WORLD SCREEN FEBRUARY 2026

Brooke Shields / European Drama Trends / FOX Entertainment Studios’ Fernando Szew Fremantle’s Jens Richter / Banijay Rights’ Cathy Payne / All3Media International’s Louise Pedersen

Cineflix Rights’ Tim Mutimer / UKTV’s Steve North

FEBRUARY 2026 EDITION

DEPARTMENTS

WORLD VIEW 10

By Anna Carugati.

UPFRONTS 12

New content on the market.

14 BROOKE SHIELDS

The actress discusses Acorn TV’s You’re Killing Me, which she leads and executive produces.

16 FOX ENTERTAINMENT STUDIOS’ FERNANDO SZEW

The president and head of the FOX Entertainment business speaks about the importance of relationships with talent and building a diverse pipeline.

18 CHASING GREATNESS

European distributors and producers share how they are relying on well-packaged deals, flexibility and collaboration to weather the challenges of the market and deliver compelling programming.

22 FREMANTLE’S JENS RICHTER

The CEO of commercial and international speaks about the shifts in the European scripted market.

24 BANIJAY RIGHTS’ CATHY PAYNE

The CEO offers her view of the European scripted market and how her company is adapting to the changes.

26 ALL3MEDIA INTERNATIONAL’S LOUISE PEDERSEN

The CEO discusses how proper financing, collaboration and timing are helping shows get made.

28 CINEFLIX RIGHTS’ TIM MUTIMER

The CEO shares the value of known IP and recognizable talent while highlighting how new ideas are still getting made.

30

UKTV’S STEVE NORTH

The chief content officer talks about investing in U.K. creativity to deliver high-quality programming.

Publisher

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Group Editorial Director

Anna Carugati

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Bookkeeper

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President

Anna Carugati

Executive VP

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BY ANNA CARUGATI

The Past’s Influence on the Future

Since the beginning of the year, there has been a flood of 2016 nostalgia online, with people posting what they remember from ten years ago, from politics (Trump elected to his first term, Brexit) to fashion and beauty trends (skinny jeans, Millennial pink, bold eyebrows) to games (Pokémon GO) and, of course, numerous developments in music, film and television, as well as milestones from personal lives.

People are remembering pop culture highlights, including Beyoncé’s Lemonade; movies like Rogue One: A Star Wars Story, Captain America: Civil War, Batman v Superman: Dawn of Justice and Zootopia; and TV shows such as Stranger Things, The Crown and The Night Manager, as well as The Great British Bake Off, Big Brother and Got Talent

Most of these posts are from Millennials and older Gen Zers, who psychologists claim are longing for a time when life was easier and less expensive and are grappling with anxiety about how AI will affect their jobs and lives.

These feelings and concerns are widely shared by people of all ages in the TV industry—wait, that’s what we called it in 2016; now, a more appropriate term is “content industry.” Today, content doesn’t come only from major studios, broadcasters and indie producers and distributors. It comes from online creators— maybe some of them are posting about 2016!

remains—viewers still want to be captivated by dystopian worlds, dazzled by expert sleuthing, bemused by seeing the rich struggle or relieved to witness the average guy or girl win.

I spoke with numerous executives from major production and distribution companies about the state of the European scripted market. Banijay Rights’ Cathy Payne, Fremantle’s Jens Richter, All3Media International’s Louise Pedersen and Cineflix Rights’ Tim Mutimer all readily admit the challenges in getting projects funded, especially since U.S. streaming services have reduced their commissions and prebuys.

They acknowledge the prevalent risk aversion. One way to reduce it is to produce shows based on known IP or featuring famous talent, both of which tend to attract viewers.

Everyone is trying to figure out the new normal.

Ten years ago, viewership of linear channels had already started to decline but was still significant. Public and privately owned broadcasters still garnered meaningful audiences for major drama and reality shows, news and sports. Long-running procedurals drew dedicated aficionados, as did daily soaps.

Streamers were focusing on scripted series that broke the mold or offered new takes on existing genres, such as the aforementioned Stranger Things and The Crown, plus Billions and Fleabag, while Game of Thrones, Black Mirror and The Walking Dead continued to attract fans.

It was easier to distinguish between a show made for linear and one made for a streamer. There were, of course, exceptions, but generally, terms like “premium,” “high-end” and “high-budget” were used more often to describe long-running or limited series for streamers or pay TV. “Mainstream” was more often used for shows on free-TV channels.

Today, the scripted market has been shaken by escalating production costs, decreased advertising spend, ongoing consolidation and chronic risk aversion. Producers and distributors are navigating this ongoing evolution of the business with a focus on continuing to provide audiences with quality storytelling and compelling characters.

Industry conditions are changing, but one constant

New ideas can break through, but they must be bold and innovative and connect with the culture, giving buyers reassurance that these new scripted series will draw audiences, thereby helping to recoup their investment in the shows.

There have also been some interesting recent developments. There is less distinction these days between shows considered right for linear and those appropriate for streamers. Linear channels want loyal viewers. Streamers are more interested in posting profits than in increasing the number of subscribers. A popular category on both linear and streaming is mainstream programming.

There is also less insistence on retaining exclusive rights. Exclusivity remains important for some shows, but both broadcasters and streamers are becoming more willing to share rights for certain titles, giving distributors the opportunity to exploit more windows.

Distributors are also noticing more partnerships among European broadcasters, especially the public ones, who share programming strategies.

FOX Entertainment Studios’ Fernando Szew also believes in the power of partnerships. As the head of several production labels, he is seeking international alliances to create relevant, scalable programming with global appeal.

I get the feeling that many in the content industry wish we could go back ten years, when financing was more available and deals were simpler. Everyone is trying to figure out the new normal while recognizing the elements from the past that remain relevant.

All3Media International

Gone / Secret Service / Michael Jackson: The Trial

Leading All3Media International’s slate, the psychological mystery Gone stars David Morrissey as a respected headmaster whose life collapses when his wife disappears and he becomes a prime suspect in the investigation. The espionage thriller Secret Service, starring Gemma Arterton, centers on a senior MI6 officer whose real job is heading up the Russia desk of the Senior Intelligence Service. Michael Jackson: The Trial delivers new revelations about the 2005 trial of Michael Jackson through exclusive new footage and unheard audio tapes of Jackson and insiders from his entourage and the police. “The series steps beyond the media circus of ‘the trial of the century’ to ask profound questions about fame, race and the American justice system,” says Caroline Stephenson, senior VP for EMEA at All3Media International.

“At its core, [Gone] is a propulsive psychological duel between the prime suspect and the gutsy, instinctive detective.”

—Caroline Stephenson

Artist View Entertainment

The Great Reset / Line of Control / Hazel’s Heart

Artist View Entertainment is presenting the AI-crafted sci-fi thriller The Great Reset, which follows an artificial intelligence created from the mind of a rogue hacker, who unleashes an apocalyptic plan to destroy the world and save the only person he has ever loved: his daughter. Line of Control, set in war-torn Kashmir, follows a teenage boy whose best friend vanishes during the Indian Army’s occupation in 1993. Set in 1920, Hazel’s Heart tells the story of Hazel and her two younger siblings, who get lost in a brutal snowstorm and must fight to survive. It “is a moving story of survival, offering a compelling narrative for family and faith-based audiences,” says Scott J. Jones, president. Also on offer, American Warrior centers on a convicted criminal who becomes an unlikely hero.

FOX Entertainment Global

The Faithful / Best Medicine / Animal Control

The Faithful, on offer from FOX Entertainment Global, tells a dramatized version of the Book of Genesis, as told through the eyes of the women in the story. Best Medicine, the U.S. adaptation of Doc Martin, follows a world-class surgeon who retreats to a small fishing village and finds himself entangled in the lives of its residents. Animal Control centers on a team of animal control officers whose daily challenge is dealing with each other. “Our focus is on quality, originality and global relevance,” says Prentiss Fraser, president. “From the warmth and wit of Best Medicine to the epic storytelling at the core of The Faithful and the comedic energy of Animal Control, each of these titles reflects our strategy of investing in distinctive IP that resonates across borders.”

“Celebrating 35 years in operation, Artist View continues to acquire and represent a dynamic slate of feature films and series.”

—Scott J. Jones

“We’re excited to showcase a slate that speaks to the strength of our FOX-produced programming with universal themes, powerful creative voices and clear international potential.”

—Prentiss Fraser

NBCUniversal Global TV Distribution

The Five-Star Weekend / Prisoner / Dog Park

On offer from NBCUniversal Global TV Distribution, The FiveStar Weekend features an ensemble cast led by Jennifer Garner, alongside Chloë Sevigny, Regina Hall, Gemma Chan, D’Arcy Carden and Timothy Olyphant, among others. Based on Elin Hilderbrand’s book, “the series is set in an aspirational coastal retreat that creates a sense of global escapism and explores universal themes—such as friendship, loss and reinvention— that travel effortlessly across borders,” says Michael Bonner, president. The action thriller Prisoner stars international actors Tahar Rahim and Izuka Hoyle and is executive produced by Matt Charman (Bridge of Spies). Dog Park follows an emotionally guarded man who meets a group of mismatched characters at a local dog park. It “offers audiences a warm look at finding your people when you least expect to,” Bonner notes.

Onza Distribution

Neuer / Vulnerables / I Give You My Life

Onza Distribution is bringing to MIP LONDON Neuer, a Slovakian procedural thriller inspired by real cases that “combines a premium look with strong characters and a story that feels both modern and universal,” says Erika Gómez, head of sales. Another highlight, Vulnerables, focuses on mental health among young people and “is a deeply human and socially relevant story that feels honest and very much of the moment,” Gómez explains. The drama I Give You My Life, an adaptation of the Televisa telenovela Te doy la vida, tells a love story. “Right now, buyers are looking for stories that truly cut through the noise: shows with a clear identity, strong production values and, above all, an emotional core that resonates with audiences everywhere,” Gómez says. “That’s exactly where these three titles shine.”

ZDF Studios

Benidorm Is Murder / Take the Money and Run / Mammals: Life before Dinosaurs

ZDF Studios’ MIP LONDON and London TV Screenings offering features the detective drama Benidorm Is Murder, the true-crime drama Take the Money and Run and the docuseries Mammals: Life before Dinosaurs. Benidorm Is Murder “provides warm-toned mystery with humor and star power,” says Tim Gerhartz, chief commercial officer. The series follows a U.K. detective who has retreated to Benidorm in search of peace only to find himself pulled back into crimesolving when tourists begin turning up dead. Take the Money and Run is based on the real story of Dr. Ruja Ignatova, known as the “Cryptoqueen.” It “delivers a high-profile, real-world scandal told with emotional depth,” Gerhartz says. Mammals: Life before Dinosaurs reconstructs the long-lost primordial world and explores the evolutionary origins of mammals.

“We are very fortunate to showcase a dynamic slate of standout series at this year’s London TV Screenings.”

—Michael Bonner

“MIP LONDON is the perfect opportunity for us to sit down with TV content buyers, understand what they are really looking for right now and respond in a flexible and practical way.”

—Erika Gómez

“London provides the perfect stage to strengthen relationships, spark new collaborations and demonstrate the breadth and quality of our global catalog.”

—Tim Gerhartz

Brooke Shields

By Anna Carugati

Brooke Shields began modeling as a baby and acting as a child, famously starring in Louis Malle’s Pretty Baby, followed by The Blue Lagoon and Endless Love. She later starred on Broadway, in films and TV series and has written memoirs. She is currently the lead and an executive producer in the Acorn TV mystery You’re Killing Me, in which she plays a novelist who must team up with a younger podcaster to solve a crime.

WS: How did the show You’re Killing Me come about?

SHIELDS: I got to talking with our showrunner, Robin [Bernheim], who also wrote Mother of the Bride, which I was in. I’ve been working with her for different reasons for almost 30 years. I went to her and said, “Let’s try to find something we can do on a serial basis, not just Christmas movies or one movie a year,” which are great.

We started brainstorming and developing the idea of

a generational divide [between a woman] my age and a young girl, each bringing different types of expertise and knowledge to the other. That dynamic, mixed with a little heat and a bit of the odd couple, can be mined for a great deal of humor and really touching moments. I had been developing another version of this in a different world: what happens when you age out of something that you were an expert in? How do you adapt? Do you just give up and say, “This is too young a world for me,” or do you say, “OK, I’ll try to learn from it and modernize without trying to be part of the younger generation”? And there was a maternal aspect too, which I really wanted to tap into.

In You’re Killing Me, there are two women: a young woman who doesn’t know where her mother is, and an older woman who only has a son. It is set in the world of mystery writing. There’s such a hunger for Only Murders in the Building and Murder, She Wrote, all of those feel-good shows without being too sappy or schmaltzy and not too gory or upsetting—all we have to do is put on the news for that. We need entertainment.

The series [starts at] a book convention. You have Allie, who I play, who is [like] a Danielle Steel of the mystery world, prolific and multi-award-winning, wealthy and successful, and all of a sudden, she’s starting to age out. Readers are younger, and they don’t want her. Even though her loyal fans still want her, that number is dwindling. Then there’s a young girl, Andi, an up-and-coming podcaster who covers murders, and she wants to move into the more literary world. We meet, and I’m being told my publishers aren’t going to work with me anymore. She’s told she can’t get an agent because she has no track record. All she did was a podcast. We’re both in this position, and then lo and behold, there’s a murder! We have to join forces to bring our expertise to prove that we can solve it, write a book and be the next era of mystery writing.

WS: What are the dynamics between Allie and Andi, who is played by Amalia Williamson?

SHIELDS: She is a delight. I read with all the actresses and actors. I saw a lot of their tapes and thought there was something very interesting about this young woman. She’s got an old soul, but she’s the right age. She is sweet, funny, smart, quirky and tough. I said, “This is great. Let me read with her.” I read with a couple of other people, and it was so obvious that this young woman was primed and ready to show her talent and versatility. And she was a good, strong foil for me. I have to be opposite someone that I can’t just run circles around. My character has to be brought on her toes a bit. Those moments happen, but you need formidable opponents. And this young woman was old enough and seasoned enough in her talent. She was really good at not letting whatever insecurities she had rise to the surface, which is also part of her character. Underneath our false bravado, both of our characters are very vulnerable: they’re scared, and they’re sweet, and they are searching and they don’t know exactly where they fit in their world at the moment.

I knew Amalia was going to be not just the talent that she is but also a game player. You have to be willing to really work, because the days in Nova Scotia were 17 hours long, much of the time in the cold. You can’t have

any prima donnas or weaklings out there. You have to have people who you know want to be there. As an executive producer, I have to say, OK, we need to create a team because it’s going to be difficult at times. We’re doing six hourlong episodes in only a few months.

Amalia was just great, and we can ad-lib; we go off of each other. Luckily, Robin is not too precious about the dialogue. We always make sure to get it, but then we throw in other things once we know we’ve gotten it. At the end of the day, we’re hopefully making people laugh and solving a murder. Hopefully, you spent 45 minutes watching and may have forgotten about many of the things that annoy you in the world.

