content company. Leading this landmark milestone, Siddharth Kumar Tewary, CEO & Chief Storyteller of One Life Studios, spoke with Señal News about the company's strategy to expand its international footprint. As One Life Studios celebrates its 10th anniversary, how would you reflect on the company's evolution over the past decade? “Our mission at One Life Studios is to bring compelling Indian stories to the world. Ten years ago, we developed Indian stories at a scale and quality that could travel well beyond India, such as our award-winning drama series ‘Porus’. Over the past decade, that ambition has expanded considerably. We've evolved from primarily producing premium historical and scripted content into a company thinking across IP, formats, audiences, and territories. The acquisition and distribution deals we're announcing around our tenth anniversary reflect that evolution. So does the breadth of our current slate, from premium scripted series and historical storytelling to short-form microdramas and now with our major children's animation IP. Our next chapter is about building upon this foundation, evolving our storytelling strategy and becoming ever more global.” One Life Studios enters the animation business with "Raaya: The Great Indian Tales." How does the show balance Indian culture with universal appeal? “‘Raaya: The Great Indian Tales’ is a special way to share stories with the next generation. The idea began with a very simple observation: children notice what adults have stopped. Raaya is nine, curious, funny, emotionally honest, and persistent. She has a Mystery Notebook where she collects questions, and she doesn't accept an answer simply because it comes from an adult or a machine. That gives us a way into India's enormous reservoir of stories without approaching them as lessons 96

children are expected to know because they're Indian. The questions Raaya asks are universal. India is Raaya's first doorway, not her boundary. The ambition is that a child anywhere in the world can enter through her curiosity and eventually discover that cultures thousands of miles apart often asked remarkably similar questions, even when they imagined very different answers.” How does this kids' IP complement your core portfolio of historical and modern series? “’Raaya’ is an expansion of the kind of storytelling we can do. One Life Studios has spent years building large-scale worlds from Indian stories, such as our award-winning drama series ‘Porus' and 'Suryaputra Karn’. With ‘Raaya,’ we're taking that experience somewhere very different: to children, through curiosity rather than reverence. Animation also gives us enormous creative freedom. Internationally, it opens up a particularly interesting opportunity. Indian stories have extraordinary global potential, but the way they are introduced matters. It also allows One Life Studios to build IP that can travel across age groups, formats and territories, while complementing our existing premium scripted and historical storytelling.” One Life Studios has expanded into short-form and microdramas across Southeast Asia. How has this genre shifted your strategy? “For One Life Studios, this has become an important part of how we reach audiences beyond traditional television and streaming. Our expansion across Southeast Asia allows us to develop and distribute stories for audiences with different cultural backgrounds, viewing habits, and platform preferences. We're also seeing microdramas as a powerful way to experiment with genres, characters and storytelling formats, and to reach younger, mobilefirst demographics. For us, the key is that the format doesn't compromise storytelling. Whether we're making a premium historical series, an animated children's franchise, or a microdrama, the underlying principle remains the same: build characters and stories that give audiences a reason to come back.” By Romina Rodríguez

DISTRIBUTION

FOUR SHOWS, FOUR DISTINCTIVE PROPOSITIONS PINK PARROT MEDIA HEADS TO MIPCOM WITH NEW STORIES, INCLUDING “SISSI & CÉSAR” AND “JAM & RE”, WHILE EXPANDING UNIVERSES WITH “MOMONSTERS: THE CHRISTMAS MOVIE” AND TITLES READY TO TAKE FLIGHT LIKE “BUTTERFLY ACADEMY.”

