WORLD SCREEN MARCH 2026

MARCH 2026

WORLD VIEW By Jamie Stalcup.

UPFRONTS Spotlighting new content on the market.

NHK’S TATSUHIKO INOUE The president of NHK discusses its role in serving audiences the best in news, documentaries and entertainment.

INTER MEDYA’S CAN OKAN The founder and CEO of Inter Medya talks about serving viewers’ and buyers’ needs, including with a move into micro-dramas.

BEHIND THE SCENES OF SCRUBS Bill Lawrence, creator of the original series, and Aseem Batra, showrunner and executive producer of the revival, talk about bringing the hit franchise back.

INSIDE LOOK AT THE ARTFUL DODGER James McNamara,

series creator, showrunner, head writer and executive producer, shares a behind-the-scenes look at the Disney+ series.

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

Publisher

Ricardo Seguin Guise

Group Editorial Director

Anna Carugati

Executive Editor

Jamie Stalcup

Managing Editor

Rafael Blanco

Associate Editor

Kloudia Sakowski

Editor, Spanish-Language

Publications

Rafael Blanco

Production & Design Director

David Diehl

Online Director

Simon Weaver

Sales & Marketing Director

Dana Mattison

Sales & Marketing Manager

Genovick Acevedo

Bookkeeper

Ute Schwemmer

Ricardo Seguin Guise

President

Anna Carugati

Executive VP

BY JAMIE STALCUP

Entertainment, Information & Distraction

As the world continues to feel fraught with conflict and economic issues, it is the media industry that is keeping people both entertained and informed.

I’ve found myself turning to TV even more than usual lately as both a place of distraction from the world around me and as a fount of information. Whether it’s a historical drama like The Artful Dodger , a revival of a hit franchise like Scrubs or informative public-broadcasting content, it is media that keeps life feeling manageable.

In this edition, Anna Carugati, group editorial director of World Screen, speaks with NHK’s president, Tatsuhiko Inoue, about the important role of public service media today and how the storied Japanese company has remained committed to offering the best in news, documentaries and entertainment for its audiences over the last 100 years. Carugati also catches up with Inter Medya’s CEO, Can Okan, to hear about what is driving the sustained impact of Turkish dramas around the world.

I had the chance to hear from The Artful Dodger ’s creator, James McNamara, about the care that goes into making the series historically accurate without feeling “stuffy,” as well as from Scrubs ’ original creator, Bill Lawrence, and the showrunner of its revival, Aseem Batra, to get a behind-thescenes look at the latest season.

Through these conversations, I feel more appreciative than ever for the entertainment industry. Seeing creativity flourish on screen and knowing public broadcasters remain dedicated to providing timely, accurate information makes life a whole lot less miserable.

GMA Network

Stolen Bonds / Her Name Was Carolina

GMA Network’s Stolen Bonds tells the story of twins separated at birth—one raised in comfort, the other in hardship. “It is relatable and universal, as it explores family, identity and the lifelong impact of secrets, cutting across cultures and social classes,” says Rochella Ann Salvador, assistant VP of the worldwide division. Her Name Was Carolina follows Lorena as her perfect life collapses when her true identity as Carolina—accused of murdering her husband’s first wife—is exposed, revealing that the real danger was not her past, but the man she trusted.

NHK Enterprises

Queen of Mars / Hirayasumi / 30,000,000 Yen

NHK Enterprises’ March highlights are led by Queen of Mars , a sci-fi series set in a Mars colony. “At its core lies an emotional storyline about identity and resilience—making the drama accessible beyond the sci-fi genre,” says Satomi Nagaoka, chief manager of the content distribution department. Hirayasumi, based on a manga, tells the story of a carefree young man whose inherited one-story home becomes a quiet refuge. “It finds universality in small, truthful moments,” Nagaoka says. 30,000,000 Yen explores how quickly ordinary people can cross moral lines.

“We are focusing on refreshing our catalog with newly dubbed titles and curated packages tailored to regional programming needs, positioning Filipino content to reach wider international audiences.”