WS: How do Allie and Andi get along with the detective, Jack Kerrigan, who’s played by Tom Cavanagh?

SHIELDS: He’s just charming, so I’m very thrown off my game by him. My track record [as Allie] with men is not great. I get so caught up in the romance of everything that I just marry the guy, so I’ve had multiple divorces. Here comes another one, and I’m thinking, No, no, no, stay very far away from me! I call one kid “a hot cowboy.” He asks me to dance. And I’m thinking, Oh no, young boy, you are kryptonite; you scramble my brain! So, go away now.

But to be a woman my age and be in a scene where you’re hit on by a 20-something, à la Thelma & Louise; it’s not cougar-y, it’s not weird. It just says women over a certain age don’t lose their appeal or sexuality. AMC Networks and Acorn TV have been unbelievable in letting me be less than likable, less than perfect. Jack, Tom’s character, throws Allie off. She’s got a crush on him, but she doesn’t want to admit it. Allie can make big mistakes because her fear, ego or insecurity gets in the way. I’m 60 now, but for women over 50, over 40 even, Hollywood goes, Oh, God, they’re terrifying to us. Or they have to put us in a certain realm. But AMC has been great at letting us show all sides of what it means to be a woman in this era of her life, without being afraid the audience will reject it. If anything, they embrace it. The physical comedy that they’ve allowed me to do, it’s not slapstick, but it’s there.

WS: Talk about the importance of characters and roles for women over 50, for both actors and the audience.

SHIELDS: I think they’re getting better. There used to be ageism, and you’re done after a certain age. Then Hollywood was leaning into the Helen Mirren aspect of it, or Judi Dench, who are brilliant. They made some of my favorite films. But still, there’s this bracket in the middle that is hard to figure out. We’re not easy to pigeonhole. We’re not young, but we’re not old. It’s similar to the world of marketing and beauty. We were one thing, and then we’re in menopause. OK, but we’re not just in menopause.

We’re starting to see women being depicted on TV

and in film in this age group. It’s important to show women in this demographic not as desperate or broken or afraid of the end but as excited about new beginnings and things we don’t really know. When your kids leave home, you don’t know who you are, right? Or if you’re an actress and you’re the ingenue, and all of a sudden you’re not the ingenue anymore, who are you? We’re starting to see stories that at least touch on the complexity of that. I was listening to Kathy Bates, who’s doing the series Matlock. She doesn’t talk like an old lady. She talks as someone who is able to do something that’s enjoyable.

The entertainment industry is finally starting to see the monetary value of [depicting older women]. It’s still very male-dominated, but we’re seeing that change with executives and studio heads. This is a demo that wants to spend money on itself. They can. They are supporting themselves; their kids are grown. There’s this period of time for yourself, and it was important for me to show all of that in the Allie character.

WS: What are the creative challenges and opportunities of episodic television compared to those of film or theater, which you have also done?

SHIELDS: I’ve been lucky enough to go into so many different mediums, usually because one cools to me. So, I go where the opportunity is. Broadway welcomed me when nobody else was. TV did when film wasn’t, and film is starting to come back now.

I’m best in a television show or a Broadway show because it is very difficult. It’s every day, and there’s a continuity to it, which I really appreciate. I am the happiest when I am on a set. It’s in my DNA. It’s who I’ve been since I was a little girl. Being in a theater company has that same familial feeling to me. Movies are grueling in a very, very different way, and then they’re over. With TV, at least if it’s episodic, you do have a chance of returning, and that’s a very good feeling.

Fernando Szew

FOX Entertainment Studios

By Anna Carugati

As president and head of FOX Entertainment Studios, FOX Entertainment’s centralized global studio business, Fernando Szew oversees the creation of scripted and non-scripted programming through Bento Box Entertainment, Studio Ramsay Global, TMZ and the independent film label Tideline. Szew is a proponent of international partnerships, such as those with Canada’s Neshama Entertainment and the Irish company BiggerStage. He speaks with World Screen about the importance of relationships with talent and building a diverse content pipeline with worldwide appeal.

WS: What are the strengths of FOX Entertainment Studios?

SZEW: FOX Entertainment Studios’ greatest strength is our ability to balance creative ambition with business discipline. We operate as a premium, talent-first studio while remaining deeply connected to FOX’s powerful distribution ecosystem. This combination allows us to move quickly, take smart, creative risks and develop shows that are culturally relevant, scalable and globally viable. Just as important, we have a strong track record of partnering with creators in a collaborative and flexible way, offering the resources of a major studio while also championing their voices.

WS: FOX Entertainment Studios has recently made several first-look and development deals. How do you want to expand the studio’s talent pool and reach?

SZEW: At FOX Entertainment Studios, our goal is to build a truly diverse, global and future-focused talent pipeline. That means partnering with established showrunners and producers, while also actively seeking out emerging voices, especially creators native to digital platforms, global markets and genre-driven storytelling. Our recent first-look deals with talents like Tracee Ellis Ross, Jamie Foxx, Bill Burr and Taraji P. Henson reflect that approach.

WS: How did the deal with HOLYWATER come about, and why is it important?

SZEW: The HOLYWATER deal grew out of a shared belief that the next generation of hit IP will increasingly emerge from digital-first storytelling ecosystems. HOLYWATER has shown a unique ability to incubate stories online, cultivate passionate communities and then scale that IP across formats. As a studio, we’re focused on meeting viewers where they are—across platforms, geographies and viewing behaviors—and this partnership allows us to do exactly that. For FOX Entertainment Studios, it connects us directly to new audiences and new creative models, while enabling us to apply our development and production expertise to elevate that IP for television and beyond.

WS: Why are international partnerships—such as the collaboration with Bell Media—beneficial to FOX Entertainment Studios, and are you looking to do more?

SZEW: International partnerships are a critical pillar of building a modern studio. Collaborations like our work with Bell Media enable us to co-develop content with global potential, share both creative and financial risk and benefit from strong local storytelling perspectives. Just as importantly, these partnerships allow us to think globally from the outset, rather than adapting projects for international audiences after the fact. And yes, we’re actively looking to expand these relationships—especially in markets generating distinctive voices and scalable formats.

WS: What are the challenges of managing a company in a constantly changing media landscape? Are there skills you honed at MarVista that are now helpful at FOX?

SZEW: The biggest challenge is navigating constant disruption, shifts in audience behavior, business models and distribution while still maintaining a clear creative identity. It requires adaptability, data-informed decision-making and a willingness to rethink long-held assumptions.

At MarVista, I learned how to build a studio that could thrive amid change by being agile, disciplined and deeply focused on demand from the buyers and their audiences. Those skills translate directly to FOX Entertainment Studios today, where the goal is to balance innovation with sustainable models to ensure we’re building a studio designed for the long term.

WS: What is your outlook for the next 12 to 24 months? What opportunities for further growth do you see?

SZEW: Over the next 12 to 24 months, we see an exciting period of growth and continued transformation for FOX Entertainment Studios. We’re building momentum across multiple fronts, expanding our talent relationships, accelerating development and diversifying our slate with both high-impact premium scripted projects and bold unscripted formats. This is a period where strategic creativity meets disciplined execution, and we’re positioned to benefit on both fronts.

Chasing Greatness

Despite so much change in the drama industry, European producers and distributors are relying on well-packaged deals, flexibility and collaboration to continue to offer compelling shows. By Anna Carugati

It is no secret that the scripted programming market has faced numerous challenges over the last few years. Rising production costs and a decline in advertising spend have made linear commissioners more cautious. International streamers have decreased their investments in drama, thereby reducing their availability as co-production partners. European producers and distributors, who have relied on U.S. presales to fill financing gaps, are navigating these changes but remain committed to offering audiences compelling, character-driven storytelling. In the journey from idea to screen, the budget is the biggest determining factor in whether a project gets greenlit today.

Cathy Payne, CEO of Banijay Rights, explains, “As has been well documented, the retraction of the U.S. co-production market in recent years has had a marked impact on the ability to underpin deficit financing.”

“The number of potential co-production partners has decreased as a result of the consolidation of services, commissioning decisions and a preference for domestic commissioning,” she continues. “Potential partners are very selective and look for a project to be packaged well with known on- and off-screen talent, as they ask, ‘How will this project resonate with my audience?’ This has resulted in distributors needing to be selective about the financing risks they take.”

Jens Richter, CEO of commercial and international at Fremantle, concurs that the U.S. is commissioning less and buying less. “Three or four years ago, when you got a commission in the U.K., you would find a distributor … to provide the gap financing, and the producer was off to the races. Then, about two or three years ago, the first commissions happened that couldn’t find financing anymore. Commissioners often want to see the financing structure in place before they even commission the show. Currently, there are a handful of commissions in the U.K. market that broadcasters would love to do, but they can’t get financed, as these shows are too local for too much money.”

“At a time when the U.S. is much more selective, we need to look at the nature of the show to determine whether it meets U.S. commercial needs,” continues Richter. “Secondly, even if you hit that need, you have to assume it will take you longer to get that deal done because there’s a bit more decision-making by committee. Clearly, this has implications for European commissioning and production.”

CAUTION RULES

“It’s definitely a slower market than it used to be,” notes Tim Mutimer, CEO of Cineflix Rights. “People take a long time to make decisions. Every buyer has to go through several layers before they can make a decision and try to minimize risk, which is what everyone is about these days.”

Distributors are also being more cautious, taking longer to evaluate projects to ensure they will appeal to more than one territory.

“Our sole objective is to get a show that is as internationally appealing as possible, which means that it has a theme that resonates globally or

some cast that is very well-known globally,” explains Louise Pedersen, CEO of All3Media International.

“We track projects from a very early stage,” she says. “At that point, we try to give producers an early sense of whether we’re interested or not, so that we can either continue the conversations or they can talk to other people. We try to be really clear about that. Then we will take the deficit as the distributor. We will come in and gap finance for the right shows. And if we bring in a German or Australian co-producer, we take that toward recouping our investment. So, the distribution advance model is still alive. It’s just that distributors are probably being a little bit more cautious about where they spend their money because costs have gone up.”

The cost and the potential for extending a series into additional seasons are also considerations when evaluating projects.

“We read scripts, we give our advice and we talk about attachments; this is a constant process at Banijay Rights,” adds Payne. “Like many things in life, a lot of financing is about timing. Potential licensees need to understand where the story arc is and where season two goes. When we’re looking at what we invest in, I often think, ‘OK, that’s season one. How much more is it going to cost for us to also invest in the next two scripts for season two?’ Another thing that can really help with production speed and costs is having all the scripts written up front because then you can shoot and get talent in and out. This certainly helps with timing around high-profile talent.”

The location where a show is shot is increasingly a key factor when calculating the budget. In fact, nowadays, numerous budgets are run to allow for different options.

“Five years ago, you got a commission, you made your budget and you went into production,” says Richter. “In 2025, you get a commission and then you think about where and how to produce your shows most efficiently. For some shows, instead of one budget, we run three, four or five different budgets for different budget locations. You consider the cost of production in the region or territory and the local incentives. In some markets, we might have our own studio capacity available. We run through many more production scenarios these days, and that helps quite a bit.”

In today’s cost-conscious environment, financing a show also involves calculating the revenues it can generate after its first run.

“As we advance money against projects, we look not just at the first window now, but also at how we can window quickly so we can get our money back as soon as we can,” says Mutimer. “It has become more complex. Soft money is important as well, so we consider where we can film a project that gives us access to more funding that can go toward a bigger budget.”

COOPERATION & FLEXIBILITY

As Payne points out, distributors and licensees are benefiting from being flexible. “People are sharing windows. Nonlinear platforms might only take a select number of territories. Broadcasters are prepared to

share windows in a much shorter timeframe because they have to secure financing. When do you need exclusive rights? When can you live with non-exclusive? We’re seeing, in general, so much more non-exclusive licensing. Not always around the premiere window, but keeping the windows very manageable. Day-and-date is a must-have for anything really notable.”

The international streamers, once intent on acquiring worldwide rights, have been changing their programming strategies.

“Many streamers have dedicated production budgets allocated to their local territories,” explains Fremantle’s Richter. “Paramount does that, Amazon does that. Then we can come in and take the risk and invest for the rest of the world. Sometimes we might sell it back to them, as we did with Little Disasters for the U.S. That helps the commissioners to be more cautious with their budgets and more market-centric. It also opens an opportunity for us as a producer and distributor to zoom in on a specific market, retain some rights, take the risk and consider how we may need to think about the casting or other aspects of the show to make it fit the rest of the world.”

“This openness of a streamer going only for local markets is also relatively new,” continues Richter. “Five years ago, it was always worldwide rights and vertical integration. And the streamer needed that show on its platform forever.”

In an environment marked by so much change, European broadcasters and producers have found innovative ways to form beneficial partnerships.

“We have seen plenty of alliances with public broadcasters,” explains Banijay Rights’ Payne. “ZDF has been working more closely with the BBC, for instance. Then, of

course, you have alliances between countries. Everybody’s looking for affordable scripted projects and how they can potentially co-develop and co-fund. Understanding how budgets can be maximized through tax credits is essential, and Banijay, being the largest scripted producer in Europe, is well placed in this area.”

All3Media International’s Pedersen agrees. “What many European producers are doing very successfully is forming relationships with one another, developing financing plans themselves and involving broadcasters in Europe as well. And that seems to be a model that they all like. That’s the way they’re getting a lot more shows funded.”

PLAYING IT SAFE

Production has become more expensive, and advertising revenues have fallen. As a result, channels and platforms want to place their bets on shows with a good chance of drawing viewers.

Increases in production costs, challenged budgets and risk aversion have led commissioners and buyers to opt for what scripted shows they consider safe and cost-effective, says Richter. “The biggest change during the last three or four years has been a very focused shift toward mainstream programming.”

“Six or seven years ago, it was all about premium drama,” he continues. “Streaming services, especially, were a big sandbox, and people could try different genres of shows targeting niche audiences. Everybody was under the impression that the big advantage of on-demand is that you can focus on niche audiences, which you can. But then there was this big shift from revenue growth to profitability, with the realization that when you want to reach niche audiences, relative to

your investment, you end up serving a small group. When you hit a much bigger consumer group with that same investment, you have a much better return on investment.”

Therefore, “potential licensees, in general, do not have limited series on top of their shopping lists,” notes Payne. “The focus is on returning series that allow them to build on their initial marketing expense. There will always be shows that break the mold, but they have to be special—with unique talent or just be a very special, strong project that has the ability to resonate globally, such as Netflix’s Adolescence.”

To offset risk aversion, programming executives believe that shows based on known IP, whether inspired by books, films or past series, have a recognition factor that will draw fans.

“If you can launch a series that’s based on IP that already has recognition in your territory, that makes you feel slightly more secure that you’re going to have a hit and are going to find an audience,” says Cineflix Rights’ Mutimer. “I guess it’s no surprise that three of our new series are all based on IP— Anna Pigeon, The Walsh Sisters and Hildur because that’s what our buyers are asking for; they’re asking for as many guarantees as they can get.”