ink Parrot Media returns to Mipcom with a selection of titles that combine finished productions, established IP and new projects with a strong visual identity, reinforcing its focus on distinctive content for the kids and family market. One of the titles that has been accompanying Pink Parrot Media at recent markets will have an important development in Cannes. Production is now complete, and the “Butterfly Academy” series is ready for delivery. Based on the world of “Butterfly Tale”, the 26 x 11’ 3D animated comedy follows four young butterflies who, after surviving their own migration adventure, are given the challenge of training a new generation. “The result is a fast-paced comedy full of unexpected mishaps, as four very different personalities attempt to teach their young trainees everything they know about navigation, flying and “Jam & Re”

survival, with results that rarely go exactly according to plan. Along the way, the series combines humor, adventure and nature with stories about friendship, teamwork, acceptance and inclusion," the company stated. Another key title in Pink Parrot Media’s Mipcom lineup is “Momonsters,” an established IP that continues to expand through three seasons of the series and two feature films. The latest addition is “Momonsters: The Christmas Movie,” the franchise’s second feature film, which has now completed production and is ready for release this Christmas. In the new adventure, Santa Claus invites Haha, Hehe, Hihi, Hoho, and Huhu to visit his workshop. But when an accident turns a new group of Momonsters into children’s worst enemies, Santa Claus is captured. The five friends must race against time to rescue him and save Christmas. “Running 70 minutes and aimed at children and families, the film brings the ‘Momonsters’ universe into the Christmas season, while highlighting themes including family, kindness, solidarity, generosity and teamwork,” Pink Parrot detailed. HANDCRAFTED ANIMATION Among Pink Parrot Media’s new titles is “Sissi & Caesar,” a preschool series that stands out from the very first frame thanks to its animation technique. “At a time

“Sissi & César”

when CGI dominates the animation landscape, the series embraces handcrafted stop motion, using natural wool, real materials and innovative production techniques to create a warm, tactile and highly distinctive visual world. Every character and setting has been carefully crafted to bring back the magic of handmade storytelling,” the company said. The series follows Sissi and Caesar, two Rainbow Penguin siblings traveling the world on a very special mission: to restore nature’s colors in the face of a mysterious “chromatic crisis”. Each episode takes them to a new ecosystem, where they encounter animals, cultures and environmental challenges. With 26x7’ episodes for children aged 4 to 6, “Sissi & Caesar” combines adventure, nature and environmental awareness with an optimistic and playful tone. Another highlight is “Jam & Re,” a 52x7’ CG animated preschool series aimed at children aged 3 to 6. In the magical Kingdom of Sol, Jam, a young court jester, and Re, his inseparable magical lute, travel through a kingdom populated by dragons, sirens, giants, and all kinds of extraordinary creatures. Whenever trouble strikes, music becomes their secret weapon to find solutions and restore harmony. The series combines the graphic language of children’s picture books with the depth and richness of 3D textures, while music plays a central role in every adventure. “The result is a colorful and playful universe built around creativity, imagination and problem-solving,” the company added. By Romina Rodríguez

INTERVIEW

 Manoj Mishra

STRONG CHARACTERS, COMPELLING WORLDS, AND INTERNATIONAL SCALABILITY

MANOJ MISHRA, CEO & MANAGING DIRECTOR OF POWERKIDS ENTERTAINMENT, OUTLINES HOW ITS VERSATILE SLATE IS DESIGNED TO BUILD COMMERCIALLY SUSTAINABLE FRANCHISES THROUGH FLEXIBLE COPRODUCTION MODELS, TARGETED DISTRIBUTION, AND LONG-TERM GLOBAL LICENSING PARTNERSHIPS.

s PowerKids Entertainment heads to Mipcom, its agenda goes beyond presenting a diverse slate of kids' content. In a conversation with Señal News, Manoj Mishra, CEO & Managing Director of PowerKids Entertainment, shared how PowerKids is approaching the market by building commercially sustainable franchises through strategic partnerships, flexible co-production models, targeted distribution, and long-term licensing opportunities. How does PowerKids’ slate reflect your current content strategy for international buyers? “The diversity of our slate reflects the diversity of demand we are seeing from broadcasters and platforms. Buyers are looking for distinctive stories, but they are also increasingly focused on audience fit, longevity and franchise potential. We therefore want our slate to offer different genres and age groups while maintaining a clear commercial proposition: strong characters, compelling worlds and international scalability. At Mipcom we are presenting IP that can support not only traditional acquisitions, but also co-production, distribution and licensing opportunities.”

