World Screen MIPCOM/October 2023

SPECIAL REPORT: FAST Channels

Thomas Rabe

RTL Group

Jon Feltheimer

Lionsgate

Gerhard Zeiler

Warner Bros. Discovery

Rob Wade

FOX Entertainment

DEPARTMENTS

WORLD VIEW

UPFRONTS

New content on the market.

SPECIAL REPORT

Jonas Engwall, CEO of Bedrock, offers insights on the company’s alliance with M6 Group.

MOVIE MAGIC

Nicely Entertainment’s Scott Kirkpatrick on offering familyfriendly and female-driven feelgood content.

TV LISTINGS

Program listings for some 100 IP owners at MIPCOM.

TRENDING ON

Trending clips on our video portals.

IN THE NEWS

GORDON RAMSAY

The iconic chef, entrepreneur and TV personality who owns restaurants around the world that have amassed 17 Michelin stars shares his approach to expanding the extensive slate of shows at Studio Ramsay Global, spotting talent and elevating the quality and creativity of culinary television.

FOX ENTERTAINMENT’S ROB WADE

A year since reintroducing the storied FOX brand to the global distribution business, the company’s CEO talks about the benefits of being an independent, nimble operator in the landscape today.

SPOTLIGHT

PLUTO TV’S OLIVIER JOLLET

The executive VP and international general manager of Paramount’s global AVOD platform talks about why the service is resonating with audiences.

IN-DEPTH ON THE FAST TRACK

FAST is the latest disruption that everyone in the ecosystem is working to come to grips with, from distributors of scale to AVOD platforms, legacy pay-TV channel operators and smart-TV manufacturers.

ONE-ON-ONE

RTL GROUP’S THOMAS RABE

The company’s CEO on ramping up streaming subscribers, k eeping the linear channels strong, supporting Fremantle’s production prowess and safely using the opportunities offered by AI.

ON THE RECORD LIONSGATE’S JON FELTHEIMER

On the heels of the acquisition of Entertainment One, the independent studio’s CEO discusses the factors that have been boosting revenues and offers his views on the impact of continued changes in the industry.

IN CONVERSATION WARNER BROS. DISCOVERY’S GERHARD ZEILER

The company’s president of international weighs in on the international rollout of Max, the breakout theatrical success of Barbie , windowing and the importance of local stories.

Publisher Ricardo Seguin Guise

Editor-in-Chief

Mansha Daswani

Editor-at-Large

Anna Carugati

Executive Editor

Kristin Brzoznowski

Associate Editors

Jamie Stalcup

Alexa Alfano

Editor, Spanish-Language Publications

Elizabeth Bowen-Tombari

Associate 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

Daphne Menard Ricardo Seguin Guise

President

Anna Carugati Executive VP

Mansha Daswani Associate Publisher & VP of Strategic Development

WORLD SCREEN

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THESE TARGETED MAGAZINES APPEAR BO TH INSIDE W ORLD SCR EEN AND AS SEPARATE PUBLICATIONS:

TVKIDS

CO-PRODUCTION & FINANCING MODELS

PRESCHOOL TRENDS

AVOD BUYERS

DISNEY’S AYO DAVIS

SUPERPROD’S CLÉMENT CALVET & JÉRÉMIE FAJNER

RAINBOW’S IGINIO STRAFFI

POCKET.WATCH’S CHRIS M. WILLIAMS

COMMON SENSE NETWORKS’ ERIC BERGER

BLE REPORT

IN-DEMAND: COMEDY

IN-DEMAND: PRESCHOOL

JUST FOR KIDS

TVFORMATS

FOX ENTERTAINMENT’S ROB WADE THAT’S ENTERTAINMENT!

GAME SHOWS

TVDRAMA

FINANCING SHIFTS

CRIME DRAMAS

UNIVERSAL TELEVISION’S ERIN UNDERHILL

DRAMATIC VIEWS

MEDIA RES’S MICHAEL ELLENBERG

TVREAL

DISTRIBUTION EVOLUTION

LIFESTYLE SHOWS

BBC STUDIOS NHU’S JONNY KEELING

GETTING REAL

BERTIE GREGORY

Back to the Future

I’ve been writing a lot about lean-back engagement, securing channel shelf space, the art and science of building a compelling schedule and the importance of bundles and aggregating—but I expect I’m not the only person who feels like they just hopped into Doctor Who’s Tardis for a trip to television’s past.

If you thought you had a handle on the streamer economy, sorry, that’s moved on. Global commissions are still happening, but not at the level they were. Studios that proudly declared they didn’t want to sell to anyone else because they had their own SVOD services have changed their minds and course-corrected amid the calibration across the media business. And the business is indeed recalibrating after an overabundance of content was produced for a seemingly untenable number of subscription services. That development has crashed head-on with broader macroeconomic forces as consumers feel an inflationary pinch and ad revenues take a hit.

We explore the ripple effects of this across every section of this edition of World Screen. We examine how coproduction and financing models are evolving in the kids’ and drama sectors. We heard from leading factual executives about new opportunities in AVOD and a greater drive toward collaborations.

The game-show format business is booming as broadcasters look for effective, cost-efficient ways to deliver loyal audiences. Cost efficiency was one of the themes that Rob Wade touched on in my conversation with him for this edition. The CEO of FOX Entertainment also outlined the company’s openfor-business approach as it looks for innovative partnerships globally. We heard about striking the critical balance between subscription and advertising in our wide-ranging interview with Warner Bros. Discovery’s international chief, Gerhard Zeiler. Thomas Rabe, CEO of RTL Group, weighed in on a similar sentiment for the European media giant as it navigates serving audiences on linear and on-demand. Jon Feltheimer, CEO of Lionsgate, reflected on what the shifting nature of the streaming battles has meant for his business, which recently scaled up with the acquisition of Entertainment One. Our main feature on FAST channels spotlights the ups and downs of working in this space, whether you’re licensing to third-party services or looking to build your own thematic outlets. And Olivier Jollet at Pluto TV weighs in on why the ad-supported model and expert curation are resonating with audiences today.

Curation and discoverability came up in many of my conversations with media executives for this edition. We may have finally gotten past peak TV, but there’s no shortage of content—strikes in Hollywood notwithstanding. Amid an abundance of on-demand content, viewers

are spending 10.5 minutes per session deciding what to watch, according to Nielsen’s 2023 State of Play report. As of June of this year, viewers in the U.S., U.K., Canada, Mexico and Germany had access to 2.7 million titles. Almost 87 percent of those were available on streaming platforms. Audiences can also access nearly 40,000 individual FAST channels, streaming providers and aggregators, Nielsen said. And what are consumers doing when they spend too much time wading through that? They go and do something else. Oops.

AI may eventually help, with many hopeful that improvements in user interfaces will make it easier to surface channels and titles—hopefully ones that don’t just speak to your existing viewing habits. There’s really nothing better than stumbling upon a show you never would have expected to watch— and perhaps it lets you experience a world you had never even considered.

I’ve been thinking a lot about that aspect of diversity lately—what it means for my own world to be seen. In a delightful conversation with British writer and producer Suk Pannu about his show Mrs Sidhu Investigates, we talked about the beloved Indian game Carrom. Growing up, I had one in my home; the board game was a regular pastime with my siblings, and we were often asked about it by friends who had never seen one before. Mrs Sidhu Investigates drops a Carrom board into the home of its title character without any reference; it’s just there, not as a foreign object that needs to be explained but as an everyday item in the house. He said he kept it in as an Easter egg of sorts for fellow members of the Diaspora. I rather enjoyed being in on the joke. “Growing up, when I had dreamt about this character, I had never seen an Asian female lead character outside of Bollywood,” Pannu told me.

“When I wrote this, one of the really important things for me was her agency; she could have agency as an Asian character beyond the immigrant story. That is liberating. And it’s subtle. We’re not jumping up and down on it; it’s just there.”

Whatever shifts are still to come in the content landscape, I hope that this new, revelatory emphasis on authenticity, on championing undiscovered stories that really do deserve to be told, doesn’t get swept up in the recalibration.

Viewers are spending 10.5 minutes per session deciding what to watch.

A+E Media Group

Five Families / The Mega-Brands that Built the World / Secrets of Penthouse

The Sopranos star Michael Imperioli serves as executive producer on Five Families , on offer from A+E Media Group, following the true story of the rise and fall of the American Mafia in New York during its golden age. The Mega-Brands that Built the World and Secrets of Penthouse are also featured, part of the That Built and Secrets Of franchises, respectively. While Mega-Brands tells the origin stories behind some of the world’s biggest brands, including Procter & Gamble, Schick, Gillette and more, the four-part Penthouse “tells a compelling true story that gives a voice to the unheard men and women victims of a powerful institution while unearthing brandnew truths,” says Liz Soriano, senior VP and head of international programming.

All3Media International

Searching for Satoshi: The Mysterious Disappearance of Bitcoin’s Creator / Shakespeare Unfiltered / Blue Therapy

All3Media International’s slate features Searching for Satoshi: The Mysterious Disappearance of Bitcoin’s Creator, from Paul Kemp Productions. “We live in a world where nearly everyone has heard of Bitcoin and crypto, but most of us aren’t aware of the rich, compelling mystery around it,” says Stephen Driscoll, executive VP for EMEA at All3Media International. The documentary “offers audiences an inviting gateway to explore the fascinating and bizarre story of who created Bitcoin, who the mysterious Satoshi is and, most significantly, why they created this utopian ideal that has made and lost so many fortunes.” Shakespeare Unfiltered charts the murders, treason, spies, lovers and gangs that inspired William Shakespeare’s most famous works. The reality series Blue Therapy (w.t.) delves into the relationships of five young and diverse couples.

Amuz Distribution

About Antoine / Counter Offer / Larry

About Antoine, a story of love and family triumphing over limitations on offer from Amuz Distribution, is “set to touch the hearts and minds of audiences around the world, sparking the whole spectrum of human emotions,” says Alex Avon, VP of global distribution. Counter Offer follows a small, family-run real estate agency desperately trying to survive within the unpredictable industry. The dysfunctional, endearing team comes together to support their buyers and sellers as they seek happiness and success within the hectic real estate jungle. Larry centers on a former undercover police officer whose reputation is tarnished by a corruption case. Now a security guard at the age of 62, he is left to navigate a slew of new career and life circumstances.

“We are excited for the upcoming market and the slate we’re bringing forward this year.”

—Liz Soriano

“Amuz Distribution is beginning to be known for premium comedy and dramedy series that engage and delight viewers across the world.”

—Alex Avon

“As always, All3Media International will bring an impressive slate of great new productions to launch, plus an exciting range of new projects for 2024.”

—Stephen Driscoll

Artist View Entertainment

Get Away If You Can / House of Lies / She Inherited Danger

The thrillers Get Away If You Can, House of Lies and She Inherited Danger are among the top program highlights from Artist View Entertainment. The first title follows a couple who hopes to mend their troubled marriage at sea. When one refuses to explore a mysterious deserted island, their relationship comes to a breaking point. House of Lies sees a troubled widow as she is confronted with her recently murdered husband’s corrupt past. The highlight She Inherited Danger is a story about a woman who inherits her grandfather’s theater and finds herself mixed up with ruthless investors. “The three titles we have highlighted are all thrillers that we believe have storylines that translate easily into any culture,” says Scott J. Jones, Artist View’s president.

Asia TV Forum & Market

December 6-8 / Marina Bay Sands, Singapore

With strong demand for Asian content and China’s borders finally being fully opened, the event organizers at RX Global in Singapore are looking forward to a robust Asia TV Forum & Market (ATF). The event has become “a must-attend entertainment market for any executive keen to feel the pulse of Asia’s entertainment content industry,” says Hui Leng Yeow, group project director. Registrations have been very positive, she adds. There are three brand-new initiatives within ATF’s In-Development component—the ATF x Beach House Pictures Scripted Pitch and Unscripted Pitch and a partnership with Ties That Bind (TTB) for the ATF x TTB Animation Lab & Pitch—in addition to the ATF IP Accelerator Project Market, in collaboration with Southeast Asian Audio- Visual Association and supported by 108 Media.

Audiovisual from Spain Spain & Canada: Focus on Co-Production / Spain Brand New Content—Breakfast / Audiovisual from Spain Networking Lunch

In addition to its stand at MIPCOM, where Spanish companies can showcase projects, Audiovisual from Spain will have a terrace in the Seaview Producers Hub. In this lounge, focused on co-production and financing opportunities for producers, the company will be hosting a number of events. The Spain & Canada: Focus on CoProduction (October 16 ) is a bilateral pitching activity for Canadian and Spanish producers interested in international partners. The Spain Brand New Content— Breakfast (October 17) is for international buyers interested in discovering fresh content from the most relevant Spanish exhibitors. The Audiovisual from Spain Networking Lunch (October 18 ) will see invited partners and clients get to know the latest Spanish content offerings.

“If it’s Asia, it’s ATF.”

—Hui Leng Yeow

“We have always prided ourselves on representing titles that offer a unique marketing hook.”

—Scott J. Jones

Calinos Entertainment

Farah / Indefensible

Farah is “the leading Turkish drama for the new season from the phenomenal Calinos catalog,” says Asli Serim, head of international sales at Calinos Entertainment. The show “had a successful first season and continues with its sensational second season nowadays in Turkey,” Serim adds. With an empowered female character, the series sees Farah in the middle of the mafia-police war, trying to keep her family together against all odds. The second season of the series is set to bring more tears, betrayals, heartbreaks and love. Indefensible , also on offer, is a crime drama that plunges the audience into a realistic universe built of human dramas, from small to large, all imbued with the same emotion: the fear of being condemned.

Dori Media Group

Amia / Indal / Lalola

A journey to uncover the truth behind a terrorist attack drives the political action drama Amia from Dori Media Group. Characters delve into a world where lies are truths, and justice and revenge become indistinguishable. Their journey leads to a reexamination of their concept of self-identity. The action drama Indal watches Ethiopian-Israeli youth who decide to kidnap the police officer who peppered their adolescence with abuse. Lalola, a comedy, follows the womanizer Lalo as he finds himself transformed into a woman after breaking Romina’s heart. Lalo—now Lola—must navigate the complexities of being a woman in a society deeply entrenched in machismo as he searches for a solution to reverse the spell. The international sales team will be on hand at MIPCOM, offering these highlights and more.

Escapade Media

Debriefing the President / Rose Gold / Portobello Road

The memoir of CIA analyst John Nixon comes to life in Debriefing the President, on offer from Escapade Media. The 4x60-minute series explores the capture, interrogation and execution of Saddam Hussein. The feature documentary Rose Gold also tops the list, following the Australian Boomers’ path to their first bronze medal at the 2020 Olympics. The film examines “how failure can be transformed into a powerful force that can inspire, galvanize and revolutionize,” says Natalie Lawley, managing director. Portobello Road, executive produced by Eric Clapton, paints the musical world of 1970s London according to those who lived it. The series sees a management company on the verge of collapse as owner Penny dances between creditors, egos and her own desires to keep the music playing.

“We have a large scope, and it’s widening every day.”

—Asli

“Escapade has built a solid reputation for commissioning and preselling both scripted and nonscripted from producers around the world.”

—Natalie Lawley

FOX Entertainment Global

Krapopolis / Grimsburg / Snake Oil

FOX Entertainment Global’s Krapopolis hails fom Dan Harmon (Rick and Morty, Community). It “delivers a refreshing depiction of a dysfunctional family with memorable, irreverent and laugh-out-loud humor,” says Deena Stern, senior VP of marketing and communications. Set in mythical ancient Greece, the show takes viewers into a family comprised of humans, gods and monsters as their optimistic king tries to create the first democratic civilization. Grimsburg, starring Mad Men’s Jon Hamm, follows a bizarre detective in a mysterious town filled with peculiar characters as he navigates awkward family relationships. Snake Oil, a new game show hosted by David Spade, challenges contestants to determine which products are real and which are fake in a sea of wacky choices.

GMA Network

Love Before Sunrise / Love the Way You Are / The Missing Husband

Love Before Sunrise, a story of ex-lovers who accidentally meet again, is a featured title from GMA Network. Faced with the regret of being trapped in their unhappy marriages, the pair complicates their situation when they choose to rekindle their relationship. Love the Way You Are, about an heiress who disguises herself as a man to escape certain doom, also tops the company’s MIPCOM roster, along with The Missing Husband. The latter title sees a man fall victim to a scam and disappear. His wife begins a search but soon discovers that he vanished on purpose. “Our drama series have universal themes and stories that revolve around love, friendship, family and ambition, which resonate with viewers worldwide,” says Roxanne J. Barcelona, VP and consultant for the worldwide division.

GRB Media Ranch

Who is Stan Smith? / Round Table / Relative Justice

The newly formed GRB Media Ranch, combining the distribution catalogs of GRB Studios and Media Ranch, is bringing to MIPCOM Who is Stan Smith? The film chronicles Stan Smith’s rise from collegiate athlete to the number one player in tennis. It also covers his accomplishments off the court, including his humanitarian feats. The singing competition format Round Table comes from Wonwoo Park, creator of The Masked Singer. Celebrities and non-celebrity contestants sing karaoke-style in rounds. Relative Justice, available as a finished program or format, centers on family disagreements that turn ugly and must go to arbitration. At MIPCOM, “we are looking to promote our 5,000-plus hours of premium factual, fiction and format, as well as to acquire relevant programming,” says Sophie Ferron, co-principal.

“We remain committed to providing premium Filipino content to international buyers.”

“Our stories, characters and moments continue to define pop culture around the world time and again.”

—Deena Stern

“We are confident there is something for everyone in our premium catalog.”

—Sophie Ferron

Hallmark Media

The Way Home / Aloha Heart / A Biltmore Christmas

Grey’s Anatomy alum Chyler Leigh and Maid ’s Andie MacDowell star as the mother-daughter duo Kat and Del in The Way Home , a featured title from Hallmark Media. Alongside Sadie Laflamme-Snow, the women play three generations of a family who were previously estranged after tragic events occurred. Aloha Hotel follows a conservationist who, while traveling to Hawaii for her best friend’s wedding, finds herself caught in the preparation and helping out the hotel manager. A Biltmore Christmas is set to premiere during the upcoming holiday season. The feature will be part of Hallmark’s Countdown to Christmas, which Francisco González, senior VP of international distribution, calls “the most successful holiday franchise on television in the U.S.”

Inter Medya

Blue Cage / Deception / Tuzak

In Inter Medya’s Blue Cage, a man finds out his wife has a deadly illness and moves them in with his father-in-law, who runs a boutique hotel. After his wife dies, he rescues a mysterious woman he brings to the hotel as a “guest of God.” Deception centers on a family court judge who has a seemingly perfect family whose bond is based on love and trust. Her life begins to unravel when she discovers that her daughter has secret plans to go to the U.S. for school, her son has lost money that was entrusted to him after investing in crypto, and her husband has been keeping a second family for years. Tuzak tells the story of siblings whose bond is not what they thought it was. Additional featured titles from Inter Medya include Another Chance, Poison Ivy and Hicran.

Mediacorp

All That Glitters / The Negotiators / Undercover Asia

All That Glitters counts among Mediacorp’s top MIPCOM highlights. The drama follows along as friendship and hatred intertwine when three companions struggling in the lower rung of society turn into foes in the midst of pursuing their dreams. Filmed in Alor Setar, Malaysia, and Hat Yai, Thailand, and written by Ang Eng Tee (The Little Nyonya), the title is “Mediacorp’s blockbuster of the year,” says Jesslyn Wong, VP and head of content distribution. Two factual series also top the list. Season two of The Negotiators takes a deep dive into four life-and-death situations in order to meet those who have mastered the art of tact during lethal circumstances. Season ten of the investigative series Undercover Asia uncovers the hard truths in Asia’s underbelly to give audiences a look into the plight of the disenfranchised.

“We aim to showcase our strengths in storytelling and bring original, awardwinning content from Singapore to audiences around the world.”

—Jesslyn Wong

All That Glitters

“We are developing new opportunities to bring our signature quality content, and the power of our brand, to every corner of the world.”

—Francisco González

Merzigo

Video Monetization / Content Production / New Revenue Models

Merzigo offers services for content monetization on AVOD and FAST platforms, content protection and production. “We empower you to grow your AVOD business, engage broader audiences and boost revenue,” says Yigit Dogan Celik, chairman and founder. “Our expertise, global reach and commitment to innovation ensure your success.” Merzigo works closely with its clients’ teams to understand the objectives and challenges and tailor solutions that align with the companies’ business goals. It uses its technologies to adapt, scale and evolve alongside these enterprises. “Merzigo is Turkey’s leading YouTube and Facebook monetization partner, which, combined with our global presence, makes us the ideal partner for companies seeking success in the digital content landscape,” Dogan Celik adds.

NBCUniversal Global Distribution

Apples Never Fall / Mary & George / The Irrational

Apples Never Fall, a drama series from NBCUniversal Global Distribution’s slate, is based on Liane Moriarty’s novel of the same name. “With its very well-known IP and an internationally renowned cast (Sam Neill and Annette Bening), this show is sure to captivate audiences around the world,” says Belinda Menendez, president and chief revenue officer. Mary & George and The Irrational are also on offer. Produced by Hera Pictures in association with Sky Studios, the historical drama Mary & George tells the true story of how Mary Villiers has her son, George, seduce King James I and become his all-powerful lover. The procedural drama The Irrational follows a world-renowned behavioral science professor, who lends his expertise on human behavior to an array of high-stakes cases.

Nicely Entertainment

A Christmas Frequency / One Perfect Match / Super Icyclone

An A-list actress leads the cast in Nicely Entertainment’s A Christmas Frequency. The title “is a great example of Nicely’s pivot toward elevated cast by placing actress Denise Richards in a leading role,” says Scott Kirkpatrick, executive VP of distribution and co-productions. The romance follows a young radio show producer who sets up her boss on live-onair blind dates to save their dying show. When unexpected romance occurs, she must choose her head or her heart in time for Christmas. One Perfect Match, another highlight, sees a matchmaker fall for her client and decide whether to confess, risking her reputation as Seattle’s best matchmaker, or let her love slip away. Super Icyclone, meanwhile, sees a climatologist cut her anniversary celebration short to save her family and North America from a destructive storm.

“Nicely Entertainment is focused on delivering what global audiences want most: known casts, fantastic stories taking place in wonderful locations and fun, attractive genre films.”

—Scott Kirkpatrick

“Merzigo is your partner for success in the digital content world.”

—Yigit Dogan Celik

“Coming out of a very successful LA Screenings, we are looking forward to reconnecting with our global partners at MIPCOM.”

—Belinda Menendez

Nippon TV

The Greatest Teacher / The Apothecary Diaries

From the creators of Mr. Hiiragi’s Homeroom, Nippon TV’s The Greatest Teacher follows the story of a high school teacher who is mysteriously pushed off the school balcony after the graduation ceremony. When the teacher finds herself back one year ago in her homeroom class on the first day of school, she embarks on a journey to unveil the truth. The Apothecary Diaries, also on the company’s MIPCOM slate, centers on a young woman who lives among the emperor’s wives. Formerly a pharmacist and obsessed with poisons and medicines, she has now become a lowly servant. When she observes that the emperor’s children are mysteriously shortlived, she investigates why. “We believe this anime series will travel well among global audiences,” says Sayako Aoki, head of scripted in the global business unit.

OGM UNIVERSE

Stickman / Broken Destiny / Miracle of Love

Leading OGM UNIVERSE’s slate for MIPCOM, the second season of Stickman continues the love story of Tamer and Peri, who begin the task of reuniting with their missing children. In Broken Destiny, Fidan meets Toprak, who wakes up from a five-year coma with no memory of his current family. He looks exactly like Fidan’s husband, who died in a car crash five years prior, and the two team up to unravel Toprak’s past. Miracle of Love, another tale of love, “rekindles belief in the extraordinary [and] encourages audiences to summon the courage to follow their hearts,” says Ekin Koyuncu Karaman, global distribution and partnership director. She adds, “Our dramas excel in their captivating narratives, rich character development, unforeseen challenges and ability to blend modern experiences with traditional ones.”

Onza Distribution

Allende, the Thousand Days / Flowers Over the Inferno / Sweet Strawberries

Allende, the Thousand Days is a political drama thriller on offer from Onza Distribution. On the day of Pinochet’s coup d’état, one of the last people to see Salvador Allende alive is his adviser and friend, Manuel Ruiz, a young Spanish political scientist. When the president asks him to save his own life and tell the world what happened in Chile, he does. The series is “produced for the 50th anniversary of Allende’s death with really high-quality production about an internationally known political figure,” says Béatrice Nouh, head of sales. More featured titles include Flowers Over the Inferno, delving into the back alleys of a peculiar mountain town that hides a ruthless killer who defends abused children, and Sweet Strawberries, following a string of mysterious disappearances at a secondary school.

“We have strengthened our production and distribution capabilities, aiming for further success in the international market.”

“Our mission is to offer audiences narratives and experiences they cannot find elsewhere.”

“It’s part of our expansion strategy to not be only an Iberian distributor but also an international company.”

—Béatrice Nouh

—Ekin Koyuncu Karaman

ORF-Enterprise

School of Champions / Kafka / Untamed Vietnam—Wilderness Reborn

ORF-Enterprise has expanded its drama lineup with two new titles: School of Champions and Kafka. School of Champions tells the stories of first-year students at a prestigious ski academy. “In this intense setting, they navigate the thin line between love and jealousy, loyalty and betrayal, ambition and frustration in eight episodes,” says Armin Luttenberger, head of content sales international. Kafka, meanwhile, is timed to coincide with the 100th anniversary of the passing of the world-famous novelist in June 2024. “With the invaluable input of Kafka biographer Reiner Stach, the series promises to stay true to history,” Luttenberger says. In the way of factual highlights, Untamed Vietnam—Wilderness Reborn spotlights the wildlife of Vietnam, spanning from its northern forests and mountains to the lush Mekong Delta, in two parts.

Pinnacle Peak Pictures

The Blind / I Heard the Bells / Lifemark

The true-life story of Duck Dynasty star Phil Robertson plays out in The Blind, on offer from Pinnacle Peak Pictures. The film follows how he overcame internal struggles to be the husband and father his wife and children needed and a successful businessman. Meanwhile, I Heard the Bells tells the story behind the writing of the titular Christmas carol and its author, Henry Wadsworth Longfellow. In the drama feature Lifemark, Alex and Stephen Kendrick team up with actor Kirk Cameron to make a new movie about the beauty of adoption. The Pinnacle Peak Pictures slate also features Love on the Rock, an action movie in which a former cop who has adopted a new Maltase charter-boating lifestyle suddenly finds himself catapulted into a web of high-stakes international espionage.