“The other thing that known IP brings is the ability to build a stronger package because writers, showrunners and actors are all attracted to something they feel has the potential to be really successful,” he continues. “The IP gives them a level of comfort, while a brand-new, original project would feel riskier to them.”

“In this market, whether it be known IP, a great cast, a well-known director, all those things make buyers feel more secure about the project and the way that it’s going to turn

out,” adds All3Media International’s Pedersen. “So, yes, known IP definitely gives buyers that extra bit of comfort and security. In a market where buyers are more risk-averse, having a great bit of IP or some great casting really helps.”

“We always say no one knows what will be a hit until it breaks through, but, of course, crime procedurals have always been a genre that’s endured over the years,” says Banijay Rights’ Payne. “People are looking for strong storytelling and characters an audience can identify with—whether they’re good or bad— and who they can go through the journey with. But no doubt, if buyers are thinking of risk, it helps to have very strong talent attached. By having that talent, you’re helping them formulate in their minds how to sell it to their viewers.”

Of course, all known IPs started as original ideas. Despite widespread risk aversion, shows based on new stories and concepts can break through. What helps them is having recognizable creators or stars and relatable or intriguing themes.

As Cineflix Rights’ Mutimer explains, “Boldness helps, which again has to do with the talent that you bring in, writing and directing it. If it’s clear, stands out from the rest of the market and speaks to the zeitgeist and what’s going on culturally, people can see a reason why this program is being made.”

“Character is still key, so if you’ve got strong characters, that is something else that buyers look at, and audiences look at and fall in love with,” he continues. “You’ve got to have all the ingredients that make a great hit. There is still room for programs outside the traditional thriller, procedural or basedon-IP [genres], but it’s tougher. Everyone has to raise their game if they’re going to experiment in that area.”

“A show based on an original idea has to address issues that are relevant around the world, as Adolescence did with boys and social media; that’s something everyone worries about globally,” explains Pedersen. “Shows that deal with specific U.K.-based crime or U.K.-based political issues or social problems that don’t apply in the rest of the world are harder. A good crime story, a good detective show, a good action thriller—they are always going to get attention. But riskier or non-traditional shows have to say something that is universal.”

“A really good show will cut through,” adds Banijay Rights’ Payne. “Take Richard Gadd’s Baby Reindeer [as an example]. It is a compelling story that delivered on so many fronts—from the performances to the production—and is must-watch television that you cannot stop watching. It’s a story told in a very interesting way. That’s what’s so great about Richard—he’s telling different,

challenging stories that capture the audience’s imagination. Half Man , [written by Gadd] for the BBC and HBO, stars Gadd and Jamie Bell as estranged ‘brothers’ Ruben and Niall, respectively. This sort of relationship is one you just don’t see on screen that often.”

COMFORT AND ESCAPISM

It’s not only producers and distributors who are facing change and disruption; viewers are as well. The desire to dive into a show that can transport us out of our daily lives is as strong as ever.

As Pedersen notes, when watching All Creatures Great and Small, “People feel like, Oh, I can just relax and enjoy this. [There’s] that need for escapism. The Brokenwood Mysteries from South Pacific Pictures does a fabulous job of that. It feels like the world is dark enough without lots of gritty crime, doesn’t it?”

“We like those kinds of shows—either the setting is a character because of its nature

and beauty, or because it’s upmarket,” agrees Fremantle’s Richter, citing Sullivan’s Crossing and Little Disasters and their ability to provide viewers with escape. “We have wars going on in the world. People are thinking about their jobs and the impact of AI. The cost of living is pushing up, and consumers are under pressure. So, when you come home in the evening or on your weekend, you want to watch entertaining shows.”

Providing entertainment through strong, engaging storytelling, whether featuring familiar characters or new ones, remains the primary focus for leading European producers and distributors.

Interestingly, despite the constant change in the industry, some features from the past have returned.

“We are now back in the world of the 2000s,” notes Richter. “Windowing is back. Commercial mainstream television is back, and commissioning for a single territory is back. It’s quite a shift.”

Jens Richter Fremantle

By Anna Carugati

As the CEO of commercial and international at Fremantle, a leading group of content creators owned by RTL Group, Jens Richter’s responsibilities include overseeing the company’s global distribution of finished programs, international content and acquisitions and co-production strategies. In discussing the European scripted market, he points to several trends: a shift toward entertaining mainstream programming, the evaluation of multiple budget options and a greater willingness to co-produce and share rights.

WS: What have been the main challenges facing the European scripted market in the last few years?

RICHTER: There were a couple of big challenges. One is that production budgets went up. Inflation drove up production costs quite a bit. We always hope that when inflation is high, prices will come down again. The reality is they’re probably not coming down; if we’re lucky, they stabilize.

The biggest change during the last three or four years has been a very focused shift toward mainstream programming. Six or seven years ago, it was all about premium drama. Streaming services, especially, were a big sandbox, and people could try different genres of shows targeting niche audiences. Everybody was under the impression that the big advantage of on-demand is that you can focus on niche audiences, which you can. But then there was this big shift from revenue growth to profitability, with the realization that when you want to reach niche audiences, relative to your investment, you end up serving a small group. When you hit a much bigger consumer group with that same investment, you have a much better return on investment.

Plus, over the last two years, everyone has started selling advertising. That was the final step into proper mainstream television, for the streamers as well. Everybody but Apple TV is selling advertising. So, you need brand-friendly programming. In today’s market, the ideal drama can sit on almost any platform because buyers are all looking for very similar programming. Five years ago, there was a clear distinction between commercial television, state broadcasters, premium pay TV and streaming TV. Today, however, we are sometimes selling the same show into very different spaces.

Our series Little Disasters is a very nice case study. We did that for Paramount+ in the U.K. They were the commissioner, we gap-financed it. So, it was Paramount+ in the U.K.; the producer, Roughcut; and us. At an early stage of development, before we went to greenlight, we discussed the cast very intensely because we said that if we’re going to cover the gap for the rest of the world, we need a cast that helps us sell the show. We have a fantastic cast, including Diane Kruger, which helps to sell the show globally. While we were in production, Paramount+ in the U.S. came to the table. In some markets, we sold it to state broadcasters—Yle in Finland and ABC in Australia. In other markets, we sold the show to commercial broadcasters like TV4 in Sweden and TV 2 in Norway. We have Paramount+ in the U.K. and the U.S., and in some European markets, we sold to HBO Max, another streamer. Five years ago, if you had done a streamer show, it would have probably only been on streamers.

Another change is that streamers now do not necessarily need to own worldwide rights. Many streamers have dedicated production budgets allocated to their local territories. Paramount does that, Amazon does that. Then we can come in and take the risk and invest for the rest of the world. Sometimes we might sell it back to them, as we did with Little Disasters for the U.S. That helps the commissioners to be more cautious with their budgets and more market-centric. It also opens an opportunity for us as a producer-distributor to zoom in on a specific market, retain some rights, take the risk and consider how we may need to think about the casting or some other aspects of the show to make it fit the rest of the world. This openness of a streamer going only for local markets is also relatively new. Five years ago, it was always worldwide rights and vertical integration. And the streamer needed that show on its platform forever.

We are now back in the world of the 2000s: Windowing is back. Commercial mainstream television is back, and commissioning for a single territory is back. It’s quite a shift.

WS: Because of all the horrible news we are bombarded with every day, I have loved escaping into Hotel Costiera. Is it just me, or are you seeing demand for escapist programs?

RICHTER: Yes, very much, whether it’s Hotel Costiera, which we sold beautifully around the world, or Sullivan’s Crossing, which we shot in a beautiful natural setting, which is a character. Little Disasters is a show set in Richmond, a suburb of London that is a very affluent, upmarket village. We have upper-middle-class characters in a beautiful setting, until something happens, and this beautiful world starts to spin. If you were to take that same narrative and put it into a less affluent world, we might not be able to escape because we like to see beautiful places. We shot in a multi-million-pound house—an awesome house! The people are happy and look great. It’s a beautiful world, and that world explodes. We like those kinds of shows—either the setting is a character because of its nature and beauty, or because it’s upmarket. And it’s exactly as you described. We have wars going on in the world. People are thinking about their jobs and the impact of AI. The cost of living is pushing up, and consumers are under pressure. So, when you come home in the evening or on your weekend, you want to watch entertaining shows. And that’s really our mantra. We are here to entertain you. And whether that is with America’s Got Talent or Little Disasters, we want to entertain you. For us, what’s most exciting this year will be the reboot of Baywatch That is truly entertaining!

almost everywhere. They drive similar cars, live in similar houses and wear similar clothing. Obviously, a setting must always fit the show. So, we have a lot of creative conversations, and we give feedback. If you want a more local show, we can only help you so much with financing, but if you make these changes, we can increase our investment.

WS: The U.S. is commissioning less. Is that affecting European drama production?

Little Disasters first launched on Paramount+ in the U.K. and has since landed at various commercial and public broadcasters, as well as other streamers.

WS: How are you helping producers secure financing for their dramas?

RICHTER: Five years ago, you got a commission, you made your budget and you went into production. In 2025, you get a commission and then you think about where and how to produce your show most efficiently. For some shows, instead of one budget, we run three, four or five different budgets for different budget locations. You consider the cost of production in the region or territory and the local incentives. In some markets, we might have our own studio capacity available. We run through many more production scenarios these days, and that helps quite a bit.

The other thing we consider, wherever possible, is co-producing, like with Film Club, the BBC show we did with ZDFneo; Sandokan, for Rai with Mediaset in Spain; or the second season of Big Mood for Channel 4 and Tubi. Co-producing is very much on our radar, and it’s more important than ever, whether it’s in Europe or America. While the U.S. has become more difficult, it is still possible.

So, budgeting, smart production structure and co-producing. And when you’re a local commissioner, you want to serve your local audience. How can we help you serve your local audience while still creating a show that can travel? And that requires a lot of knowhow—from different casting choices to the setting. The advantage of an upmarket setting, like with Little Disasters in Richmond, is that these worlds look similar

RICHTER: The U.S. is commissioning less and buying less. Three or four years ago, when you got a commission in the U.K., you would find a distributor, whether it was Fremantle, ITV, Banijay or All3Media, to provide the gap financing, and the producer was off to the races. Then, about two or three years ago, the first commissions happened that couldn’t find financing anymore. Commissioners often want to see the financing structure in place before they even commission the show. Currently, there are a handful of commissions in the U.K. market that broadcasters would love to do, but they can’t get financed, as these shows are too local for too much money. At a time when the U.S. is a lot more selective, we need to look at the nature of the show to determine if it hits the U.S. commercial needs. Secondly, even if you hit that need, you have to assume it will take you longer to get that deal done because there’s a bit more decision-making by committee. Clearly, this has implications for European commissioning and production.

WS: What’s your outlook on the demand for scripted programming in the coming year?

RICHTER: We clearly need great shows, so the outlook for the next couple of years is that shows need to be commercial and entertaining. We focus on two priorities. One is long-running, returning dramas that need to be set up for multiple seasons. We recently finished season four of Sullivan’s Crossing. A show like Baywatch lends itself to potentially many seasons—mainstream, blue sky and entertaining, and, ideally, the episodes have a narrative of the week. If you think about it from the commercial perspective for the distributor and producer, if you want to go into windowing, episodic narrative is much better. In the other bucket are the big miniseries or shorter runs with big casts and IP, which are more expensive—event TV.

has resulted in distributors needing to be selective about the financing risks they take.

WS: In drama series, are certain subject matters or number of episodes more in demand?

PAYNE: Potential licensees, in general, do not have limited series on top of their shopping lists. The focus is on returning series that allow them to build on their initial marketing expense. There will always be shows that break the mold, but they have to be special—with unique talent or just be a very special, strong project that has the ability to resonate globally, such as the Netflix hit Adolescence.

WS: What about within Europe?

PAYNE: For streaming in Europe, it’s been well documented that consolidation has been a mainstay over the last few years. Viaplay, for instance, expanded then contracted. Now, they have a new focus on their key markets. HBO is coming into the market quite strongly after pulling back from their original European commissioning, while Paramount isn’t commissioning outside of the English-language territories—the U.S., the U.K. and Australia—at present; we will see their new strategy emerge in the next few months. Amazon has selective commissioning. Netflix has been the most consistent. For linear, elsewhere across the continent, we have seen plenty of alliances with public broadcasters. ZDF has been working more closely with the BBC, for instance.

Cathy Payne Banijay Rights

By Anna Carugati

Banijay Rights, the distribution arm of Banijay Entertainment, is home to a multi-genre selection of some 220,000 hours of content from 130-plus in-house labels and third-party producers. The catalog includes a range of drama titles, from popular crime procedurals to premium shows such as Bergerac , Grantchester and Richard Gadd’s Half Man CEO Cathy Payne offers her view of the European scripted market as it adapts to changing financing models, greater selectivity and fewer co-production partners. What has remained constant is the audience’s desire for strong storytelling and characters they can identify with.

WS: What have been the main challenges facing the European scripted market over the past few years?

PAYNE: As has been well documented, the retraction of the U.S. co-production market in recent years has had a marked impact on the ability to underpin deficit financing. The number of potential co-production partners has decreased as a result of the consolidation of services, commissioning decisions and a preference for domestic commissioning. Potential partners are very selective and [are looking] for a project to be packaged well with known on- and off-screen talent, as they ask, “How will this project resonate with my audience?” This

Then, of course, you have alliances between countries. Everybody’s looking for affordable scripted projects and how they can potentially co-develop and co-fund. Understanding how budgets can be maximized through tax credits is essential, and Banijay, being the largest scripted producer in Europe, is well placed in this area.

WS: Are buyers avoiding taking risks with drama series? What do new ideas need to catch buyers’ attention?

PAYNE: A really good show will cut through. Take Richard Gadd’s Baby Reindeer [as an example]. It is a compelling story that delivered on so many fronts—from the performances to the production—and is must-watch television that you cannot stop watching. It’s a story told in a very interesting way. That’s what’s so great about Richard— he’s telling different challenging stories that capture the audience’s imagination. Half Man, for the BBC and HBO, stars Gadd and Jamie Bell as estranged “brothers” Ruben and Niall, respectively. This sort of relationship is one you just don’t see on screen that often, and the drama forms part of our lineup at the London TV Screenings, along with the likes of The Forge Entertainment’s upcoming standout titles Falling and A Woman of Substance. We always say no one knows what will be a hit until it breaks through, but, of course, crime procedurals

have always been a genre that’s endured over the years. People are looking for strong storytelling and characters an audience can identify with—whether they’re good or bad—and who they can go through the journey with. But no doubt, if buyers are thinking of risk, it helps to have very strong talent attached to it. By having that talent, you’re helping them formulate in their minds how to sell it to their viewers.

WS: How do you help producers secure financing?

PAYNE: We read scripts, we give our advice and we talk about attachments. This is a constant process at Banijay Rights. Like many things in life, a lot of financing is about timing. Potential licensees need to understand where the story arc is and where season two goes. When we’re looking at what we invest in, I often think, “OK, that’s season one. How much more is it going to cost for us to also invest in the next two scripts for season two?” Another thing that can really help with production speed and costs is having all the scripts written up front because then you can shoot and get talent in and out. This certainly helps with timing around high-profile talent.