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What is the secret to modernizing globally recognized characters while building original franchises from scratch? “With established IP, the challenge is to respect what audiences already love while giving them a fresh reason to engage. That can come through a new character, a new perspective, or a different point in the character’s journey. With original IP, we ask whether the characters and world have enough depth to create a lasting audience relationship. In both cases, we think beyond the first series: can the property attract broadcasters, support international co-production, travel through distribution and eventually develop meaningful licensing opportunities? That long-term potential is increasingly important.” As the children's landscape rapidly evolves, how is PowerKids adapting its production and distribution strategies to stay relevant? “Broadcaster requirements have become more targeted, and the production model needs to respond to that. We are increasingly developing projects with international coproduction in mind, bringing together complementary creative, production and financing

capabilities. At the same time, our distribution strategy is becoming more market-specific, because what works for one territory may not necessarily work in another. We also consider licensing and secondary rights much earlier in the process. The aim is to create IP that is creatively distinctive but flexible enough to work within different commercial models and market requirements.” How do you develop shows to go beyond traditional screens into multi-platform franchises for digital-native kids? “We think about the wider life of an IP from the development stage. A strong character and a well-defined world should be able to extend naturally into digital content, licensing, merchandising, and other forms of audience engagement. But we do not believe every property needs to be everywhere. Extensions have to be authentic to the audience and the IP. Our priority is to create properties where television or streaming is the storytelling foundation, while digital and licensing can deepen the relationship between the characters and their audience.” By Romina Rodríguez

INTERVIEW

 Simon Tchokonte

SIMON TCHOKONTE, CEO AND FOUNDER OF DALINO MEDIA, HIGHLIGHTS THE COMPANY'S MIPCOM LINEUP AND OUTLINES ITS STRATEGIC EXPANSION ACROSS VOD PLATFORMS AND A DISTRIBUTION NETWORK SPANNING 145 COUNTRIES.

alino Media heads to Mipcom with a catalog exceeding 70,000 hours and a global footprint across 145 countries. Señal News spoke with Simon Tchokonte, CEO and Founder, who details the company's latest acquisitions and addresses the key distribution challenges of 2026. What are the key new titles in Dalino Media's catalog this year? “Mipcom is always an important moment for us because it allows us to bring together the diversity of our catalog with the needs of buyers from around the world. This year, we are particularly excited about titles that combine strong storytelling with cultural authenticity and international potential. One highlight is ‘Amazing Grace: Yoruba Worlds’, which we recently acquired for international distribution. We are also bringing a broad selection of films, series, animation, wildlife and travel, documentaries, and sports. What matters to us is not simply having a large catalog but having stories that can travel. Dalino Media has built a slate of more than 70,000 hours and a network spanning

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“WE ARE INTERESTED IN CONTENT THAT BRINGS SOMETHING DISTINCTIVE TO THE INTERNATIONAL MARKET” 145 countries, and our role is to connect great content with the right buyers and platforms. We are particularly interested in content that brings something distinctive to the international market, whether it is an exceptional story, a new cultural perspective, a strong format, or a compelling genre proposition. Our ambition is to make sure that a great story, regardless of where it comes from, has the opportunity to find an audience somewhere in the world.” Why did you decide to acquire the distribution rights for “Amazing Grace: Yoruba Worlds”? “The show immediately stood out to us because it is much more than a documentary about one culture or one personality. It is a story about heritage, identity, creativity, and the extraordinary global influence of Yoruba civilization. The film uses the life and work of Nobel Laureate Wole Soyinka as a gateway into this much broader story. It also has a remarkable international dimension, with contributions from figures including Gilberto Gil, Carlinhos Brown, Margareth Menezes, Seun Kuti, Brymo and Falana. This is exactly the kind of project we want to bring to international buyers: a story deeply rooted in a specific culture, with universal themes and international relevance. The documentary also comes with strong recognition, including the Programmer’s Award for Best Feature Documentary at the Pan African Film & Arts Festival. We believe there is a real opportunity to