Red Arrow Studios International

While the Men are Away / Those Who Stayed / Stranded on Honeymoon Island

Top program highlights from Red Arrow Studios International include While the Men are Away, Those Who Stayed and Stranded on Honeymoon Island. The first title, a dramedy set in Australia during World War II, views the experience of the war through the eyes of the women left behind on the home front when they suddenly find themselves running the show after being historically excluded from power. Those Who Stayed, a drama anthology series, is inspired by the events that took place in Kyiv in the first few weeks after the Russian invasion of Ukraine in February of 2022. The dating format Stranded on Honeymoon Island “delivers a heady combination of reallife experience and authenticity, packaged with the gloss of exotic escapism,” says Tim Gerhartz, managing director.

“Red Arrow Studios International will be at MIPCOM with a new slate of high-quality content focused on our core strengths and specialist areas.”

—Tim Gerhartz

While

“Fans of blue-chip documentaries will be presented with five hours of ORF Universum History titles, as well as six hours of ORF Universum Nature highlights.”

—Armin Luttenberger

SIC International Distribution

The Good Girls Club / Timeless Love / PRAXX

Telling the story of a nightclub and its best-kept secrets, The Good Girls Club season four ranks among the top titles from SIC International Distribution. Timeless Love , also featured, is a love story between an honest, strong and hard-working girl and a wealthy boy. Their entire community is against their love, including both of their families. “It’s a really great script with a strong, dramatic story that keeps surprising the audience,” says Carlota Vieira, content sales deputy director. The short series PRAXX , inspired by true events, centers on a group of university students who leave for a weekend getaway. As they enjoy their youth and celebrate their ascension into a prestigious academic association, fun gives way to terror when drownings occur under suspicious circumstances.

SPI International

Arthur’s Whiskey / Run Rabbit Run / Corner Office

Part of the SPI International offering, Arthur’s Whiskey stars Oscar-winning actor Diane Keaton as a woman whose life takes an unexpected turn when she uncovers her late husband’s invention: an elixir that rejuvenates its drinker. Succession’s Sarah Snook stars in the thriller Run Rabbit Run, in which a fertility doctor who believes firmly in life and death challenges her own values and must confront a ghost from her past when she notices the strange behavior of her young daughter. Meanwhile, Mad Men’s Jon Hamm leads the action in the comedy Corner Office as an employee who finds himself trapped in the absurdities of corporate life. “Our rich catalog boasts a collection of over 1,000 high-productionvalue movies, encompassing both first-runs and timeless classics,” says Hubert Ornass-Kubacki, head of content sales.

TelevisaUnivision

Los Artistas / Gloria Trevi: Ellas soy Yo / Minas de Pasión

Los Artistas, a TelevisaUnivision highlight, marks the first project created as an original series by best-selling author María Dueñas. It follows the journey of Cata, a young expert in Mexican art, and Yago, a Spanish antique dealer. They embark on a quest to find potential buyers for counterfeit art pieces. “This infusion of mystery and intrigue adds an element to the storyline,” says Guillermo Borensztein, senior VP of international content licensing. Gloria Trevi: Ellas soy Yo, meanwhile, has broken viewership records as the mostwatched program on both free to air in Mexico and streaming on ViX. “The series has also generated buzz on social media, becoming a social phenomenon,” Borensztein says. Minas de Pasión explores themes of betrayal, intrigue, revenge and the pursuit of power, all woven into a woman’s journey.

“We are already seeing series produced in the Spanish language reaching top positions in global rankings, leading to a significant Spanish-language content-consumption demand that has not been filled.”

—Guillermo Borensztein

“Our mission is to provide buyers with an outstanding array of content options by customizing the distribution of our catalog to suit the specific needs of our partners’ customers.”

—Hubert Ornass-Kubacki

Minas de Pasión

“We will be pitching our lineup during MIPCOM and presenting two new titles that will premiere in Portugal soon.”

—Carlota Vieira

The Television Syndication Company

In the Line of Duty / Protect Our Paradise / Where the Food Comes From

In the Line of Duty , from The Television Syndication Company, is “a gutsy and often raw account of what it is like to be a cop in Chicago,” says Cassie M. Yde, president. Through Vic Maggio’s access and bodycam footage, audiences can see the inside stories of the city’s extreme violence, along with the good and bad cops’ responses in order to explore how failing policies have led to an out-ofcontrol crime wave. Protect Our Paradise, hosted by Emmy Award winner Chad Crawford, delves into the environmental challenges brought on by rapid growth that threaten wildlife, land, coasts and water on the Florida peninsula. Where the Food Comes From digs deep inside the food industry to meet the people who have a passion for growing crops and feeding the world.

Voxx Studios

Dubbing / Text Localization / Voice Recording

Voxx Studios offers dubbing in 50-plus languages, covering six continents. The studio also provides text localization, including subtitles, closed captions and forced narratives, as well as recording services for original voices for animation and ADR. “There are nearly 8 billion human voices on Earth, and no two are the same,” says Andrei Zinca, president. “As an award-winning dubbing studio, we understand how to best connect the world’s voices through our shared stories.” Based in Los Angeles and counting 11 state-of-the-art audio recording studios, Voxx is the only dubbing company run by filmmakers, actors and producers, Zinca adds. “We are passionate storytellers, just like our clients, and are always ready to help them tell theirs. We are not a large company, but we can reach far.”

ZDF Studios

Concordia / Namibia’s Natural Wonders / Tobie Lolness

The ZDF Studios highlight Concordia takes place in a town built on surveillance and data collection for the greater good of society. By its 20th anniversary, it is thriving, but then the first murder occurs, and someone hacks the town’s impenetrable AI, compromising the very foundation of the project. The unscripted slate includes Namibia’s Natural Wonders, spotlighting the creatures and landscapes of the African country. The children’s series Tobie Lolness, based on the book by Timothée de Fombelle, follows the titular character as his family is exiled for refusing to share knowledge that could permanently damage their world. Dr. Markus Schäfer, president and CEO of ZDF Studios, describes it as “a comingof-age story of adventure, heroism, friendship and survival, with a powerful environmental message.”

“Creative is the language we speak at Voxx.”

—Andrei Zinca

“These three series represent the wide range of content our program catalog offers.”

—Cassie M. Yde

“At MIPCOM 2023, the ubiquitous topic of artificial intelligence will be relevant for us.”

—Dr. Markus Schäfer

The iconic chef, entrepreneur and TV personality known for such cooking competition shows as MasterChef and Kitchen Nightmares, Gordon Ramsay, owns restaurants around the world that have amassed 17 Michelin stars. He also owns TV production companies that produce nearly 2,000 hours of programming a year. He has been appearing in cooking competition shows on FOX for two decades. In 2021, Ramsay closed a deal with the FOX Entertainment Group and formed Studio Ramsay Global, a worldwide production venture whose aims include advancing and innovating culinary TV shows and reaching viewers on multiple platforms. Ramsay talks about two such shows, Next Level Chef and Gordon Ramsay’s Food Stars, and his passion for discovering and nurturing new talent.

WS: How have Studio Ramsay and FOX Entertainment benefited from the formation of Studio Ramsay Global?

RAMSAY: The synergy behind the prolific [nature] of FOX and its underlining determination, combined with my ambitious push for excellence, is a marriage made in heaven. I love the grassroots aspect. 20th Century Fox and I started in 2004. It’s almost like this relationship between Studio Ramsay Global and FOX, Rob Wade [CEO of FOX Entertainment] and Lachlan [Mur doch, CEO of Fox Corporation], was the beginning of a new chapter. I can’t believe the last two years have been as good as they have been. Running one of the most prolific foodie media production arms has been a dream come true. But the DNA is there with FOX—the collaboration, sharing aspirations and, at the same time, building what I’d call disruptive creativity in the way that we’re ruffling feathers, but all in the right way.

WS: How have cooking shows evolved in the last two decades?

RAMSAY: When I started, there were no cooking shows on mainstream networks. It was all cable-dominated. Having a chance to crack into mainstream 8 p.m. or 9 p.m. on network television was a robust idea but something I kept incredibly adventurous about. Look at the scale now of food shows—the cultural aspect and what it means to delve into the deeper roots of how this journey began. We’re excited that we’re running a smorgasbord, a plethora of incredibly talented food shows, unearthing some of the most prolific names to be launched in the industry. FOX has let me be me. And I’ve been incredibly lucky to be given that platform. However, food is

everywhere now; if it’s not Tastemade, it’s Netflix with Chef’s Table and then it’s Gordon Ramsay: Uncharted on National Geographic and Disney+. There’s something for everybody. It is fundamentally at the forefront of everybody’s agenda. Somewhere down the line, you’re going to watch a food show at least once a week on network television.

WS: A show like Gordon Ramsay’s Food Stars also combines the entertainment of the cooking competition with learning about the business.

RAMSAY: I started with nothing. I look at the 3,500 staff on the team, 75 restaurants and a production arm that services close to 2,000 hours of television a year globally. At the beginning of a business, you can be one of the most talented producers or chefs in the world, but if you can’t turn that into a positive EBITDA or some form of profitability, then you become the craziest because no one can relate to your dream. I can relate to the dream because of how I started this company and the numbers I have to deliver. It’s like everything in life; there’s a price to pay for that. I’ve made the sacrifice, and now have been given the opportunity to share what that experience is like. Turning $1 into $5, $5 into $20 and $20 into $1,000 in the food world is a difficult calling. I’m happy to expose that and make it entertaining for the viewer.

WS: How did Gordon Ramsay’s Food Stars come about?

RAMSAY: From Next Level Chef to MasterChef to Hell’s Kitchen to Kitchen Nightmares, I’ve come across incredible talent with such aspirations. I went to the team and said, There’s an

amazing explosion of creative ideas. We had to come back with something unique to get these ideas off the ground. And Covid taught us a lot because the idea was harvested and put together in lockdown. How do we come out of that pandemic with a grassroots effect that we can start looking at these new tiny little artisanal businesses that needed cash injections? The BBC and I studied the potential format. We did a pilot, it was exceptional and the feedback was incredible. We then went to FOX and said, Here are a couple of examples from a microbrewery to the most amazing homemade pasta sauce—these businesses have scalability. It’s time to have that grassroots effect and give them the platform they deserve. It was a tough challenge because it wasn’t drama-led; it was a creative-led document, and FOX was very good at understanding the potential behind these businesses. As you saw in the finale, from Lan’s coffee to Caroline’s pizza sauce to Chris’s Smart Cups, these businesses are going brilliantly, and that’s thanks to FOX.

WS: How has Next Level Chef elevated the cooking competition genre?

RAMSAY: Next Level Chef was a chance to shine a light on not just professional chefs. I love Top Chef and Hell’s Kitchen, but for me, Next Level Chef was this incredible arena of social media chefs, amateur chefs, those who were good but never had the confidence to go public, and the professional world. It was an amazing time to put that mix together and create an exciting buzz because the majority of chefs in the U.S. dislike the intrusion of social media. I love the excitement on social media. Some of the best chefs are on those social media platforms. It’s an art no different from a singing artist or a painter. Social media chefs are artists; you can see the sublime techniques they’re using and the clever editing. It’s a force to be reckoned with. I wanted to see that in a competition with amateurs and professionals because we cannot leave these guys behind; right now, they’ve got the space, the advertising and the following, whether it’s YouTube, TikTok or Instagram. We have 100 million followers across those three platforms. When we recently put a burger I made on social media, it got about 110 million views! Whether it’s ABC, NBC or FOX, if you get 5 million people watching a program, it’s a massive hit. So 105 million views of me making a fricking burger— what does that mean? So, the evidence is there. The combi nation of the excitement, the social media boom, the

amateurs playing catch-up, and the chefs having to massage their egos with a social media platform—that was the premise for Next Level Chef. And, so far, it’s working.

WS: As you mentioned, there are many cooking competition shows now. Has casting had to evolve? How do you find the people that make the show so good?

RAMSAY: Casting is about installing confidence into that front room. I’m done with the huge turnouts where we just focus [our casting] on Chicago, New York, Detroit or Miami. I turned the casting call on its head and said, Strip the formalities, stop the big entourage moving into these cities and get these young kids to send me a video. Let me see what they’ve got when they tell me about themselves within 60 seconds. And honestly, the excitement and the hundreds of thousands of videos, messages and blogs we got by casting that net wider into the provinces was incredible. That’s the future of casting now. We don’t need them to turn up in a city and rehearse and rehearse. I want to invest in the character before investing in the idea.

WS: When it comes to your shows or restaurants, how important is honoring local cultures and communities?

RAMSAY: For me, honoring cultures and communities is honoring the beginning of that journey. I love that melting pot of ideas, that multicultural aspect. But underneath those layers, there’s the beginning, that cultural aspect. I remember going to Thailand and showing a local chef I thought I knew how to make Pad Thai. I kid you not, he schooled me and tore me to pieces on the practices. And I was grateful for the feedback. That, for me, was crucial. In Indonesia, I thought I knew how to make a Rendang. But I went to the birthplace of Rendang and got schooled again. It’s not about what you know; it’s how good you know it. That was important for me, especially in India, when I thought I had mastered a beautiful Butter Chicken. I went to the birthplace of Butter Chicken, and then the schooling began again. The secret is stripping yourself of everything you know and becoming the student. And by becoming the student, I lengthen the platform of my knowledge by extending the real cultural insight. That is crucial. Uncharted has helped that. Uncharted is the one show that allows me to be me and puts me back in the classroom. I get schooled, and I get beaten up, but I come back for more.

WS: How useful are YouTube, AVOD platforms like Tubi or FAST channels in helping you reach your fans and extend your brands?

RAMSAY: These platforms are divisions of developing talent. I’ve got these multifaceted platforms that I can put these programs on now, and they broaden the horizon for your fan base. I’m also looking at the flip side of that as a pool of talent, whereby you haven’t got a network’s demand to have a hit from day one. In terms of developing talent, Andre Rush was a success with Kitchen Commando on Tubi. We’ve got three more young, prolific foodie ideas in the pipeline at Tubi; really exciting stuff. It’s a nice way of breaking ground, exposing new talent without a network breathing down your neck about the results, the percentages, the share and the viewing figures. It’s a welcomed, multifaceted platform that has a dual dimension for me. It’s a great way of exposing areas you could never reach but also a platform for new talent.

Rob Wade FOX Entertainment

WS: It’s been a year since the formal launch of FOX Entertainment to the international market at MIPCOM. How has the response been?

WADE: Although last year marked our return to the international arena, Cannes served as a catalyst to put us back on the map. It was the perfect venue to launch FOX Enter tain ment Global (FEG). We’ve had overwhelmingly positive support since then. This is an ongoing process. We are sustaining our presence in Cannes this year with some big announcements and a heavy presence. We’ll be working hard to establish ourselves with boots on the ground, so anticipate more content coming through. We’ve been focused on ensuring our pipeline is strong, and we have actual shows to talk about at these events rather than just talking about the process of building the company. Our focus is on the content.

WS: You stressed an open-for-business, partnership mentality at your MIPCOM keynote last year. Tell me about the importance of that approach in the landscape today.

WADE: It has resonated with people. We’ve talked about a lot of co-productions, and there will be more to come on that soon. As you know, these things don’t come together overnight. It’s a process. First, we had to plant our flag, let people know we were open for business, take the meetings and figure out the deals. And what we’re seeing already, certainly with the unscripted content, is a lot of interest from a number of territories. With the scripted content, the animation and so on, we’re forging great relationships worldwide and seeing a lot of expansion in our conversations. The companies we oversee include the FOX network, and some of that content is owned or co-owned by us through Studio Ramsay Global, Tubi, MarVista Entertainment, TMZ and Bento Box, so there’s a huge amount of different types of content [that FEG can offer]. In each area, we’re seeing various types of deals of varying scale, including output deals. We are here to build. FOX Entertainment has a legacy and strong reputation in the international marketplace. We’re determined to build that back up.

Since The Walt Disney Company completed its acquisition of the bulk of the 21st Century Fox assets, the new FOX Entertainment has been steadily building out its operations across broadcast, streaming, production and distribution. Led by veteran formats executive Rob Wade as CEO, the reinvented FOX Entertainment includes the flagship FOX network in the U.S.; the distribution arm FOX Entertainment Global (created following the acquisition of MarVista Entertainment); Studio Ramsay Global, a joint venture with culinary television megastar Gordon Ramsay; Bento Box Entertainment, a powerhouse in animation production; and TMZ. FOX Entertainment also benefits from its relationship with fellow Fox Corporation-owned platform Tubi, which has emerged as the leading AVOD service in the U.S. Wade talks to World Screen about the return of the FOX brand to the international landscape and the benefits of being an independent, nimble operator in the landscape today.

WS: Why was MarVista Entertainment a key acquisition?

WADE: I can’t speak highly enough about Fernando [Szew, CEO of FEG and MarVista]. He’s a phenomenal CEO. He’s done a great job building that company from the ground up. It has a huge benefit to Tubi, which is an important part of our ecosystem. It’s a best-in-class studio, being able to produce, distribute and co-produce the kind of movies that are the sweet spot of Tubi and other distributors of that ilk. What I think is exciting about MarVista is its potential for expansion, not to mention that this MIPCOM marks its 20th anniversary. As we move forward in this new television era, I think the combination of fantastic creativity and costeffec tiveness puts MarVista in a really strong position, both for its movies and its move into serialized drama and comedy. They are good at figuring out how to make the creative at the price point that’s required.

WS: How important is Tubi to the overall FOX Entertainment ecosystem?

WADE: It’s a critical part of our ecosystem. Paul Cheesbrough runs the Tubi Media Group, and I speak to him almost daily. We have a new CEO in Anjali Sud. There are two sides to the Tubi piece when you look at how it works in our ecosystem. There’s the distribution side, so there’s the discussion of how FOX network content and Tubi work. And then there’s the studio side, with the ones I already mentioned, plus FOX Alternative Enter tainment (FAE) and the scripted entertainment studio, FOX Entertainment Studios (FES), which produces Animal Control. There will be continued discussion about how they can also service that platform. It will come down to how we all collaborate under the one banner of Fox Corp.

WS: What is your approach to drama commissioning and talent deals?

WADE: We are keen to continue to be a premium platform. There’s no doubt there has been disruption in the business over the last few years, and we all know there’s going to be more. Broadcast is an incredibly powerful platform and calling card. When you look at some of the complaints in the business at the moment, they have not been in broadcast. The broadcast model is being used as a beacon of how things should work and how people should be compensated. We’ve always believed that everyone should win and feel compensated fairly. That’s really what the broadcast model can be; it’s one where everyone can win on every side of the table. From a creative point of view, it’s going to be working with the best creators we can attract. In our conversations with them, we say, “Look, it’s a new world; we need new business models.” People get it. These creators, writers and producers are also savvy business people. They’re sympathetic to the problems we’re facing. We sit around the table and say, “We love your project, we want to work with you, but this price doesn’t work, this business model doesn’t work. How do we make this idea fit within this business model?” They’re all loving it. Michael Thorn [president of entertainment] leads the charge on those conversations. In the updates he’s giving me, it’s incredibly positive feedback. I can’t wait to get started! At the moment, due to the strikes, we’re stalled on some of those conversations, but I have no doubt that, strategically, we are in the right place.

WS: How did you prepare for the fall given the strikes?

WADE: I think we’re very well positioned. We have our strong animation block on Sunday, led in by sports: NFL. Because of the lead time of animation, that isn’t going to be disrupted. We have WWE on Friday and college football on Saturday. When you look at those weekend nights, we have a powerful day and date urgency with great circulation. That leaves four nights of the week to fill. We’re in a lucky position where we can move quickly and nimbly with our in-house studios, whether TMZ, FAE or Studio Ramsay.

In constructing a schedule, we are cognizant of [needing a diverse slate]. It’s like filling your plate with all meat; you have to offset it with vegetables. So, while we can happily fill the schedule with a lot of non-scripted, we added 9-1-1: Lone Star repeats into the fall. We wanted the viewer to catch up on it before it comes back mid-season, and it breaks up the schedule and gives people the ability to come to the new shows.

WS: What role do FAST channels play for a company like FOX Entertainment?

WADE: There’s no doubt that FAST channels will play an important part for a studio-distributor in monetizing programming. The question is, depending on how much content you have and how many channels you have, how much appears on FAST? How will that impact the effectiveness of that monetization? When you create a FAST channel, you have to make sure the rights are retained, you have to be sensible about them, and then you have to distribute that channel and have deals with a bunch of different distributors. By doing that, you are taking away any exclusivity of your content. There will be a day of reckoning if you try to do other licensing deals, even with limited windowing. I think they will be an important part of the future, but when it comes to your in-season premium content and how we distribute it, it will be a complicated and strategic process to decide that. Essentially, it’s all about the exclusivity of content. We’re paying X, and we expect it to be exclusive, and this content isn’t exclusive. Do you purely look at volume? Is your strategy also about having some exclusive windows in there? It’s a moving target.

WS: Many companies have been chasing scale. What are the benefits for FOX Entertainment of not being beholden to any one platform and remaining nimble?

WADE: Our goal is expansion. We’re seeing our strategy playing out well in terms of our domestic and international distribution, being an independent player in a world where there aren’t many people like us. Our USP is that. We feel fortunate that the [21st Century Fox] assets were sold when they were sold, and we have remained an independent and profitable network with a lot of financial clout behind us. That is giving us the ability to expand at a time when others are retracting. We’re enjoying that freedom.

For more from Rob Wade, see page 256.

Olivier Jollet Pluto TV

the paradox of choice. Second, advertising has funded so much of the best TV content over the decades, so why should it completely go away? And lastly, free is a tremendously attractive price to viewers who will watch some ads in exchange for free content. Fast-forward to today, Pluto TV is the largest FAST service in the world. We are live in 35 markets, and we are entertaining 80 million users. I would never [have thought] that Pluto would create an amazing business and a new segment in our streaming industry.

WS: What factors and market conditions do you look for to expand into a new territory?

Pluto TV, a leading free streaming service, was created to offer viewers a user-friendly, curated alternative to the often confounding sea of content. Pluto provides ondemand movies and TV shows, as well as FAST channels that satisfy broad and niche audiences—all at no charge. Olivier Jol let, the executive VP and international general manager, talks to World Screen about Pluto’s against-the-odds launch, its broad appeal and the advantages it offers viewers.

WS: When Pluto TV launched in 2014, what was the strategy, and what was the market’s reaction?

JOLLET: We launched Pluto TV on April Fool’s Day 2014. I think at that time, many people thought we were fools! If you remember, in 2014, the conventional wisdom was that the whole TV business was moving toward an SVOD-only future. Industry experts believed viewers would only watch content on-demand, would no longer tolerate advertising and would pay for subscriptions to remove the ads. Of course, SVOD has become extremely successful, but it’s not the only game in town. In 2014, we took a different approach at Pluto TV, believing that well-curated linear channels would be appealing as TV moved to the internet. Three main principles drove us to build Pluto TV. First, people are creatures of habit and don’t want to spend 20 or 30 minutes finding a piece of on-demand content whenever they want to be entertained. Pluto was there to try to solve

JOLLET: Every market is different and has its specificities. One of the strengths [when we first started] our international rollout—in the U.K., Germany, Sweden and Austria— was to think local as well. The TV conception is quite local, more local than maybe the SVOD conception. So, you must ensure your content offering resonates well with the audience. In every single market, when we go live, we tailor our market approach. We’re not going with the same content, the same channels, the same marketing messages. We’re trying to apply a global strategy, but we localize. There are four main criteria. First, make sure the content is right, not only dubbed content but also with the right local partnerships, working with local broadcasters and producers. The second one is making sure we are launching in a market where the digital advertising market is big enough. Not every market is at the same development stage. The third one is marketing and how to address the users. And the fourth one is partnerships. We launched in the Nordics in partnership with Viaplay and in Canada with Corus Entertainment, showcasing how leading local players and an international player like Pluto TV could join forces to build a leading free streaming destination in the market.

WS: What are you learning about how viewers are using Pluto TV?

JOLLET: When we first started evaluating our international rollout in 2017, we [asked ourselves], is FAST only a U.S. phenomenon, or could it work globally? From day one, Tom Ryan, co-founder and CEO of Pluto TV and the president and CEO of streaming at Paramount, was a believer that FAST was not only for the U.S. In every market, more and more content is available, whether on SVOD platforms, social media, etc. So, providing a more lean-back experience and helping users make their choices by curating channels was a universal formula. Pluto TV is the best answer for people in the U.S. who are willing to cut the cord and no longer pay for cable subscriptions. In the European market, we have amazing content running for free in the U.K., France and Germany. We saw quite quick ly that the KPIs—the engagement and the watch time per user—were the same. People spent a lot of time, with very long session durations, going back to the fundamentals of television, enjoying zapping, just leaning back and watching great content.

Unlocking Innovation & Revenue Growth: The Inspiring Partnership Between 6play and Bedrock in France

In the rapidly evolving landscape of digital media and streaming, the strategic alliances we forge can be transformative, shaping the future of our industry.

At Bedrock, we take immense pride in our enduring collaboration with 6play, a prominent force in the French broadcasting industry. This partnership has been a catalyst for innovation, elevated user experiences and amplified advertising revenue for 6play. In this narrative, we invite you to embark on a captivating journey through the history, objectives and remarkable achievements of this dynamic partnership.

A Journey Through Time: The Birth of Innovation

Our story commenced in 2008 when the M6 Group introduced M6 Replay, a groundbreaking catch-up service, marking the inception of ondemand viewing in France. Recognizing the boundless potential of this new medium, they took a giant leap by launching Pass M6 in 2010, France’s first SVOD service dedicated to series

content. Over the years, 6play emerged as a trailblazing multi-brand on-demand television platform, serving a diverse audience with a plethora of content options.

The partnership between 6play and Bedrock has grown alongside the ever-evolving broadcasting landscape. 6play’s relentless commitment to innovation and customercentricity propelled it to numerous milestones. It was a pioneer in offering 100 percent

digital channels, implemented mandatory authentication, expanded its content library through spin-offs and exclusive acquisitions and positioned itself as an AVOD platform offering series, movies and live event streaming. The crowning achievement came in October 2022, when 6play unveiled 6play max, a premium subscription option promising an ad-free experience with additional features and extended rights.

Boosting Advertising Revenue & Audience Engagement

Bedrock played a pivotal role in reshaping 6play’s advertising strategy. We introduced innovative ad formats, transcending the conventional pre-roll and mid-roll ads. Formats like Parallax and Pause Ad captured viewers’ attention in new and captivating ways. This diversification allowed 6play to optimize its revenue streams. Integration of Yospace’s Dynamic Ad Insertion (DAI) solution on web and mobile platforms, coupled with targeted and segmented advertising for VOD and linear TV on operator set-top boxes, ensured precise audience targeting and generated higher-quality leads. Bedrock’s audience segmentation tools and tailored navigation expe riences further amplified the platform’s relevance and ad performance.

The fruits of these efforts are evident in 6play’s continued growth, with an astound ing 16.6 million monthly users. Among free platforms, 6play leads with an average of 1 hour per day spent per user, showcasing an impressive growth rate of 6 percent in just one year.