It goes without saying that the market has been challenging. And while it’s not all bad, people need to have realistic expectations about what will presell and what won’t, knowing most won’t unless there’s a specific reason. I suppose buyers are asking, “Why do I need to take the risk to secure that now when I could wait and see it?” And we’ve had executive turnover in so many places. People have come; people have gone. That takes time because new executives might have to work through their incumbents’ slates.

WS: Would you give some examples of your distribution strategies?

PAYNE: We have a varied slate with different needs, so it’s about being flexible. People are sharing windows. Nonlinear platforms might only take a select number of territories. Broadcasters are prepared to share windows in a much shorter timeframe because they have to secure financing. When do you need exclusive rights? When can you live with non-exclusive? We’re seeing, in general, so much more non-exclusive licensing. Not always around the premiere window, but keeping the windows very manageable. Day-and-date is a musthave for anything really notable.

Louise Pedersen All3Media International

By Anna Carugati

Part of global television, production and distribution company All3Media, All3Media International offers clients worldwide a diverse selection of high-quality content. Its scripted catalog includes a range of titles from beloved long-running soaps to contemporary thrillers, detective series and comedy shows. As CEO Louise Pedersen explains, at a time when the drama market in Europe is facing numerous challenges, proper financing, collaboration and timing are helping deals get made.

WS: What has been your view of the European scripted market in the last 12 months or so?

PEDERSEN: We’re not producing scripted content in Europe, but we’re selling into Europe, and it’s been pretty steady. The German market has been good for us. We have good co-production relationships with ZDF and ARD, and we’re really happy with how those relationships are working. Spain has been very good. Our long-standing and very valuable partners in Scandinavia, Benelux and Eastern and Central Europe have been good and very steady. So, for us, Europe hasn’t been a huge growth market, but it hasn’t been a market in decline. It’s been steady and responsive. We’ve taken a bit of a step back from non-English

programming, which takes us out of Europe because it’s hard to sell it in the States. That means that we can’t always make the numbers stack up. What many European producers are doing very successfully is forming relationships with one another, developing financing plans themselves and involving broadcasters in Europe as well. And that seems to be a model that they all like. That’s the way they’re getting a lot more shows funded.

WS: How do you help producers secure financing for their dramas?

PEDERSEN: We get involved at a very, very early stage, and we talk to loads of producers from Europe, from Australia and, of course, from the U.K. Our sole objective is to get a show that is as internationally appealing as possible, which means that it has a theme that resonates globally or some cast that is very well-known globally. We track projects from a very early stage. At that point, we try to give producers an early sense of whether we’re interested or not, so that we can either continue the conversations or they can talk to other people. We try to be really clear about that. Then we will take the deficit as the distributor. We will come in and gap-finance for the right shows. And if we bring in a German or Australian co-producer, we take that toward recouping our investment. So, the distribution advance model is still alive. It’s just that distributors are probably being a little bit more cautious about where they spend their money because costs have gone up.

WS: Have financing models become more complex?

PEDERSEN: The financing models haven’t necessarily become more complex. They still follow the same structure, but because production budgets have gone up, and, in some cases, broadcaster contributions have gone down or remained the same, and because of the decline in the U.S. co-production market, the money that distribution businesses like ours have been prepared to contribute has gone down. So, the financing models haven’t become more complex, but anecdotally, you hear about more shows that can’t get financed.

WS: In general, is a series based on known IP or with known talent attached easier to get funded and sold?

PEDERSEN: In this market, whether it be known IP, a great cast, a well-known director, all those things make buyers feel more secure about the project and the way that it’s going to turn out. So, yes, known IP definitely gives buyers that extra bit of comfort and security. In a market where buyers are more risk-averse, having a great bit of IP or some great casting really helps.

WS: Is that risk aversion also due in part to the fact that viewership is so fragmented?

PEDERSEN: You’re right. That’s up the chain, and it’s what has led us to where we are. But every time we invest in a show, we’re doing a business case. In that business case now, the American number has come down by 50 percent. That’s really the driver of it.

WS: What does a show based on a new idea need to catch buyers’ attention?

PEDERSEN: Not to be prescriptive about it because if you look at successful shows from our catalog, All Creatures

Great and Small or Midsomer Murders , they’re so different. It’s very hard to generalize. You wouldn’t want to make a formula or apply an algorithm to creativity. But I do think that, in some ways, a show based on an original idea has to address issues that are relevant around the world, as Adolescence did with boys and social media; that’s something everyone worries about. Shows that deal with specific U.K.-based crime, U.K.-based political issues or social problems that don’t apply in the rest of the world are harder. A good crime story, a good detective show, a good action thriller—they are always going to get attention. But riskier or non-traditional shows have to say something that is universal.

WS: Are buyers showing a preference for series of certain lengths?

PEDERSEN: Six hours is best for our commercial broadcasters; half-hours are tricky. Comedy is still really tricky because it’s often six half-hours, and it’s a slower burn. People will perhaps discover a show in the second or third season, and then there’s word of mouth, so it takes longer. British comedy does travel quite well, but it’s still a bit of a harder sell.

WS: What distribution strategies have you been using for scripted shows?

PEDERSEN: At the moment, we’re really leaning into not going too early. Four or five years ago, we would go out with a writer and a script for one episode. We’ll still do that, but just to give buyers the sense of what’s coming. But in reality, we’ve accepted that buyers are probably going to want to see an episode one, or at least some good footage. That means that we’re leaning more into events like the London TV Screenings and festivals, where we can screen whole episodes so that buyers can see them for the first time on the big screen. At Content London, we premiered our new show, Secret Service, which I’m really excited about and will launch on ITV [this year]. The temptation as a salesperson is always to get the show out there as quickly as you can, but we’re waiting a bit longer and making sure that we’ve got the right event to launch shows.

WS: You also have Trespasses. I read the book it’s based on by Louise Kennedy, and it was devastatingly beautiful. It ripped my heart out.

PEDERSEN: That ripped my heart out, too. That was beautiful, and Amanda Posey and her team at Wildgaze Films have done a fabulous job. But again, we waited and launched it when we had episodes.

WS: There’s also something to be said for shows that provide escape. Midsomer Murders is so familiar to me—it’s like comfort food!

PEDERSEN: Exactly. It is a crime series, but they’re also a fun gang to hang out with, and it looks gorgeous. And with All Creatures Great and Small , people feel like, Oh, I can just relax and enjoy this. You feel that need for escapism, don’t you? And I think audiences do, too. We’re not seeing that many shows in that space. I’d quite like a few more. The Brokenwood Mysteries from South Pacific Pictures is another one that does a fabulous job of that. So, yes, it feels like the world is dark enough without lots of gritty crime, doesn’t it?

Tim Mutimer Cineflix Rights

By Anna Carugati

As CEO of Cineflix Rights, Tim Mutimer heads Cineflix’s international sales and acquisitions arm. He oversees the development and financing of a range of programming, including scripted drama, through a variety of formulas, from first-look and output deals to presales and co-productions. While shows based on known IP or featuring recognized talent are appealing to risk-averse buyers, Mutimer notes that bold, original ideas that resonate with the current culture are also able to find success.

WS: What are some of the main challenges the European scripted market has faced in the last year or so?

MUTIMER: It’s definitely a slower market than it used to be. People take a long time to make decisions. Every buyer has to go through several layers before they can make a decision and try to minimize risk, which is what everyone is about these days. That means the staples of procedurals and thrillers are what people are focusing on because they feel safest. Anything that goes slightly beyond that is a risk. The other thing is that there’s a lot of content out there, but the slots are fewer than they’ve been before. Maybe that’s partly because domestic production has increased a lot, maybe it’s partly because the streamers are there. So, the local broadcasters are pivoting to more entertainment and live shows as a way of differentiating themselves.

WS: Do scripted series based on well-known IP generally sell more easily than those based on original ideas?

MUTIMER: Yes. This links back to the de-risking nature

of the industry at the moment. If you can launch a series that’s based on IP that already has recognition in your territory, that makes you feel slightly more secure that you’re going to have a hit and are going to find an audience. It’s no surprise that three of our new series are all based on IP—Anna Pigeon, The Walsh Sisters and Hildur—because that’s what our buyers are asking for; they’re asking for as many guarantees as they can get. The other thing that known IP brings is the ability to build a stronger package because writers, showrunners and actors are all attracted to something they feel has the potential to be really successful. The IP gives them a level of comfort, while a brand-new, original project would feel riskier to them.

WS: I imagine that talent can also be a bit of a risk diffuser, if you have a big name attached to a project?

MUTIMER: Yes, absolutely. Sunny Nights, a show we just launched and which debuted on Stan in Australia over the holiday season, stars D’Arcy Carden (Nobody Wants This, The Good Place, Barry) and Will Forte (The Four Seasons, The Last Man on Earth, Bodkin) as the leads. That really helps when you’re pitching to broadcasters because they’ve got a hook that they can market it with. We’ve sold Sunny Nights into some key territories, including the U.K. (ITV), Canada (Bell Media), Germany (ProSieben), the Netherlands (CANAL+), New Zealand (TVNZ) and Ireland (TG4), with a U.S. deal [signed with Hulu]. Trent O’Donnell (Hacks, Colin from Accounts) directs and executive produces it, so behind the camera as well as on the screen, you’ve got strong talent.

WS: On the other hand, everything starts as an original idea. What does a series based on a new idea need to be appealing to buyers? I imagine maybe talent is one of those things.

MUTIMER: Sunny Nights is absolutely that. It’s a dark comedy that’s original and fresh. It’s a clear concept of a show that you can describe and pitch in a couple of lines, and people get it. That’s really helpful. Boldness helps, which again has to do with the talent that you bring in, writing and directing it. If it’s clear, stands out from the rest of the market and speaks to the zeitgeist and what’s going on culturally, people can see a reason why this program is being made. Character is still key, so if you’ve got strong characters, that is something else that buyers look at, and audiences look at and fall in love with. You’ve got to have all the ingredients that make a great hit. There is still room for programs outside the traditional thriller, procedural or based-on-IP [genres], but it’s tougher. Everyone has to raise their game if they’re going to experiment in that area.

WS: How have you seen financing models evolve? Are co-financing and co-producing increasingly necessary?

MUTIMER: Our experience is that budgets are increasing. Maybe that’s because we’re competing with streamers who have much bigger budgets than legacy broadcasters

have had, and the audience will seek the same quality regardless of where they watch. So, budgets are definitely increasing, and it’s getting harder and harder to find a project with only one broadcaster attached. Increasingly, we’re working with producers who maybe have a commissioning broadcaster attached and are [looking for] another partner to come on board. The Walsh Sisters, which we launched at MIPCOM, was originally commissioned by RTÉ. That’s based on a book series by Marian Keyes, which has sold more than 40 million copies worldwide, with many of those sales in our key territories. But with the budgets being significant, we needed to bring in another broadcaster before we could greenlight it, along with our distribution advance. Along with the producer, we talked to the BBC and negotiated a deal with them. Nowadays, it’s quite common to try to bring in a presale partner, which could be in another significant territory, as with Australia’s Stan for The Walsh Sisters, or the likes of BritBox or Acorn TV, which will take a window in more than one territory. As we advance money against projects, we look not just at the first window now, but also at how we can window quickly so we can get our money back as soon as we can. It has become more complex. Soft money is important as well, so we consider where we can film a project that gives us access to more funding that can go toward a bigger budget.

WS: Have distribution deals become more complex?

MUTIMER: The main thing now is when we do an initial deal in key markets like the U.S., Germany, France or the U.K., we’re thinking about how quickly we can build in the next window; how quickly after the premiere in that territory can we do a VOD window? Every deal is different because it depends on the level of exclusivity that the broadcaster that’s going first in the territory wants—how important it is to them to have some distance between the premiere and the next window. But we’re finding shared exclusivity is becoming much more common, and for people that are investing quite a lot, they will want the premiere, but then they’re quite comfortable with other parties within the territory coming on board.

WS: Has the drop in U.S. presales and commissions affected European drama production?

MUTIMER: The U.S. was a big source of large amounts of money that could either go to the budget or help to recoup a distribution advance. That market is certainly not as strong as it once was. So, when you look at a project and a U.S. number, you have to figure out: how secure is that? From which territories will we be able to recoup our investment? You really have to understand what the appetite is in the U.S. market. We’ve got Greg Johnson (executive VP for the Americas and Asia Pacific) based in L.A. He’s very close to all of the key streamers and broadcasters there. We’ve got a good sense of what broadcasters are looking for. That intel is essential for helping us assess which projects to invest in.

WS: Are there upcoming titles you’d like to mention?

MUTIMER: Yes, I mentioned The Walsh Sisters, which is great because the IP is so well-known. Hildur is our Nordic “blue” series that we are just launching. We know the Nordic noir genre, but in Hildur, we have the incredible backdrop of the Icelandic Arctic wilderness. We really like this show because the lead character, Hildur, is solving a contemporary serial killer case, and there’s a cold case that she’s personally involved in. She’s a fascinating character. One of her sidekicks is played by Rick Okon, the internationally known German actor who was in Das Boot, which is important when you’re thinking not just of the U.S., but also of other strong markets and what you can do to make a show more appealing to them. And we’re really excited because we’ve got Anna Pigeon for Versant’s USA Network, which is just completing filming and is based on the best-selling novels by Nevada Barr. It stars Tracy Spiridakos, who is incredible as a park ranger, and the show is set against the backdrop of national parks. It is filmed on location, which makes it look incredible. In such a competitive market, [it’s helpful] to bring to the table something extra that audiences are going to love, such as that backdrop, in addition to strong storylines and some great acting talent. We’re looking forward to showcasing Anna Pigeon at the London TV Screenings.

From gripping historical series and scientific examinations to fascinating travelogues and investigative docs, there’s a wealth of factual fare to sample in our latest edition of the TV Real Screenings Festival.

Ancient Greece—The Dark Chronicles

Beneath the splendor of Ancient Greece lies a world shaped by ruthless gods, relentless conquest and power struggles that nearly tore civilization apart. This series exposes the darker forces that forged an empire—and changed history forever. (ZDF Studios)

Faraway

Caligula’s Hidden Legacy

Capricious megalomaniac, cruel tyrant or visionary architectural genius—who really was Caligula? Recent archaeological discoveries dive into his extravagant architectural legacy and uncover the mysteries that surround his controversial personality. (ZED)

Lifestyle influencer Rada Zamutti explores destinations uniquely tailored for women traveling solo, uncovering seven unmissable experiences in every location. (Kedoo Entertainment)

Mammals: Life before Dinosaurs

After 40 years of relentless excavation, a discovery erupts from the depths of the Karoo Basin—the oldest cradle of mammals on Earth. Witness the moment our earliest ancestors began the epic struggle that shaped all future creatures. (ZDF Studios)

Martin Scorsese Presents: The Saints

Tehran Confidential

Hosted, narrated and executive produced by Academy Award winner Martin Scorsese, each episode delves into the life of a singular historical saint, highlighting their acts of faith and devotion in addition to their sacrifices. (FOX Entertainment Global)

An investigative documentary revealing how the Islamic Revolutionary Guard Corps operates as a powerful political and economic force in Iran, exercising extensive control that blends elements of authoritarianism, oligarchy and militant influence. (ZED)

Will AI Take My Job?