connect this story with audiences across Europe, Africa, Latin America, North America and Asia.” How is Dalino Media navigating the current challenges of the distribution business? “The biggest challenge is not a lack of content; it is discoverability and differentiation. An enormous amount of content is being produced, while buyers are becoming increasingly selective about what they acquire and how they monetize it. The distribution ecosystem is also becoming more complex. Buyers increasingly want flexibility across linear television, VOD, FAST, digital, and social platforms. At the same time, producers need to understand that international distribution is no longer simply about selling television rights territory by territory. We are responding by being much more than a traditional sales company. We work across content distribution, OTT and FAST consulting, rights management, content packaging, and monetization strategies. Our network of buyers across 145 countries also lets us view content from a global perspective. A title that may be difficult to place in one market can have a very different commercial opportunity in another. Our job is to understand both sides: what the producer has created and what the buyer actually needs. That connection is where we create value.” By Romina Rodríguez

EVENTS

AN INITIATIVE FOCUSED ON THE FUTURE

THE INTERNATIONAL EMMY AWARDS EDUCATION INITIATIVE HAS ESTABLISHED ITSELF AS A FORUM FOR AUDIOVISUAL INDUSTRY EXECUTIVES TO EXCHANGE PERSPECTIVES, CHALLENGE ESTABLISHED APPROACHES AND REFLECT ON HOW THEIR ROLES ARE EVOLVING ALONGSIDE THE INDUSTRY.

elevision executives need opportunities to exchange ideas with international peers and consider how their work must evolve in response to a rapidly changing industry. The International Emmy Awards Education Initiative builds on the experience participants already bring to the table, creating a space to challenge established practices, gain practical insights and learn from one another. Designed for mid-level and senior television executives, as well as companies investing in their professional development, the initiative comprises six modules across two key areas. The first focuses on content, with modules dedicated to scripted, unscripted and children’s entertainment. The second addresses broader industry priorities, including Global Markets and Distribution, AI in Action: Transforming Production, and Data, AI and Business Innovations. Together, the modules examine both the creative and commercial sides of television, covering everything from storytelling and development to international co-production, financing, distribution, monetization, pitching and emerging technologies. The program can also evolve as the Academy identifies new areas requiring deeper industry discussion and analysis. Each module brings together a small, carefully selected international group for three days of high-level conversations with Emmy-nominated professionals and leading figures from the global television industry. Participants have the opportunity to share experiences openly, examine

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current practices and explore how different markets are addressing similar challenges. They also gain a broader perspective on industry trends, changing content consumption habits and the impact these shifts are having on the creation and distribution of content. The experiences of 2025 and early 2026 have confirmed that the value of each module extends beyond its speakers and program. The participant group itself is a key part of the experience. Bringing together executives from different countries, companies and areas of the business enables them to compare approaches to common challenges across markets while establishing relationships that can

continue long after the module concludes. This international exchange also plays a role in determining the timing and locations of the modules. They are generally held alongside major industry events where television professionals are already gathering, allowing participants to combine executive education with meetings and networking opportunities. The goal is for the Education Initiative to remain closely connected to the industry and to be present where the most important global conversations are taking place. The upcoming modules include “Children’s Entertainment” in Cannes, October 11–13; “AI in Action: Transforming Production” and “Data, AI and Business Innovations” in New York, November 18–20; and “Global Markets and Distribution” in Singapore, December 4–6. By Diego Alfagemez

INTERVIEW

“WE APPROACH CHARACTERS AND STORIES IN A VERY CONTEMPORARY WAY” WILLIAM RENAUD, DIRECTOR OF "THE SMURFS" FOURTH SEASON, DISCUSSES THE CREATIVE DIRECTION FOR THE UPCOMING SERIES, DETAILING HOW CONTEMPORARY THEMES, THE INTRODUCTION OF THE SMURFIES VILLAGE, AND CHARACTER-DRIVEN STORYTELLING KEEP THE ICONIC FRANCHISE GLOBALLY RESONANT.