A Path of Continuous Improvement

Bedrock’s unwavering commitment to improvement empowered 6play to deliver a seamless and personalized user experience. Over the years, we have meticulously crafted five different platform versions, focusing on enhancing functionality, user interface, technical performance, stability and CRM capabilities. By harnessing data-driven insights and advanced analytics, we meticulously curated and promoted content that resonated with different audience segments. This personalized approach fueled increased consumption and resulted in higher advertising revenue.

Commercial Offer Evolution & the Rise of 6play max

Recognizing evolving viewer demands, 6play embarked on a strategic expansion by launching 6play max in response to the surging demand for ad-free streaming experiences. The development journey commenced in June 2022, following approval in April 2022. In just eight months, 6play max achieved remarkable market coverage, catering to 80 percent of smart TV and OTT device users by June 2023. The launch of 6play max, offering enhanced features like HD streaming, ad-free viewing and additional rights, positioned 6play as a versatile hybrid platform. Bedrock’s expertise and collaborative efforts were instrumental in supporting this successful expansion.

Viewers wholeheartedly embraced 6play’s enriched offering, resulting in the introduction of nearly 450 AVOD brands in a single year. The platform’s commitment to providing diverse and engaging content was reflected in a staggering 31 percent increase in user time spent on consuming new releases within a year, a testament to heightened user engagement and satisfaction.

A Collaborative Approach

Bedrock stands as a strategic player that extends an invitation to national media groups to collaborate around an end-to-end international streaming solution. By pooling resources and continuously enhancing its platform, Bedrock allows its partners to thrive collectively. This collaborative and multiclient approach fosters knowledge-sharing and mutual benefits. The establishment of product committees facilitates the co-creation of a roadmap driven by collective insights and industry best practices. Leveraging this collaborative framework, 6play aligned its trajectory with international market trends, unlocked new revenue streams and fortified its overall competitiveness.

A Vision for the Streaming Landscape

At Bedrock, we are deeply committed to providing unwavering support and guidance. Through close collaboration, we have served as trusted advisers on market trends, competitive intelligence, research and strategies for effective streaming. Our expert guidance empowered 6play to stay one step

ahead of industry shifts, adapt to evolving trends and make informed decisions for sustainable growth.

The enduring partnership between 6play and Bedrock is a shining example of the transformative power of collaboration and innovation in the streaming industry. By harnessing Bedrock’s cutting-edge technologies, 6play has propelled itself to new heights in advertising revenue and enriched user experiences, expanded its commercial offerings and established itself as a leading player in the French broadcasting landscape. This narrative showcases the remarkable outcomes that can be achieved through a strategic and symbiotic partnership between a content provider and a technology solutions provider.

As we reflect on this journey, let us remember the words of Julien Smadja, deputy managing director in charge of digital TV activities: “Bedrock’s expertise and innovative solutions have been instrumental in driving our company’s growth, enhancing user experiences and maximizing advertising revenue. Through our collaboration, we have achieved remarkable milestones, including the successful launch of 6play max and the continuous improvement of our platform. Bedrock’s strategic guidance and commitment to staying ahead of market trends have played a crucial role in our success. This partnership exemplifies the power of collaboration and innovation in the French broadcasting industry, and I look forward to our continued journey together.”

Together, we have unlocked a world of possibilities and are excited about the boundless potential that lies ahead in the dynamic world of streaming.

On the FA

FAST is the latest disruption that everyone in the ecosystem is working to come to grips with, from distributors of scale to AVOD platforms, legacy pay-TV channel operators and smart-TV manufacturers.

ST Track

Amid SVOD woes, continued cord-cutting and challenging macroeconomic trends that are dampening global ad forecasts, FAST has emerged as a considerable bright spot for companies across the ecosystem, from distributors shoring up valuable additional revenues from library titles to AVOD platforms using FAST channels to deepen engagement to broadcasters and legacy pay channels eyeing a lucrative opportunity to reach viewers in a new (and yet old) way to the tech companies that have emerged to help everyone navigate this new space.

In a report released in April, Omdia forecasted that FAST channels would generate revenues of $6.3 billion this year, with 80 percent of that to come from the U.S. The U.K., Canada, Australia, Germany, Brazil, Italy, Mexico, France, Spain and Sweden are the top ten non-U.S. markets poised for growth. And while the U.S. will continue to dominate the market, a $1.6 billion revenue opportunity will emerge for FAST channels outside of the U.S. by 2027.

Beyond optimistic growth forecasts, the other aspect that makes FAST the buzzword of the moment is that there are lots of different ways to participate. If you have enough content, you can deploy your own channels. If you’re a linear pay-TV channel, you can look at FAST as a new way to expand your reach. SVOD operators, too, are using FAST channels as

shop windows of sorts. And if you have high-quality back catalog to sell, there’s a good chance you’ll find a channel operator that wants some of those shows. The question then, of course, is if what you’re getting for that deal is worth the time and investment required.

WHY FAST?

For many companies of sizable scale, the FAST opportunity emerged ear ly—back when these free ad-supported channels started streaming online via the likes of Pluto TV and Samsung TV Plus.

“There were opportunities for us to monetize our deep library of content that we wholly own around the world,” says Mark Garner, the executive VP and head of global FAST channels at A+E Networks (who some say coined the FAST moniker). “In this ecosystem of potential opportunities, we indeed saw FAST as a strong contender—and so very early on, we adopted a strategy. For A+E Networks, this made great sense as we have a long legacy in curating entertainment brands and content. This was a natural evolution for us to extend our content and brands and create new channels, taking advantage of new business models, doing what we’ve always done but adjusting to shifting consumer habits and doing it well. Our perspective is we would do it better than anybody else.”

Fremantle, too, was early, extending the BUZZR brand for classic game shows, first rolled out in U.S. syndication, into FAST in 2019. “Year one

was a good experience,” says Jens Richter, CEO of commercial and international. “In year two, we saw quite some traffic, and then in year three, we saw traffic and also revenues.”

BBC Studios unveiled its first U.S. FAST channel in 2020. “BBC Studios has a tremendous amount of content that has yet to be exposed to viewers, especially in North America,” says Sarah Shriver, VP of programming and marketing for FAST channels and VOD sales.

All3Media International also joined the fray early with the 2019 rollout of the So…Real channel in North America, tapping into its vast lifestyle and reality slate. That bouquet of FAST channels has grown to seven, with two new ones arriving later this year.

“It’s really about adding extra windows, adding value for distributors and bringing in new opportunities while also trying to make those channels something of a fan experience,” says Gary Woolf, executive VP of strategic development at All3Media International.

Banijay Rights has also been in the FAST space since 2019. “The catalog now is spanning 172,000 hours of content,” says Shaun Keeble, VP of digital. “We’re certainly looking at all of those IPs that may have already had market awareness or a presence in a first- or secondwindow run and then looking at a third- or fourth-window run in the FAST space.”

Mike Gould, the senior VP of digital at Cineflix Rights, observes: “A distributor of any scale needs to be in this space to some extent. There’s been so much growth, and it’s a significant revenue opportunity.”

SPI International has long been in the pay-TV channels business, so extending into the FAST space was a logical growth opportunity.

CHANNEL SAVVY

“I believe the future of the TV experience will be a hybrid: a combination of a vast VOD selection with a lot of verticals and genres as well as linear,” says Haymi Behar, chief marketing and digital officer.

SPI International has rolled out a suite of 200 Smart Channels sourced from its extensive library curated across key verticals. “People are experiencing choice fatigue,” Behar says. “When it comes to entertainment, we prefer that somebody makes those choices for us.”

And curation is indeed paramount; selecting the right brands, the right refresh rate and the right flow from one show to the next in order to create a schedule that will deepen engagement and limit churn.

As for what makes for a brand that can carry its own channel, it comes down to two factors, A+E Networks’ Garner notes. “You need to have enough volume to support a single-IP FAST channel. You have to have brand recognition and brand equity. It’s about generating an audience, so you can have thousands of episodes of something, but if nobody knows it, it doesn’t do anything for anybody. Volume, brand equity and discoverability are important.”

“Recognizable talent or IP supports a singleIP channel,” agrees Shriver. “There’s also the idea of building a genre channel and then using that as an incubator to see where the viewership is, where the monetization is, and then

blowing that out as a single-series or even a dual-series channel. A lot of it depends on the number of hours per series. In the early days, you could get away with a channel with 75 hours. Now you need 250 hours; you have to keep it fresh. Otherwise, people will tune out.”

As Fremantle’s Richter notes, “It’s a game of the right shows, volume, scheduling and refresh rates. You need to constantly put something up, and then you have to think about engaging with your audience.”

On Cineflix Rights’ approach to scheduling its FAST channels, Gould notes: “We don’t want any two consecutive days to be the same, two consecutive weeks to be the same, two consecutive eight-hour periods to be the same. Each time a viewer visits the channel, even if it’s the same format they’re expecting to see at that time of day, we want them to see a different episode of that format. We tend to work to about a 25 percent refresh rate on the channel per month. That doesn’t mean 25 net new content to that channel forever, but at least it means that on a month-to-month basis, the general spread of content feels different. That is different for a single-IP channel—there’s much more acceptance from the user and the platforms for those to feel more repetitive.”

DUAL TRACK

Autentic is approaching FAST from both sides: as a channel provider and a distributor licensing content to third-party services. “One of the reasons for this is, to be quite frank, we don’t know which horse is going to run faster, and we are still learning about FAST,” says Patrick Hörl, founder and managing director. “If you just look at Europe, it’s difficult to say how much of a business this is and how the dynamics work. We are still trying to figure that out and have our hands in all pots possible.”

FOX Entertainment Group (FEG), meanwhile, is taking a slightly different approach, bringing its AVOD programming expertise via sister company Tubi and considerable library of TV movies to help international partners roll out their own services.

“TV movies are well designed for FAST channels,” says Tony Vassiliadis, executive VP of FEG and COO of MarVista Entertainment. “They have two important things: volume and similar themes. You’re not bouncing between various genres because you’re trying to create a destination in a specific theme with a particular affinity. We have several threads of TV movies in different genres, so we can help—whether that’s romance, thriller, true crime or holiday— design packages of content that will feed a FAST channel.”

Vassiliadis continues: “Our goal is not necessarily to launch a whole host of FAST channels; it’s to work with those launching FAST channels to provide content and leverage our expertise as

an organization. Fox Corporation has FOX Entertainment, which programs a network, and Tubi, which has deep knowledge of content that works in the AVOD space. We can be impactful with international buyers in the FAST space by helping provide content tailored to AVOD.”

“Movies have always worked very well in VOD,” agrees Scott Kirkpatrick, executive VP of distribution and co-productions at Nicely Entertainment. “They’re very short, digestible pieces of media property. There’s not a massive time commitment. In the FAST space specifically, they work great because they can be programmed neatly into slots, and you can theme

and bulk a lot of them together. Once audiences have a vertical or a type of genre they prefer, they can sit down with one channel, invest in it and find movie after movie.”

WHERE’S THE MONEY?

For content owners licensing to channel operators, a traditional license fee is the preferred model, “though we are increasingly analyzing where to pursue a rev-share, especially as we get into deeper relationships with some of these clients,” FEG’s Vassiliadis says. “We want to be committed partners in helping them grow their businesses in local markets. A license fee

is great because it reduces our risk, but as FAST grows, we want to be on the cutting edge, looking at where we can create smart and unique partnerships with our clients where we both capitalize on the upside.”

For those building their own slates of ownedand-operated channels, there are a couple of models in use, Fremantle’s Richter explains. In a standard rev-share, “the platform monetizes the inventory, and you share with the platform the advertising revenues. The next level up could be a revenue-share model with the backfill rights. You, the channel provider, have the opportunity to sell idle, unsold inventory. Another model would be an inventory-share model. You have the advertising inventory around your show, and you share that inventory, the minutes of advertising spots, with the platform, and each side can sell individually. Then you can retain and keep the revenues you make from selling the advertising.”

What route you take depends on the market, A+E Networks’ Garner says. “Right now, with the ad market being challenged— hope fully not as challenged as we all thought it was going to be—different models make sense in different places for different reasons. Factors include the type of FAST platform, its technology, capabilities and what’s visible to us as a publisher and seller.”

MINING THE DATA

Data from platforms is essential, BBC Studios’ Shriver notes. “It’s hugely important for us to be able to have insight into performance so that we can make the best channel that we possibly can. It’s not about the secret sauce and trying to find out what’s happening on their platforms.

It’s not second-guessing monetization. It’s truly about the metrics in our channels.”

Garner adds that A+E Networks’ FAST programming teams have long used traditional television ratings in making content decisions. “They understand the science of scheduling and audience generation. Data and near realtime visibility of content performance is, in some cases, much more readily available via FAST, so decisions can be made in a much more dynamic and timely way.”

“It’s almost taking the overnights and reflecting that against our programming decision-

making, particularly against the genre-specific channels,” notes Banijay’s Keeble.

With FAST still in relative infancy, accessing and understanding all of that data, from disparate sources, can be a challenge. “We are looking at solutions to aggregate FAST data across all its sources,” says Kasia Jabłońska, head of VOD for EMEA at BBC Studios. “This next year will be, in many ways, about finding the right solution to do it.”

Garner agrees that the metrics situation needs improvement. “The FAST space is certainly challenged when it comes to data

because of different viewpoints on what is shared and what should be proprietary. That said, we have the good fortune of having been in the business for 30-some years. We’ve sold content worldwide. We’ve aired it on linear. We’ve done it digitally. There is data that’s available to us in FAST. When you can take all of that and work with world-class research, analytics, marketing and programming teams, you get creative and figure it out. That’s not to say that we as an industry shouldn’t create greater availability and transparency of data; we should. In the interim, it’s about utilizing and being creative with what you have.”

The other hurdle for anyone getting involved in FAST is simply managing the deliverables.

“Every platform partner has their particular flavor, and they like it a very specific way,” Nicely’s Kirkpatrick says. “There’s a bit of a learning curve, and it does take some time and financial investment up front to place these things. Especially on the independent side, you need to do some cost/benefit to figure out which platforms are worth it and which ones aren’t, and it’s not always the best strategy to go with everyone, everywhere, all at once. It is sometimes smarter to take a step back for those specific reasons and say, we’re going to focus on these platforms, channels and outlets rather than go everywhere.”

“It’s much more complex in the FAST world than we as a company expected,” Autentic’s Hörl adds. “And it’s sometimes also frustrating to realize that there are so many different norms and standards between the platforms. This will be sorted out one day so that there will be one standard that probably applies to most of the platforms. But we are suffering because we have to deliver to various platforms with completely different standards.”

GLOBAL SCALE

The U.S. remains the most developed FAST market, but other territories are coming up quickly. However, given the steep learning curve and financial investment required, IP owners should be cautious when approaching opportunities in emerging territories.

“We have to be mindful about content, localization and cost,” Keeble says. “As distributors, we are going to be wearing those costs. We’ve seen significant opportunity in Asia, but we need to be mindful that while viewership may be high, advertising and the CPMs reflected may need to increase in the region.”

All3Media International’s Woolf agrees, noting: “High viewing and low ad revenue is disastrous because you’re paying for the bandwidth. You can have as many viewers as you want, but if the money’s not there, your channel is running at a loss. There are a lot of countries we could be doing something in, but the time is not quite right yet. Equally, the way dubs are

licensed, if it’s not a production you own, you’ve either got to acquire them back from the local broadcaster or you’re creating new dubs. So it’s another layer of costs.”

It’s also a different set of players internationally, with some markets having a better free-TV landscape than others.

“There are well-developed, free-to-air channels and cheaper basic-cable services in Europe,” explains BBC Studios’ Jabłońska. “So, the FAST model has been developing slower. However, we do believe the model has turned the corner. Germany, the U.K., Italy, France and

Spain will likely be the next major growth areas for FAST. In Europe, broadcasters and telcos will add FAST to the BVOD platforms.”

Woolf notes that some 70 channels are freely available to U.K. viewers via digital terrestrial, which is not the case in the U.S. “That also impacts how we program channels and what you think the role of FAST is as it comes into Europe as opposed to what FAST is in the U.S.” Cineflix’s Gould adds: “The extent of [the U.S.] market share will probably drop over the coming years as some other big Englishspeak ing markets come into the frame. FAST is

a very local space. In many other regions, broadcasters have such a strong hold on users’ access to content in a way that was not quite the case in the U.S. It’s going to be interesting to see who else emerges.”

“The opportunity outside of the U.S. is tremendous,” says Garner at A+E Networks. “We are seeing the growth curves, which are similar to what the U.S. was two or three years ago. Outside of the U.S., those growth curves are probably faster than what they were in the U.S. It’s also very different outside of the U.S. Many major markets have a healthy dose of free TV. It has been interesting learning why FAST would be compelling in those markets. It’s about the variety of choice, with fewer limitations on capacity.”

THE GREAT CULLING

But there is such a thing as too much choice, and given that FAST is seen as a way to promote discoverability, rather than make it harder, a culling is to be expected in the sheer volume of services available.

“What’s interesting in the U.S. is the number of channels,” says Fremantle’s Richter. “That growth rate was higher than the growth rate of the advertising revenues. More money gets spread across a lot more channels and a lot more inventory. That’s a little bit of the challenge. A platform that maybe three or four years ago was eager to take on any kind of channel might be more selective now. They’re looking for strong, highly professional, premium brands with great viewer experiences, and they might filter out some channels that underperform. Some platforms carry 300, 400, 500 channels. That becomes a crowded space. That said, we’re working on some exciting new channels for the U.S. There’s not an absolute limit. What’s happening now is a little bit of a filtering. Strong new offerings will come to the market, and some will go out.”

“Volume is important because everybody’s trying to block shelf space,” says Autentic’s Hörl. “But viewers don’t want to be swamped with content they don’t find attractive enough. So, it’s more like a B2B challenge to block the shelf space from other competitors. But ultimately, I think the market will move toward a scenario where it’s more about quality than quantity in the FAST space. We all know that the shelf space is limited. We know that people’s time is limited. We need to figure out the best shows to put on the air.”

BBC Studios’ Shriver also expects user interfaces to improve. “Two hundred used to be the maximum; for the bigger platforms, the maximum will probably be around 400 channels. But the algorithm and the AI will serve you the channels you want to see. It will also suggest new channels based on your interests. I think the technology is going to get better.”

TVK I D S

Co-Production Models / Preschool Trends / AVOD Buyers / Disney Branded Television’s Ayo Davis

Superprod’s Clément Calvet & Jérémie Fajner / Rainbow’s Iginio Straffi / pocket.watch’s Chris M. Williams

Common Sense Networks’ Eric Berger / BLE Report / In-Demand: Comedy & Preschool / Screenings Festival

Mansha Daswani Editor-in-Chief

Anna Carugati Editor-at-Large

Kristin Brzoznowski Executive Editor

Jamie Stalcup

Alexa Alfano Associate Editors

David Diehl Production & Design Director

Simon Weaver Online Director

Dana Mattison Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

Daphne Menard Bookkeeper Ricardo Seguin Guise President

Anna Carugati Executive VP

The Age of Angst

As we all know, producers and distributors clamored for that opportunity with a fair bit of “what-is-this-shiny-newthing” wonder. There may have been some disappointment.

Indeed, we’ve moved out of newborn joy and seem to have hit a period of tween angst. Models are changing again. Broadcasters are contending with an ad crunch that is constricting budgets. And the free ecosystem gets busier every day. While there have been casualties— AVOD streamer Playground TV, for example, announced it was shuttering last month—FAST channels are proliferating. The amount of time kids are spending on social media and gaming platforms means that you have to be there in some way if you’re looking to build a meaningful brand.

FEATURES

TEAM SPIRIT

Producers and distributors are increasingly forming partnerships to finance shows.

LITTLE LEARNERS

Spotlighting what’s new in preschool programming.

DEMANDING KIDS

Programmers from top AVOD platforms share their wish lists.

BLE REPORT

Trends in licensing and merchandising.

IN-DEMAND

Buzzy new preschool and comedy shows.

JUST FOR KIDS

Our TV Kids Screenings Festival spotlights shows from across the globe.

INTERVIEWS

TV Kids

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Website: www.tvkids.com

The executives we spoke to across this MIPCOM and MIPJunior edition of TV Kids know that the next year or two will be tricky as we all come to grips with the latest disruptions. But this segment of the media business has long been known for deploying creative models to get things made. That sense of nimbleness is what production and distribution executives are relying on to get through these growing pains. We heard that across all of our interviews for the report on co-productions and financing. We heard it when checking in with sellers of preschool IP as they look for new ways to make a dent in an always crowded genre. Clément Calvet and Jérémie Fajner have placed innovation and creativity at the heart of their expanding Superprod Group as they look to cover all segments of the kids’ and family sector. It’s a similar story for animation pioneer Iginio Straffi, who remains focused on building breakout megabrands at Rainbow Group. Chris M. Williams continues to be bullish on the creator economy as pocket.watch builds YouTube shows into multiplatform brands across SVOD, AVOD, on-demand and FAST. Eric Berger is confident that the values developed at Common Sense Networks will keep the AVOD service Sensical and its new slate of FAST channels at the forefront of children’s usage time. Ayo Davis knows that kids will always be moved by the values of wonder and music that Disney has become known for, whatever platform they’re watch ing on.

The global streamers betting big on children’s entertainment, often shelling out large sums to own properties for their global footprints, for the last few years cast an overall halo of positivity on the global kids’ sector.

Aardman

Ready Eddie Go! / Yukee / Quentin Blake’s Box of Treasures

Aardman is bringing to MIPCOM new children’s titles, including Ready Eddie Go!, a CGI series from Hocus Pocus Studio that offers “how to” guides for various life scenarios through the eyes of three preschool friends. Created by musicians for future musicians, the preschool series Yukee comes from Score Draw Media. Also on offer, Quentin Blake’s Box of Treasures features six stand-alone specials based on stories from illustrator and storyteller Quentin Blake. “These beautifully crafted, engaging stories of fun, friendship and adventure will provide an exclusive treat for all viewers, delivering family entertainment at its very best,” says Alison Taylor, director of distribution at Aardman. Other titles in Aardman’s catalog include Adventures of ArachnoFly, a spinoff of Lloyd of the Flies; Mitten & Shoe; and Monster Doctor.

Australian Children’s Television Foundation

Kangaroo Beach / Crazy Fun Park / Built to Survive

Kangaroo Beach, an animated series for preschool audiences about the adventures of four animal friends training as lifeguards and delivering messages about water safety, is on offer from the Australian Children’s Television Foundation. For teenagers, the horror comedy series Crazy Fun Park is about two best friends that death cannot keep apart. When Mapplethorpe is killed at an eerie abandoned theme park, his spirit lives on, and his best friend Chester returns each night to see him. Another featured title is the factual adventure series Built to Survive, providing a close look at the ultimate survivors of Australia’s most extreme habitats. “No matter where they’re from, kids love adventure, laughter, real-life stories and a bit of harmless horror thrown in for good measure,” says Tim Hegarty, international sales manager.

Banijay Kids & Family

Totally Spies! / Shasha & Milo / Silverpoint

Banijay Kids & Family’s Zodiak Kids & Family Distribution has on offer a new version of Totally Spies!, which is returning after ten years for a seventh season. “With strong female leads, the new series perfectly combines the sass, wit and charm of the original with a fresh look and feel for today’s audiences,” explains Julia Rowlands, senior VP of sales, co-productions and acquisitions at Zodiak Kids & Family Distribution. Shasha & Milo sees its titular characters battle evil forces using their abilities to shapeshift into cats while juggling normal 12-yearold lives. Silverpoint features “stunning cinematography and a rich narrative,” Rowlands says. With two seasons available, it follows a group of kids who discover a strange artifact at camp that may be linked to campers who went missing more than two decades prior.

“Every program highlighted features relatable casts, situations and experiences.”

—Alison Taylor

“From preschoolers to young adults, the Australian Children’s Television Foundation distributes world-class live-action, animated and factual content for every demographic.”

—Tim Hegarty

“Banijay Kids & Family is home to some of the biggest kids’ IP in the world.”

—Julia Rowlands

Bavaria Media International

Meme Girls / Featuring Ella / A Secret Book of Friendship

Meme Girls, a six-part series available from Bavaria Media International, follows a 15-year-old aspiring influencer whose parents banish her from the online world and force her to switch from a private school to a public one. “It skillfully juxtaposes the real and online worlds, offering a blend of meme-infused humor and thoughtful exploration of teenage life,” says Helge Köhnen, head of content sales. Köhnen describes Featuring Ella as a “100-minute rock-and-roll rebellion film with a snappy young feminist twist.” It centers on a girl band that uses music to heal their worries and express their aspirations. A Secret Book of Friendship sees two boys run away on a treasure hunt. “International audiences will recognize elements reminiscent of classics like Huckleberry Finn and Indiana Jones,” Köhnen notes.

BBC Studios Kids & Family

Stan Can / Popularity Papers / Hey Duggee

The BBC Studios Kids & Family MIPCOM slate features the animated preschool series Stan Can, about a highly resourceful hamster and his community of friends. “The show is funny, playful and warm with a quirky humor and full to the brim with cute characters,” says Katharina Pietzsch, VP of content sales. “Also, Stanley has an amazing array of vehicles that really appeal to machine-obsessed little ones.” The live-action comedy Popularity Papers follows two middle school best friends as they try to determine what popularity means by conducting a variety of social experiments. “It deals with issues that affect school-aged kids across the globe, like navigating their way through unfamiliar feelings, family drama, friendship and crushes,” Pietzsch notes. There’s also a fourth season of Hey Duggee.

Branscome International

ROBOTIK Unplugged / ROBOTIK Super Charged / TIME FOR CLASSICS!

From Cheshire Smile Animation, ROBOTIK Unplugged and ROBOTIK Super Charged are among the titles Branscome International is showcasing. Tim Tyler, ROBOTIK’s executive producer and founder of Cheshire Smile, says, “Our next season promises adventures, more characters and more complex storytelling. Our initial shorts series of 42 episodes is traveling fast.” Catherine Branscome-Morrissey, executive producer and president of Branscome International, adds, “The initial ROBOTIK series proves the viability and parent-child coviewing appeal of this budding media-driven brand. Heartfelt vignettes feature a charming robot girl and her sidekick dogbot who cheerfully help their fellow robots in need of cool digital upgrades and physical fixes, too.” Branscome International is also premiering the shorts anthology TIME FOR CLASSICS!

“We explore universal and relatable themes, providing an engaging and entertaining experience for teenagers worldwide.”

—Helge Köhnen

Hey

“Our aim for MIPCOM and into the future is to help Cheshire Smile Animation

‘bring smiles to audiences worldwide.’ ”

—Catherine Branscome-Morrissey

“We have a robust portfolio and dynamic development slate of entertaining and distinctive content.”