The Wonder Guys

Director Steven Prior and journalist Emily Laing explore the hidden struggles and untold stories behind some of the world’s most iconic cities. (Kedoo Entertainment)

As AI develops, with claims it can outperform humans in most tasks, this ambitious documentary undertakes a unique experiment that pits man against machine. (Passion Distribution)

TV Asahi’s Entertainment Offering

By Jamie Stalcup

TV Asahi Corporation has a diverse slate of entertainment on offer, including Celebrity Fight Club, a new format that sees celebrity rivals go head-to-head. It “is built around the universal appeal of fandom,” says Megumi Shirokawa, producer in TV Asahi’s business development department. “It provides a unique and compelling backbone for the format. The head-to-head battles could easily translate internationally—for example, Taylor Swift vs. Katy Perry, or, in sports, Dodgers fans competing against Yankees supporters.”

The slate also features Hide in the Village: Trust No One, a hide-andseek game that sees detectives, Self-Defense Forces members and experts from the Japan Hide-and-Seek Association hunt down challengers, as well as The Heritage Quest, in which contestants embark on a 3,000-kilometer journey across Japan’s World Heritage sites, facing location-based quizzes along the way.

The TV Asahi catalog extends beyond formats as well, with anime and drama. In addition, the company is opening Tokyo Dream Park, a major entertainment complex, this year. “Fandom no longer ends at the screen; it expands into real-life moments that people capture, share and celebrate together,” Shirokawa says. “This facility is poised to accelerate the evolution of entertainment experiences.” n

Steve North UKTV

By Anna Carugati

UKTV has been serving audiences for more than three decades. With an unrelenting focus on viewers’ tastes and habits, it has curated an offering of drama, comedy and factual programming available on multiple platforms. In 2025, UKTV saw gains in viewership across both its linear channels and streaming services.

As its chief content officer, Steve North, tells World Screen, he and his teams remain committed to offering high-quality shows, reaching audiences wherever they are and investing in U.K. creativity.

WS: What makes UKTV’s offering unique?

NORTH: UKTV is wholly owned by BBC Studios. We’re a multi-platform broadcaster with seven traditional linear channels, a free streaming service and several FAST channels. We are on most social platforms. It’s a multi-faceted business. What makes us unique is our blend of content, as we can draw from three key areas. The first is the BBC. We have access to the BBC’s phenomenal, decades-long archive of content, which we bring to audiences in the U.K. Alongside that, we have global acquisitions, as well as our originals and commissions.

As our [name], UKTV, says, we are very U.K.-focused. There is a U.K.-centric heart to our business and content, which is really important to us. As we’ve grown the business, we’ve kept viewers at the heart of everything we do. That has allowed us to build well-known, recognizable brands. Initially, through our linear channels—be that Dave, Gold or Alibi—we built an understanding of our audience and its needs, and tailored our offerings to them. With U, our on-demand platform, we’ve been very audience-focused, understanding how we bring content from our channels to that singular audience. And through individual programs, we’ve built recognizable brands, often with incredibly well-known talent in the

U.K. The combination of those things has helped create that uniqueness around UKTV.

WS: When did the streaming service launch, and how has it been received by viewers?

NORTH: We launched our original streaming service, UKTV Play, back in 2014, and rebranded it to U in the middle of 2024. We spent a long time growing the individual channels, each tailored to a specific audience with its own look and feel. We knew that by putting digital at the heart of our strategy, we needed to find a way to bring those individual channels and all their content into one place, under a singular brand that made sense to our consumers. Hence, the brand name U, and we now use U within our channels—U&Dave, U&W, U&Yesterday, U&Drama, U&Eden, U&Gold and U&Alibi—to make clear to audiences the proposition about how all these different parts of UKTV fit together.

The next step is how we continue to grow that. There are a few key ways of doing that. One is about a clear proposition, making sure that audiences understand what we stand for and what they will get from us. Second is maintaining the quality and the quantity of the brilliant content we have. The third part is about expanding the service’s availability. In January, we launched U on the Channel 4 streaming service; it’s a carriage deal we have with Channel 4 to ensure we continue to grow and reach new people with U. We extended distribution throughout 2025 on other platforms like Sky Glass and Sky Stream.

WS: In the U.S. and in several other markets, the share of linear viewing is declining, and yet UKTV’s linear viewing has increased.

NORTH: The TV landscape is changing, and we can’t get away from that. But in the U.K., over 80 percent of all viewing still goes to linear channels. When you add the viewing of IP linear channels, it goes up to about 85 percent. So, linear is still strong, but the way people consume TV is changing. We understand that. What’s important for us is to focus on how we get those two parts of our business working together. We’ve grown our linear and VOD businesses in 2025. How can we use both services to amplify our message, understanding that some people want to watch content on one platform, some on the other, and a whole host in between who watch it on both and move between the two? How do we schedule and release our content? How do we talk about our content in our marketing, our PR and our comms? Are we box-set dropping? Are we doing weekly releases to keep those audiences engaged? We’re finding that when we’re smart, we can grow both parts of our business by making them work together more effectively.

WS: Why is it so important to invest in U.K. creativity?

NORTH: Investing in the U.K. creative economy, of which we are a part, is really important. It creates a positive spiral because the more you invest, the better the shows you get. They perform well, you’re working with great producers and talent and they come back to you with even better ideas. We have that U.K. focus to our business, and having that British sensibility with British stories told by British voices and a British sense of humor is really important to ensuring that we maintain that clear proposition about who we are, what we stand for and the kind of content that we’re going to take to audiences.

A Special Thanks to

PLATINUM SPONSOR

Here to Stay

“Survive till ’25” was an oft-heard catchphrase leading into last year, as if the conditions of the market would magically right themselves and the industry would return to the way it once was.

WHAT’S NEXT?

Leading distributors and producers share their thoughts on how they are navigating the challenges of the market and what 2026 may hold.

Ricardo Seguin Guise

Publisher

Anna Carugati

Group Editorial Director

Jamie Stalcup

Executive Editor

Rafael Blanco

Managing Editor

Kloudia Sakowski

Associate Editor

Rafael Blanco

Editor, Spanish-Language Publications

David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Bookkeeper

Ute Schwemmer

It seems, however, that there has been a deeper structural shift that is here to stay. With economic uncertainty continuing and an extremely fragmented ecosystem, producers and distributors stress how vital it is for their strategies to ensure that every IP has a presence wherever kids are—whether through digital-first content on YouTube, branded games on Roblox, in-person experiences, etc.—in order to be engaged with. They also stress how imperative it is to work together to get projects financed and sold around the world.

This is a common refrain you will hear in this edition’s feature, in which leading producers and distributors reflect on the past year and offer their views on the trends that may pop up this year. You will hear similar insights in the keynotes and panels of the sixth edition of our TV Kids Festival, which can be viewed here

DISNEY MAGIC

Ayo Davis and Alyssa Sapire talk about connecting with preschoolers through the Disney Jr. brand.

Ricardo Seguin Guise

President

Anna Carugati

Executive VP

TV Kids

©2026 WSN INC.

401 Park Avenue South, 10th Floor

New York, NY 10016, U.S.A.

Phone: (212) 924-7620

www.tvkids.com

And although the loudest news is often about the challenges of the business, you’ll also hear that many are feeling optimistic and even invigorated by where they might lead. “The industry has always faced challenges, and we’ve always adapted,” Boat Rocker Studios’ Gia DeLaney tells us. “Often, those challenges push us to be more creative and thoughtful.” Jamie Stalcup

9 Story Media Group/Scholastic Entertainment

Do Not Watch This Show / Paris & Pups / Dragon Girls

Do Not Watch This Show, from 9 Story Media Group, follows a monster who is desperate for viewers to stop watching. “Built on clever reverse psychology—literally daring viewers not to tune in—the show taps into kids’ natural curiosity and sense of mischief,” says Alix Wiseman, senior VP of distribution and acquisitions. Paris & Pups, inspired by Paris Hilton’s real pets, centers on Paris Star and her five pups as they spread kindness and confidence. In Dragon Girls, three girls are transported to a magical realm and transformed into powerful, shimmering dragons.

BBC Studios Kids & Family

Zog / Crookhaven / My Friend Maisy

BBC Studios Kids & Family is distributing Magic Light Pictures’ Zog, which follows the adventures of the big-hearted dragon Zog. Crookhaven takes place at a school where young crooks from around the world are secretly selected to hone their skills for good. My Friend Maisy, based on the books by Lucy Cousins, follows the adventures of Maisy and her friends. Also available, “Rafi the Wishing Wizard brings something fresh to the preschool landscape—a classic family sitcom but with a magical twist,” says Katharina Pietzsch, VP of content sales for BBC Studios Kids & Family.

“9 Story is strategically focused on delivering standout content that performs across platforms and borders.”

—Alix Wiseman

“It’s an incredibly exciting moment for BBC Studios Kids & Family as we continue to champion exceptional storytelling aandworld‑class productions.”

—Katharina Pietzsch

Boat Rocker Studios

The Next Step: Cheer / Dino Ranch: Island Explorers / Girl Troop vs Aliens

From Boat Rocker Studios comes The Next Step:

Cheer, which follows The Next Step’s Kenzie as she leads a cheer squad whose legendary coach abruptly leaves. “We’re also rolling out Dino Ranch: Island Explorers,” says Gia DeLaney, senior VP of global sales and content for kids and family. “In the new series, the Cassidy clan heads to the mysterious Dino Island, home to Uncle Jack Cassidy and lots of new dinosaur species.” The new live-action comedy Girl Troop vs Aliens follows four 12-year-old girls whose summer camp gets infiltrated by aliens.

Pink Parrot Media

Butterfly Academy / Momonsters / Lotte & Totte

Leading Pink Parrot Media’s slate is Butterfly Academy, a 3D animated series that follows monarch butterflies. “Momonsters differentiates itself through its hybrid animation style and its narrative structure rooted in real childhood experiences from around the world,” says Begoña Esteban, head of international TV sales and acquisitions. Lotte & Totte, inspired by the classic Scandinavian picture books by Gunilla Wolde, “captures the astonishing discoveries and emotions of early childhood, from learning to do things independently to understanding new routines and feelings,” Esteban says.

“Going forward, we’re laser focused on creating a world‑class content creation and rights management business by investing in best‑in‑class IP.”

—Gia DeLaney

“Our catalog is built around stories that entertain while also offering children meaningful experiences, strong characters and values that resonate beyond the screen.”

—Begoña Esteban

pocket.watch

JJ & Mikey / Love, Diana Musical Mysteries / Rabbit Hole

JJ & Mikey, featuring the gaming duo of the same name, tops pocket.watch’s slate. The pair engage in virtual battles where creativity and friendship save the day. Love, Diana Musical Mysteries features 3D animation, engaging puzzles, learning opportunities and original songs. Rabbit Hole, a brand-new comedy variety series for tweens, stars creators such as Jesser, Topper Guild, ZHC, Sofie Dossi and more. “The creators in these shows have proven international reach and appeal, with international fan bases,” says David B. Williams, senior VP and general manager of channels.

“As the trailblazing veterans bringing creator content to streaming platforms around the globe, we’re evolving with the market, growing with our audience and staying ahead of the curve.”

—David B. Williams

WildBrain

The Snoopy Show / L’il Stompers / Zip and the Tiny Sprouts

Leading WildBrain’s offering, The Snoopy Show follows the beloved beagle as he goes on new adventures with Woodstock and the Peanuts gang. “WildBrain-produced Peanuts content, including The Snoopy Show, is timeless, funny and full of heart, sure to delight both new fans as well as those who grew up with Snoopy and the Peanuts gang,” says Katie Wilson, VP of global sales and acquisitions. L’il Stompers centers on dinosaurs who love playing and exploring the world. Zip and the Tiny Sprouts “showcases a deep understanding of what helps young hearts and minds grow,” Wilson says.

The Snoopy Show

“From animation to live action, we have something to appeal to every age group and platform.”

—Katie Wilson

Spotlight on

Siyaya

By Jamie Stalcup

From Francois Odendaal Productions (FOP Films), the Siyaya children’s adventure franchise continues to grow, with six seasons already completed and more in development. In the series, veteran filmmaker and ecologist Dr. François Odendaal, CEO of FOP Films, leads a group of kids as they travel across the world, encountering wildlife, discovering other cultures and learning what it means to be thoughtful explorers. From expansive savannas, rugged coastlines, hidden ecosystems and rural communities, Odendaal and the kids go on a hands-on exploration of nature.

“Siyaya speaks to children of all ages in a language they understand: taking care of the world so that younger siblings, friends and future explorers can follow in their footsteps,” Odendaal says. “The series encourages kids to see themselves as part of a shared future—one built on respect for animals, people and places—making big ideas accessible, empowering and deeply relatable for family audiences.” Plus, the series offers flexibility for buyers in other regions, with multiple seasons having already been dubbed into other languages. The franchise has also begun working with a cost-effective partner for dubbing and subtitling into any language, allowing for easy localization. n

WHAT’S NEXT?

Leading distributors and producers tell TV Kids how they are tackling the challenges of discoverability and funding and the trends they predict will come out ahead in 2026. By Jamie

Stalcup

Leading up to last year, we all heard “survive till ’25,” as if the year would bring a correction that would set the industry back to how it was before. Alas, no such correction came. Instead, economic uncertainty continues, budgets remain tight, commissioning is down and buyers are still risk averse. Producers and distributors are coming to terms with the fact that the industry will never quite be the same.

“What we’re seeing across the kids’ sector is more of a structural reset than a short-term correction,” says Gia DeLaney, senior VP of global sales

and content for kids and family at Boat Rocker Studios. “The ‘survive till ’25’ mindset was really a checkpoint, not a finish line.”

“While the year was widely anticipated as a recovery point for the industry, in reality, the most significant developments throughout 2025 were the continued recalibration of the kids’ content marketplace and the transition toward new business models,” notes Olivier Bernard, COO and co-founder of Kedoo Entertainment.

This continued recalibration has forced companies to adapt, leading to more innovative approaches to getting shows made and making sure they get in front of kids. Where there is change, there is opportunity.

“There’s a lot of negativity out there, but as Churchill said, ‘Never waste a good crisis,’” says Genevieve Dexter, CEO and founder of Serious Kids. “You’ve got to think: What opportunities does this [disruption] throw up for your company? That’s really what you have to analyze, rather than just closing your eyes, crossing your fingers and hoping something’s going to fall in your lap.”

DISCOVERABILITY DILEMMA

In a fragmented market with programming spread across a plethora of platforms, it can be difficult for kids to actually find content. Discoverability remains “the biggest challenge of all,” says Emmanuèle Pétry, producer and head of international at Dandelooo.