o-produced by Peyo Productions and Dupuis Édition & Audiovisuel, the acclaimed 3D CGI series "The Smurfs" is preparing its fourth season for a 2027 debut. Produced by Véronique Culliford alongside executive producers Nele de Wilde and Caroline Duvochel, the upcoming 52x11’ installment builds on Peyo's original work. In an interview with Señal News, William Renaud, Director of "The Smurfs" – Season 4, breaks down how the show balances classic comic strip fundamentals with contemporary themes, introduces new emotional dynamics through the Smurfies, and maintains the universal human appeal that has driven the property's enduring global legacy across generations. “The Smurfs” – Season 4 promises higher stakes, wilder pranks, and unpredictable magic. What

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key narrative dynamics and new adventures can viewers expect from the series? “The narrative elements used in the fourth season are the same as in the previous series. The stories are mostly character-driven. This means the characters drive their own story, and with over 100 Smurfs to choose from, we’re spoilt for choice. For this fourth series, we’ve also based ourselves on the fundamentals of the comic strips, by focusing stories on Gargamel and other main characters from the original Smurf books. We’ve also broached more contemporary themes like fake news, taking care of the environment, and robotics, to ground the series in our times.” A highlight is the introduction of the Smurfies Village. What was the creative and strategic vision behind incorporating this new setting? “It seemed obvious to us that, like in the comic strips, our 100 Smurfs need their female counterparts. But we didn’t want the female characters to mirror the Smurf universe. We wanted the Smurfies to have their own identity, which is why their personalities aren’t the same as the Smurf ones, where they’re linked to a function or a personality trait. The Smurfies’ personalities are linked to emotions or nature. Their village doesn’t look like a clearing in the forest, but rather like a beautifully colored garden filled with flowers.”

How did you balance the show’s traditional slapstick humor and heart with more action-driven, high-stakes storytelling? “We approach the characters and the stories in a very contemporary way, which is why the series appeals to all generations. The themes are deeply human and universal; they pull on viewers' heartstrings. Emotions don’t change, even in a constantly evolving world. Moreover, the scenography serves the narrative: it picks up the rhythm when needed and slows down at other times. The idea is to stay with the story being told and what the character is going through, and to avoid gratuitous and artificial theatrical effects. The camera has to be from the point of view of the viewer, so that they can forget that there is a screen between them and the story that is being told.” Spanning over six decades of global success, what do you think lies at the very core of The Smurfs’ enduring legacy across generations? “To come back to what I was saying earlier, the Smurfs are humans like you and me. They are guided by their emotions and by humor, and there is nothing more universal than that. They serve as a mirror of our failings, like Chaplin back in the day. They’re not locked in the past; they’re grounded in humanity. I think that’s the main explanation for their longevity.” By Romina Rodríguez

INTERVIEW

INFUSING OPTIMISM INTO THE GLOBAL MARKET  Joséphine Létang

JOSÉPHINE LÉTANG, HEAD OF INTERNATIONAL DISTRIBUTION & MARKETING AT ARTE DISTRIBUTION, DETAILS THE COMPANY'S STRONG START TO THE YEAR, ITS EXPANDING CATALOG FEATURING AI-ENHANCED HISTORY AND LIGHT CRIME, AND A STRATEGY FOCUSED ON DEEPENING KEY CLIENT PARTNERSHIPS.

gainst a market backdrop marked by caution and an industry-wide slowdown, Arte Distribution has a positive 2026. Driven by strong team efforts and long-standing relationships with European public channels, the distributor continues to position itself as a reliable partner while expanding its digital footprint through key AVOD partnerships and hundreds of YouTube channels to ensure wide catalog circulation. To sustain this momentum, the company has crafted a slate that balances its core investigative and current affairs roots with positive, family-oriented content. In contemporary history, the