—Katharina Pietzsch

CAKE

Cracké Family Scramble / Sherwood / Toru Superfox

CAKE’s slapstick animated comedy Cracké Family Scramble follows the adventures of an overprotective first-time daddy ostrich as he scrambles to keep control over his household of eight kids. Meanwhile, he must contend with his mischievous neighbors, the crows, who are determined to ruffle his feathers. The tween animated action series Sherwood reinvents the legend of Robin Hood in 15-year-old Robin Loxley, who brings down the corrupt and oppressive regime that has its hold over 23rd-century London, which has been devastated by climate change. Sherwood is available in eight languages. The preschool series Toru Superfox “helps young children to understand, identify and deal with their feelings,” says Ed Galton, CEO. Whenever his friends are in trouble, Toru puts on his superhero mask and comes to their rescue.

Cyber Group Studios

Press Start! / Droners / Taffy

Cyber Group Studios’ MIPCOM slate is led by the first completed episodes of Press Start!, a Peacock original comedyadventure series based on the best-selling Scholastic books written and illustrated by Thomas Flintham. The story sees two kids play inside their favorite video game and bond with their favorite character. “It’s a fun-filled, inclusive and top-quality production designed to bridge audiences worldwide,” says Michèle Massonnat, VP of sales and acquisitions at Cyber Group Studios. The second season of Droners features 26 episodes that continue the series’ high-tech adventures and drone races. Also in the catalog, Taffy has a third season in development. Additionally, Cyber Group Studios distributes the Splash Entertainment portfolio, which includes Chloe’s Closet and more.

DeAPlaneta Entertainment

Milo / Monster Shaker / Magic Lilly

DeAPlaneta Entertainment’s Milo leads the company’s roster of highlights. The animated preschool series is co-produced with Fourth Wall, and its first season is dubbed into a host of languages. The show’s second season is in production, to be released in 2024. The animated Monster Shaker is next, coproduced with GO-N Productions and based on the comic books of the same name. The global release is set for 2024, beginning with France’s Gulli. Magic Lilly is based on the literary and audiovisual saga born in Germany, entitled Lilly the Witch (Hexe Lilli). Preproduction is ongoing in Spain, with a release set for 2025. Although the titles have different audience targets, “they all have the common sense of DeAPlaneta Entertainment’s DNA,” says Carlos Biern, content and distribution director for the kids and family division.

“Our goal is now focused on setting up a digital and merchandising strategy.”

—Carlos Biern

“These three high-end animated series with universal themes for all demographics are sure to entertain and appeal to our international partners.”

—Ed Galton

“Our commitment is to bring exceptional independent series from talented producers to a global audience.”

—Michèle Massonnat

Filmax

SUPERTHINGS Rivals of Kaboom—Kazoom Power / Turu and the Wackies / Robotia

SUPERTHINGS Rivals of Kaboom—Kazoom Power, on offer from Filmax, is a series based on the universe and spirit of the SUPERTHINGS toys. Three friends find themselves caught up in an adventure “filled with action, excitement, danger, pace, tension, humor and, above all, wacky missions that will captivate kids around the world,” says Iván Díaz, head of international. “We think this is one of the IPs with the greatest potential in Europe,” he adds. The singing and dancing series Turu and the Wackies is also featured, along with Robotia, set in a world inhabited by machines that live, dream, learn and play. All the inhabitants of Robotia are interconnected, as they have been made from recycled parts. However, not everyone knows this, least of all Alex and Bibi.

Guru Studio

Big Blue / 123 Number Squad! / True and the Rainbow Kingdom

Guru Studio’s original 2D comedy adventure series Big Blue is among the featured titles on the company’s MIPCOM slate. Created by Ghanaian-Canadian artist Gyimah Gariba, the show “offers young viewers a comedic and heartfelt look at what it means to be part of a tightly-knit family, underscoring the message that caring for our planet and each other is the most important thing of all,” says Jennifer Oppenheimer, international sales and licensing manager. 123 Number Squad!, following Paula, Billy and Tim as they use numbers, counting and shapes to become a fastresponse rescue team that helps the citizens of Numberville, and True and the Rainbow Kingdom, encouraging children to be mindful, courageous and respectful of all living things, also rank as top titles.

HARI

123 Number Squad!

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

In HARI’s Mystery Lane, a hamster detective and her brother work on extraordinary cases that baffle Scotland Yard. It features “lots of mysteries, action, suspense and fun, packed in a feature-quality CGI animation with sophisticated storytelling that will captivate kids and families,” says Sophie “Kido” Prigent, head of sales. The Weasy Family combines “slapstick comedy and a heartwarming narrative with emotional stakes at the core,” she notes. The father-daughter relationship showcased in the show “will resonate with a wide audience, including parents.” Grizzy & the Lemmings World Tour sees Grizzy and his pals accidentally take off from the rangers’ station and travel the world. The series “continues to drive ratings with kids and preschoolers, boys and girls alike,” Prigent says.

“In the upcoming months, we will present new, very exciting and ambitious titles.”

—Iván Díaz

Robotia

“For over 20 years, Guru Studio has brought to life some of the most recognizable and beloved children’s properties in the world.”

—Jennifer Oppenheimer

Hasbro Entertainment

My Little Pony: Tell Your Tale / My Little Pony: Make Your Mark / Peppa Pig Cruise Special

At MIPCOM, Hasbro Entertainment is presenting My Little Pony: Tell Your Tale and My Little Pony: Make Your Mark. “The rich storytelling and diverse set of characters showcased within both series inspire viewers to explore, express and celebrate what makes them unique,” says Monica Candiani, executive VP of content sales. “Kids can even see themselves reflected in these ponies.” As the Peppa Pig series approaches its 20th anniversary next year, the four-part Peppa Pig Cruise Special sees Peppa, George and their grandparents board a solar-powered cruise ship. The upcoming tenth season of the original Peppa Pig series will introduce new characters. The brand “encourages kids to jump in together and explore the world around them while giving them the confidence to treat every first step as a new adventure,” Candiani adds.

Headspinner Productions

Aunty B’s House / Gisele’s Mashup Adventures / My Shadow is Pink

The new 20x7-minute live-action series Aunty B’s House is one of Headspinner Productions’ top program highlights. Set in foster mom Aunty B’s home, the series is geared toward preschool-aged audiences and stars the show’s creator and former Canadian foster child Khalilah Brooks. Aunty B’s House “is incredibly diverse and has an important message of unconditional love and kindness,” says Michelle Melanson, president and executive producer at Headspinner Productions. More top program highlights from the company include Gisele’s Mashup Adventures, which asks children to help create stories and then animates them, allowing them to star in their own adventures, and My Shadow is Pink, based on Scott Stuart’s book of the same name that explores gender identity, equality and self-acceptance.

Inanimatti

Arky Arch Adventures

Inanimatti is featuring its inaugural animated IP, Arky Arch Adventures. For kids 6 to 12, the series follows the story of Arky, a hopeful, young Roman Arch who embarks on a highstakes journey across the planet Tredi to uncover his true purpose and save the world from devastation. While Arky is courageous, his passion for triumph and his natural leadership qualities allow him to make friends of all shapes, sizes and archetypes. “The series delivers immersive and edge-of-yourseat storytelling with incredibly unique world-building to create a fun, funny and dynamic adventure series that will connect and resonate with kids on every continent,” says Chris Bangle, co-founder of Inanimatti and creator of Arky Arch Adventures. The series aims to foster an appreciation for design, creativity and diversity among its audiences.

“We hope to encourage kids to see the world around them in a new and imaginative way.”

—Chris Bangle

“Aunty B ’s House is a show like no other.”

—Michelle Melanson

“Quality is always of the utmost importance, but engaging stories and relatable characters are also key elements of each property.”

—Monica

The Jim Henson Company

Wowsabout / Dani Can Dance / Jim Henson’s Monster Jam

The Jim Henson Company’s top program highlights include the titles Wowsabout, Dani Can Dance and Jim Henson’s Monster Jam (w.t.). The all-new lineup of projects is geared toward preschool-aged audiences. Wowsabout is true to the company’s roots, using live puppets to drive the show. It follows a guitar-playing hedgehog and a tree-loving pig on their adventures as they experience the wonders of the natural world, and the show ultimately seeks to connect children to the Earth. Dani Can Dance and Jim Henson’s Monster Jam star computer-generated characters and were “created with a global audience in mind,” says Kerry Novick, VP of global distribution. The three highlights “showcase the top talent, gifted artists and cutting-edge technology that ensure our shows stand out in a crowded marketplace.”

Konami Cross Media NY

Yu-Gi-Oh! GO RUSH!! / Yu-Gi-Oh! SEVENS / Yu-Gi-Oh! VRAINS

Konami Cross Media NY has a slew of Yu-Gi-Oh! titles on offer, including Yu-Gi-Oh! GO RUSH!! The seventh spinoff in the franchise features monsters and powerful spells. Its predecessor, Yu-Gi-Oh! SEVENS, sees its characters use new strategies to make each rush duel more dynamic. Also on offer, Yu-Gi-Oh! VRAINS has three seasons and 120 episodes available. “This year marks the 25th anniversary of the Yu-Gi-Oh! trading game,” says Mark Kirk, senior VP of distribution. “It is providing our partners with a multitude of new opportunities as our franchise continues to add a new generation of fans with new content.” Kirk adds, “We are also looking to further opportunities to engage our Bomberman, Contra and Frogger gaming fans through different entertainment media.”

Lion Forge Entertainment

Iyanu / Bugtron / Best Wishes

MIPCOM marks the first market for the rebranded Lion Forge Entertainment. The company is launching its live-action film and TV development division and building out global transmedia franchises around Lion Forge IP. The slate includes Iyanu, set in the magical kingdom of Yorubaland; Bugtron, about a 12-year-old who is shrunk down to size and heralded as the ultimate hero of bugs; and Best Wishes, a series of films based on the best-selling books by Sarah Mlynowski. “As the focus remains on authenticity while telling stories from diverse perspectives, we ensure that kids from all over the world connect and engage with our characters and stories,” says Stephanie Sperber, president and chief content officer. “We also have the unique ability to co-finance projects, de-risking the greenlight decision for buyers.”

“International buyers have the opportunity to be part of the next wave of iconic properties from The Jim Henson Company.”

—Kerry Novick

“Lion Forge’s mission is to tell diverse stories authentically.”

—Stephanie

“Our Yu-Gi-Oh! audience has never been stronger.”

—Mark Kirk

Barbie: A Touch of Magic

Mattel Television

Barbie: A Touch of Magic / Monster High / Barney’s World

Barbie: A Touch of Magic is a top program highlight from Mattel Television, along with Monster High and Barney’s World. The first title sees Barbie “Malibu” Roberts and Barbie “Brooklyn” Roberts forge new friendships and embark on mystical adventures at the shore when they stumble upon a baby pegasus. The pair must look to their friends and family to help keep their new friend safe from the clutches of Rocki, a magical being with her own agenda. “During a hugely exciting time for the Barbie brand, we are thrilled to announce all-new Barbie content in the months ahead,” says Alex Godfrey, VP of content distribution. The highlights Monster High, including a second season of the series and Monster High the Movie 2, and Barney’s World reinvigorate familiar Mattel brands and characters for television.

Mediatoon Distribution

SamSam: Cosmic Adventures / Versailles Unleashed / The Marsupilamis

Mediatoon Distribution is bringing to MIPCOM SamSam: Cosmic Adventures, the newest addition to the SamSam universe. Produced by Bayard Jeunesse and Folivari, it follows the small superhero as he gets older, goes to school and faces new challenges in outer space. Versailles Unleashed takes viewers into the Palace of Versailles and introduces its menagerie of animals through the eyes of King Louis XIV’s favorite dog, Belfort, and his companion, Lupin. Together, they explore the vast royal residence and sniff out its secrets. In The Marsupilamis, the fluffy, wild and playful creatures Hope, Twister and Punch swing from the tops of buildings and cause all kinds of chaos while having tons of fun together. Versailles Unleashed and The Marsupilamis come from Ellipse Animation.

Mediawan Kids & Family

Leaves & Roots / Boule & Bill / Toko Loko

Following their debuts at Cartoon Forum in Toulouse, Mediawan Kids & Family is presenting Leaves & Roots, Boule & Bill and Toko Loko. Additional highlights include Witch Detectives, a whodunit comedy series developed for TF1 and Super RTL, as well as Ki&Hi, a new anime-adjacent buddy comedy series for CANAL+. Buyers will also have the opportunity to preview the first episodes of Pirate Academy and The Little Prince and Friends in the screening rooms at MIPJunior. “Mediawan Kids & Family is a rapidly growing independent animation, production and distribution company that brings together talents and storytellers to create beloved franchises for the next generation,” says Julien Borde, president. “Our sales and editorial teams are eager to engage in business discussions and showcase our exciting projects to you.”

SamSam: Cosmic Adventures

“Our main ambition is to foster the best talent in Europe through our eight premium production labels.”

—Julien Borde

Leaves & Roots

“Mattel content shines due to the strength and mass public awareness of our longstanding IPs, beloved characters and appeal to diverse audiences across generations.”

—Alex Godfrey

Mercury Filmworks

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

Mercury Filmworks’ top program highlights are all based on children’s books. Octicorn & Friends is based on the book Hello, My Name Is Octicorn, in which a half-octopus and halfunicorn protagonist tries to figure out what to do with his feelings. Tales of the Underwear Dragon, from the book Attack of the Underwear Dragon, delivers medieval stories about valiant knights and dastardly dragons. Episodes feature original songs written by Tony-, Emmy- and Grammy Awardwinning composer, producer, arranger and orchestrator Bill Sherman (Sesame Street, Hamilton). A Mouse Called Julian, based on the book of the same name, conveys messages about the importance of friendship. “It’s a powerful celebration of finding friendship in unexpected places,” says Chantal Ling, VP of original series and co-productions.

MIAM! distribution

Our Summer of Freedom / The MiniWhats / The Tinies

The MIAM! distribution slate features Our Summer of Freedom, an adventure series that follows the quest of Khadidja, Lyes, Philippe and Ahmed, four kids from different communities, in the city of Algiers in 1955. The MiniWhats centers on a group of six kids who use drawing to answer their questions. “The MiniWhats teach children important lessons in self-confidence and problem-solving,” says Mélanie Errea, head of sales and acquisitions. “Delicately balancing humor with creativity, each episode explores a new dream world that is both captivating and inspiring.” The Tinies takes place in a little city built by toys in the attic of a house. Ollie and Titus create their own games through upcycling. “The Tinies concretely show kids how to play with empty packages we usually throw in the recycling bin,” Errea says.

Mondo TV Group

MeteoHeroes / Monster Loving Maniacs / Agent 203

The environmentally-themed MeteoHeroes leads Mondo TV Group’s MIPCOM slate. Addressing issues such as climate change and respect for nature through the adventures of six children—each of whom can control a weather phenomenon— the series helps young ones understand how they can help the planet. In Monster Loving Maniacs, three kids are trained as monster hunters by their grandfather. Despite what they are told, the children save the monsters they are supposed to hunt. Agent 203 follows Zoe, a girl who, after finding out her dad used to be an intergalactic agent, decides to follow in his footsteps. Monster Loving Maniacs and Agent 203 are “aimed at audiences aged 6 and above and co-produced and codistributed with Toon2Tango,” and coming to screens soon, says Luana Perrero, head of content sales.

“These three programs are aligned with what we want to do at MIAM! and what we want to offer to the global buyers and audience.”

—Mélanie Errea

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

—Luana Perrero

“Our mission in developing content for children is to create value-driven and entertaining stories that resonate with today’s children all around the world.”

—Chantal Ling

Paramount Global Content Distribution

Dora / Bossy Bear / Rock, Paper, Scissors

The bilingual heroine Dora the Explorer returns in Dora, a featured series from Paramount Global Content Distribution. The title “encompasses all the adventure of the previous series and takes it to another level, with faster, more epic action,” says Lauren Marriott, senior VP of content partnerships and brand strategy. Objectives found in the prior iteration, such as solving problems and overcoming obstacles, remain present. More top titles include Bossy Bear and Rock, Paper, Scissors Bossy Bear, a brand-new preschool show, centers on the unlikely companionship between the extroverted Bossy Bear and the introverted Turtle, leaving friendship at the core of the show. Rock, Paper, Scissors follows three best friends (a rock, a paper and a pair of scissors) who share an apartment and compete over just about everything.

Pink Parrot Media

Sleepy’s Dream Team / Louis the Piglet / Joy Eternal

For preschool-aged audiences, the Pink Parrot Media highlight Sleepy’s Dream Team centers on Sleepy, a teddy bear, and his friends as they harvest dream dust for Starlet to scatter in bedrooms all over the world. Louis the Piglet, a highlight for 5to 8-year-olds, follows Louis and his best friend, Rascal, on their quest to find a magical helmet that may help the piglet take on his mean cousin Bruno. Joy Eternal follows 16-year-old Joy as she attempts to take down a megacorporation, losing everything she thought she knew in the process. Aimed at teen audiences, “the series explores themes of loss, grief, environmental crisis and the power of never giving up,” says Begoña Esteban, head of international TV sales and acquisitions. “The series is full of humor and adventure, and it offers unique social commentary on the world we live in.”

pocket.watch

Love, Diana / Toys and Colors Kaleidoscope City / Captain Future Pirate

Love, Diana ranks as a top offering among pocket.watch’s MIPCOM roster. The show takes its star Diana into the Land of Play, where she is transformed from her live-action self to the animated Princess of Play. Episodes showcase themes of friendship, leadership, imagination and play. Toys and Colors Kaleidoscope City also tops the list, delving into a magical world where kids can learn the importance of empathetic thinking. Captain Future Pirate guest stars a bevy of kid creators such as Jason Vlogs and Mackenzie Turner Roblox. “With today’s kids increasingly gravitating to social video platforms, pocket.watch is the leading force bringing them content that’s proven popular, highly curated and enriching, in places that are safe, selective and committed to quality,” notes Jeff Siegel, global head of content distribution.

“We are very much open for business in distributing our kids’ and family franchises to partners in all parts of the globe.”

—Lauren Marriott Dora

“Each series is very well focused on the target it wants to reach.”

—Begoña Esteban

“Pocket.watch has the largest collection of shows and stars that have proven appeal with today’s digital-first generation.”

—Jeff Siegel

Rainbow S.p.A.

Gormiti: The New Era / Mermaids: Magic of the Deep / Pinocchio and Friends

Gormiti, a long-standing franchise, has been reinvented into Gormiti: The New Era, a brand-new live-action series on offer from Rainbow. More featured titles include Mermaids: Magic of the Deep and the second season of Pinocchio and Friends Mermaids: Magic of the Deep, a CGI fantasy adventure, follows a mermaid princess with budding magical powers as she battles evil forces that seek to destroy the world. Ultimately, the power of female friendship and the loving bond of family are the most formidable forces of all. Pinocchio and Friends “is ready to come back with a second season full of surprises,” says Andrea Graciotti, head of sales for TV and VOD rights. After a rescue mission on the seven seas, the familiar puppet drags his friends into adventures full of twists and turns.

Studio 100 Media

Vegesaurs / 100% Wolf: The Book of Hath / FriendZSpace

The second season of Vegesaurs is featured in Studio 100 Media’s MIPCOM slate. Each mini-adventure in every episode is driven by the Tricarrotops Ginger and her friends the baby Pea-Rexes. The series, targeting 4- to 7-year-olds, “is a fresh and unique take on the dinosaur genre with admirable characters you can only find in this show,” says Dorian Bühr, head of global distribution. The second season of 100% Wolf, subtitled The Book of Hath, is also featured. When the werewolves are threatened, the fluffy pink werepoodle Freddy must lead his friends through another series of adventures and prove, once again, that he is 100 percent wolf. FriendZSpace, targeted at children aged 5 to 9, follows three best friends who embark on unique and tricky missions to make connections with alien kids.

Superights

Tara Duncan / Sullivan Sails / Clay Time

Leading program highlights from Superights include the animated series Tara Duncan , Sullivan Sails and Clay Time Tara Duncan, a fantasy series targeting kids ages 6 to 9, shows a strong heroine who learns how to control her new powers on a magical planet. Sullivan Sails, for children 3 to 5, sees the young hero Sullivan as he aspires to become a cartographer with the help of his imaginary friend Benji. “It encourages a love of adventure, exploration and imagination in young audiences,” says Nathalie Pinguet, deputy managing director of sales and acquisitions. “The series is vivid, colorful and creative.” Another title from Superights, Clay Time, is a DIY series aimed at 3- to 5-yearolds who are invited to develop their imagination through modeling clay.

“The goal remains to cover every segment of the entertainment industry, from the preschool target to kids to whole families.”

—Andrea Graciotti

“The Superights team would be delighted to talk to you about our ever-expanding catalog.”

—Nathalie Pinguet

Gormiti: The New Era

“We are recognized around the world for best-in-class programs.”

—Dorian Bühr

Toon2Tango

Monster Loving Maniacs / The Wee Littles / Agent 203

Monster Loving Maniacs, a featured title from Toon2Tango, follows Edith, Ernest and Bo, three siblings who are being trained as monster hunters by their tough, old grandfather. Unlike their grandfather, the kids love paranormal creatures and look for a way to save the monsters rather than hunt them. “It’s a highly original story but also great fun, with lots of excitement and humor as well as bigger themes, like families, relationships and coping with our fears, all delivered with wit, energy and stylish, skilled animation,” says Ulli Stoef, CEO and producer. The Wee Littles, a preschool stop-motion series about a family of four small creatures, and Agent 203, centering on a daughter’s journey to follow in her father’s footsteps as an intergalactic agent, also top the company’s MIPCOM slate.

TV Asahi

Obocchama-Kun / Doraemon / Shin chan

Obocchama-Kun , a collaboration between TV Asahi and Sony Pictures Networks India, ranks as a top program highlight from the Japanese media group. The comedy about a wealthy boy is a sequel to the original series from 1989. Doraemon is soon to celebrate its 55th brand anniversary. The series sees a robot cat from the future get sent back in time to save a 10-year-old boy from getting into trouble. In honor of the anniversary, “we are planning to produce many special contents and events for the occasion,” says Maiko Sumida, head of animation sales and development for the international business department. Shin chan , meanwhile, is a slice-of-life show about a 5-year-old boy that has been airing for over 30 years.

TV Film International

Kiwi Island

Children can learn to cultivate their emotional intelligence in a fun-filled manner with Kiwi Island, the featured MIPCOM highlight from TV Film International. The 26x22-minute series showcases emotions that children may experience in their daily lives. All children, regardless of where they come from, must cope with emotions such as joy, sadness, frustration and hope. The show models a host of ways for kids to understand and navigate those feelings in a form that targets engagement and fun. Creative contributors for the series hail from the U.S., Latin America and India, among other countries, making for a multicultural and collaborative process. “Our goal at MIPCOM and MIPJunior is to bring Kiwi Island to life by establishing strong collaborative networks in new territories through securing additional presales,” says Juan Pablo Carpenter, CEO.

“We’re planning some strategic new developments that we’re keen to talk about very soon.”

—Ulli Stoef

“Kiwi Island focuses on helping children cultivate their emotional intelligence in a fun-filled manner.”

—Juan Pablo Carpenter

“TV Asahi is now putting more and more emphasis on the development of our own IP.”

—Maiko Sumida

WildBrain

Jonny Jetboy / Pet Hotel / Caillou

Jonny Jetboy, a new series from PAW Patrol creator Keith Chapman, leads WildBrain’s slate for MIPCOM. With heroic characters, action-packed adventures and high-tech gadgets, it “has all the right ingredients to entertain families worldwide,” says Caroline Tyre, VP of global sales and rights strategy. Pet Hotel follows the exploits of hotel owner Robin and his animal guests. The WildBrain catalog also features a new CG-animated version of Caillou, which “continues to bring to life pivotal themes of how to handle big emotions, how to dream big and how to foster curiosity in preschoolers—building on the enormous popularity of the existing Caillou content library,” Tyre says. “With an all-new look and storylines where Caillou explores the world through wonderful flights of imagination, Caillou is even more relevant for kids and parents today.”

Winsing Animation

Shadows of the Void / Mega Meow / Mongo

Shadows of the Void, Winsing Animation’s debut anime, is on offer at MIPCOM. The title “is an exhilarating 3D sci-fi and hot-blooded series for teenagers and young adults,” says Sophie Lau, head of international business, as it showcases two heroines whose intertwined destinies lead them on an extraordinary journey. For younger children aged 6 to 9, Mega Meow is a 3D animated series set in a fantastical world where alien cats, able to transform into humanoid superheroes, fight to save the Earth. Mongo is a 2Danimated slapstick comedy series that centers on the mischievous husky Hubro, ginger cat Habibi and parrot Heddy as they cause all kinds of trouble around the house. The series has no dialogue, eliminating translation barriers.

Wonderworld.fun

Secret Agent Jack Stalwart / Walk off the Earth in Space!

Seasons one and two of Secret Agent Jack Stalwart, on offer from Wonderworld.fun, are based on the chapter book series of the same name. Jack Stalwart is a spirited, inexperienced but brave 9-year-old secret agent who travels the world solving mysteries and righting wrongs, all while searching for his missing brother—and fellow secret agent— Max. Season one of the action comedy Walk off the Earth in Space! is also featured, telling the tale of the human band Walk off the Earth, featuring original songs by them. “The international appeal for these two shows is attributed, we believe, to their uniqueness, and we hope that global buyers will see this as an opportunity to fill the gap in their content,” says Emilie Pasquet, VP of distribution and co-production.

“In recent years, Winsing has produced a number of animated series in various genres for different age groups.”

—Sophie Lau

“We are actively seeking new business opportunities and collaborations.”

—Emilie Pasquet

“At WildBrain, we explore what’s possible rather than what’s expected.”

—Caroline Tyre

TeamSpirit

As children, how often did we hear our parents encourage us to play together—an effort to teach us how to cooperate, share and listen to a different point of view? As we got older, teachers, counselors and coaches would help us through challenges by advising equal measures of effort, determination and patience.

Executives at independent production and distribution companies serving young viewers are heeding those voices from yesteryear. As they face a market rife with challenges and change, they know the value of finding partners to help finance shows.

“The children’s market is undergoing significant transformation,” notes Kate Sanagan, the head of sales and distribution at Sinking Ship Entertainment. “We’re in this challenging time, between all the shifting dynamics, budgetary constraints, changes in streaming models and technology advancements. And then, of course, the overarching global recession. It’s a perfect storm of a challenging environment. It is an uncertain space right now.”

“The reality is the children’s content market on a global scale has been shifting for a while now, which has created an industry slowdown as broadcasters and streamers take a beat to redefine their businesses,” adds Chantal Ling, the VP of original series and co-productions at Mercury Filmworks. “As we assess and listen to the marketplace and have more clarity on what broadcasters and streamers need, we can then react and curate what we present to best respond to their specific needs.”