It is imperative to be everywhere kids consume content to make sure they actually find your programming. This means companies must have a deep understanding of kids’ behavior and ensure that a multiplatform rollout is part of the strategy from the very beginning.

“We rely heavily on data, analytics and fast iteration to optimize content for each platform,” explains Miguel Aldasoro, international sales and co-productions director at Ánima Kitchent. “It is essential to be where families are actually consuming content today, creating what they enjoy and how they like to watch it in order to capture attention.”

How they like to watch is just as important as where. “We’re actively exploring new short-form and interactive formats, ensuring our IPs meet young audiences where and how they consume media today,” explains Kedoo’s Bernard. “We make sure our content is optimized using real-time data analytics, allowing us to tailor production and distribution to audience behavior and preference.”

Both Ánima Kitchent and Kedoo have found particular success with launching IPs through a digital-first strategy. Ánima Kitchent reintroduced its flagship IP Cleo & Cuquín with exclusive content for YouTube, which caught the attention of kids and other platforms. HBO Max commissioned a second season of Cuquín as a result. The company is prepping the new series Howly & Wooly for digital as well.

Kedoo, meanwhile, debuted Booba on YouTube as a three-minute short. As it captured eyeballs and grew its fan base, the series was extended to five minutes and eventually seven and landed on Disney+.

“The clear winner for discoverability is YouTube,” asserts Albie Hecht, chief content officer at pocket.watch, which noticed the power of YouTube very early on and was launched to expand creators’ brands. Since the company operates “at the intersection of the creator economy and traditional entertainment, we’re able to develop shows that already resonate with kids before they ever hit a TV or streaming platform.”

While YouTube has emerged as a key way to get an IP in front of kids, some distributors have their reservations. Dandelooo’s Pétry says, “The YouTube situation in the kids’ sector is becoming extremely problematic fundamentally because it’s based on an unfair economic model. YouTube is not only capturing a major chunk of the advertising budget without investing a penny into the production of children’s programming, but they are also keeping the majority of the revenue as a ‘distributor.’”

Boat Rocker Studios is introducing a spin-off to The Next Step , titled The Next Step: Cheer .

Those who do regularly make use of YouTube, however, acknowledge that it has its downsides. “YouTube and other digital platforms do not allow impactful revenues from the start,” Bernard notes. But putting content on there is still vital, as it allows “studios to build recurring revenue streams over time to fund future episodes or projects rather than depending solely on sales.”

FINDING FUNDING

And finding new monetization and funding models is vitally important

in this day and age. Collaboration is a key part in pulling together a financial plan and getting projects over the line.

“Financing is now being shared more widely and strategically,” notes Boat Rocker’s DeLaney. “Co-productions increasingly involve multiple partners—producers, commissioners, distributors and even brands—often across several territories.”

“Funding models are becoming increasingly hybrid and performance driven,” says Ánima’s Aldasoro. “Advances, when available, are smaller and more selective and are often linked to clear metrics and proven traction. This shift is pushing producers to build smarter financial structures that combine co-productions, public funding and tax incentives.”

Pétry acknowledges the advantage of being part of the European framework and having access to the Creative Europe model. “It continues to help us create connections between production studios across countries, both large and small. In the current climate of global economic uncertainty, this is a haven— one we hope will continue to support our creative ambition and sustain our culture against the broader media turmoil.”

While markets like MIP LONDON remain important for making in-person connections, Serious Kids’ Dexter hopes to “see the return of territory visits” to forge stronger bonds and strengthen cross-border collaboration. “We always used to go visit one another in each other’s countries,” she remarks. “That does increase understanding between cultures. You’ll never forget the time you went

to go and see SVT in Stockholm or TVO in Ontario. You never forget it, and neither do your clients.”

THE ENGAGEMENT GAME

While funding and discoverability are major parts of an IP’s life cycle, another important step is finding ways to engage with kids outside of the main content, through gaming, toys, publishing and live events.

“For us, this comes back to [the importance of] building and managing an ecosystem around each piece of IP,” says Boat Rocker’s DeLaney.

Aldasoro notes that Ánima is working on consolidating its “brands beyond audiovisual content, expanding into consumer products and other touchpoints that reinforce long-term engagement.”

Hecht mentions that pocket.watch is exploring more opportunities for live events, a growing category in L&M strategies.

“Live experiences are incredibly important,” DeLaney says. “They give fans a personal connection to a brand while creating organic marketing and PR moments.” Boat Rocker’s The Next Step is going on tour this year, visiting Australia, Canada and the U.K. The company has also partnered with Pineapple Dance Studios for dance-based workshops tied to the choreography of the tour.

Ultimately, it is imperative to stay nimble with your strategy for engaging with kids. While YouTube and other online platforms like Roblox have been a boon for the discoverability (and engagement) conundrum, “with increased regulatory focus on age-appropriate protections and platform accountability, changes could significantly affect how kids discover, interact with and engage with content and brands,” DeLaney cautions. “This will likely influence everything from creative strategies to monetization.”

But companies have weathered this storm before. The last few years have been difficult, but if there is any lesson to be learned, it’s that flexibility is possible. “The industry has always faced challenges, and we’ve always adapted,” DeLaney says. “Often, those challenges push us to be more creative and thoughtful.”

UP NEXT

There are plenty of new directions the industry may go this year. One new trend “is going to be more closely examining the role of AI in our lives and see where we feel it can be demonstrably productive in the field of distribution,” notes Serious Kids’ Dexter.

Hecht notes that pocket.watch has already “embraced AI through proprietary tools that help us analyze themes and engagement across thousands of hours of content, as well as AI-enabled animation workflows that allow our best-in-the-business artists to bring their creative vision to life faster and more efficiently.” He predicts that “AI will play an increasingly important role, not as a replacement for creativity but as a powerful accelerator.”

Dandelooo’s Pétry notes the “growing emergence and importance of ‘sound.’ For example, we are seeing more radio stations dedicated to kids and a rise in podcasts. Some people are realizing that screens are overwhelming and erasing their children’s imagination. They are now turning toward the ‘open your ears, dear,’ approach.”

With the constant introduction of new technology, AI rapidly becoming more advanced and kids continuously finding and turning to new forms of media platforms, there is plenty of opportunity for growth and expansion in 2026.

“From all the way back in my early years in this industry, I’ve always heard the negativity—people thinking that our business would collapse within five years and joking that we should start thinking about a new career and maybe go and raise sheep,” Pétry says. “The fact that we stayed optimistic despite the bad news helped us survive and keep our head above water during the hardest years.”

“What excites me most is how much opportunity still exists,” adds Hecht. “The talent we are partnering with and the incredible ability to entertain, inform and communicate with audiences is expanding, not contracting. And so kids’ entertainment is evolving, not disappearing.”

At the end of the day, “kids’ content really matters—it shapes how young audiences see the world and helps build empathy, confidence, creativity and understanding,” DeLaney says. “The industry’s ability to adapt, collaborate and keep that sense of play alive is what makes it such a rewarding space. It’s also filled with incredibly passionate, creative people who genuinely care about delighting young audiences, and I’m excited to continue working alongside friends and partners as we navigate this next phase together.” n

DISNEY MAGIC

By Jamie Stalcup

Disney Jr., the global preschool brand for The Walt Disney Company, introduces the magic of Disney through characters and stories based on known legacy IP like Mickey Mouse Clubhouse to brand-new original series such as SuperKitties. On Disney+ and everywhere preschoolers watch, Disney Jr. aims to deliver joy and age-appropriate storytelling filled with tons of magic, music, adventure and heart.

“Disney Jr. is where lifelong relationships with Disney begin,” notes Ayo Davis, president of Disney Branded Television. “When we earn a family’s trust at the preschool stage, we’re not just launching shows—we’re starting a journey that grows with a child from their earliest years through every phase that follows. That continuity, from preschool to kids, tweens, teens and beyond, is a defining strength of Disney’s kids’ portfolio and a big reason our stories stay relevant, meaningful and deeply connected across generations.”

This dedication to serving relevant and meaningful storytelling is paying off. According to Nielsen, in 2025, Disney Jr. owned three of the top five preschool streaming series: Bluey , Marvel’s Spidey and his Amazing Friends and Mickey Mouse Clubhouse . Bluey , in fact, was 2025’s number one moststreamed program in the U.S. for the second year in a row. Since launching in 2011, Disney Jr. has also powered five billion-dollar retail brands— Disney Jr. Mickey , Disney Jr. Minnie , Sofia the First , Doc McStuffins and Marvel’s Spidey and his Amazing Friends , with over $20 billion in global retail sales.

Disney Jr. plans to continue serving up new content and experiences for the youngest viewers. “We can’t wait to continue Sofia’s royal journey with Sofia the First: Royal Magic premiering on Disney+ this summer, as well as some other fun surprises that we haven’t announced yet,” says Alyssa Sapire, head of original programming and strategy for Disney Jr. “And we’re not putting the brakes on there—next year brings Cars: Lightning Racers , following Lightning McQueen and Mater on new adventures in Radiator Springs, as well as Marvel’s Avengers: Mightiest Friends , the first-ever preschool Avengers series.”

2025.

And the connection with kids and their families doesn’t stop there, Sapire adds. “Whether it’s playing along as their favorite Disney Jr. characters with toys and costumes, visiting a Disney Park and seeing them ‘in real life’ or reading a book, we love meeting kids where their imaginations live and sparking that playful spirit.”

IN THIS EDITION

9 Story Distribution International/

Scholastic Entertainment

All3Media International

Artist View Entertainment

Boat Rocker Studios

CJ ENM

Disney Jr.

Dori Media Group

Eccho Rights

Francois Odendaal Productions (FOP Films)

FOX Entertainment Global

Lionsgate Entertainment

NBCUniversal Global TV Distribution

Onza Distribution

Pink Parrot Media

pocket.watch

Radial Entertainment

Rymanco Films

Seven.One Studios International

TV Asahi Corporation

WildBrain

ZDF Studios

9

STORY

DISTRIBUTION INTERNATIONAL/SCHOLASTIC ENTERTAINMENT

O (416) 530-9900

m distribution@9story.com w www.9story.com

Do Not Watch This Show (4-9 animation, 12x11 min.) Wizz is a monster stuck in a TV show that he does not want you to watch. Luckily, Wizz’s friends help him navigate the consequences.

Paris & Pups

Paris & Pups (4-9 animation, 36x5 min., 2x10 min. & 1 music video) Follow the lives of Paris Star and her five pups. Inspired by Paris Hilton, the series is about friendship, fun and celebrating your inner star.

Rosie’s Rules (3-5 animation, S1-2: 130x11 min. & 20x1 min.) Follow the adventures of Rosie Fuentes, an inquisitve and hilarious 5-year-old girl just starting to learn about the “wow-mazing” world beyond her family walls.

Dylan’s Playtime Adventures (3-5 animation, 52x11 min.) Follow Dylan as he and his friends explore new careers as a doctor, pizza chef, hair stylist, sea captain and more.

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

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

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

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

Hero Inside (8+ animation, 20x13 min.) When cartoonist Scott mysteriously vanishes, 100 heroes from his 100 comic books are left scattered throughout the city.

Daniel Tiger’s Neighbourhood (2-5 animation, S17: 308x11 min., 4x22-24 min., 2x46-47 min.) Daniel, a 4-year-old tiger, has fun while learning the skills necessary for school and life with help from his neighbors, family and friends.

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

ALL3MEDIA INTERNATIONAL

m https://www.all3mediainternational.com

Michael Jackson: The Trial (Doc., 4x60 min.)

Explores the 2005 trial of Michael Jackson through exclusive access to hours of unseen archive footage of Jackson and interviews with contributors who have never spoken before.

Lover, Liar, Predator (True-crime, 1x90 mins.)

Follows three women who fall for the same man as teenagers over three decades. Each romance turns into a nightmare of manipulation and violence.

Dinosaur 2 (Comedy/drama, S2: 6x60 mins.)

The hit comedy/drama from Two Brothers Pictures about sisterhood, humor and self-discovery returns for a second season.

Boarders (Comedy/drama, S3: 6x60 mins.) The third season sees the teens back at St. Gilbert’s, with the pressure on. They’ve made it to their final term, exams are looming and they’re determined to achieve big.

Secret Service (Crime/thriller, 5x60 mins) Explores the hunt for a spy at the heart of British government. Stars Gemma Arterton.

Babies (Drama, 6x60 min.) Starring Paapa Essiedu and Siobhán Cullen, delivers a moving portrayal of a couple trying to have a baby.

Gone (Crime drama, 6x60 min.) A returnable detective series built around a gutsy, relatable female lead.

2.6 Seconds (True-crime, 4x60 min.) Examines a timely police incident that sent shockwaves across a nation when 19-year-old Warlpiri Luritja is shot

and killed by a 27-year-old police officer in a remote desert community.

The Lost Kingdom of Arabia (Doc., 1x90 min.)

Uncovers one of history’s greatest forgotten powers— Ghassan, a Christian Arab kingdom that once stood at the crossroads between Rome in the west and a rising Persian superpower in the east.

Taylor Swift: A Love Story (Doc., 1x60 min.) Tells the story of the world’s biggest popstar through the loves that shaped her and the songs that changed music forever.

ARTIST VIEW ENTERTAINMENT

O (1-818) 752-2480

m sales@artistviewent.com w https://artistviewent.com

The Great Reset (Action thriller, 1x85 min.) The world’s first AI-crafted photorealistic thriller. Follows as an AI created by a rogue hacker unleashes an apocalyptic plan to destroy the world.

Line of Control (Action drama, 1x105 min.) When a teenage boy’s best friend disappears during the army’s occupation of Kashmir in 1993, he will do anything to find him, even if it means sacrificing himself.

Hazel’s Heart (Period drama, 1x90 min.) In March 1920, Hazel and her two younger siblings become lost in an extreme snowstorm. They must fight to survive while their father leads a desperate hunt to find them.

American Warrior (Action, 1x92 min.) A former convict becomes an unlikely hero after stopping a robbery. Now, a viral sensation, he enters a local MMA tournament in a fight for redemption.

Six Days in Evergreen (Drama, 1x118 min.)

A renowned rock star, struggling to reclaim her career, returns home and reunites with her first love and former songwriting partner—the man she abandoned years ago.

The DNA Murders (Thriller, 1x85 min.) After a young woman gifts DNA test kits to her family, she discovers she is at the heart of a family secret that leads to murder.

Love on Tap (Rom-com, 1x106 min.) Amber, the owner of a brewery, meets a sharp-dressed marketing expert who is exactly the kind of guy she doesn’t have time for. Their romance becomes a heartwarming tale of grumpy old men, burnt pizzas, runaway alpacas and love.

The Legend of Van Dorn (Western/romance, 1x94 min.) A brilliant but disgraced Civil War general is sent to a sleepy Tennessee town for a second chance. As his risky tactics win battles, a dangerous affair with married woman threatens to unravel everything.

The Ghost Trap (Drama, 1x106 min.) After a boating accident, a young lobsterman devotes himself to caring for his injured girlfriend, but soon his world begins to crumble.