—Rochella Ann Salvador

“Our main goal is to highlight NHK’s broad creative capability across genres— from sci-fi and human drama to suspense—and expand our international partnerships, especially for scripted format adaptations.”

—Satomi Nagaoka

Tatsuhiko Inoue NHK

By Anna Carugati

Tatsuhiko Inoue was appointed president of NHK in December after over 45 years with the company. He joined the public broadcaster in 1980 as a reporter and was named head of the political news division in 2005. He was subsequently appointed head of the programming department and then executive VP. With his 360-degree knowledge of NHK, Inoue tells World Screen about its role in serving audiences the best in news, documentaries and entertainment, while acknowledging that public service media is undergoing a major transition.

WS: How has NHK’s legacy of providing Japanese viewers with high-end, informative content continued today?

INOUE: The value of public media lies in providing accurate and trustworthy information, along with rich and inspiring content to everyone at any time, without distinction. In doing so, we contribute to the healthy development of democracy and the advancement of public welfare. NHK celebrated the 100th anniversary of broadcasting last year, and throughout this century, we have upheld and carried forward NHK’s tradition by inheriting the craftsmanship, values and production principles established by our predecessors. Even as the media

landscape rapidly transforms in Japan and around the world, we continue to apply this tradition to new forms of creation.

WS: Despite changes in viewership, does NHK still enjoy trust and credibility among viewers?

INOUE: The NHK Broadcasting Culture Research Institute conducts an ongoing nationwide survey on how people engage with various media services. When respondents are asked which media they trust most—whether broadcast television; online news; YouTube; social media platforms such as

“The value of public media lies in providing accurate and trustworthy information.”

Instagram, X or TikTok; or newspapers and magazines—81 percent say they trust NHK. This is followed by newspapers at 71 percent and commercial broadcasters at 65 percent, showing that traditional media still holds relatively high levels of trust.

Even as viewing habits and the media environment change, our role remains the same: to deliver accurate, timely information related to people’s safety and well-being—whether it concerns natural disasters, international affairs or issues directly affecting daily life. In fact, in an age when information is more abundant and fragmented than ever, this responsibility has only grown more important. In such an

environment, the media are being tested on their ability to examine complex and often confusing information, provide context to make sense of it and communicate it clearly. It is vital for us to ensure that our news and programs truly reach people, are understood and resonate with them. And where we find gaps or shortcomings, we must remain flexible and willing to reassess and improve.

WS: What are some of NHK’s most valued programming genres?

INOUE: At NHK, we believe that our viewers expect two things above all: delivering accurate information that supports people’s daily lives and offering high-quality, enriching programs and content that bring meaning and enjoyment to everyday experiences. The first refers to trusted genres such as news and information programs that clearly explain what is happening in Japan and around the world—and why—as well as documentaries that offer deep insight. The second includes emotionally resonant dramas, entertainment programs that bring joy and richness to everyday life and educational content that inspires curiosity and

learning for the future. We are committed to delivering a diverse range of programs that enhance viewers’ daily experiences.

WS: How is NHK dealing with increasing and improving its digital and online offerings?

INOUE: Viewing habits are changing not only among younger audiences but across all age groups, as more people watch content online and use a variety of devices. In an era where the boundaries between broadcasting and telecommunications are increasingly blurred and where we compete with content from

“We are committed to delivering a diverse range of programs that enhance viewers’ daily experiences.”

around the world, it is essential for NHK to remain an organization that viewers actively choose. To do so, we must expand our touchpoints with audiences and continually explore how to optimize both our content and the ways we deliver it so that viewers feel our programs are useful, relevant and worth their time.

As part of these efforts, we launched a new internet service for domestic viewers in October 2025 called NHK ONE. The service is designed to work seamlessly across devices—including web browsers, smartphones and connected TVs. For international audiences, we continue to offer the NHK WORLD-JAPAN website and app, which provide English-language content.

Int er Medya was founded in 1992 by Can Okan as a film distribution company serving the Turkish film industry in its local market. Since then, it has grown into a production and distributio n company providing buyers around the world with high-end scripted drama, formats and, most recently, micro-dramas. Okan, who serves as CEO, talks about blending beautiful locations with relatable, universal themes and offer ing dramas in various lengths to satisfy viewers’ and platforms’ many needs.