Raphaëlle Mathieu, the COO of Cyber Group Studios, agrees. “The market is in flux, necessitating our adjustment to sometimes a reduced volume of orders and longer commitment timelines. While decision-making processes are currently slower—initiated during the Covid period and continuing due to market adjustments—we can view this as an opportunity to adapt to the changing landscape.”

Though so much is changing, industry players wait to see what programming strategies the streamers will employ and whether advertising will improve and give commercial channels a chance to increase their budgets.

In a difficult children’s content market, with broadcasters and streamers reducing their budgets, producers and distributors are increasingly forming partnerships to finance shows.

By Anna Carugati

In the meantime, one constant remains truer today than ever—quality programming makes a difference.

“Over the past few years, the market has restructured around bigger yet fewer broadcasters and streaming platforms, and in the meantime, more distributors and content creators are proposing a variety of shows,” says Solène Crépin, sales and business affairs executive at Mediatoon Distribution. “Buyers today have a much wider choice of content but won’t be able to commission it all. More than ever, producers must seek to diversify content, and that also means bigger budgets. We are therefore betting on high-quality and premium programs thanks to our inhouse studios and third-party producers.”

“But quality requires a bit of a leap of faith when you are in a data-driven economy,” notes Frank Falcone, the president and executive creative director of Guru Studio.

“People are using data to make informed decisions, which leads to conservative decisions and people going with what they know—brands that have awareness. Anything

that has cachet, has stood the test of time and has engagement on another platform currently or in the past is a better bet than something they’ve never seen before.”

Most channels and platforms prefer playing it safe when commissioning.

“Everyone possesses a natural preference for security over risk,” observes Cyber Group’s Mathieu. “We have always heard about creating IPs and brands. Now, known IPs and brands become more reassuring for people. This is particularly relevant as some financial adjustments have been made due to the repercussions of Covid and the subsequent crisis. The global streamers and the majors have faced challenges and implemented cost-saving measures, so it impacts our industry.”

“The number one driving force right now for what streamers and broadcasters are picking up is the financing,” says Sinking Ship’s Sanagan. “While thematic alignment is crucial, the ability to secure partnerships and financing is emerging as the driving factor. So, collaborations and other industry stakeholder partnerships have become important to us.”

BACK TO BASICS

ZDF Studios has a long history of successful co-productions, dating back to before the streamers started stepping up and covering the entire budget of a show.

“Today, we’re getting back to the old model of coproduction where you had to find different partners, and not only one partner who was able to finance a whole show,” notes Arne Lohmann, VP Junior at ZDF Studios. “We continue to bring different partners together to co-produce with the streamers [and broadcasters such as] BBC and France Télévisions.”

“Yes, partnerships matter more now than ever,” says Mercury Filmworks’ Ling. “In this current climate, I think people, specifically broadcasters, are looking for financial reassurance. Meaning it’s advantageous to come to the table with a financial mechanism in place such as a Canada-France co-production, for example.”

“The most important elements from the start are trust and commitment among the partners, along with a mutual goal and vision for the property,” Ling continues. “Our mission is to seek partners that embody the values we foster internally— integrity, boldness, leadership, diversity, innovation, commitment and passion. Having these mutual values as the foundation sets the tone as we move into creative and development. Once we have identified partners that meet these cr iteria, it typically leads to an organic

work split, which is crucial in the development and production process.”

Clear communication of objectives is critical during development and when bringing on board partners for a project. Cyber Group’s Mathieu cites how the definition of a target audience can vary from one broadcaster or platform to another.

AGE COMPRESSION

“Today’s 10-year-olds or 6-year-olds have realities distinct from those a decade or even five years ago,” says Mathieu. “The concept of the 6-to-10 age group has transformed, with various interpretations depending on the player. This dynamic shift, however, opens up exciting opportunities for fresh perspectives.

“What you want to say and how you want to say it becomes increasingly important,” continues Mathieu. “Having discussions creatively is increasingly important to fight for the content you believe in. Buyers value security. As producers and distributors, we’re committed to showcasing how our content can meet their needs, even if initially uncertain. It’s more work and a great challenge but interesting.”

Mathieu emphasizes the importance of explaining in detail what best serves clients and “providing comprehensive pitches that precisely outline why our show’s target can effectively resonate with their audience. The complexity arises from the varying perceptions of the target audi ence—understanding its significance and whom it truly connects with poses the challenge.”

Sinking Ship’s Sanagan concurs with the necessity of clear communication: “Making sure everyone’s on the same page and that there’s not a misunderstanding [is critical] because there are different ways of doing business across cultures and each way has to be respected. We try to do that with transparent meetings and ongoing conversations. Shared values are important to us, so we work with folks like Fred Rogers Productions or BBC Studios. And then, just from a practical standpoint, the financing has to be an upside for both parties. The money needs to work for both sides.”

While there is a greater need for jointly financed projects, as Guru Studio’s Falcone points out, they are no less difficult to assemble. “Even though they’re necessary, there are tax structures that complicate matters in some territories, so getting things off the ground gets a little harder. And even with multiple broadcasters on board,

gaps still need to be filled. So, while normally you’d see an investment from a venture capital (VC) financier, that’s getting harder as interest rates have increased. They don’t get the money from our industry that they can get in other markets. It becomes less attractive when some of the rates out there are where they are. It’s hard to attract that kind of money in this high-interest-rate market. So [there are] further pressures on raising money for premium shows. It is a challenging environment to finance new productions.”

Even setting aside the high interest rates, dealing with private equity or venture capital funding is complicated. “I think the challenge of the model is the ROI, from the VCs’ point of view,” explains Mercury’s Ling. “The animation process can be quite extensive, at times expensive, and generally takes a long time for projects to go from concept to release, which is typically not very appealing to VCs looking for a quicker return. You need a full 360-degree exploitation plan with partners attached to make a VC deal meaningful.”

TAX TOOLS

Another advantage of co-productions is that partners in territories that offer tax incentives or soft money can bring additional money to a project.

“We are part of a bigger group that has subsidiaries throughout Europe,” says Julien Borde, the president of Mediawan Kids & Family. “[We are] using the Euro toolbox that is available for financing. [There is] real competition between the different tax credit systems in Europe to attract business, and that is helping us cope with the different financing challenges.”

“The industry does not generate as many eyeballs as it used to,” notes Guru Studio’s Falcone. “And because it doesn’t, it’s much harder to raise the money to make the kind of shows we’re accustomed to watching at the price point required to make them. We’re in an age of expensive supply, and monetization of the content is challenging for anyone investing in content.”

Despite the numerous challenges in the shifting kids’ content market, trends are emerging that are offering producers and distributors new opportunities.

“One noteworthy transformation is how exposure on YouTube, once viewed negatively by broadcasters and streamers, has undergone a positive shift, ” notes Mathieu. “Previously, there was hesitance to share rights, but the

current landscape is evolving in a different direction. Achieving success on platforms like YouTube or AVOD is now seen as a valuable asset for a brand. This has led to the consideration of non-exclusive content as a viable option. Additionally, the concept of generating digital spin-offs from brands has gained traction. We have explored this evolution with our digital native spin-off of Gigantosaurus , Giganto Club . Therefore, we are now happy to be co-producing new seasons with Mediacorp in Singapore. This would not have been possible three years ago.”

As Sinking Ship’s Sanagan points out, comedy is still popular among audiences and commissioners. “We are doing Odd Squad U.K., the U.K. version of Odd Squad. It’s an official treaty co-production between Sinking Ship Entertainment and BBC Studios Kids & Family. It’s a partnership with Fred Rogers Productions.”

Sinking Ship and BBC Studios have also partnered on another series. “While budgets and commissions have been reduced, it’s not all doom and gloom, and risks are still being taken,” notes Cecilia Persson, the managing director of BBC Studios Kids & Family. “BBC Children’s and Education recently took a big leap of faith in our teen drama Phoenix Rise, and Sinking Ship came on board as our distribution partner. The risk has paid dividends with fantastic critical reviews and a commission for series two.”

There is a need in the market for shows that appeal to tweens, teens and families. “Demand for family programming is increasing, which was something that for years was not in focus, but it is now,” says ZDF Studios’ Lohmann. “A good example is Theodosia, which we are doing together with Cottonwood Media. We have a second season that the BBC joined. The show targets a tween demographic but also has a strong family appeal.”

PERFECT PAIRINGS

Though aligning the needs of co-production partners can be challenging, that common ground can help attract buyers.

“You have to choose your partner carefully,” explains Lohmann. “We always discuss editorial first because sharing the same vision is necessary. That can be a benefit. With Theodosia, we started discussing the different needs of Germany and France. If a show can work in two territories, it’s most likely a good match for international distribution. That’s what we experienced here. That’s why the BBC came on board. It acquired the first season. It was very successful, and BBC prebought season two.”

“Globally, we have seen a trend for high-quality scripted series and animation focused at the older age range, while preschool animation continues to form a significant part of international broadcasters’ schedules for both linear and streamers,” says Persson. “The co-viewing trend is continuing and is one that all platforms seem keen to invest in. We are proud to have shows that tick all these boxes in our portfolio.”

Sinking Ship has a new series for family viewing. “ Beyond Black Beauty is a coproduction between ourselves and a Belgian company,” says Sanagan. “It will debut on Amazon Freevee in the U.S. That’s big for us because it’s a proper family series. We’ve lived in the kid world for a long time, so this will be new for us.”

Reimagining known IP is a favored strategy of many distributors. “We’re in production on the next part of the Dino franchise, which is Dino Dex,” says Sanagan. “Dino Dex is Dino Dana’s little brother. That is

with several partners: Prime Video in the U.S., TVO and TFO and Knowledge Kids in Canada. Delivery will be next year.”

Mediatoon is rebooting iconic characters by developing new series such as SamSam: Cosmic Adventures and The Marsupilamis, a co-production with M6’s Gulli. “This type of content is reassuring for broadcasters and streaming platforms, who can count on the popularity of our IPs and their solid, successful background,” says Crépin.

Series derived from books can also resonate with audiences. One new show from ZDF Studios is Tobie Lolness, based on a best-selling French novel. “It’s a co-production with France Télévisions,” explains Lohmann, “an epic and wonderful animated show for 6-plus but also a family audience.”

GLOBAL ALLIANCES

To fulfill broadcasters’ and platforms’ need for shows that will appeal to young audiences, producers and distributors are reaching out to international partners.

“The significance of anime, or the anime style, is rising across the globe,” says Cyber Group’s Mathieu. “In France, we’re fortunate to have a dynamic and passionate talent community that excels in collaborating with artists connected to the anime culture. At Cyber Group Studios, we started with Droners, co-commissioned by TF1 (France), WDR (Germany) and Disney Channel (France, Benelux). It’s not anime but an anime tribute. Another anime tribute is a show we showed last year at Cartoon Forum, The Tern, for which we now have our first big partner, CANAL+. It’s our version, our tribute, our creation, and to aggregate talents and passions is important.”

Asian partners are also present in Cyber Group’s Alex Player , a collaboration between France, Italy and Singapore. “It began as an internal initiative, developed over two years to ensure a high-quality show,” explains Mathieu. “Following a commission and a redevelopment

phase with France Télévisions, the project captured the attention of Rai (Italy), leading to the involvement of Italian co-producer Graphilm Entertainment. Then, Cyber Group Studios brought the series to Asia and teamed up with Scrawl Animation as co-producer. Working together, adding talents from all these regions and benefiting from their artistic and technical prowess is a remarkable advantage.”

Mercury Filmworks is also tapping into French animation expertise. “We currently have two projects with partners that are in various stages of development,” says Ling. “The first one is Octicorn & Friends, based on Hello, My Name Is Octicorn, which we are debuting at MIPJunior this year. We have partnered with France’s STIM Studio, which has firmly established itself as a leader in CGI fea ture animation. Given that this series is one of Mercury’s first CGI animated series, we believe STIM is the ideal fit as our co-produc tion partner.”

Persson’s team at BBC Studios found a partner in China: “We have launched the hit preschool animation Supertato The series is a highly successful co-pro duction between BBC Studios Kids & Family, BBC Children’s and Education and Tencent. The collaboration came about because we knew that Tencent was looking to invest in high-quality European children’s content, and they hold the licensing, merchandising and broadcast rights for China.”

GROWING PAINS

The children’s TV market is undergoing significant transformation, much of it driven by the streamers. As Mediawan’s Borde explains, not all of it has been negative: “The streaming boom has had a very good impact on the traditional broadcasters, who are open to different pitches from very young preschool to adult animation, even if they are commissioning slowly on adult animation. For us, it’s an array of opportunities. Broadcasters are more open than ever; they can [choose] more serialized series, even different demos. And in the last months, we have seen the streamers moving to more commercial IPs and mainstream commissioning. It’s an interesting time because everything is open on the market.”

Opportunities and challenges alike characterize today’s multiplatform children’s media landscape. “We at ZDF Studios are in a privileged position because everything is quite stable as far as our budgets are concerned, but I can see that a lot is going on in the market,” says Lohmann. “There are some partners we were working with for a long time, and they are no longer there.”

Despite current challenges, for Lohmann, “the demand is still there, and I don’t think we will have problems getting the right shows with strong editorial up and running.”

Producers and distributors must continue collaborating, listening to the market and sharing risks and rewards. “Globally, the industry has slowed down this past year, and I believe it will continue in the upcoming year,” notes Mathieu, “so we need to think differently, adopt fresh perspectives and innovative approaches.”

LITTLE LEARNERS

Leading producers and distributors share the latest trends in the preschool programming space. By Jamie Stalcup

The youngest viewers are turning to TV for entertainment more and more every day, so much so that parents across the U.K. have expressed concern about children’s screen time, according to a survey by BBC Children’s and Education. But while many adults are wary about overall screen time, they recognize the value programming can bring. Of the respondents, 65 percent agree that TV shows can foster creativity and communication, and a whopping 93 percent indicated interest in educational programming. It should be a comfort to parents worldwide that producers and distributors are dedicated to providing this kind of programming for their children.

Getting parental approval is of the utmost importance when it comes to preschool shows, says Halle Stanford, the president of television at The Jim Henson Company. “They always ask themselves: What will help my kids survive and thrive?”

SURVIVE & THRIVE

“The ‘thrive’ is what makes preschoolers happy and brings them joy,” she explains. “The ‘survive’ part is the educational content. It answers, How can this show help my child have a successful future? And the future could be kindergarten, or it could be inspiring their future careers.”

“Kids take away ideas from experiences or programming that engages them,” notes Monica Dennis, senior director of preschool content at Mattel Television. “There is a tremendous learning opportunity when content has

meaningful educational value and effectively entertains kids. Content that weaves larger life lessons from a character’s triumphs or laugh-out-loud actions can leave a lasting impression.”

At Hasbro Entertainment (formerly eOne Family Brands), like at so many companies, “education in preschool programming is a core pillar for us,” says Monica Candiani, executive VP of content sales. And as the demand for educational content continues to grow, “our outlook is that every story or character device can be an opportunity to educate.”

It’s not just the parents who want programming to have educational components. The kids enjoy it, too. “I truly believe that kids love to learn,” notes Emmanuèle Pétry, producer and head of distribution at Dandelooo. “As long as it’s fun, learning is a game. It’s only when you start going to school and you have homework that it becomes [boring].”

TV can make learning about counting, reading and other school topics fun. Aardman’s approach is to entertain and engage kids first, drawing them in and educating them in the process. The company distributes the Blocks franchise, which includes Numberblocks , Alphablocks and Colourblocks , which teach precisely what their titles suggest. “The genius of these shows is that the kids are enjoying and learning without really knowing it because the stories are funny and engaging first, but they’re brilliantly educational as well,” explains Robin Gladman, head of acquisitions at Aardman.

The same can be said of Aardman’s own IP, Gladman notes, mentioning Learning Time with Timmy, a spinoff of the non-dialogue series Timmy Time , itself an extension of Shaun the Sheep . Developed with the British Council, Learning Time with Timmy helps nonEnglish-speaking kids learn the language in an entertaining way.

But education doesn’t just mean numbers, letters and the like. It can go much deeper than that. “Educational priorities change year to year,” The Jim Henson Company’s Stanford explains. “We’ve seen a lot of shows focusing on STEM learning in the past because that was an early educational mandate—particularly because there was a need to raise the next generation of scientists and engineers. Right now, however, we’re seeing a lot of shows dealing with anxiety and emotional readiness as a result of the pandemic.”

If taught during children’s most formative years, emotional lessons can carry on far into the future. “Everyone can remember their favorite shows they watched as a kid, and they can have a big impact on how we view the world as adults,” says Delphine Dumont, chief commercial officer at Banijay Kids & Family.

Dandelooo covers this with Ioguis, which intertwines comedy and yoga. “When [children] have problems, they can resolve them with a yoga pose,” or at least calm themselves down enough to effectively problem-solve, Pétry explains.

Movement is another method for emotional release and something that The Jim Henson Company likes to focus on. “When it comes to puppets, especially digital puppets, what they do well is dance,” Stanford says. “Puppets can bust a move.” With Dani Can Dance and Monster Jam, The Jim Henson Company shows children

that movement can be used for personal expression, emotional release and artistic mastery.

MIAM! animation is another company that aims to address kids’ mental and emotional health. In The MiniWhats, a recent addition to its distribution catalog, a group of children meet up and discuss the problems of their daily lives. One of the children then uses his magic pencil to begin drawing and launches them into new adventures. “It’s about showing kids the power of drawing as a way to express their fears, questions and doubts,” explains Mélanie Errea, head of sales and acquisitions.

Similarly, Superights’ Momolu and Friends “helps young audiences explore and solve daily life challenges

be able to improve the devastating changes caused by those who came before them.

STAYING CONNECTED

“Preschoolers are so connected to all living creatures, so we have to create shows that encourage them to keep up those relationships,” Stanford explains. With the new show Wowsabout , The Jim Henson Company strives to do just that. “We’re exploring the theme of awe—being connected to and wowed by the natural and civilized world. If preschoolers know anything, they know the big ‘wow’s out there.”

through arts and crafts,” says Nathalie Pinguet, deputy managing director of sales and acquisitions. The company also offers Clay Time , which “embraces the DIY concept, encouraging preschoolers to explore their creativity through hands-on activities.”

GOING GREEN

Another hot topic in the preschool programming space is the environment. With climate change and its disasters frequently making headlines, fostering preschoolers’ love of the natural world and encouraging respect can create a new generation that will, hopefully,

In MIAM! animation’s Edmond and Lucy , the title characters take children on their daily adventures in the forest. With real-time CGI, the show features highly detailed backgrounds that allow kids to “feel that they’re having a walk in the forest with their heroes,” Errea says. The real-time animation method has also allowed the company to practice what it preaches; the technique has dramatically reduced the company’s CO2 impact, according to Errea.

As always, diversity is another priority for producers, distributors, broadcasters and audiences everywhere. Earlier this year, Samba TV found in its State of

“There is a tremendous learning opportunity when content has meaningful educational value and effectively entertains kids.”—Mattel’s Monica Dennis

Diversity on TV report that more than half of respondents say they are more likely to watch a show in which they see themselves represented. “The data shows that greater on-screen representation will tend to increase viewership overall and among diverse populations,” said Ashwin Navin, CEO and co-founder of Samba TV. And though preschoolers are young, they notice when they are (or are not) accurately represented. Luckily, producers and distributors have recognized the importance of authentic representation and inclusivity and integrated them into programming.

“The preschool stories we tell may feature human characters, vehicles, animals or anything in between, but in each story context, we depict unique, lived experiences of kids and families,” says Mattel’s Dennis. “We assemble creative teams with personal experiences to tell those stories as authentically as possible.”

The company teamed up with the Autistic Self Advocacy Network, among others, for its stories about

Bruno the Brake Car, the first autistic character in the Thomas & Friends franchise, to ensure a nonstereotypical portrayal.

It’s important to bring on more than one adviser for a given project. “We bring in the right advisers and experts to make sure we are best representing each group [and] to ensure we’re looking with a crow’s eye view at any particular diverse group,” explains The Jim Henson Company’s Stanford. “We have one show that we’re working on called All-ofa-Kind Family that has to do with Jewish identity. I’m a Jewish producer, and I can bring my expertise to the project, but I’m not going to represent every single voice in that arena.”

When dealing with diversity, it is also important not to depict it “in a clichéd way,” Dandelooo’s Pétry notes. “Not just, ‘Hey, let’s put a Black girl in there,’ or, ‘let’s put a kid in a wheelchair,’ because that’s like putting a sticker on. It has to be woven into the story.”

EVERYONE IS WELCOME

Banijay Kids & Family’s Dumont concurs, noting, “To have authenticity, the focus should always be on the characters and their stories, with difference, diversity and empathy integrated organically.”

This organic integration can take many forms. Hasbro Entertainment achieves it in Kiya & the Kimoja Heroes with a 7-year-old African girl who enjoys dancing and martial arts as its protagonist and a world inspired by the landscape and culture of Southern Africa. Superights’ Zibilla , meanwhile, fosters diversity acceptance by centering on a zebra who stands out from her horse classmates because of her stripes. Throughout the show, she slowly learns to embrace her differences and gains self-confidence.

Aside from incorporating various educational elements and social-emotional themes, preschool programming can strengthen bonds across generations. “Watching your favorite shows from childhood, like Fraggle Rock, with your kids is a super special bonding experience,” says Stanford.

Dennis expresses a similar sentiment, and Mattel Television has plenty of IP to back it up. “We’re fortunate to cultivate stories with an iconic roster of characters that have grown with families for generations,” she says, referencing everything from Barbie to Barney to Bob the Builder. “That connection of grandparents to parents and children, laughing and learning together, enhances the experience.”

Banijay Kids & Family’s Dumont has noticed the same, especially with the company bringing back the 1960s Italian puppet show Topo Gigio as an animated series. The new version “has been able to reach a wide audience, transcending generations by providing nostalgia for adults and entertainment for brand-new viewers,” she says.

Newer programming can foster this familial bonding just as well. The Jim Henson Company’s slate includes

Prigent gives Grizzy & the Lemmings as an example, as it can appeal to different demographics. In the U.K., Narrative Entertainment broadcasts seasons one and two on POP and Tiny Pop. “‘Fun for all and all for fun’ is our tagline for Grizzy & the Lemmings, and for us, that means our stories should entertain the widest audience possible while caring about the youngest eyeballs,” she says.

UBIQUITOUS DISTRIBUTION

In today’s world, with such an abundance of platforms, brands must be in as many places as possible to meet preschoolers and parents wherever they are and make an impact.

“It is more important than ever to build strong recognition for our shows,” says Hasbro Entertainment’s Candiani. MIAM! animation’s Errea cites Edmond and Lucy as a prime example of this multiplatform strategy. “We

Pajanimals , which Stanford says is “all about helping your kids get ready for nighttime—singing lullabies, getting in your pajamas and shaking out the squirmies— and so many parents say, ‘Watching Pajanimals is my snuggle time with my preschooler!’ ”

This carries over into bridge programming, which caters to children around 5 and 6, notes HARI’s Sophie “Kido” Prigent, head of sales. “Bridge content has seen a high level of demand, as it expands the reach from preschoolers to older kids, enabling siblings to share a moment in front of the screen without fighting for the remote control.”

didn’t just produce a 52x12-minute show,” she explains. “We also produce an additional series called Edmond and Lucy+ , with 13 episodes of 3 minutes. While Edmond and Lucy is a character-driven comedy, Edmond and Lucy+ is a more pedagogical series” for France Télévisions’ educational platform, Lumni. Additionally, the company produces a podcast for France Télévisions’ Okoo, in which the title characters discover the sounds of nature and nocturnal animals.

“We made a whole ecosystem around the IP, always having a super coherent approach,” Errea says. This not only ensures that children can encounter the IP on

“We’re seeing a lot of shows dealing with anxiety and emotional readiness as a result of the pandemic.” Henson’s Halle Stanford

multiple platforms—and therefore be drawn to others if they enjoy the content—it also allows them to have a 360-degree experience with the IP as a whole and fully immerse themselves in the Edmond and Lucy world.

“It is important to be everywhere kids and their parents are to fuel their fandom for our characters and brands,” Candiani agrees, noting that this also includes content that allows kids to interact with their favorite characters. She offers up the World of Peppa Pig app as an example. “It offers a safe and ad-free environment, filled with lots of learning, creative play and fun, combining both interactive content and full episodes of toddlers’ favorite brand.”

“Distribution is key,” concurs Aardman’s Gladman. “Building brands through your many touchpoints is vital for success.”

Last year, Aardman began a digital content lab to craft content specifically for the digital space, working across AVOD, FAST, YouTube, TikTok and more. “It’s exciting, and it’s something we’re starting to offer our third-party producers, too.”

“Defining success for a show is not limited to linear ratings,” stresses Banijay Kids & Family’s Dumont. “It can come from digital, publishing and consumer products. Combining all these elements ensures our content is as visible as possible and enhances its discoverability worldwide.”

The wider content is available, the more opportunity there is to bring joy to young ones and their parents, who are both in pivotal life stages. Preschoolers “are filled with wonder. They are so loving,” Stanford says. “It’s a vulnerable time for parents, but an exciting time because their children are now leaving the house and getting to know the world. Parents also relive their childhood with a preschooler and see experiences through their eyes again.”

And no matter what kinds of platforms content ends up on, as producers and distributors, “you have a responsibility when you put a child ages 2 to 5 in front of a screen,” Stanford says. “You better make sure that [the programming] is beautiful, has something to say and connects with their hearts.”

DEMANDING KIDS

From the major SVOD services rolling out ad-supported tiers to the boom in FAST channels, the media business at large is pivoting away from the subscription rush somewhat, and the kids’ business is no exception. The last few years have seen a dramatic proliferation in the availability of free ad-supported streaming platforms for kids. While they may not be commissioning big-budget originals or signing up for first-window rights, they are buying a lot of content and garnering an increasing share of kids’ viewing time.

“In the U.S., we lost about 6 million subscribers on cable and satellite last year,” says David Di Lorenzo, the senior VP of kids and family for Future Today, the parent company of the Hap pyKids service. “There’s been a paradigm shift in where audiences are going to watch content.”

Economic concerns have families scaling back their subscription spend, adds Brenda Bisner, chief content officer for

A Parent Media Co. (APMC), which operates Kidoodle.TV.

“There is a desperate need for content with no barrier to entry for kids and families globally. The drive for kids’ AVOD comes from parents being younger and having grown up with the internet and, of course, knowing the dangers that kids can face online and making wise decisions and researching where their children can safely view content.”

SHOWS THAT POP

Catering to multiple audience groups and niche interests, AVOD buyers have broad acquisition remits. HappyKids has been “aggressive in acquiring content,” Di Lorenzo explains. “Kids are watching a lot of different types of formats, a lot of different types of content. We’ve got a mix of studiopro duced content, YouTube influencers, UGC and gaming. We have very strict standards and practices, ensuring a safe environment for kids to watch this content. Last quarter, we brought in about a thousand half-hours.” Of that lineup, about two-thirds was studio-produced content from global

Programmers from leading AVOD services discuss sourcing content from the “creator economy,” weigh in on the role of exclusivity and share their wish lists.