25 Miles to Normal (Comedy/drama, 1x100 min.)

Christmas in September? Between tangled tinsel, awkward family secrets and dad’s suspiciously dramatic flair, a family must untangle their past before the holiday spirits gets too merry—and completely out of hand.

BOAT ROCKER STUDIOS

O (1-416) 591-0065

m info@boatrocker.com

w www.boatrocker.com

Blood & Sweat (Thriller, 8x45 min.) Two detectives from different cultures embark on a joint investigation into a mysterious serial murder case that stretches from Finland to Japan.

Mix Tape (Romance, 4x60 min.) Daniel reconnects with his high school girlfriend after decades apart, leading the two to confront a deep connection, despite having families of their own.

The Ridge (Thriller, 6x60 min.) A Scottish anesthetist travels to New Zealand to attend her estranged sister’s wedding, only to learn her sister has gone missing.

Great Estates (Lifestyle, 4x60 min.) Uses drone and aerial photography to reveal Britain’s most magnificent country houses and palaces from an entirely new perspective.

My Nightmare Stalker (True-crime, 2x45 min.)

Details the haunting real-life story of a family hunted by an anonymous predator—and the groundbreaking FBI investigation that brought him to justice. Why We Fight (Sports doc., 1x50 min.) Explores what it takes to reach the pinnacle of martial arts, following three fighters whose battles in the ring mirror their personal challenges.

Dino Ranch: Island Explorers (Kids, 52x11min.)

The Cassidy clan head to the mysterious Dino Island, home to Uncle Jack Cassidy and lots of new dinosaur species.

Blood & Sweat

The Next Step: Cheer (Kids/family live-action, 20x30 min.) When a legendary cheerleading coach abruptly leaves, The Next Step’s Kenzie steps in to lead what’s left of the team on their journey to Nationals.

Girl Troop vs Aliens (Kids/family live-action, 10x25 min.) A live-action comedy adventure that sees a quartet of 12-year-olds take on extraterrestrials.

CJ ENM

O (82-2) 371-6411

m sehee.jang@cj.net

w https://watch.cjenm.com

Bon Appétit, Your Majesty (Fantasy/romance, 12x70 mins.) A French chef becomes the royal chef of Yeonhuigun, the worst tyrant and demanding gourmet.

Our Unwritten Seoul (Romance, 12x70 mins.)

Identical twins Mi-ji and Mi-rae, who are opposite in personality and life paths, attempt to find real love by switching lives.

Study Group (Drama, 10x50 min.) Ga-min is eager to be booksmart, but his only talent is to fight. Will a study group help him get into college?

Dear X (Drama, 12x60 min.) An intense yet beautiful melodrama thriller about a woman who wears a mask to survive and a man who tries to save her.

Typhoon Family (Drama, 16x60 mins.) During the IMF crisis, Kang Tae-poong suddenly becomes the CEO of a company with no employees. The Queen Who Crowns (Romance/period drama, 12x60 min.) Tells the story of Queen Wongyeong of the Joseon Dynasty, a “King Maker” who helped her partner, Bangwon, ascend as the third King of Joseon.

I am a Boxer (Competition, 10x60 min.) With a relentless drive to revive K-boxing, Don Lee— South Korea’s legendary action star and a veteran boxer—leads the first-ever boxing survival show.

EXchange4 (Reality/dating, 20x100 min.) Exes who broke up for various reasons gather to look back on their past love and to find new love.

World of Street Woman Fighter (Music competition, 9x120 min.) Six female dance crews representing five different countries touch down at “Street Woman Fighter” to win the title of international champion. Couple Palace 2 (Dating, 10x70 min.) A total of 100 singles, desperate to meet their future husband or wife, are gathered in the couple palace to find their awaiting destiny.

Boys 2 Planet (Music, 13x150 min.) A worldscale project for the Alpha Boy Group, where the 80+80 boys come together.

Steal Heart Club (Music competition, 10x100 min.) Riding the unprecedented band boom, Mnet’s survival show is back, this time with captivating boy bands ready to rock the stage.

DISNEY JR.

w https://www.disneyplus.com/whats-on

Mickey Mouse Clubhouse+ (Preschool, 1x22 min.) Continuation of the Emmy-winning original series, inviting a new generation of preschoolers to the clubhouse for plussed-up adventures with Mickey and pals.

Marvel’s Spidey and his Amazing Friends (Preschool, S1-4: 22 min. eps.) Follows the adventures of Peter Parker, Gwen Stacy and Miles Morales as they learn that teamwork is the best way to save the day.

Marvel’s Iron Man and his Awesome Friends (Preschool, S1: 22 min. eps.) Follows super-genius friends Tony, Riri and Amadeus as they use their Iron Suits to tackle challenges, protect their city and save the day together.

Marvel’s Spidey and his Amazing Friends

SuperKitties (Preschool, S1-3: 22 min. eps.)

Adorable and action-packed series about four fierce and furry superhero kittens on a mission to make their town of Kittydale a more caring place.

Hey A.J.! (Preschool, S1: 22 min. eps.) Inspired by Martellus Bennett, this whimsical, music-filled comedy follows imaginative A.J. and her sidekick Theo as they transform everyday moments into extraordinary adventures.

DORI MEDIA GROUP

O (972-3) 647-8185

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

La Subasta (The Auction) (Game show) Two teams bid on mystery items using hints (maybe helpful), all for a grand prize. The show blends auctions with humor, strategy, adrenaline and pure entertainment.

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

AMIA (Political/action drama, 8x45 min.) A Mossad agent hooks up with a local Argentinean journalist to find those responsible for a terrorist attack that killed his sister. Their journey draws them into a world of espionage, intelligence agencies and arms dealers.

Soul Sucker (Horror comedy, 8x45 min.) On the verge of turning 40, a washed-up reality star is

La Subasta (The Auction)

dead-set on turning her life around and winning back her mythological ex until she finds out that she might be carrying a matrilineal family curse.

Asfur (Drama, 70x35min.) An industrial area among garages, seemingly in a junkyard, is the “kingdom” of these hopeless underdogs, who work off the books, smoke, party and sway on life’s hammock—until the rope is cut.

El Buscador (The Browser) (Interview format)

A TV format centered on face-to-face interviews triggered by web content that anyone can easily access online.

Ciega a Citas (Date Blind) (Rom-com, 140x60 min.) The story of a woman unknowingly trapped in a love triangle—the love that is not good for her blinds her, and the love that could make her happy is not even on her radar.

Las Estrellas (5 Stars) (Rom-com, 120x60 min.)

The death of Mario Star leaves his five daughters— from three different mothers—to successfully manage a boutique hotel to claim their inheritance.

Lo Sabe No Lo Sabe (Smart Face) (Game show) Contestants are asked questions but are not allowed to answer them—they must find someone on the street to do so.

The Best of All (Game show) Is the average answer from a large group of people always closer to the right result than the answer of one? This game show puts that theory to the test.

ECCHO RIGHTS

w https://ecchorights.com

Another Chance (Romance drama, 10x45 min.) Given repeated chances to live, Deniz must choose love over power. Can living an honest life open a future with Vicdan?

Behind the Veil (Romance drama, S1-3: 554x45 min.) Hançer and Cihan’s love teeters on the edge as Hançer’s estranged mother and sister declare war to destroy Cihan’s family.

Beneath the Surface (Crime drama, S1-2: 20x45 min.) After her father’s suspicious death, officer Cihan Manoğlu secretly investigates his case. Winds of Love (Romance drama, S1-2: 373x45 min.) Zeynep learns Halil entered her life for revenge and refuses to be his “rebel lover,” but Halil persists, and their love is tested.

I Am Mother (Romance drama, S1-2: 161x45 min.)

Filiz marries Hasan, while Karsu enters a marriage of convenience and works for the cold, arrogant Bora Bozbeyli to aid her custody battle against Reha.

FRANCOIS ODENDAAL PRODUCTIONS (FOP FILMS)

O (27-83) 630-4989 m info@fopfilms.com w www.fopfilms.com; siyaya.tv

Siyaya—Come Wild With Us (Wildlife/nature, 26x26 min.) The first two seasons of the Siyaya franchise focus on wildlife and culture in and around South Africa’s national parks.

Siyaya—Wildest Cape (Wildlife/nature, 13x26 min.) Season three of the Siyaya franchise focuses on

wildlife and culture with intriguing and seldom seen places in the Western Cape Province of South Africa.

Siyaya—Namib Desert (Wildlife/nature, 13x26 min.) Season four of the Siyaya franchise contains a miniseries of four episodes of the Namib deserts, with local youngsters exploring the wilds.

Siyaya—Crossing the Mountains (Wildlife/ nature, 13x26 min.) Season five of the Siyaya franchise focuses on Africa’s mountains.

Siyaya—Botswana (Wildlife/nature 13x26 min.) Season six of the Siyaya franchise includes a ten-part miniseries on the Okavango Delta and Kalahari Desert, linked by a mysterious river.

Siyaya—Vamos! (Wildlife/nature, 13x26 min.)

A proposed season taking Mexican youth on a journey of discovery of their country’s vast natural and cultural sites.

Siyaya—Coast to Coast (Wildlife/nature, 13x26 min.) A global season in progress that focuses on the world’s most spectacular oceans and coasts, exploring these essential ecosystems and the unique biodiversity in them.

Siyaya—USA (Wildlife/nature, 13x26 min.) A season in progress on the last wild places in the United States, by region.

Siyaya—China (Wildlife/nature, 13x26 min.) A season in development that will unlock the secrets of “Middle Kingdom” (China). Looking for broadcaster or co-production partners.

FOX ENTERTAINMENT GLOBAL

O (1-310) 369-5500

m foxentglobal@fox.com

w https://foxglobal.com

Best Medicine (Drama, 13x43 min.) Based on Doc Martin, blends humor, drama and emotional depth to deliver a character-driven medical procedural.

The Faithful: Women of the Bible (Drama, 6x43 min.) A bold and emotionally resonant historical drama that reframes the foundational stories of the Bible through the eyes of the women at their center.

Power: The Downfall of Huw Edwards (Drama, 2x60 min./1x90 min.) A high school student’s secret relationship with Huw Edwards—Britain’s most trusted newsman—detonates into a criminal case that sends shockwaves across the nation.

Murder in a Small Town (Drama, 10x43 min.)

A man relocates to a coastal town to escape the stress of city police work, only to confront a series of murders that demand his investigative expertise.

Animal Control (Comedy, 12x22 min.) Delivers heartfelt bonding moments alongside laugh-outloud comedy through wild and outrageous animal encounters, office antics and workplace friendships. Stars Joel McHale.

Breaking Bear (Animation, 8x30 min.) Follows a dysfunctional family of bears who go full criminal to

stop frackers, mobsters and a psychotic wolf pack from destroying their home.

Extracted (Competition, 10x43 min.) A one-of-akind survival competition testing the strength of the ultimate human bond: family.

Next Level Chef (Competition, 16x43 min.) The next evolution in cooking competitions, Gordon Ramsay has designed a one-of-a-kind culinary gauntlet, set on an iconic stage.

The Goal Ahead (Sports doc., 6x22 min.) From training and match days to press conferences, travel and moments at home with family and teammates, delivers a behind-the-scenes look at the dedication, sacrifice and passion that unite in the game of soccer.

Martin Scorsese Presents: The Saints (Doc., S2: 7x43 min.) A docudrama that weaves together expert interviews, elevated re-creations and insightful narration delivered by world-renowned filmmaker Martin Scorsese.

LIONSGATE ENTERTAINMENT

w www.lionsgate.com; www.lionsgate.com/shows

The Rookie (Drama, S1-8: 144x60 min.) After a life-changing event, John Nolan becomes the LAPD’s oldest rookie, tackling challenges, skepticism and high-stakes cases while forging powerful bonds with fellow officers.

Spartacus: House of Ashur (Drama, 10x60 min.) Imagine if Ashur survived Vesuvius, where he gets rewarded for ending Spartacus’ rebellion and rises from slave to master to navigate Rome’s deadly politics with his new gladiators.

Heartland (Drama, S1-19: 279x60 min.) Amy Fleming uses her late mother’s gift for healing horses while her family battles to save their struggling ranch amid love, loss and friendship.

Power Book III: Raising Kanan (Drama, S1-5: 48x60 min.) Set in 1991, Kanan Stark, a cocaine distributor with an emerging network of dealers across New York City, traverses family, loyalties, crime and ambition.

The Rainmaker (Drama, S1-2: 20x60 min.) Based on John Grisham’s bestseller, young attorney Rudy Baylor challenges veteran lawyer Leo Drummond, uncovering a larger linked conspiracy behind his client’s case. Robin Hood (Drama, 10x60 min.) After the Norman invasion, Robert of Locksley (Robin Hood) and Maid Marian unite against corruption, weaving love, rebellion and politics into a gripping new adventure for the ages.

The Hunting Wives (Drama, S1-2: 16x60 min.)

Sophie O’Neil relocates to East Texas, where she’s drawn into socialite Margo Banks’ seductive world— leading to obsession, betrayal and, ultimately, murder. Fletchers’ Family Farm (Reality, 40x60 min.) Kevin Fletcher, Liz and their four children navigate the highs and lows of building a 120-acre farm from scratch. Amandaland (Comedy, S1-2: 13x30 min.) Freshly divorced and de-surnamed, Amanda downsizes to East London for “more bang for your buck,” only to find herself wryly adrift and hunting for her people.

Son of a Critch (Comedy, S1-5: 64x30 min.) In 1980s Newfoundland, wise-cracking and wisebeyond-his-years 11-year-old Mark navigates school, friendships and small-town quirks with humor, heart and self-deprecation.

NBCUNIVERSAL GLOBAL TV DISTRIBUTION

O (1-818) 777-1300

w www.nbcuniversal.com

The Five-Star Weekend (Drama, 8x60 min.)

After suffering a devastating loss, a famed food influencer hosts a weekend away at her house in Nantucket with three friends from different stages in her life.

Prisoner (Drama, 6x60 min.) When a transport convoy with a prison officer and a prisoner is ambushed, they are forced to go on the run and work together.

Ted: The Animated Series (w.t.) (Comedy animation, 16x30 min.) The series picks up after the Ted films. Seth MacFarlane is set to reprise the voice of the iconic and lovable foul-mouthed teddy bear Ted.

Dog Park (Comedy, 6x30 min.) When Roland’s wife leaves him with their teenage daughter and the dog he never wanted in the first place, he meets an unbearably optimistic woman and her mismatched, life-loving group of dog-parkers.

Surviving Earth (Nature, 8x60 min.) Takes an incredible journey into prehistory to learn the lessons from past mass extinctions.

ONZA DISTRIBUTION

O (34-91) 562-0671

m onza@onzadistribution.com w https://onzadistribution.com

Neuer (Crime drama, 8x60 min.) Elite homicide detectives tackle everyday crimes, each case pushing them to the limit. Inspired by best-selling novels, it mixes police drama with true crime.

I Give You My Life (Telenovela, 100x50 min.) When their adopted son needs a bone marrow transplant, his parents search for his biological father, triggering love, rivalry and a battle over family.