standout title is "United States of Mafia," a docuseries examining the historical ties between organized crime and US presidents. Speaking about the investigation, Joséphine Létang, Head of International Distribution & Marketing at Arte Distribution, explained: "The president is useful for the mob, and the mob is useful for the president; it's a historical fact, and perhaps a key to understanding today." In ancient history, the company presents "Luxor to Paris, the Impossible Journey of the Obelisk," which explores the 19th-century transport of a 230-tonne granite obelisk from Egypt to France without modern machinery. Notably, it marks the distributor's first project utilizing artificial intelligence to recreate historical settings based on the original journals and sketches of an expedition member. With these technological applications, Létang noted: "We could rebuild the pyramids and buildings that disappeared with AI. It's really a story with this character getting you from Luxor to Paris, very family-viewing and immersive, but also scientifically very strong." UPLIFTING NARRATIVES The push for uplifting narratives extends into pop science with "Cluck! Chickens Exposed," a character-driven documentary exploring animal intelligence, crafted to entertain and educate while making people laugh along the way. That strategy is further complemented by seasonal music selections and "Fiesta,” a discovery series showcasing global

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celebrations to bring a sense of joy and vitality to screens. The catalog also embraces light crime with "Kim, the Diamond and the Grandpa Robbers," a pop-thriller series detailing the 2016 Paris heist targeting Kim Kardashian from the perspective of the aging robbers themselves. Despite diversifying into lighter genres, Létang emphasized that the company remains true to its heritage. "Current affairs is still our strongest element, through hard-hitting investigations into the addictions of our time, like ‘Social Media, the Designers of Addiction’ and ‘Junk Food,’ and a wide catalog that helps audiences understand the conflicts in the Middle East," she noted. Looking ahead to next year's strategy, the distributor is choosing to focus on client depth rather than rapid geographic expansion. “Arte Distribution's main objective for the coming cycle is to reinforce our partnership with public channels, AVOD partners, and develop more private clients. It is more about going deeper in each country rather than opening new territories," Létang concluded. By Romina Rodríguez

ER HENZE

OPINION

AI HELPS FIND. DATA HELPS PRIORITISE. AND THEN THERE'S GUT FEELING

ot too dark. Crime, but nothing too explicit. A strong female lead. Enough volume to build a regular primetime slot around. A strong setting would be good. Something familiar, but not too familiar. This is often what a brief sounds like once it moves beyond genre, length, and volume. And that is where things get interesting. Because none of those things fit neatly into a catalog filter, but they are exactly the kind of things buyers talk about every day. AI can help with that. It can take a brief in natural language and turn it into a smaller, more relevant selection. It can surface titles you might otherwise miss. Then comes data. Once the list gets shorter, the question changes: which titles are worth looking at first? How did a series launch? Did audiences come back? Has it stayed strong over several seasons? Did it find viewers on demand? Has it traveled? Of course, a strong performance in one market does not guarantee success in another. But it’s a signal. Data can help decide what is worth a closer look. Then, there is gut feeling. Because television is still, at its core, emotional. At some point, a title feels right. That judgment comes from experience: knowing a channel, a schedule, and an audience. Sometimes it is the cast. Sometimes the setting. And sometimes it is the title nobody was originally looking for. That

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moment is hard to reduce to a data point. And we should not try. AI and data do not need to make that decision for us. They can help us get there faster. That is the idea behind OneGate Screenings, our new screening platform. Buyers describe what they are looking for in their own words, in almost any language. They see matching titles, start screening straight away, and pick up where they left off. And yes, customer intelligence is built in. Individual searches and prompts stay private. What buyers screen helps their sales partner understand what's relevant and what to suggest next. That is where the personal side comes in. In My Showroom, our sales managers curate a selection for each buyer, because some of the best recommendations still come from thinking: this one might be for you. For us, that is what Data meets people is about: technology that gets you to relevant titles faster, and people who understand what might work for you. And if you are wondering what to type into Screenings first: try the brief at the beginning of this article. Not too dark. Crime, but nothing too explicit. A strong female lead... See what comes back. By Esther Henze, Director, Marketing & Business Development, OneGate Media

BECAUSE TELEVISION IS STILL, AT ITS CORE, EMOTIONAL. AT SOME POINT, A TITLE FEELS RIGHT. THAT JUDGMENT COMES FROM EXPERIENCE: KNOWING A CHANNEL, A SCHEDULE, AND AN AUDIENCE. SOMETIMES IT IS THE CAST. SOMETIMES THE SETTING. AND SOMETIMES IT IS THE TITLE NOBODY WAS ORIGINALLY LOOKING FOR.