By

producers. “The rest of that was YouTube content. And that was just in terms of new IP. We’ve got monthly refreshes from partners like Moonbug and others who are bringing in new content monthly.”

Moonbug Entertainment content has also made its way onto Canela Kids, a newer market entrant catering to Span ish-speaking children. “We took advantage of the fact that they had new content coming in that wasn’t available on other His panic streamers,” says Maggie Salas-Amaro, the director of Canela Kids at Canela Media. “We were able to capitalize on that. We’ve rolled out anywhere from 1,700 to 2,000 hours in the last year. We have about 3,000 hours right now on our platform.”

Kidoodle.TV has built up a “robust catalog,” Bisner notes, with the service having launched more than a decade ago. “We’re serving kids under 12 in 160 countries. It’s curating the biggest brands in the world. It’s not a quantity play but a quality play for us. We own the [phrase] ‘Safe Streaming.’ We want partners who care about that mission and what we’re doing to better the children’s experience online, matched with philanthropic endeavors. We want partners who are going to talk about being on Kidoodle.TV. We have a backstage analytics portal, which is very transparent, and it’s quality revenue.”

Bisner adds that IP owners in the AVOD space need a “social strategy. With the right execution, it does help elevate a brand. There’s a lot out there right now. There’s a lot to choose from. What’s going to get the attention of the parents that are scrolling?”

For Canela Kids, a critical need right now is shows for kids aged 7 to 9 and family-oriented titles, SalasAmaro notes.

Live action and movies are on Di Lorenzo’s wish list at HappyKids. “We’re also looking for new ways to work with partners, whether that is a spin-off series or something exclusive to our audience. It’s working with partners to find new ways to bring exciting content around a brand they already know. We’re 0 to 12, but our focus lately has been on juggernauts in the preschool space, whether CoComelon, DuckTales or PAW Patrol. One of the challenges for us is trying to find that older audience content,” especially liveaction sitcoms, he says.

Once derided as offering up nothing but “digital pennies,” AVOD services have become a much more significant part of overall distribution cycles, and rev-share isn’t the only model available to IP owners.

Di Lorenzo says HappyKids is doing flat-fee licensing, advanced minimum guarantees and revenue shares. “It depends on the content, the exposure the content has across other platforms and how well it’s known across our audience. There’s no one set structure for us in operating with partners. We want to bring partners in and make sure that we do the best job we can to support their content, make sure that their content is seen and that it’s given an opportunity to shine on our network.”

It’s a similar situation at Canela Kids, Salas-Amaro adds. License fee models are preferred over rev-shares, “unless

it’s a FAST opportunity. A minimum guarantee depends on who it is. It depends again on the property and ultimately what it will bring to the platform.”

APMC is a tech company, Bisner notes, able to accurately measure how shows are faring. “Estimations can be made around brands that we know have already been successful with us. We pay a CPM rate that’s not advert-dependent, and all of our adverts are vetted for kids and not interrupting the show, which we are very serious about. We have been a new revenue stream for a lot of people. You want eyeballs and revenue. You want to reach kids, and how you’re reaching kids should matter. Just putting it anywhere and not knowing what it’s sitting next to, what it looks like on the service and how other things may be found are considerations that need to be put on the table before making any deal. We feel we have a very fair deal structure. Every conversation has to be different, especially the bigger the brands are. It’s a dialogue.”

MASS EXPOSURE

AVOD deals, while they do involve license fees at times, are still largely non-exclusive. “There’s no such thing as exclusivity in AVOD,” Bisner quips. What a platform does to make a piece of content feel exclusive is key. “When we acquired the Moonbug package, it was on another Hispanic streamer,” Salas-Amaro explains. “But since we had done a deal

after they did their deal, we got new stuff. That was the competitive advantage that we had. CoComelon is all over the place, and so are the other shows, but we’re coming in with new seasons, and we had two new shows that were not part of the package that another streamer had. Now their license is over, and we are the ones that are owning the space.”

“We work toward exclusive packages in some instances,” Di Lorenzo says. “Some of this content is across multiple platforms, so whether it’s an exclusive special or something we can say to our audience, we’re bringing something new to you that’s different. Future Today is a publisher of apps for a lot of different brands. It may not be exclusive content, but we’re the largest place to find that content. Whether we’re talking about the LEGO app, the CoComelon app or the Blippi app, these are destinations that have an entire portfolio of content. In that respect, it’s not necessarily exclusive, but it’s the destination hub to find everything under a specific brand.”

Original content is also still in its infancy in the AVOD streaming space, but projects are underway. “We’re not someone you would call for co-production or gap financing,” Bisner says. “Our originals are made in-house with our incredibly creative team. We’re taking analytical approaches to our decision-making there.”

Similarly, Di Lorenzo says HappyKids is not at the point where it would “co-produce a studio-produced show. We’re interested in exploring that, but we’re not sure 2023 will be that year. We work with many

gamers and have a lot of user-generated content. It gives us an opportunity to create thematics around some of this gaming content and make sure that it fits into our standards and practices.”

THE DISCOVERY CONUNDRUM

With the sheer volume available across the ecosystem— from AVOD to SVOD, linear and FAST channels, social media platforms and more—figuring out how to get kids’ attention remains challenging. Proper curation and welldesigned user interfaces are key.

“What is toward the front of any row is going to get more attention than anything past the fifth or the sixth poster,” Salas-Amaro observes. “It’s the same with the linear [FAST] channels.”

Di Lorenzo agrees, noting that it’s generally the “usual suspects”—well-known brands—that kids will flock to. “We try to ensure that we’re promoting these shows by using banner ads and billboards in different spots. One of the great things about AVOD is that we can have a large catalog of content that allows our users to search and find things. It’s nice to have lots of content for kids to watch because they want to explore. This platform allows us to create an environment to find a little bit of everything you want to watch.”

Bisner adds: “Shows have to compete against the usual suspects. Peppa Pig, PAW Patrol. How are you going to hold up? It goes back into that social strategy and that brand packaging and how it is special for being on that platform.”

Ayo Davis Disney Branded Television

respect and optimism. You mentioned music, which is so integral to our storytelling, and I think back to our rich history of sing-along songs and chart-topping soundtracks from Zombies to High School Musical to Descendants. All these titles have brought so much joy and happiness to our audiences, which really helped fuel connectivity and engagement. So, for us, it’s about creating stories and characters that encapsulate the best of Disney and forge deep emotional connections that stay with the hearts of our audiences for their entire lives.

TV KIDS: How do you determine how many new shows you need each year?

DAVIS: There is no real hard and fast answer to that. It depends on the timing of our development and production cycles. Frankly, it’s about the performance of our current titles in any given year. In many cases, though, with our franchise properties, we can opt to hold back on a launch or extend a rollout to better align with the companion movies or even retail windows, which mostly happens in our Disney Junior preschooler audience. But ultimately, our goal is to create the best content and ensure we’re finding the best time frames to capture the largest viewership.

TV KIDS: Would you give some examples of how you decide where to place a show and where it should run first, whether Disney Channel, Disney Junior, Disney XD or Disney+?

As president of Disney Branded Television, Ayo Davis oversees the linear and nonlinear services of Dis ney Entertainment that cater to children, tweens, teens and families. Her teams create a wide offering of content, whether original ideas or reinventions of classic IP and Marvel and Star Wars franchises. Davis talks to TV Kids about connecting with young audiences wherever they are, their viewing patterns, representation and diversity and the attributes of the Disney brand.

TV KIDS: Disney Branded Television offers a broad range of programming, from animation and live action to dance, music and docuseries. What’s the strategy behind the offering, and how do you want to serve young viewers and families?

DAVIS: I have to start by sharing how incredibly proud we are to be a part of a company that, for over a century, has meant so much to so many people around the world. [My teams and I] have the privilege of continuing that legacy every day by creating stories for our most cherished audiences. Our group fuels kids’ and family content for Disney+, Disney Channel and Disney Junior. We have this huge slate that helps serve a global audience for preschoolers through adulthood. What all these shows have in common is that they are filled with signature Disney qualities of magic, wonder, adventure and heart, and with heroic characters that are relatable or reflective of the world that we live in and are truly guided by kindness, understanding,

DAVIS: Our main platforms are Disney Channel, Disney Junior and Disney+. The thing about the power of The Walt Disney Company is we’re able to meet our audiences wherever they are, whether it’s linear or streaming digital. We know that kids are watching their content everywhere. There’s very little overlap between viewers on these platforms. We actually get to reach our broadest audiences. Whether something launches first on linear or on streaming is based on the characteristics and circumstances of each of our titles. When you think about linear networks, we’re looking for shows that are highly repeatable. They lean into comedies. We give an emphasis to multi-cams and music. Ultimately, it’s our volume play. And when we’re thinking about Disney+, the storytelling here always appeals to our broader audience and has that premium “wow” factor. We tend to do more limited episodes, and, depending on the story, we’ll do an all-atonce drop or week-over-week cadence.

TV KIDS: Is there a difference between viewing patterns on Disney Channel or Disney Junior compared to Disney+? DAVIS: Whatever kids are really loving on linear, they’re really loving in streaming and digital. We’ve never really had a hit show on one that wasn’t a hit on another platform. That being said, though, our approach to launching shows on linear is so different than on Disney+. [With] linear launches, we can lean into scheduling, stunting and on-air promotion to drive sampling and awareness across the board. For Disney+, you have to be clever because it’s really

notoriously sticky once they fall in love with the show, but the tricky part is getting them there, especially during a time when we know that kids are watching content anywhere they can.

TV KIDS: Would you give some examples of extending some of the franchises you have, such as Marvel or Star Wars, into the world of young viewers?

DAVIS: That’s our core differentiator, and I like to call it our superpower. We’ve had great success with our Marvel and Lucasfilm partnerships. We focus primarily on preschool and kid audiences. When you think about it, we’re providing these early entry points into these beloved franchises and characters. Very early in the process, we work closely together to ensure that we’re combining their deep knowledge and expertise about the characters in their canon with our decades of experience creating engaging and trusted stories for kids. This is manifested in some great examples [such as] Spidey and His Amazing Friends. We’re embarking on our fourth season, and it’s continuing to thrive. The show is helping to drive affinity and consumer products through all of the fun characters and stories we’re telling. We’re also seeing this with Marvel’s Moon Girl and Devil Dinosaur, which is geared toward older kids. It’s doing well both on the channel and Disney+. We launched Star Wars: Young Jedi Adventures with our partners at Lucasfilm, and we’re super excited about that one as well.

TV KIDS: When it comes to actors, is it more challenging to spot talent in the under-18 age group than it is among adults?

DAVIS: Part of what we have to do is look for the potential because these kids are young; they’re learning, growing and building their skills. As you can imagine, it takes a lot at an early age to have the skills not only to act but also to sing and dance and, in a lot of cases, be funny. We know we’re asking a lot of our 11- to 14-year-old kids, especially those who are carrying entire shows. We work hard to set them up for success by giving them coaches and health and wellness guides to ensure that they can be at their best. We know it is a great responsibility, and we don’t take it lightly. We want to make sure that they feel good about what

they’re doing. We work collectively to ensure that these are great partnerships and that they’re happy because that’s ultimately what’s going to shine through at the end of the day.

TV KIDS: Disney Branded Television offers a range of programming that showcases diversity, whether it’s girl-led shows or characters from numerous ethnic backgrounds. Why is this important, and what are its benefits?

DAVIS: We spend a lot of time thinking about the power of storytelling and the incredible responsibility that goes along with what we do. Our focus is to create entertainment that allows our audiences to see themselves authentically reflected in magical and optimistic stories and characters. My daughter loves superheroes. When she saw Captain Marvel, she understood for the first time that a woman could be the superhero and not just a sidekick. I love that she can see and understand through the stories we’re telling that the possibilities are limitless. And that’s why representation is so important—when people see themselves reflected in our stories, the stories of magic and wonder and adventure, I think that’s powerful stuff.

TV KIDS: Tell us about the significance of the Disney brand.

DAVIS: It’s a trusted brand. When you’re sitting down [to watch Disney programming], or you’re putting your child in front of it, you know what you’re getting. I talked a little bit about the qualities of magic, adventure and wonder. [We] have the opportunity to bring those experiences that you get through the rides at the parks and create stories that have those same core qualities. It’s important for those to speak to each other in a synonymous way and for parents and kids to know what they’re getting when they show up for our channels and platforms.

TV KIDS: There’s a lot of talk about the difficulty of discoverability these days. It’s helpful to have the linear channels and Disney+. They all reinforce one another, don’t they?

DAVIS: Oh, my goodness, yes, 100 percent! We love it. As I mentioned earlier, there’s very little duplication in how our audiences are watching the stories across all these different platforms. They complement each other in a very meaningful way.

have bigger potential by mixing the fantasy world with football. We also thought we could bring in an extra level of quality because the technology has evolved a lot. There are things we could not do in the past. We gathered a team on the creative side and the writing side. We have a clear vision of the show and put a pilot together.

FAJNER: It has a very distinctive look. And we have the power to do everything in-house. We are a studio. That gives you much control and power over what you have on-screen. That’s exciting for the writers and Antoine, the director.

CALVET: It’s an important step for the company in terms of targeting—it will go up to 12 for sure. That’s something we’re not used to doing. We are just launching an animated feature film for adults, and we’re developing teen and adult animated series as well. This pilot is the first of its kind for us. We’re super excited to show it to the community. Our goal is not to do only one season. We’ll start with one season, but we have developed a deep arc that will sustain at least five seasons. We’d like to have one season for every event—the next World Cup, Euro, Copa América, etc. Every two years there’s a big event. We want to be ready to launch the show in parallel with those competitions.

Clément Calvet & Jérémie Fajner Superprod Group

Back when they were both at Gaumont Animation, Jérémie Fajner and Clément Calvet worked with the creatives behind Galactik Football, a French-Irish coproduction that enamored kids from across the globe with its potent mix of football and science fiction. Almost two decades later, in a markedly different kids’ landscape, Fajner and Calvet are returning to the world of soccer with the same team, unveiling Heroic Football at Cartoon Forum this year. The new production skews older than Superprod’s past animation shows, eyeing a demo of 8 to 12, and is allowing the venture to flex its technical skills across its studio facilities. TV Kids caught up with Calvet, CEO, and Fajner, managing director, to learn more about the new series and their approach to navigating the complexities of the kids’ sector today.

TV KIDS: It’s been a while since the kids’ industry has seen a big football-themed animated show. I think the last one was Galactik Football. How did Heroic Football come about?

CALVET: We gathered with our friends Antoine Charreyron, Guillaume Mautalent and Sébastien Oursel, the director and main writers of Galactik Football . We had such a great time producing that show together. We said, let’s do a series together again! That’s how it started. We put some themes on the table, what we wanted to play with. Football and fantasy was a good combination. It’s two subjects that kids are fans of. They never have enough football, and they love fantasy. We had success mixing sci-fi and football in Galactik Football. We felt we could

TV KIDS: The world has changed so much since Galactik Football , from the business models to how kids consume content. How different was the development process this time around?

CALVET: It’s a full CGI show, which was not the case with Galactik Football—it was in 2D with small pieces of CGI. Here, we took it directly into full CGI and were inspired by many new visual trends and animation styles. We gathered talents like Florent Auguy, who worked on Spi der-Man: Into the Spider-Verse. He brought a great touch to the artistic direction. There are some great women artists in the directing team, too.

FAJNER: We’re going for a very dynamic directing style— there is also a great combination of humor and action in the scripts. As producers, we’ve evolved as well. We’ve produced 15 shows since Galactik Football. Antoine has directed action series, including two seasons of Batwheels All of that feeds us.

CALVET: We produce series and features. We don’t separate the two. We want our series to benefit from the high-end quality of the features. We want our features to be as efficient as possible production-wise. All this drives us to provide the best.

TV KIDS: Are you already thinking about gaming extensions, or will that come later?

FAJNER: The better the series is, the better it will translate into both media. We start by doing the series, attracting as many viewers as possible. And then translate to other media.

CALVET: Even though the market has evolved, we all need a great story and great characters first.

FAJNER: And emotional involvement.

TV KIDS: I recall Galactik Football being pitc hed as being boyskewed; I imagine you can widen that demographic given how much more involved girls are in football these days.

CALVET: Look at the audience in the U.K. for the Women’s Euro and in Australia for the last World Cup, where stadiums were full. It’s getting bigger and bigger. We have mixed teams of girls and boys. The show needs to reflect real life and have diversity. Using fantasy as the theme, we can go even further with diversity.

FAJNER: And the lead character of Heroic Football is a girl!

TV KIDS: Let’s talk more about the studio, its pipeline and the techniques you can work in.

CALVET: We wanted to develop a studio that would be able to produce every kind of animation, for series and also features, using the high-end technology we have developed, a USD [Universal Scene Description] pipeline (named FLOW) that is at the forefront of what you can do and be as efficient as possible in production. We use it to do all our projects from preschool to adults.

FAJNER: The studio has about 600 to 700 seats. We are project-driven. Our projects are all different from one another. We’re finishing a series for Netflix, and we’re doing Batwheels for Warner Bros. Animation. Those were developed for them, and we’re doing the full series production. The directors are French; the storyboarders are French. The scripting is done in L.A., but everything else is done in France and Italy in our studios (in Paris, Angoulême—next to Bordeaux—and Milan). We just started the new Astérix CGI movie. That’s as big as a French CGI movie can be; it’s the biggest franchise here.

CALVET: We’re also launching our next 2D series, Harrison and Me , for France Télévisions. We can be agile, from simple shows to complex feature films, from 2D to CGI, for all targets. The goal is to push the limit each time so the team in the studio always gets excited.

FAJNER: We keep doing productions for majors like Warner Bros. Animation, Netflix, STUDIOCANAL, DreamWorks Animation and others, and our own shows. Some are original IPs we developed. We have a big in-house development team and develop at least three to four shows a year, original shows and adaptations of existing IP. This diversity excites us and takes us to the next lev el. We’re technology agnostic. What counts is what you have on the screen at the end of the day. We’re demanding with our tech teams and artists. This new pipeline we have and the technology we are using give creative freedom to the artist and bring more efficiency into the production. That’s key to what we want to do. Distinctive projects done in an efficient

way. We do smaller budget series and we do premium budget series. We do them with the same heart.

TV KIDS: How do you see AI impacting the efficiency of production processes?

FAJNER: All the software we use in our production chain now integrates some AI components. As with any plugin in any software, they bring some efficiencies and new abilities to work faster on repetitive tasks. We are integrating them into the production pipeline. But when it comes to creation, intention, vision and interpretation, nothing replaces a team of artists, a director and an actor doing the right stuff. There are industrial parts to what we do, so any tool helps, but the tool can also create more problems than solutions. You need a creative vision, first and foremost.

TV KIDS: How do you determine the best size for your development slate so you’re meeting varied market needs without stretching your capacity?

CALVET: We don’t give ourselves limits, except that we don’t want to develop a show that is the same as another one. We have a distribution arm, Superights, so we sell the shows we produce; we want to make sure they have a portfolio of diverse projects. Aside from that, we don’t see a limit. The limit is the capacity of the creativity of the team.

FAJNER: Some projects take time to mature. We can say, let’s stop this, but keep thinking about it. You need to have some projects in the back of your mind.

CALVET: And some projects are irresistible!

TV KIDS: It’s a challenging time for the business. What priorities are you focusing on for Superprod?

CALVET: We’re sticking to what we have decided to do from the first day of the company. We’re developing shows, telling the best stories possible, trying to work with the best talents and trying to go on evolving our tools. We keep the faith. The market is changing. Some times are more challenging than other times. At the end of the day, it’s all about producing great shows.

FAJNER: When times are difficult, you must be more creative than ever, more reliable than ever and true to your partners. That’s how we can find our way through these times.

between our studios in Italy and Vancouver. We are working on other shows together; one is Mermaids: Magic of the Deep for Netflix, announced last year, and our reboot of Winx, which will probably be released in 2025.

We were also doing well in live action with Maggie & Bianca Fashion Friends, but the world was changing fast, and platforms’ appetites were getting bigger and bigger. So, I thought buying a studio specialized in live action would contribute to faster growth for Rainbow. In 2017, I acquired Colorado Film, an Italian leader in comedies. They have a network of screenwriters, directors, directors of photography and even a talent agency called Moviement. We thought we could grow much faster in live-action production through Colorado Film, and that has been the case. We continued with Colorado’s business in comedies, but we immediately started with new genres and more international shows in line with Rainbow’s DNA. We are producing successful thrillers based on best-selling books like The Girl in the Fog and Into the Labyrinth , a love story for Net flix, which was also quite successful. We had a big action movie, My Name is Vendetta, among [the top] nonEnglish-language movies on Netflix. This was a big achievement, not only because Colorado can now produce genres besides local comedies but also because we managed to have the most-viewed Italian movie on Netflix.

We are continuing our live-action kids’ and family strategy. We launched the Me Contro Te franchise, two very popular YouTubers. We are very happy to expand

Iginio Straffi Rainbow Group

Rai nbow began as one company in 1995, focused on animated fare for youngsters. One of its first hits was Winx Club, a series for girls that spun off movies, a live-action series, toys and merchandising. Today, Rainbow Group, led by Iginio Straffi, founder and CEO, includes animation and live-action studios, a talent agency and a toy com pany. Straffi talks to TV Kids about his investments, upcoming shows and the joy he derives from reimagining stories from the past for today’s young audiences.

TV KIDS: What has been the strategy to expand the company? STRAFFI: My vision for the last ten years has been to grow the company with some strategic acquisitions, starting with Bardel in 2015, an established animation service provider in Vancouver and Kelowna. We wanted a fully integrated company from preproduction and postproduction facilities in our studios in Italy to original and top- quality animation in Canada and have everything inhouse, from the concept to the finished show. Bardel has contributed to increasing the quality of our work. They are also servicing Disney, Netflix and Warner Bros. We have produced many shows with Bardel, and visually, you can see the improvement. The first one was 44 Cats, which I believe brought the standard for television animation to a new level—the facial expressions, fur and movement, all of which we implemented thanks to the collaboration

TV KIDS: Is it necessary for a company to be of a certain size to compete in today’s market?

STRAFFI: Yes, that is one of the reasons why we have made these acquisitions. We are looking for other opportunities in the market because size matters a lot, nowadays more than before. You have to have a certain size to sit at certain tables, finance certain projects and retain the rights. If you don’t have money, you have to produce IPs just as a service provider; you will not get a contract where you own the IP. We try to own IPs and their rights and exploit them in every media, including licensing and merchandising. We have to make investments to finance our IPs and shows, and then the platforms will start to pay on delivery and, in the next two years, with quarterly payments. But you have to [make the investments] upfront. If you are too small, you can’t even find bank facilities to help.

TV KIDS: What is your view of the children’s content market today, and how do you identify ideas that have the potential to become successful brands?

STRAFFI: We see many proposals on paper and IPs coming from publishing or other media, such as video games, and we try to analyze their potential. First, it needs to be content

audiences want to engage with. Second, it has to have merchandising opportunities. It’s a double challenge because sometimes we have content with great entertainment value but poor chances of translating into successful merchandising and none of the elements that make a toy company or licensees happy. So, most of the time, Rainbow has to pass on these kinds of IPs because we have developed our business into a company that produces content that can be merchandised with salespeople organized by categories and countries. To feed our organization, we need to have IPs with certain elements. That’s our criteria for choosing.

The world of cartoons and entertainment has fragmented. It is now more competitive than before because there are so many places where kids are watching their favorite content. The best option would be to be everywhere, which creates two problems. One is that many broadcasters want to have all the rights, and they also have certain digital expectations. The other is that there are too many broadcasters and platforms, but you can’t be on a network and a competing network, so it’s more difficult to reach kids. We’ve learned that if you have IP with a certain heritage, background and awareness, you can try to create something around it and bring it to a new audience. That is the advantage of something that is already in people’s minds. When you start from scratch, you need a great idea and very committed broadcast partners or platforms because otherwise, they don’t have the patience to let the IP grow. They want immediate results. You risk having a great product that never becomes successful.

TV KIDS: You are working on a live-action show, Gormiti: The New Era, that you will bring to MIPCOM.

STRAFFI: Gormiti was a toy in the ’80s but still has a high lev el of awareness in certain European countries. It started in Italy, but it’s also in Spain, France and Greece. It was brought to television in the form of cartoons. When I had the opportunity to create new content for this brand, I embarked on this project because I strongly believed in its potential. Instead of a new animated version, I immediately thought we should do a live-action show with many stunning visual effects—a very interesting coming-of-age story about kids who end up living an adventure far bigger than them. They must keep everything undercover because they cannot tell anyone in school or their parents. They must live a double life because they have this special encounter— they have to save the planet of Gorm, where the Gormiti are from. The children develop a bond with people from this other world and will have to save their world, which, in a way, is related to our planet. It is a real action adventure, but I want it to be more in line with today’s storytelling, like We Can Be Heroes, a very successful Netflix movie from a couple of years ago. To bring Gormiti to a new generation of fans, you have to give them all the [right] elements—characters they can relate to, a desire to become friends with the Gormiti and be part of the Gormiti world. We are very pleased with what we are doing.

TV KIDS: You also reimagined Pinocchio. STRAFFI: I’m trying to reimagine all these big IPs. My first question is always, what can be attractive today about this beautiful story if you are a boy or a girl in South Korea, Mexico or Africa? When I pose this question, I have to come up with solutions to reinvent parts of the story that the original author was not interested in solving. For Carlo Collodi, Pinocchio was an Italian tale told more than 100 years ago. His world was different from ours. I tried to reinvent the world of Pinocchio, maintaining its DNA, the main characters and the main parts of the story, like when Pinocchio has the misadventure with the shark. We have placed everything inside a modern setting where Pinocchio lives with his friend Freeda; I thought we needed a female lead in Pinocchio’s world. I liked the idea of having a pirate girl who lives on an island and is under a spell. She was transformed into a ragdoll and needs to become a girl again. We know from the book that Pinocchio wishes to become a real boy. It’s nice that these two characters cross paths, become friends, live an adventure and have the common goal of becoming human. Pinocchio and Friends is doing very well in the countries where it is airing, so I think we have managed to give new life to this fairy tale.

TV KIDS: How are Rainbow’s licensing and merchandising businesses?

STRAFFI: We suffered during the pandemic with stores closed and licensees that were not producing stuff for a while, at least not in Europe. Now, post-Covid, we are back in full action and very excited. Pinocchio and Friends is already delivering licensing results even with only 26 12- minute episodes, and the second season will be released this fall. We are launching the licensing program for Mermaids: Magic of the Deep, Gormiti: The New Era and, eventually, the reboot of Winx. We will have three merchandisable IPs that will air between 2024 and 2025.

TV KIDS: If you look ahead 12 to 24 months, in which businesses do you see the most growth potential?