Can Okan Inter Medya

By Anna Carugati

WS: In your view, what is the “secret sauce” that makes Turkish stories so magnetic for international audiences?

OKAN: The appeal stems from a unique “Turkish formula” that masterfully blends high-octane production values with universal emotionality. Our dramas excel at portraying themes of family, loyalty and star-crossed love—values that resonate as powerfully in Latin America as they do in the Middle East or Western Europe. Beyond the script, the cinematic approach we take is vital. By filming in breathtaking, real-life locations rather than confined sets, we provide an immersive experience that feels

authentic and grand. Ultimately, the immense labor and passion behind the scenes translates directly to the screen. Global audiences aren’t just watching a story; they are connecting with deep, character-driven arcs that feel both exotic and intimately familiar. They recognize the quality, and they simply cannot remain indifferent to it.

WS: Looking back, how has the Inter Medya catalog transformed over the last decade?

“Our dramas excel at portraying themes of family, loyalty and star-crossed love.”

OKAN: The evolution has been profound. A decade ago, our focus was almost exclusively on the traditional series—long-running series primarily tailored for linear television. Today, Inter Medya is a multi-dimensional content distributor. While we remain the champions of traditional drama, we have pioneered the “New Generation” Turkish series. These are shorter, edgier and bolder narratives specifically designed for the streaming era. We have evolved from a pure distribution house into a full-scale production powerhouse and a strategic global co-production partner. Furthermore, our feature films continue to find screens worldwide, and we have recently embraced the global micro-drama trend as both a producer and distributor. Today, we don’t just sell shows; we act as a global ambassador for Turkish creativity, representing our culture across every imaginable format.

WS: What is the current vibe of the market? What are global buyers asking for in 2026?

OKAN: We are seeing a bifurcated market. On one hand, linear broadcasters still have a healthy appetite for long-running family sagas and hidden gems with high emotional stakes. On the other hand, streaming platforms are hungry for “digestible” content—faster pacing and shorter formats built for binge-watching. Interestingly, we are seeing a hybrid trend: platforms are increasingly incorporating long-running dramas into their offerings to increase time-on-platform for subscribers. This makes our ready-made licensed content just as vital as digital originals. Geographically, we are seeing a massive surge in demand from Western Europe and a growing curiosity from the U.S. market for content that bridges the gap between traditional series and the “New Generation” series.

WS: How does Inter Medya stay ahead of buyer needs?

OKAN: Our strength lies in our adaptability. We don’t just offer

off-the-shelf products; we provide strategic solutions. We cater to every window—from 100-plus episode daily sagas for traditional broadcasters to ten-episode miniseries for digital platforms. [Since] we operate across five continents, we don’t just “send” content; we provide localized marketing and distribution strategies.

WS: You’ve made headlines with your move into micro-dramas. Tell us about the strategy behind the vertical screen.

OKAN: This is our newest frontier. We recognized that the next-

“Today, we don’t just sell shows; we act as a global ambassador for Turkish creativity, representing our culture across every imaginable format.”

gen viewer consumes content in short, high-frequency bursts on mobile devices. To meet them there, we launched our first original vertical micro-drama, Boardroom to Bedroom. The response was staggering—the first episode surpassed 1.4 million views within just 12 hours. We’ve established a dedicated internal department focused solely on the production, acquisition and distribution of short-form content. What sets us apart is our agile synergy: we utilize our high-end sets and production infrastructure to film these micro-dramas simultaneously with our long-form series. This allows us to maintain big-screen production values on a mobile-screen format.

Scrubs Behind the Scenes of

By Jamie Stalcup

After 15 years off the air, Scrubs has returned to the screen, with Zach Braff, Donald Faison and Sarah Chalke reprising their roles as doctors at Sacred Heart Hospital in the new revival for ABC and Hulu.

Bill Lawrence, creator of the original series, says that the Scrubs fan base was constantly asking for the show to come back over the past 15 years. “I think people were looking for that humanity and that comedic connection to these [characters],” he says.