PHOTOGALLERY

Camila Premet, Nadav Palti (DORI MEDIA)

NEM 2026

Melis Hamamcıoğlu, Handan Özkubat (ECCHO RIGHTS)

Ismael Ramiro (ATRESMEDIA), Rosalía Alcubilla (RTVE), Fabrizzia Palazzo (MOVISTAR), Ana Sánchez (SECUOYA), Rocio Cachero (MEDIASET), Carlos Sevillano (ÁRTICO)

Erika Gómez (ONZA)

Timothy Oh (COL GROUP), Elitsa Petrova (NARATIV), Manjyot Sandhu (NARATIV)

Carlota Vieira, Andres Santos (SIC)

Jesús Iriépar (CARACOL)

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Sena Kul, Müge Akar (ATV)

Irem Özgökceler (DW)

Iza Piotrowska (Wedotv)

Evelin Hetsko (GLAZBENA), Rodrigo Nascimento (GLOBO)

Jens Richter (FREMANTLE)

Kaspar Kufus (ORF Enterprise)

Marta Csizmadia (Rabbit Films)

Romain Decroix and Robin Zaraa (Peyo Company)

Fabrizzia Palazzo (MOVISTAR)

Keerthana Anand (hoichoi)

Frederic Joubaud (KO Distribution)

James Mill (Hat Trick International)

Shashank Singh and Rohit Krishna (One Life Studio)

Rocio Cachero (MEDIASET)

Ebru Mercan, Manjyot Sandhu and Elitsa Petrova (Narativ)

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INSIGHTS TO UNDERSTAND CURRENT AND FUTURE TRENDS

RESEARCH

THE BANIJAY & ALL3MEDIA DEAL NUMBER OF PRODUCTION COMPANIES BY GLOBAL PARENT COMPANY

BANIJAY'S KEY FIGURES

Banijay + All3Media 247

170+

265K+

€4.3BN

TERRITORIES

Banijay Group 186 Warner Bros. Discovery 123 Mediawan Group 119 RTL Group 118

LABELS

HOURS of content

ITV 89

PF REVENUES FOR 2025

Sony 82 Disney 76 TF1 Group 69

TOP BUYERS FOR ALL3MEDIA & BANIJAY TITLES (2022-2026)

Comcast 65 BBC 65

North America

RedBird IMI 64

Distributor US

Canada

All3Media

BritBox

Banijay

BritBox

Amazon

Paramount Skydance Corp. 74

Source: Ampere

BANIJAY'S GLOBAL REACH, 2025

19K 315+ 140+ 110+ 45

Asia Pacific

Hours of content delivered in 2025

Distributor Australia

Japan

Pan-Asia

All3Media

Stan

Mystery Channel

BBC First

Banijay

BritBox

Wowow

BBC First

New unscripted shows launched each year

Europe Distributor France

Germany

Scripted titles produced each year

All3Media

Canal+

Deutsche Telekom Paramount+ FilmIn TV4

Banijay

Amazon

ARTE

Shows launched on global streamers in 2025

Sky

Spain

Sweden

FilmIn TV4

Source: 3Vision Show Tracker

Formats currently produced in 3+ territories

FILM AND TV PRODUCTION MARKET

Italy

BANIJAY'S PROJECTED INCOME Data adjusted to current consolidation scope Sales Operating profit Net income Net Margin Operating Margin

Market Size in USD Billion

10,000

CAGR 5.54%

20%

USD 409.69B 8,000

Million EUR

USD 298.47B USD 312.88B

15%

6,000

10%

4,000 5%

2,000

0 2025 Source: Mordor Intelligence

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2026

2031

-2,000

2021

2022

2023

Source: S&P Global Market Intelligence

2024

2025

2026

2027

2028

-5%