STRAFFI: We have a lot of potential in licensing and merchandising, but my live-action division, Colorado Film, is growing double digits every year in revenues and number of projects. We have a pipeline with various output deals in place. I believe the kids’ licensing and live action for kids and adults should give us nice growth.

Chris M. Williams pocket.watch

focus on walled gardens because we know there will be limited options and choices, and you want to be curated into those services. FAST was providing a new way of doing that. We saw it as a great opportunity early on to build our brands and fulfill our overall mission of being everywhere kids are. We want to bring kids and families the creator content they crave in ways that parents and the FAST channel platforms can embrace.

We’ve come a long way in the last five years. Our two channels, pocket.watch and Ryan and Friends, are the most distributed kids’ FAST channels. The pocket.watch channel is available on ten different platforms; Ryan and Friends is on nine. We’ve generated over 100 million hours of watch time since we launched, and we are doubling year over year.

TV KIDS: How has pocket.watch’s FAST strategy evolved over the last five years?

Tapping into the creator community, pocket.watch has been building billion-dollar franchises around kid stars from YouTube, including the global phenomenon Ryan’s World. It has now taken its strategy of reaching kids and families everywhere they are into the FAST space, with two channels—Ryan and Friends and pocket.watch—that have garnered more than 100 million hours of watch time. Chris M. Williams, founder and CEO of pocket.watch, tells TV Kids about how the company is driving awareness for all of its YouTube-originated kids’ and family brands

TV KIDS: What opportunities did you identify early on in the FAST space?

WILLIAMS: A big part of what we do is working with popular creators from YouTube, primarily in the kids’ and family space. Extending their businesses in franchiselike ways, including content distribution, is our core mission. When I started the company, if you had said, “Hey, you’re going to have two linear channels,” I would have said, “You’re crazy.” VOD was taking over at that point. It took me by surprise how quickly these new FAST services came on. It was always important to me to get real estate early. When we see an area that has momentum, we try to get in front of it. When we started seeing services like Samsung TV Plus and Pluto TV growing, we said we should be there.

We also like that these are walled gardens. When we’re extending these massively popular creators’ IP into other areas, we don’t focus on the open platforms, like Facebook or Snapchat, as other companies do. We

WILLIAMS: We’ve benefited from being early. We introduced Ryan and Friends as our version of the Oprah Winfrey Network; Ryan [Kaji] is to Ryan and Friends as Oprah is to OWN. The idea was to bring together a lot of different creators; we have more than 23 friends as part of Ryan and Friends. This is a big evolution. We thought about individual show channels or creator channels, but we found a sweet spot with Ryan and Friends, where he can cast a halo over these other creators and their content. They’re also huge in their own right, but he is the biggest pop culture icon; he’s the ambassador. We’ve seen such great success with that. It’s a flywheel. Once these things gain momentum and success, other platforms want them.

Where the evolution needs to continue is monetization. When we think about kids’ content broadly, there’s been such an evolution in the business model from cable, which was a cash cow for funding great, enriching content, to now having to rely on subscription services. If we can become more successful in monetizing kids’ content through FAST channels and other means, advertising being a big component there, that is a big win for us, our creator partners and our platform partners.

We program our channels to support and amplify our other lines of business. You’ll see tie-ins where we might do a whole thematic around Ryan and Friends, which then might embody itself in consumer-products partnerships. We’re also beginning to focus on how we might drive subscribers to our SVOD service, Ryan and Friends Plus, which is an extension of our FAST channel Ryan and Friends.

TV KIDS: How are pocket.watch’s FAST offerings programmed, scheduled and curated?

WILLIAMS: So much of what we do is around working with these massively popular kids’ and family creators

on YouTube; we have 45 partners today, and we continue to grow. We are curating, enriching and packaging that content to be distributed more broadly onto premium platforms. We make it super safe and give a lot of confidence to business partners like FAST platforms and to parents directly that this is now a safe environment to give kids what they crave. We take that YouTube content and package it as 22-minute episodes, applying those standards of enrichment, finding the best of the best and making them more like TV with interstitials and things like that so they can sit on those platforms. That makes it much more flexible for us in terms of how we program our FAST channels, utilizing these YouTube-to-TV exports. We’re doing best-ofs, promotional episodes for new series, event-driven stunts—around Halloween, Black History Month—and try to eventize programming, not unlike what traditional television has always done in the past. Data informs what’s working and what’s not working and gives us roadmaps to curate and program our channels. That data is much richer and much more real-time, although it’s complicated and challenging. It enables us to make decisions pretty fast.

You’ll start to see our FAST channels serve as a window [for SVOD], as we are focused on original programming for Ryan and Friends Plus. Our original programming is done in partnership with these creators, so this is a new IP extension of what they’re already doing. We’ll make those a bigger part of our FAST channels going forward.

TV KIDS: Tell us about the revenue models pocket.watch is working with for FAST.

WILLIAMS: There are typically two ways you engage with a FAST platform. One is you take half the ad inventory and monetize that yourself through direct sales and programming any ad waterfalls associated with that inventory. Or you do some sort of rev-share where the platform sells the ads and shares the revenue with you. Every time we can, we choose the former; we would like the ad inventory. We’re packaging across many outlets. We’re one of only a handful of companies that Google has granted ad-sales rights to for selling YouTube Kids’ ad inventory. YouTube Kids is the largest platform for kids’ content distribution in the world. We can package that along with our FAST

channels, AVOD apps, gaming downloads and custom content from the biggest kids’ creators in the world. This creates an incredible mix of assets with so much value to advertisers.

There are still some instances of fixed fees, particularly if there’s an ask for no-advertising versions of your channels. We are launching on a platform with a non-ad-supported channel where we’ll get a fixed fee for every subscriber.

TV KIDS: How are you approaching analytics?

WILLIAMS: All of these platforms deliver data in different formats. We’ve developed proprietary tools that help us collect, normalize and analyze all that disparate data. We started making those investments three years ago, and they’re paying off in terms of at least giving us an opportunity to aggregate all that data and normalize it. It looks like an opportunity for someone, particularly as it relates to advertising. How are we able to communicate effectively with advertisers about how big the audiences are? We’re on ten platforms and continuing to grow. Pulling that all together and giving unduplicated data still represents a big challenge, especially as we try to make a go of it in the ad market. There are definitely opportunities there.

TV KIDS: What are your predictions for FAST and the kids’ programming segment?

WILLIAMS: This isn’t a category that five years ago I would have thought would be as huge as it is today. We think it’s going to grow. It’ll go through waves of adding and pruning channels. Over the last couple of years, it sped up so fast, and then there were so many channels; some were just not successful, and a lot of those got pruned. Now it’s back into growth mode again. We think [the market will] innovate in new ways to transition more fluidly between FAST, on-demand and subscription. A lot in the ecosystem needs development and innovation that will benefit publishers and studios like us and networks. In the long term, monetization has to improve. I think these FAST platforms will learn that they need to embrace as many partners as possible to improve that monetization.

Pocket.watch develops multiplatform brands out of YouTube creator shows, extending its footprint across SVOD, AVOD and linear channels.

in a safe environment. From there, we moved from owned-and-operated apps into FAST.

Just as we partner with leading platforms like TikTok and YouTube to help them elevate the quality of children’s digital media, we see a way to bring world-class content vetting and curation to the FAST space. FAST is increasing tremendously, but the kids’ sector is lagging in terms of monetization. Brands are concerned about trust, privacy issues and a lack of standards. We offer solutions that work not only for kids and families but also for brands and platforms, and this is true on FAST channels as well as across other media.

TV KIDS: What gaps do you see in the ecosystem?

BERGER: The FAST sector is narrow when it comes to the kids’ space. It’s missing the bridge age, kids 6 to tween. There are about 75 FAST channels out there in the kids’ space, mostly focused on preschool animation—missing out on a lot of the content that young kids, the ones above preschool, love: shows from digital-first creators that focus on a wide range of topics of interest, such as DIY, cooking, sports, video games, STEM, etc. It’s very difficult to find digital-first content that is appropriate; it takes a lot of trial and error. So, we anchor in thematic programming for our FAST channels. We’ve spent the last few years identifying well-produced, safe, digital-first content that’s widely appealing to kids and families.

TV KIDS: How does Common Sense Networks approach the content curation process for FAST channels?

Eric Berger Common Sense Networks

Grounded in the work of Common Sense Media, Com mon Sense Networks is on a mission to create and curate safe, age-appropriate content for kids and families and reach these audiences across multiple platforms. Its Sensical AVOD service is a topic-based, algo rithm-free streaming OTT destination filtered through a proprietary rubric based on comprehensive child development research. There are also three dedicated FAST channels— Sensical Jr., Sensical Makers and Sensical Gaming—which again feature a vetting process that’s a key point of differentiation. Eric Berger, CEO and co-founder of Com mon Sense Networks, talks to TV Kids about the multiplatform strategy to reach kids everywhere they are.

TV KIDS: What’s guiding Common Sense Networks’ multiplatform strategy?

BERGER: We started Common Sense Networks’ business in 2020, inspired by the work of Common Sense Media, which is a leader in providing families with ageappropriate information at the center of technology and media. We launched Sensical two years ago, and it came out as a critically acclaimed AVOD service to provide kids and families with engaging video experiences that are algorithm-free so that kids can explore

BERGER: We source, but we vet. On the source side, it’s about understanding the audience deeply. We have a heritage of understanding the parent audience as it relates to media, but here, we need to understand kids at very specific age segments. We’re following trends, and we work with and across the major creator platforms as well to understand the content habits of these kids. We look at thousands of series where content is trending on these platforms, and we find content that is “good TV” for FAST. There’s a lot of content that works well on-demand, but it’s got to be good TV to be on FAST.

The secret sauce is the vetting side. We’ve created an industrial vetting process for looking at content. We’re the only ones that have child development experts watch every frame of every video, and we score it using our standard. We like to say that vigilance is our filter and consistency is our goal. In using this standard, we create an inordinate amount of metadata that helps us with the programming, content classification and advertising. This is done through a proprietary age-appropriate content standard that’s based on 20 years of child development research at Common Sense Media, but we’ve adapted it for shortform and digital-first content.

L&M Trends / Inanimatti’s Chris Bangle

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Brand Plans

Mattel and Hasbro made waves in the L&M business earlier this year, when the rival toy giants announced a multiyear agreement to create co-branded toys and games from some of their most popular brands. So much so that the news led to both companies seeing a spike in their share prices.

While parents will always find a way to spend money on the things their children want, inflationary pressures have families across the globe being smarter about their financial decisions. You need all the tools in your arsenal at the ready to make an impact if you’re going to prompt consumers to open up their wallets. And partnerships certainly help on that front, as several executives indicated to us in our special report on L&M trends.

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IP owners are also prioritizing ubiquitous distribution, noting that you can’t just be on a Netflix or a Super RTL; if you want a brand to resonate, you do need to be everywhere. And if you’re launching something new, well, trying your brand out on gaming or social media platforms may be the wisest way to go. That was the message from media cartographer Evan Shapiro at the TV Kids Summer Festival this year: “Launch the content there, establish the IP and the relationship and the cult around the intellectual property on these other platforms before you start to try to extract the value from the gatekeeper economy.” Mansha Daswani

GET DAILY NEWS ON KIDS’ PROGRAMMING

INANIMATTI’S CHRIS BANGLE

The car designer is bringing his unique style to the animation space with the brand-new kids’ series

Arky Arch Adventures .

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In a world where parents are becoming increasingly concerned about their children’s screen time, a well-planned consumer-products campaign can allow kids to step away from their TVs, tablets and phones while still engaging with the characters and brands they love through play.

Retail loyalty programs “enhance consumer awareness as well as amass demand for licensing and merchandising and create huge interest and awareness with broadcasters across the globe,” says Joachim Knödler, head of licensing at Studio 100 Media.

As always, the toys and games category remains one of the most important for the kids’ demographic, says Grégory Pierron, category manager at DeAPlaneta Kids & Family, pointing to successful toy lines created for Milo and Miraculous: Tales of Ladybug & Cat Noir with Bandai.

T he toys category “lays the foundation for all the other licensing categories,” Knödler notes. “Next, we see softlines (apparel) as the strongest category,” he says. “With the right approach, particularly with softlines for a more mature target group, it’s a key driver for significant turnover achievements.”

Leading brand owners discuss their strategies for building awareness through robust licensing and merchandising campaigns and extensive digital availability.

By Jamie Stalcup

Studio 100 Media has developed apparel programs for some of its most iconic IP, including Heidi and Maya the Bee . These softlines can reach beyond the kids’ demographic, as seen with Bergmensch’s adult Heidi T-shirt.

Collaborations with other brands and artists for special collections help to attract a wider audience.

“These partnerships result in unique and exclusive items that generate buzz and excitement among our customers,” says Catherine A. Rijsdijk Sous, senior category manager and head of international, fashion and LBE at DeAPlaneta Kids & Family.

As kids grow up, collectibles, figurines and apparel remain popular categories. Both are the strongest performing retail sections for Konami Cross Media NY’s Yu-Gi-Oh!, which is currently “enjoying a renaissance with the surging popularity of anime,” comments Jennifer Coleman, VP of licensing and marketing.

In this increasingly digital age, one might think that brick-andmortar retailers are a thing of the past. To the contrary, they are more important than ever in a myriad of ways, DeAPlaneta’s Pierron says. “Kids’ products such as toys, clothing and books often benefit from a hands-on, tactile experience,” he notes.

“Physical stores allow children and their parents to touch, feel, try on and interact with products before making a purchase.”

That being said, online availability is still vital. “This is notably the case for new brands,” Studio 100 Media’s Knödler says. “Online presence prepares the ground for brickand-mortar retail, where volume is still high and important.”

Such is the case with HARI, says Corentin Besse, brand manager. “At the moment, we sell our products mainly through our online shop. This distribution channel is working extremely well. We would like to grow the visibility of our products further and meet the high demand by developing a presence in major retailers.”

“Physical experiences and events provide us with unique opportunities to engage with our target audience in a more personal, emotional and tangible way,” notes DeAPlaneta’s Rijsdijk Sous.

Some companies can take this to the next level with elaborate location-based experiences. “Studio 100 has a significant theme park business,” Knödler points out. “This is where consumers can experience our brands directly, and we have a huge fan base, resulting in more than 4 million visitors in our nine theme parks and two water parks. There is a growing business of ‘multi-day experiences,’ thanks to the evolution of destinations like Studio 100’s indoor parks, water parks and even theaters, supported by holiday resorts, campsites and hotels.”

These types of multi-day attractions aren’t the only way to engage children and their families in person, though.

“For retailers, we [offer] a ready-to-use package including immersive shelves, photocalls, one-to-one character silhouettes and more,” says HARI’s Besse.

Pop-up shops achieve the same level of connection. Konami Cross Media NY’s Coleman notes that Yu-Gi-Oh! licensing partner Hypland opened popups during the pandemic in New York City and Los Angeles and experienced lines around the block. “We know this is a way that Yu-Gi-Oh! fans will come together and support the brand, and we are actively looking at more ways to do this in different locations.”

Just as brands must be present in all types of retailers, they must be available across the many digital avenues, particularly social media. Kids love to feel like they are friends with their favorite characters, and social media offers a way to foster this connection.

“For our brand Vegesaurs, TikTok was a new opportunity, and we are delighted with the campaign and overall results,” says Studio 100 Media’s Knödler. “It gained an engagement rate that increased across all platforms, including Facebook and Instagram, by more than 50 percent within five months. We are creating more digital content and want to focus on the parent target group as well.”

HARI has encountered equally massive success via social platforms. “Our Grizzy & the Lemmings YouTube channel is consistently growing, with nearly 7 million subscribers and more than 1 billion viewers per year,” Besse says. “This channel complements the TV environment perfectly. We are also about to launch a YouTube channel for Mystery

Lane . Both properties have Facebook and Instagram pages, enabling direct communication and interaction with our base.”

DeAPlaneta has launched TikTok campaigns for IPs such as Miraculous and Pucca, featuring “snippets, challenges and trends that resonate particularly well with a younger audience, encouraging them to create and share their own content related to our IPs,” note Pere Bacardit Pujol, head of communications, and Anna Campistol Agustí, head of digital.

Where kids’ content will live at and after launch is perhaps the most crucial choice IP owners can make. “It is essential for the success of an L&M program that the content is continually available, either via television broadcast or streaming channels,” Knödler of Studio 100 Media says.

“It is essential for the success of any L&M program that the content is continually available.”

—Joachim Knödler, Studio 100 Media

Inanimatti is the home of an extensive narrative world created by renowned car designer Chris Bangle and his partners. Its first animated kids’ project is Arky Arch Adventures, a comedy adventure targeted to kids 6 to 12. It follows the story of Arky, a hopeful, young Roman Arch who embarks on a high-stakes journey across the planet Tredi to uncover his true purpose—and save the world from devastation.

Bangle, co-founder of Inanimatti and creator of Arky Arch Adventures, talks to TV Kids.

Chris Bangle Inanimatti

TV KIDS: What types of productions do you want Inanimatti to become known for?

BANGLE: Arky Arch Adventures stands as the first property within the expansive Inanimatti universe that we have created. This series serves as the introduction to a realm that is literally brimming with countless tales and escapades that we’ve been painstakingly developing, all waiting to be uncovered in subsequent seasons.

TV KIDS: What makes the show stand out?

BANGLE: It harnesses the power of animation in a distinct manner, ingeniously transforming ordinary objects into relatable characters within an extraordinary dimension. This series offers captivating, on-the-edge-of-your-seat narratives.

In-Demand: Comedy

Shasha & Milo

Commissioners: EBS, Tencent, Warner Bros. Discovery Latin America

Producers: Zodiak Kids & Family France, Pingo Entertainment

Distributor: Pingo Entertainment exclusively controls all rights in Korea, Japan and Southeast Asia. Zodiak Kids & Family Distribution controls international distribution rights in the rest of the world.

Description: (6-9, 25x22 min. & 12x2 min.) Shasha and Milo are tasked with protecting Crescent Island from the dark forces that lurk beneath while navigating the daily complexities of preteen life.

Pitch Perfect: “Shasha & Milo will appeal to 6- to 9-year-old audiences globally, with powerful action and lighthearted comedy. An original series showcasing industry-leading, premium storytelling and world-class animation.”

—Delphine Dumont, Chief Commercial Officer, Banijay Kids & Family

Slot Winner: The series will debut this month on EBS in Korea. Warner Bros. Discovery Latin America and Tencent (China) have also picked up the show.

Sales Contacts: Cecile Cau, SVP, Co-Productions, Sales & Acquisitions; Julia Rowlands, SVP, Co-Productions, Sales & Acquisitions; Vaibhav Batter, Sales Executive.

Johnny Test

Commissioner: Netflix

Producer: WildBrain

Distributor: WildBrain with worldwide rights.

Description: (6+, S1-2: 40x11 min.) Johnny Test is back, along with his loyal dog Dukey, his super-genius sisters Susan and Mary, and all the craziest kid villains of Porkbelly. The initial six seasons of the animated comedy ran on several networks from 2005 to 2013, including TELETOON in Canada and Cartoon Network in the U.S. The revival land ed on Netflix in 2021.

Pitch Perfect: Two new seasons from original creator Scott Fellows. All-new, all-out adventures, battles and experiments-gone-haywire await as the unshakable kid with the flaming hair tackles the challenges of adolescence with the help of his sisters and their most cutting-edge experiments yet.

Sales Contacts: Caroline Tyre , VP, Global Sales & Rights Strategy; Wiebke Hoefer, Senior Director, Sales; Darcee McCartney, Sales Manager; Max Tang , Senior Manager, Content Partnerships.

In-Demand: Comedy

Monster Loving Maniacs

Commissioners: Super RTL, DR

Producers: Ja Film, Belvision, Ginger Pictures, Mondo TV

Distributors: Mondo TV and Toon2Tango worldwide, excluding Scandinavia.

Description: (52x11 min.) Three siblings go into training with their grandfather to become Monster Hunters—but they want to get to know the monsters rather than hunt them.

Pitch Perfect: The show is fun, with lots of excitement and humor, as well as bigger themes, like families, relationships and coping with our fears, all delivered with wit, energy and stylish, skilled animation. And, of course, there are lots and lots of monsters and lots of comedy.

Slot Winner: A hit on CBBC in the U.K. It will premiere on Super RTL in Germany on November 6. It has sold to 90 countries, striking a chord with broadcasters, with more to be announced soon.

Sales Contacts: Luana Perrero, Head, Content Sales, Mondo TV; Ulli Stoef, CEO & Producer, Toon2Tango.

Davey & Jonesie’s Locker

Commissioners: Hulu, Prime Video, Distribution360 (a Blue Ant Media company)

Producer: marblemedia (a Blue Ant Media company)

Distributor: Distribution360 holds rights outside of North America.

Description: (12-18, 10x30 min.) A comedy of multidimensional proportions featuring Davey and Jonesie, a pair of misfit BFFs in a teenage prison of mediocrity, also known as Schrodinger High. That is until their locker throws them a universe-twisting curve ball.

Pitch Perfect: A character-driven comedy like no other, with sophisticated humor that speaks to teens and a cool and quirky visual signature that will also appeal to older kids and a YA audience. Buddy comedies for-comedy’s-sake where the chemistry is palpable are most often reserved for male leads, so this female-forward approach is special. Davey and Jonesie’s friendship is relatable and aspirational; the girls affirm that you can go against the grain and let your freak flag fly with your BFF—especially if the result is hilarious pandemonium!

Sales Contact: Diane Rankin, EVP, Rights & Executive Producer, Distribution360.

In-Demand: Preschool

Jonny Jetboy

Commissioner: iQIYI

Producers: Beijing iQIYI Science & Technology Co., Winsing Animation, WildBrain

Distributor: WildBrain has worldwide rights, excluding China, Taiwan, Hong Kong and Macau.

Description: (Preschool 4-7 action/adventure, 40x11 min.) Jonny Jones and his family are secretly superheroes known as The JetFleet! Together, they face off against their city’s villains, all the while learning what it is to be a true hero.

Pitch Perfect: “This MIPJunior and MIPCOM, we’re launching Jonny Jetboy, an original series from PAW Patrol creator Keith Chapman, produced by iQIYI in collaboration with WildBrain and Winsing. Keith’s terrific new series has all the right ingredients to entertain families worldwide, including actionpacked adventures, heroic characters and high-tech gadgets.” —Caroline

Tyre, VP, Global Sales & Rights Strategy, WildBrain

Sales Contacts: Caroline Tyre; Wiebke Hoefer, Senior Director, Sales; Darcee McCartney, Sales Manager; Max Tang, Senior Manager, Content Partnerships.

Bing

Producers: Acamar Films, Brown Bag Films

Distributor: Acamar Films with all rights.

Description: (Preschool 0-6, S1: 26x7 min., S2: 26x7 min., S3: 26x7 min., S4: 26x7 min., Christmas special: 1x23 min., plus non-episodic content)

Delighting audiences for almost a decade, Bing embraces the big little moments and imperfect adventures of everyday toddler life.

Pitch Perfect: “Bing is the global award-winning series supporting healthy child development. Bing has been licensed to 130 territories and continues to ‘move and delight’ through an increasing range of award-winning books, magazines, apps, consumer products, live shows and digital and cinema experiences.” — Eroulla Constantine, Director, Sales & Distribution, Acamar Films

Slot Winner: Bing is a top-rated TV show, including on Rai Yoyo in Italy, Clan TV in Spain and CBeebies in the U.K. It remains one of the most requested preschool shows in the U.K. on BBC iPlayer. It launched in France on France 5 and Okoo, becoming a top-rated show in April 2023. Over 7 billion lifetime YouTube views and 1 billion watch time hours.

Sales Contact: Eroulla Constantine.

JUST FOR KIDS!

From beautifully animated new CGI preschool shows to high-energy comedies and compelling tween/teen series, there’s something for every kids’ content buyer in the latest edition of the TV Kids Screenings Festival

ZDF Studios is unveiling a preschool animated series this MIPJunior: Sam and Julia . “The funny, entertaining adventures of our two little heroes in and around The Mouse Mansion allow young viewers to become more integrated into new and different environments they may have to face,” says Arne Lohmann, VP Junior. Coming from a distant island, Julia, a cute and speedy little she-mouse, has moved into a residential building (aka “The Mouse Mansion”) where she feels a bit like a stranger. She gets to meet Sam, who also lives there and is a

wel coming and crafty little hemouse. Julia only has her Mum. Sam, on the contrary, has a large family with Mum, Dad and six siblings. Despite their different characters, they soon get to like each other very much. Skewing older, to kids 6 to 9, Tobie Lolness is based on the novel by Timothée de Fombelle. “A coming-of-age story of adventure, heroism, friendship and survival, with a powerful environmental message, set in a miniature world,” Lohmann says.

HARI is targeting the 6-plus comedy space with its new CGI series Mystery Lane , which features “lots of mysteries, action, suspense and fun, packed in a feature-quality CGI animation with sophisticated sto rytelling that will captivate kids and families globally,” says Sophie “Kido” Prigent, head of sales. Prigent also highlights season four of Grizzy & the Lemmings World Tour : “Our multi-award-winning slapstick phenomenon is unstoppable,” she says.

The Australian Children’s Television Foundation (ACTF) is showcasing its latest live-action tween comedy, Crazy Fun Park , targeted at kids between the ages of 10 and 16. “Full of quirky characters and set in an extraordinary world full of ghosts and ghouls, Crazy Fun Park is a lifeaffirming, visually stunning, rollicking ride, and we can’t wait for audiences to experience it,” says Bernadette O’Mahony, head of content. For preschoolers, meanwhile, there’s the animated series Kangaroo Beach ,

which delivers fun storylines alongside water safety messages. “There’s lots and lots of fun on the beach, adventure and a rescue and water safety awareness and guidance in every episode,” says Patrick Edgerton, executive producer at Cheeky Little Media.

An aspiring influencer sees her life turned upside down when her parents banish her from the online world and force her to switch from a posh private school to a regular one in Bavaria Media International’s Meme Girls . The dramedy is skewed toward 10- to 15-yearolds. “A young and cool female series for tweens and teens who are totally hooked on social media,” says Helge Köhnen, head of content sales.

ZDF Studios is also bringing two live-action kids’ series to MIPCOM, both returning brands. #LikeMe, with a fourth season available, “is a musical series that shows youngsters the lives of other youngsters in a unique and contemporary way—by using witty dialogue, familiar situations, pressing issues, strong characters and, of course, powerful music,” says Marei Bruckmann, Director Junior. Bruckmann also highlights season

two of Theodosia . “After the success of the first season, more broadcasters and streamers will now join the magical adventures of Theodosia with the second season. The series provides exciting entertainment for children in all countries around the world. We are proud to be involved in another great project with our partners at Federation Kids & Family.”