Image Hunters (Fact-ent., 6x55 min.) Follows wildlife photographer Gotzon Mantuliz and a celebrity guest as they travel the world to capture rare and elusive animals in extreme environments.

UCO: The Key Hours (True-crime, 7x30 min.)

For the first time, a TV team embeds with Spain’s Central Operational Unit, gaining full access to real investigations into organized crime, fugitives and trafficking.

Traffic Jam (Comedy, S1-3: 6x25 min. each) As evening falls, a massive traffic jam disrupts the plans of thousands of drivers, which leads to funny, crazy and emotional conflicts.

Vulnerables (Doc., 3x52 min.) Examines worsening youth mental health, highlighting eating disorders, suicide and sexual violence, while exploring social media’s impact and ultimately offering awareness and hope.

Star Sailors (Period drama, 6x45 min.) Follows Portuguese aviation pioneers as they race to cross the southern Atlantic, pushing human limits in a daring early 20th-century adventure.

Land of Ambition (Telenovela, 120x50 min.)

Presumed dead for decades, Flor resurfaces in the Azores, exposing family secrets and betrayals as she seeks justice and control of her destiny.

Gluten Free (Comedy, 8x50 min.) After losing everything to alcoholism, a disgraced chef moves back with his mother and finds redemption teaching cooking to troubled teens.

No One Like You (Drama, 10x50 min.) After learning she has one year to live, a ruthless heiress seeks love and meaning as family secrets and a murder resurface.

PINK PARROT MEDIA

m info@pinkparrotmedia.ca w https://www.pinkparrotmedia.ca

Butterfly Academy (Adventure/comedy animation, 26x11 min.) After the great migration, butterflies Patrick, Jennifer and Marty are rookie teachers. They must guide young butterflies without losing their way. Momonsters (Preschool animation, S1: 52x7 min., S2: 26x7 min., S3: 26x7 min.) Five friendly monsters turn everyday preschool situations into playful adventures, discovering emotions, routines and social skills through humor and imagination.

Lotte & Totte (Preschool/family animation, 16x7 min.) From the hit book series by Gunilla Wolde,

follows curious Lotte and her playful friend Totte as they turn everyday moments into joyful discoveries about friendship, emotions and imagination.

GoFish+ (Adventure animation, 26x11 min.) Alex, a parrotfish, leads an underwater city, tackling challenges with courage and friendship.

My Brother the Monster (Adventure animation, 26x11 min.) Petunia adopts Mombou, a space monster. Together, they learn that family isn’t always about blood—it’s about heart.

Louis the Piglet (Adventure animation, S1-2: 13x13 min. each) Louis, the long-nosed piglet, dreams of being a knight. With his friend Rascal, he faces challenges to prove his bravery.

Joy Eternal (Teen adventure, 13x11 min.) Teen Joy dies and discovers a mega-corporation sells souls. With quirky Oogle, she fights to save her parents and bring justice to the afterlife.

Snowsnaps (Comedy/adventure animation, 52x5 min./26x11 min.) Violet, Tomas, Sami and Kiki turn the snow into their playground.

The Sleepy’s Dream Team (52x5 min.) Sleepy the teddy bear, with Fleur and Fluffy, harvests dream dust so Starlet can sprinkle it for sweet, cozy dreams.

Graduation Heist (Movie) Daniel and his quirky friends team up with his thief grandfather for a daring school exam heist.

POCKET.WATCH

O (1-424) 298-8234

m content@pocket.watch

w pocket.watch

Ryan’s World The Movie: Titan Universe

Adventure (Animation/live-action, 1x83 min.)

In this wide-release 2024 theatrical motion picture, follow 12-year-old Ryan as he transforms into super alter-ego “Red Titan” and battles animated bad guys to rescue his sisters and learn what it means to be a big brother.

Ballpark Blast! presented by MLB and pocket.watch (Live-action, 1x22 min.) A new title from pocket.watch and Major League Baseball.

Love, Diana Musical Mysteries (Animation/ live-action, 10x22 min.) Diana and Roma are back again to keep boredom at bay. Whenever a new problem needs solving in the Land of Play, the dynamic sibling duo must use their imagination and critical-thinking skills to solve three puzzles that unlock the clues they need to save the day.

Toy and Colors Kaleidoscope City (Live-action/ CGI, 10x22 min.) Starring global sensation Toys and Colors, a magical world where kids learn to see the world through new perspectives.

Ryan’s Mystery Playdate (Live-action, 90x22 min.)

Kid video superstar Ryan, his parents and animated friends work together to identify a mystery guest.

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

Toys and Colors Kaleidoscope City

Ryan’s World Specials (Live-action/animation, 193x22 min.) Kid video superstar Ryan, his parents and animated friends play games, make crafts, learn science and go on adventures.

LankyBox Ultimate Mishmash (Live-action/ gameplay, 60x22 min.) YouTube’s number one gamers, LankyBox is Justin and Adam, two best friends who love playing Roblox and making funny videos with sidekicks Foxy, Boxy and Rocky.

Onyx Monster Mysteries (Animation, 8x22 min.)

The Onyx family comes to cartoon life in epic adventures to save monsters.

RADIAL ENTERTAINMENT

O (1-310) 979-5880

w https://www.radialentertainment.com/#1

The Bold and the Beautiful (Drama) Dives into the high society world of L.A. fashion, as the Forrester family navigates spellbinding stories of mystery, romance and the power of family legacy. (AVOD & SVOD rights, worldwide)

Dr. G: Medical Examiner (True-crime, 91x60 min.) Mysterious causes of death that don’t make visible sense are the focus of this series with expert explanations and theories by coroner Dr. Jan Garavaglia. (All rights, worldwide)

Forensic Files (True-crime, 395x30 min.) Remastered, presents the science behind crime-solving with dramatic re-creations, expert interviews and

deep dives into key evidence. (All rights, excl. U.S. broadcast)

F*** Valentine’s Day (Comedy/drama, 1x125 min.)

Born on Valentine’s Day, love-averse Gina schemes in Greece to stop her boyfriend’s proposal. (All rights, worldwide, excl. U.K., France, Canada, Germany, Australia, New Zealand, Benelux, South Africa, MENA, Portugal, Eastern Europe, Poland, Italy)

Stephen J. Cannell Series & Movies Library (900+ hrs.) Over 900 hours of Stephen J. Cannell series and movies, including 21 Jump Street, The Commish, Hunter, Renegade, Silk Stalkings, Wiseguy and more. (All rights, worldwide)

Unsolved Mysteries (True-crime) Hosted by Robert Stack, uses reenactments and interviews to retell the circumstances of unsolved mysteries. (Digital rights, U.S., Canada, Germany, Switzerland, Austria & LatAm)

Ryan Trahan: 50 States in 50 Days

Golden Princess Movie Library (Action, 156 films)

Collection featuring 156 Hong Kong classics by John Woo and Ringo Lam, including new 4K of Hard Boiled, The Killer, A Better Tomorrow, Once A Thief and City on Fire. (All rights, excl. Asia & Middle East)

Halloween Movie Franchise (Horror/thriller, 3 films) Halloween delivers enduring audience appeal through the character of Michael Myers, spanning Halloween , Halloween: The Return of Michael Myers and Halloween: The Revenge of Michael Myers . (All rights, worldwide)

Jim Henson Collection Premium collection featuring Jim Henson’s movie classics Labyrinth (David Bowie, Jennifer Connelly) and The Dark Crystal, alongside all seasons of the landmark television series Farscape. (All rights, excl. theatrical, worldwide)

Millennium Films (297 films) This extensive library includes London Has Fallen, Olympus Has Fallen, Angel Has Fallen, The Mechanic, The Mechanic 2, The Hitman’s Bodyguard, The Hitman’s Bodyguard 2, Rambo and Rambo V. (All rights, worldwide)

JSTU (Reality, 60x30 min.) Justin and friends compete in battles of wits and wills—from overnight survival competitions to the ultimate marathon of hide-andseek. (All rights, English-speaking world)

Ryan Trahan: 50 States in 50 Days (Reality, 40x30 min.) Ryan Trahan and his wife Haley journey through all 50 states in 50 days, taking on the unpredictable Wheel of Doom to raise money for a children’s hospital. (All rights, English-speaking world)

RYMANCO FILMS

O (357) 9966-8366

m info@rymancofilms.com w https://rymancofilms.com

Deep Woods Lost & Found (Comedy/adventure, 52x7 min.) Welcome to the Deep Woods—a mysterious place on the border of reality and dream, where getting lost may be the key to finding your true self.

Café Automatica (Sci-fi/adventure animation, 26x11 min.) This comedy series is about growing up, the difficult of accepting the unusual in others and understanding the value of being yourself. Clawlolo (Sci-fi/adventure animation, S1-2: 26x3 min. each) Welcome to the incredible world of underwater wonder and the “funtastic” seabed party, where the impossible becomes possible.

SEVEN.ONE STUDIOS INTERNATIONAL

O (49-89) 9507-7303

m sales@sevenonestudios.com w sevenonestudiosinternational.com

The Hunt: Prey vs Predator (Competition format, 60 min. eps.) A high-stakes game of predator versus prey where there is only one rule: hunt or be hunted. But survival isn’t just about being the smartest.

The Orchard (Drama, 107x60 min.) A warmhearted family drama about a big city lawyer whose life is suddenly turned upside down by a surprise inheritance.

Married at First Sight Australia (Dating reality, S1-13: 40x90 min.) Singles who have failed to find love put their hearts in the hands of a team of experts, who select their perfect partner.

TV ASAHI CORPORATION

O (81-3) 6406-1952

m ml-intl-contact@tv-asahi.co.jp

w www.tv-asahicontents.com

Celebrity Fight Club (Competition format, 60 min. eps.) Who truly has the best fans? Two celebrities lead devoted superfans through bold challenges, earning cash and momentum as fandom power decides the ultimate showdown.

The Heritage Quest (Quiz format, 60 min. eps.) A 3,000-kilometer journey across World Heritage sites in Japan, where contestants face location-based quizzes—and a single wrong answer sends them straight home on this high-stakes adventure.

Hide in the Village: Trust No One (Game/reality format, 90 min. eps.) An epic eight-hour hide-andseek across an entire village for a massive prize. But watch your back—a trusted ally could betray you at any moment.

NIKA GAME (Game format, 120 min. eps.) Contestants are trapped in an amusement park governed by a strange rule: You cannot leave unless you become smart enough. To break free, they must use their creative thinking to complete a variety of games.

SONG vs DANCE (Music competition format, 60 min. eps.) The two biggest forms of performance come together on one stage for the first time in competition television history. What’s better? Song or dance?

Just a Bit Espers (Drama, 9x60 min.) A man fired from his job and already at rock bottom suddenly becomes “just a bit of an Esper,” destined to save the world.

One in a Million: Tax Squad (Drama, 9x60 min.) An elite Tokyo tax squad tackles complex evasion cases as a fearless female leader and her eccentric team expose hidden fortunes—proving neither lies nor money escape justice.

Love Time Travel (Dating format, 4x10 min.) A dating reality show where singles date across different eras, forming connections shaped by each era’s culture and rules of romance.

Doraemon the Movie: New Nobita and the Castle of the Undersea Devil (Kids anime, 1x101 min.) Doraemon and friends camp underwater and discover a sunken ship, leading them into an unexpected adventure and battle.

Jaadugar: A Witch in Mongolia (Drama anime, 12x22 min.) In 13th-century Iran, an enslaved girl, Sitara, is educated by scholars and faces the Mongol invasion, where knowledge shapes her fate amid conquest.

WILDBRAIN

O (1-416) 363-8034

m sales@wildbrain.com

w www.wildbrain.com

The Snoopy Show (Kids animation, 39x22 min./117x7 min.) Follow Snoopy, the beloved happy-dancing beagle, along with the rest of the Peanuts gang, on brand-new adventures.

L’il Stompers (Preschool animation, 65x5 min./13x25 min.) A group of dinosaur friends love playing and exploring the world around them.

Zip and the Tiny Sprouts (Preschool animation, 52x7 min.) Step into Harmony Hollow, where each visit with Zip, Aria, Riff and Hum promises a delightful blend of nature’s beauty and the sparkle of imagination.

Secrets at Red Rocks (Family live-action, 16x24 min.) After Jake discovers a sealskin on the beach, he realizes that the sealskin has trapped a mythological creature on land and unleashed an ancient spell. Season two is now in production.

Strawberry Shortcake: Berry Big Specials (Preschool animation, 4x44 min.) Through winter, fall, spring and summer, Strawberry and her Berry Besties find big adventures wherever they go.

Badjelly (Kids & family animation, 13x22 min.) Tells the story of two kids whose future is in the balance after their beloved cow is cow-napped by an evil witch.

Songs from the Bright Side (Preschool animation, 20x2.5 min./10x5 min. & 1x45 min.) Under the glow of a far-out sun, a merry band of colorful characters sing toe-tapping tunes all about feeling those positive vibes.

ZDF STUDIOS

O (49) 6131-9910

m info@zdf-studios.com w https://www.zdf-studios.com/en

Benidorm Is Murder (Crime/suspense, 6x60 min.)

A witty, cozy crime drama in which a retired U.K. detective and a true crime-obsessed barmaid solve murders in sunny Benidorm, blending humor with lighthearted mystery.

Take the Money and Run (Crime/suspense, 6x45 min.) A gripping drama following “Cryptoqueen” Ruja Ignatova’s meteoric rise and disappearance.

Bust Up (Crime/suspense, 6x60 min.) A buddy-cop series where ex-lovers reunite as reluctant partners in rural New Zealand, solving weekly cases amid

unresolved feelings and a simmering larger mystery. Ku’damm 77 (Drama, 9x90 min./18x45 min.) Three generations of women share love, conflict and resilience above a Berlin dance school, where personal struggles reflect shifting roles, deep bonds and the fight for identity.

Top End Bub (Romance, 8x30 min.) A couple’s life is upended when they raise an orphaned niece, navigating parenthood, marriage and cultural identity in Australia’s vibrant and remote Top End.

Mammals: Life before Dinosaurs (Science, 2x50 min./18x45 min.) A visually rich documentary exploring early mammal ancestors in South Africa’s Karoo Basin, revealing traits that shaped mammal evolution through cutting-edge science and storytelling.

Pharaohs at War (History, 4x50 min.) Step into ancient Egypt’s epic battles—brought to life with CGI, expert insights and thrilling stories of pharaohs, strategy and power that shaped history.

Into the Universe (Science, 8x50 min.) Explores cosmic mysteries—from galaxy births to black holes— blending science, wonder and discovery in a journey through space, time and the unknown.

Indonesia’s Volcanic Islands (Wildlife/nature, 3x50 min.) Explore Indonesia’s volcanic wilderness, where rare species, stunning landscapes and urgent conservation efforts reveal a vanishing paradise captured in breathtaking, never-before-seen moments.

Song Trip (Music, 5x45 min.) Pop and rock stars travel the globe, collaborating with local musicians to reinvent their hits—bridging cultures through music, creativity and unforgettable performances in stunning locations.