“I’m excited that it’s happening right now because when we started with these characters, they were at a point in their lives when they were asking the question of: What’s my life going to look like?” adds Aseem Batra, showrunner and executive producer of the revival. “Now, they’re at a point where

they know a lot of those questions have been answered, but not everything you fantasize for your life turns out that way. So, you’re at this turning point again, where we have so many more stories to tell because we’re trying to see what’s next for them.”

The original run of Scrubs was actually Batra’s first job as

“People were looking for that humanity and that comedic connection to these [characters].”

—Bill Lawrence

a writer. Similarly, Scrubs was Braff’s first major role in a TV show and marked the entrance for several actors into the mainstream. Now, the revival is offering a similar opportunity for younger cast members.

“It was so fascinating to watch Zach as a caretaker of the young actors and actresses, the same way that when Zach started the job, he had been a waiter the week before,” Lawrence says. “It was cool to see it all come full circle. It’s one of those things I love about Hollywood—seeing people get these chances to start their career in the arts.”

The creative team found the casting process exciting. “It’s such an existing search to remember what Hollywood used to be, when television used to make stars,” Lawrence adds. “With streaming, you get into this world of, what if every Oscar winner was in the same television show? [For Scrubs], I would be surprised if anybody recognized more than two of these young actors, even the biggest fans. And they’re all great.”

The Artful Dodger An Inside Look at

By Jamie Stalcup

James McNamara had been fascinated by 19th-century surgery for a while. He received his PhD in English from Oxford, where he looked into 19th-century medicine, anatomy and literature. Outside of school, he was a fan of classics such as Charles Dickens’ Oliver Twist —although not so much of the titular character but rather of the Artful Dodger and Norbert Fagin. He eventually combined these two interests into Disney+’s The Artful Dodger.

In the series, Jack Dawkins, aka the Artful Dodger, establishes himself as a respected doctor in the 1850s penal colony of Australia before his old acquaintance Fagin shows up and drags him back into a life of crime. At the same time, Jack becomes attached to the governor’s daughter, Lady Belle, who aspires to become the first woman surgeon.

“[Season two] pushes the drama into deeper, darker, messier, more emotional territory.”—James McNamara

Nearly every episode features a unique medical case that Jack (and Lady Belle) must tackle. To come up with these, “I take a core sample of several different years of medical history, and I read case after case, and then I make a big spreadsheet of all the interesting, different cases, and the writers and I chat about them and find the most eccentric, bizarre, weird, funny, uncanny ones that seem stranger than fiction,” McNamara says. “Then we look for things that have a universal application in terms of humanity, in terms of love and loss and pain.”

McNamara then works with a consultant surgeon to reverse engineer how doctors of the 1850s would have actually performed various medical procedures.

Though he aims to be as historically accurate as possible, it is important for period dramas not to “feel stuffy” or like a museum piece. “One of the things I love about reading older literature is I feel like I’m there with the characters, and to me, that’s what I wanted to do with The Artful Dodger,” McNamara says. “I wanted us to be able to speak to these characters who are set in the 1850s, but their concerns are the same as ours. They’re in love, they worry about family, they worry about money, they worry about jobs.”

Season two “pushes the drama into deeper, darker, messier, more emotional territory,” McNamara notes. It can be watched in full on Disney+ and Hulu now.

Trending On

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

Take the Money and Run

Follows Cryptoqueen Ruja Ignatova’s meteoric rise and mysterious disappearance, exposing her billion-dollar OneCoin scam and the insiders who profited from her deception. (ZDF Studios)

Pablo: Next Level

Good Singers

Challenges celebrity teams to distinguish great vocalists from untalented performers without hearing them sing. (Global Agency)

Pablo has joined a new school and it’s strange, wild and definitely complicated, but with a little “help” from his book animal friends, he’s working it out one drama at a time. (CAKE)

Wadoo

Mammals: Life before Dinosaurs

A documentary exploring early mammal ancestors in South Africa’s Karoo Basin, revealing traits that shaped mammal evolution through cutting-edge science and storytelling. (ZDF Studios)

A series set in a magical world inhabited by adorable, mythological creatures attending a unique preschool. (El Reino Infantil)