CAKE recently took on the non-dialogue animated comedy Cracké Family Scramble from Squeeze Productions and will be launching the series, for kids 4-plus, at MIPCOM. “ Cracké Family Scramble is a fun, familyfirst, high-quality adventure series in which hilarious stories and physical humor center around family life and the many challenges of an inexperienced parent,” says CEO Ed Galton.

DeAPlaneta Entertainment Kids & Family is looking forward to introducing buyers to season two of Milo , a preschool adventure series. “We are happy to present the second season of Milo after the success of the first one, as well as a couple of 22-minute specials about Christmas and Hal loween,” says Carlos Biern, director of distribution and content. “Milo

and his friends will continue role-playing to show the kids that being whatever they want will be amazing.” There’s also a brand-new comedy for 5- to 8year-olds, Monster Shaker. The book-based animated show “is full of comedy that will depict a wide range of monsters kids will love,” Biern says.

Mediawan Kids & Family also arrives in Cannes with a new preschool animation: Leaves & Roots , about an ostrich and a mole who are best friends. “ Leaves & Roots is a new preschool comedy series star ring an adorable duo: a mole and an ostrich challenging norms and building bridges between their communities,” says Julien Borde, CEO. “Behind every story, we hope to show that peaceful coexistence provides emotional value if we take the time to learn and discover each other.”

Pink Parrot Media is introducing its clients to a new 2D mystery/adventure series focused on a 16-year-old girl. “ Joy Eternal is an incredible story that grabs you from minute one, and you will want to binge-watch,” says Begoña Esteban, head of international sales and acquisitions. “Mystery and adventure are accompanied by tons of verbal and kinetic humor with a simply spectacular look.” Also on offer, Louis the Piglet is targeted at kids aged 5 to 8, with 13 episodes available in season one and another 13 in development for season two.

n the past decade, European television companies have had to reinvent themselves due to changing viewing habits and competition from online platforms. RTL Group, known for its “familyof-channels” strategy—several linear services anchored by a market-leading TV station in a given territory—has also evolved. Today, it is an entertainment company that spans broadcast, streaming, content and digital businesses. Present in six countries, the group includes 56 TV stations, including RTL in Germany, M6 in France and RTL Nederland in the Netherlands; seven streaming services; digital businesses specializing in streaming and ad technology; and Fremantle.

advertising technology, addressable TV and content production at Fremantle. Developing alliances will help the group’s advertising businesses.

THOMAS RABE RTL GROUP

Rabe is convinced that consolidation among European media companies will help them better compete with global digital giants. Though RTL Group’s proposed merg ers between M6 Group and TF1 in France and RTL Nederland and Talpa Network in the Netherlands did not receive approval by regulatory authorities, Rabe says M6 and RTL Nederland remain key assets and is committed to furthering their growth.

RTL Group is led by CEO Thomas Rabe, who is also the CEO and chairman of its parent company, Bertelsmann. His goal is to transform and future-proof the group’s businesses, which he is doing by focusing on three main priorities: core, growth and partnerships. Core includes investing in content and strengthening the families of channels. The group’s growth businesses are the streaming servic es,

Rabe did, however, oversee the merger between RTL Deutschland and Bertelsmann’s publishing unit, Gruner + Jahr. He is confident of the synergies the combined company will deliver in content creation, advertising, technology and data.

Rabe tells World Screen about plans for ramping up streaming subscribers, keeping the linear channels strong, supporting Fremantle’s production prowess and safely using the opportunities offered by AI.

WS: What were some highlights of RTL Group’s recently reported interim financial results?

RABE: Three areas stood out in the first half of 2023. First, the market environment was challenging due to geopolitical and macroeconomic uncertainties. This impacted the advertising business of our linear TV channels, particularly in Germany. Second, our commitment to transform our business with investments through the cycle, specifically in content, streaming, tech and data. From January to June 2023, we spent €1.1 billion ($1.2 billion) on content for broadcasting and streaming. We are convinced these investments will put us in a strong competitive position when the advertising markets rebound. And third, the continued growth of our streaming services. With more than 6 million paying subscribers at the end of the first half of 2023, our subscriber base grew by 34 percent year-onyear, mainly driven by RTL+ in Germany. In short, we made good strategic and operational progress despite numerous external challenges.

WS: What factors are impacting the media markets in RTL Group’s territories?

RABE: Global challenges no economy can decouple from: the war in Ukraine, inflation, energy prices and supply chain disruptions. These factors had a strong impact on TV advertising markets, especially in Germany. In addition, there are long-term structural shifts in video viewing. In July, linear TV viewing dropped below 50 percent of television usage in the U.S. for the first time. The share of linear TV viewing is still significantly higher in our key European countries, but we face similar trends: decreasing reach for our linear TV channels while streaming usage continues to increase substantially. To successfully transform RTL Group’s business, two factors are particularly important. One is maximizing reach—combining linear and nonlinear—which requires investments in

content, marketing and state-of-the-art streaming services. The second is better monetization of our reach—via targeting and personalization or recommendations—which requires investments in advertising technology and data.

WS: What are your priorities for the RTL Group in today’s rapidly changing media environment?

RABE: My priority is to transform and futureproof the business. To do this, we follow our strategic framework, which is based on three priorities: core, growth and alliances and partnerships. Core means investing in premium content, strengthening our families of channels, and cost and portfolio management. Growth areas are our streaming services, advertising technology and addressable TV, as well as content production with Fremantle. With alliances and partnerships, we focus on national advertising sales consolidation, international advertising sales with RTL AdAlliance,

as well as joint investments in advertising and streaming technology solutions through smart clip and Bedrock.

WS: RTL+ and Videoland have seen increases in subscribers. What factors and programming strategies have contributed to that increase?

RABE: Content is the lifeblood of the RTL Group, as it drives audiences in broadcasting and streaming. Across all streaming services, we see a demand for local, exclusive and original content—and we work hard to cater to that demand. Every market is different. In Germany, reality formats, exclusive live sports and established formats from our linear TV channels are particularly popular among our streaming audience. At the beginning of August, we launched our RTL+ multimedia app—the first German all-in-one streaming bundle that combines video, music, audiobooks, podcasts and magazine content in one subscription and one

app at an attractive price. In the Netherlands, Videoland’s growth is driven by reality formats, documentaries and exclusive original series.

WS: What growth do you expect at the streaming services in the group?

RABE: Our streaming services will continue to grow if we cater to the needs of our more than 6 million subscribers with first-class content and user experience. By 2026, we plan to increase the number of paying subscribers to 10 million. And we aim to translate this into €1 billion [$1.1 billion] in streaming revenues and reach profitability. To this end, we plan to increase our annual content spend for streaming to around €600 million [$640 million] by 2026. We are on track to reach these targets, which we reconfirmed at the beginning of August.

WS: In general, across the RTL Group’s footprint, how are linear channels performing?

RABE: Our German family of channels is the clear market leader. Looking at the target group of viewers aged 14 to 59, we extended the lead over our main commercial competitor, ProSiebenSat.1 Media, to 5.8 percentage points in the first half of 2023. Our main channel, RTL, remained the market leader in the target group, with an average audience share of 9.8 percent. This made RTL the only major TV channel in Germany with growing audience shares in the key target group in the first six months of 2023. For the first time, Vox has become the secondlargest commercial channel in Germany, both in terms of the key commercial target group as well as total audience share. With this, RTL Deutschland has achieved a major strategic target: RTL and Vox are now the number one and number two commercial channels in Germany in the target group. RTL Nederland’s combined prime-time audience share remained at a high level of 34.3 percent in the first half of 2023, significantly ahead of the public broadcasters and Talpa TV. In France, M6 Group’s flagship channel is the second most-watched channel in the target group. M6 is an innovator in the French TV landscape with strong formats such as The Traitors, which was the most successful format ever to launch on M6 and recently completed broadcast of its second season. The popular reality format, originally co-created by RTL Nederland, is coming to RTL in Germany and Hungary next.

WS: What programming is best suited for linear viewing?

RABE: We continue to invest substantially in premium content across all genres—from news to fiction, live sports, entertainment shows and reality TV. Exclusive content strengthens our linear TV channels and is key to gaining new subscribers for our streaming services.

RTL Deutschland signed agreements with Warner Bros. Discovery and Paramount Global for attractive program packages and acquired extensive rights for live sports events, such as soccer matches from the German national team, the UEFA Europa League and the U.S. National Football League (NFL), including the Super Bowl. In France, M6 Group will air matches from the 2023 Rugby World Cup, the UEFA Euro 2024 and the finals of the UEFA Champions League from 2025 to 2027. Starting in the 2024/25 season, RTL Hungary will be the home of the UEFA Champions League matches for three years and broadcast around 200 soccer games per season—including the finals— on linear TV and RTL+.

We also see that strong linear TV formats are highly successful among streaming viewers. These formats address complementary viewer groups. So, our established RTL brand and successful TV formats drive streaming inflow and retention. Global streamers are reducing their investments in programming as they are more concerned with profits than subscriber growth.

WS: How does this strategy impact their competitive position in the countries where RTL Group is present?

RABE: From my perspective, the content spend from global streamers remains high, although we have recently seen lower demand. But high-quality content across all genres remains a key component of global streamers’ offerings. Our content business, Fremantle, is ideally suited to cater to their demand across entertainment, drama, film and documentaries.

As to our own streaming services, we have established RTL+ and Videoland as the leading national streaming services, putting us in an excellent position for the necessary consolidation in the next years. We are on track to reach our ambitious streaming targets, which include reaching profitability in 2026. Videoland in the Netherlands is already more advanced in the investment cycle—the service was close to break-even in the first half of 2023.

WS: How is Fremantle performing and contributing to the RTL Group?

RABE: Over the past years, Fremantle has become an even stronger, more creative and more diverse global content powerhouse. In 2022, Fremantle’s revenue grew by 22 percent to more than €2.3 billion [$2.5 billion]—a record level and a major step toward our target of €3 billion [$3.2 billion] by 2025. In 2022, Fremantle generated 35 percent of its total revenue from drama and film productions and has been rewarded with multiple awards. Fremantle has signed agreements with world-class storytellers and international talents such as Angelina Jolie, Michael Winterbottom, Richard Brown and Edward Berger. Fremantle’s expansion into

scripted has helped establish partnerships with streamers around the world, which in 2022 accounted for more than 15 percent of Fremantle’s revenue. Scripted is arguably riskier and more capital-intensive. But it is key for part nering with top creatives, expanding the relationship with streamers around the world and creating library value. Fremantle now aims to replicate this success in documentaries.

WS: Fremantle has made several investments in production companies in the last couple of years. What has been the strategy, and are there plans to make more investments?

RABE: Expanding Fremantle is key to our growth strategy. We are committed to investing across entertainment, drama, film and documentaries, organically and via acquisitions, to reach our target of €3 billion in revenue by 2025. Fremantle completed eight acquisitions and step-ups in 2022, including Italian fiction producer Lux Vide, film and drama production company Element Pictures and documentary producers 72 Films and Wildstar Films. We will continue to look for merger and acquisition opportunities while focusing on integrating the recently acquired companies into Fremantle’s network.

WS: RTL Deutschland merged with the publishing house Gruner + Jahr last year. What are the benefits of combining the companies?

RABE: RTL Deutschland and Gruner + Jahr com bine scale, resources and creative power, allowing us to increase investments into what matters most: premium content and journalistic excellence. Following a portfolio review of our publishing business, we decided to focus on core brands such as Stern, Geo, Capital, Brigitte

and Gala, which account for around 70 percent of RTL Deutschland’s publishing revenue and circulation. By 2025, we will invest about €80 million [$85.3 million] in their transformation, primarily in paid digital content and services. The combination of RTL Deutschland and Gruner + Jahr creates value in the form of synergies of around €75 million [$80 million] per year in areas such as content creation, advertising sales, tech and data.

WS: What are RTL Group’s plans for France and the Netherlands after authorities did not approve the proposed mergers between TF1 and M6 and RTL Nederland and Talpa?

RABE: Over the past years, we have transformed the portfolio of the RTL Group. We have divested a series of smaller and noncore assets with significant capital gains, boosted Fremantle’s growth, and built national streaming champions with RTL+ and Videoland. However, we did not succeed with the two larger consolidation moves for our broadcasting businesses in France and the Netherlands. In both countries, the competition authorities did not take into account the speed and extent of the changes in the European media landscape and the impact of these changes on local media companies. Above all, we see these as missed opportunities for us and the European media industry. M6 Group and RTL Nederland are and will remain key assets for the RTL Group, and we are committed to growing both assets. For example, M6 Group will transform its streaming service 6play from a successful replay service into a strong content platform. To this end, we will invest significantly in content such as daily soaps, reality shows and fiction.

WS: What is the RTL Group’s strategy to compete against the global digital companies?

RABE: To compete with the global streaming services, we are convinced that market consolidation is necessary and will happen in the European TV markets sooner or later. Thus, as I mentioned, we remain committed to scaling up our TV and streaming businesses. There are other ways to scale—not in one step, as initially planned, but with a series of smaller steps. One example is the full acquisition of the children’s channel Super RTL in Germany. We are also actively exploring several opportunities for advertising sales consolidation in our key territories.

An important development has been the increased demand from advertis ers and

agencies for global ad-buying opportunities. To respond to this demand, we created RTL AdAlliance, the only European sales house that offers international cross-media campaigns. Its portfolio comprises our TV channels, streaming services, radio stations and digital publishing, complemented by the advertising inventory of high-quality partners such as ITV in the U.K., Rai in Italy and NBCUniversal in the U.S. Another example is the distribution partnership with Deutsche Telekom, which has helped to accelerate the growth of RTL+ in Germany.

WS: How do you and your teams see the advertising market during the second half of 2023?

RABE: We see the first signs of stabilization in the TV advertising markets. Our TV advertising

revenue was broadly stable in Germany in June and July. In the second half of 2023, we expect our TV advertising revenue to grow slightly compared to 2022.

WS: How do you see AI for the print and content businesses?

RABE: Technology plays a key role in our transformation. We see great opportunities from AI, particularly when it comes to generating content and increasing efficiency, for example, in advertising planning, video and advertising production and postproduction. AI could replace manual labor for tasks such as subtitling and dubbing. Besides applying AI at scale in advertising planning, we have also started to use gener ative AI to support content creation. It is essential that we protect our copyrights, which is uncharted territory due to the recent significant acceleration in the development of AI.

WS: In your many years leading companies, what have you learned about managing in rapidly changing times?

RABE: The media industry is in the middle of a major transformation. This causes significant challenges, requires tough decisions and presents huge opportunities. The RTL Group has the creativity, flexibility and investment capacity to future-proof our core business and take advantage of growth areas such as streaming, content production and advertising technology. The RTL Group’s ability to achieve strong results—even during challenging times—is due to our strong, diverse and highly motivated leaders and teams in each of our business units. As a manager, I believe in clear targets, setting the right priorities, decision-making, excellent execution and active communication. We have all these elements at RTL Group. This makes me confident that we will continue to prosper as Europe’s leading entertainment company.

Funding Models / Crime Dramas

Ricardo Seguin Guise

Publisher

Mansha Daswani

Editor-in-Chief

Anna Carugati

Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Alexa Alfano

Associate Editors

David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Daphne Menard Bookkeeper

New World Order

Peak TV came and went, and we’re in a dramatically different era when it comes to the streaming wars. Who knew that one day you’d be able to log onto Netflix and watch a signature HBO original like Band of Brothers? Or that the top streaming show in the U.S. for two months in a row this summer would be an old USA Network hit, Suits, accessible on both Netflix and Peacock? What this new era in the streaming wars—or, perhaps more apropos, what this post-streaming-wars era—means for cobbling together the financing on shows is explored in a special report in this edition of TV Drama. Global SVODs are becoming more open to sharing rights and less insistent on owning everything everywhere than they once were. Broadcasters have always been open to cross-border collaboration, especially in Europe, and the success of properties like The Swarm earlier this year proves that a well-executed co-production can indeed deliver audiences and buzz without breaking the bank.

CONTENTS

FEATURES GAME CHANGE

As streamers and broadcasters shift their strategies, leading distributors are expanding their approaches to financing, distributing and marketing scripted shows.

CRIME WATCH

We spotlight the wealth of crime dramas on the market, hearing from distributors about the importance of known IP, unique takes and scripted formats.

DRAMATIC VIEWS

GoQuest Media’s Rakesh Vasani spotlights the Lithuanian comedy-drama Troll Farm

Ricardo Seguin Guise President

Anna Carugati Executive VP

Mansha Daswani

TV Drama

©2023 WSN INC.

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Fax: (212) 924-6940

Website: www.tvdrama.com

This edition also features a spotlight on crime drama, a genre that never goes out of style, but, like everything else in the content business, needs innovation and new approaches to keep winning over audiences.

As everyone figures out new ways of making shows on more cost-efficient budgets, the emphasis on authenticity and setting a high creative bar remains. We heard that mantra from the heads of two very different studios featured in this edition. Erin Underhill, the president of Universal Television, heads up a sprawling unit that is behind a slate of some 40 shows at present, including Dick Wolf’s evergrow ing stable. She spoke to us about ensuring a diverse slate to meet the broad needs of the ecosystem today.

INTERVIEWS

Universal Television’s Erin Underhill

Michael Ellenberg, who heads up Media Res, shared with TV Drama how the boutique outfit behind Apple TV+’s The Morning Show is remaining firmly focused on delivering premium, cinematic television that speaks to contemporary issues. Mansha

Media Res’s Michael Ellenberg

The U.S. writers are back at work, but as of press time, actors are still on the picket lines pending a new deal with studios and platforms. Between the Hollywood shutdown and the global SVOD streamers recalibrating their investments, there’s a lot less scripted in production than there has been over the last few years.

A+E Media Group

V.C. Andrews’ Dawn Cutler Series / Miss Scarlet and the Duke

Star-studded casts lead the drama highlights from A+E Media Group’s MIPCOM slate. V.C. Andrews’ Dawn Cutler Series, featuring names such as Jesse Metcalfe (Desperate Housewives), Joey McIntyre (New Kids on the Block) and Fran Drescher (The Nanny, Hotel Transylvania), follows the enigmatic history of the Cutler, Longchamp and Booth families. After growing up in humble surroundings with a hardworking family, Dawn Longchamp suddenly has everything she loves ripped away from her. Season three of Miss Scarlet and the Duke features Kate Phillips (Peaky Blinders), who stars as Eliza Scarlet, the first female detective in Victorian London. She is determined to keep her father’s business running. Meanwhile, her relationship with the Duke builds toward a decision that will shape both their lives.

All3Media International

Boat Story / Far North / Tree on a Hill

From producer Two Brothers Pictures, Boat Story is a brandnew thriller on offer from All3Media International. Two Brothers’ “pedigree for original, character-driven storytelling and comedy-thriller-action adventures holds immense appeal in the international market,” says Sally Habbershaw, executive VP of the Americas. The title follows down-ontheir-luck strangers who think they’ve finally caught their break, only to find themselves pushed to the very edge. Far North, a comedic true-crime drama from South Pacific Pictures, tells the story of an everyday couple that foils an international crime ring’s largest-ever drug deal in the Pacific. Tree on a Hill, from Fiction Factory, is set in a small, sleepy town near the atmospheric Brecon Beacons. There, an ordinary couple finds themselves at the center of a mystery.

Atresmedia Televisión

Zorras (Tramps) / Entre Tierras / Déjate Ver (Show Yourself)

A top highlight from Atresmedia Televisión, Zorras (Tramps) tells the story of three empowered women. They have nothing in common except their desire to have fun, take risks and be free, so they form the Sex Friends Club. Entre Tierras, a Spanish adaptation of the Italian series La Sposa, follows an anonymous heroine who leaves behind her own dreams for her family. Written and directed by Álvaro Carmona (Gente Hablando), Déjate Ver (Show Yourself) “revolves around the search for oneself and the need to transcend in today’s world,” says Miguel García Sánchez, sales director. It centers on a woman who has lived in a bubble for several years while working as an assistant to one of the most famous artists in the world, whose identity is kept secret from the public.

“Our offering is both deep and varied.”

—Sally Habbershaw

“Zorras

Tramps) is, above all, a story of friendship and sisterhood.”

—Miguel García Sánchez

atv Distribution

Safir / Street Birds / The Father

On offer from atv Distribution, Safir centers on Feraye, a housekeeper for a wealthy family who falls in love with Yaman, one of the heirs. When she discovers he is going to marry someone else, she sets the house on fire but is saved by Yaman’s brother Ateş. In Street Birds, five kids working for a dangerous man take in a baby they discover in a trash bin. After the man murders a woman who comes looking for the baby, the kids abandon their territory. The Father sees a former assassin fake his own death after avenging his brother’s murder. “Our catalog boasts a robust selection, including our cherished golden classics, enduring longrunning series, captivating miniseries and added brandnew series,” says Müge Akar, head of sales for Europe, Asia and Africa.

Bavaria Media International

Inside a Family / Dead End / Meme Girls

From producers Constantin Television and Belga Productions, Inside a Family is featured among Bavaria Media International’s MIPCOM slate. Centered on the lives of four siblings who reunite for a wedding and grapple with their past traumas, the series sees the family’s buried memories triggered when the groom mysteriously disappears on the honeymoon. Dead End, a dramedy produced by Moovie, a subsidiary of Constantin Film, for ZDF, weaves together the destinies of four women from a suburban community who are bound by a dark secret. The 6x25-minute Meme Girls follows 15-year-old Liv, an aspiring influencer, as she navigates life after her parents banish her from the online world, offering “a relatable, engaging and entertaining experience for teenagers around the world,” says Helge Köhnen, head of content sales.

BEC World

Never Enough / Dhevaprom / Born a Goose, Soar Like a Swan

The romantic coming-of-age drama Never Enough is on offer from BEC World. Dhevaprom, the five-part romance anthology following the acclaimed TV series The Gentlemen of Jutathep, set in the 1960s when marriage into nobility and money was considered the gold standard, stars “highly talented, beautiful young actors” and “will appeal strongly to international audiences,” says Surin Krittayaphongphun, president of BEC World’s TV business. The romantic time travel comedy Born a Goose, Soar Like a Swan ranks as another featured title from the company’s MIPCOM slate. It centers on Nittra, a famous actress of the present day, as she finds herself suddenly transferred into the body of Boonta, a newly recruited courtesan in the Sampeng brothel, more than two centuries ago.

“Our titles are curated with cultural richness, engaging storytelling and high production values.”

—Müge Akar

“In addition to sales, we are actively acquiring new content for distribution at all stages of production.”

—Helge Köhnen

“BEC World is a content company that takes pride in producing compelling Thai dramas for all platforms.”

—Surin Krittayaphongphun

Calinos Entertainment

Farah / Indefensible

Farah is a Turkish drama leading Calinos Entertainment’s MIPCOM slate. When Farah finds herself in the middle of a mafia-police war and an unpredictable love with Tahir, she, Tahir and her son Kerimsah form a family together against all odds. The love between Farah and Tahir continues to be tested when Behnam, the father of Kerimsah, who was believed to be dead, arrives in Istanbul. Produced by Pixcom in collaboration with Quebecor Content, Indefensible is a crime drama following the world of the LapointeMacdonald legal firm and its criminal defense team. The show portrays “a realistic universe built of human dramas, from the smallest to the largest, all imbued with the same emotion: the fear of being condemned,” says Asli Serim, head of international sales at Calinos Entertainment.

Cineflix Rights

The Doll Factory / Men Up / Late Bloomer

The gothic thriller The Doll Factory, starring Esmé CreedMiles, Éanna Hardwicke and George Webster, is on offer from Cineflix Rights. A story of love, art and freedom, the series explores what happens when a woman dares to take what she wants in a world that would rather kill her than let her have it. Additional featured titles include Men Up, telling the story behind the development of Viagra, and Late Bloomer, a comedy series that follows Jasmeet, a turbanwearing millennial struggling to find his place in life while balancing Eastern roots with Western ideals. “Late Bloomer’s quirky take on millennial lives fits the bill for buyers everywhere looking for a series with diverse characters and storylines that appeal to younger viewers,” says James Durie, head of scripted.

Eccho Rights

Fallen / The Vanishing Triangle / The Inheritance

Fallen, a top program highlight from Eccho Rights, follows the story of Luce, a young woman sent to a cult-like rehab facility to serve time for a crime she cannot remember committing. There, Luce must untangle the mystery of who she is and why she has a preexisting connection with someone in the institution. Directed by Matthew Hastings ( The Handmaid’s Tale , Shadowhunters ), the series is a love story about a woman who is unaware of the strange powers she wields and her journey to uncover the true strength that lies within her. More highlights from the company include the crime dramas The Vanishing Triangle , set in 1990s Dublin, and The Inheritance , the story of three siblings whose lives are torn apart when their father passes.

“Our growing scripted slate includes multiple returning seasons of critically acclaimed, award-winning standout dramas from Englishlanguage and international producers .”

—James Durie Fallen

“We present phenomenal dramas for audiences all around the world to enjoy.”

—Asli Serim

Global Agency

Another Love / One Love / Vendetta

Global Agency’s Another Love follows the narrative of an anchorman and a prosecutor, drawn into an affair filled with passion and tension as they both seek to reveal the dark truth about a mysterious serial killer. One Love tells the tense story of the idealistic Doga as she falls hopelessly in love with a charming man from a devout family whose values clash with those of her mother. Drama ensues as they seek to overcome their differences and find harmony. “One Love has been the most talked about series in Turkey over the last season,” says Izzet Pinto, founder and CEO. Vendetta centers on Dilan and Baran’s marriage, which they are forced into to end a blood feud. Despite the hostility of those around them, a passion ignites that will either blossom into love or bring devastation.

Global Screen

DAVOS 1917 / The Undertaker—The Movie / Auris

DAVOS 1917, The Undertaker—The Movie and Auris comprise Global Screen’s top drama highlights. Featuring Dominique Devenport (Sisi) and David Kross (The Reader), DAVOS 1917 is a spy drama based on events that occurred in the early days of the European secret services. The Undertaker—The Movie, a dark crime comedy, builds on the SRF series Der Bestatter Auris consists of two titles, The Hegel Case and Frequency of Death, RTL+ originals adapted from the book by Vincent Kliesch, based on an idea by Sebastian Fitzek. “With such an excellent pedigree, and already with a huge fan base, we are sure these two titles will have strong appeal for international audiences hooked on innovative crime series,” says Ulrike Schröder, VP of international acquisitions and co-productions.

Inter Medya

Blue Cage / Deception / Tuzak

Inter Medya is showcasing Blue Cage, which sees Ali relocate his family to live with his father-in-law, the owner of a boutique hotel, upon learning of his wife’s fatal illness. When tragedy strikes, the family is grief-stricken. Days of irreversible events, passionate love and the unraveling of family ties unfold. Deception is also on offer, featuring a seemingly picture-perfect family whose buried secrets come to light. When Güzide’s husband’s betrayal is revealed, she finds herself confronting the reality that her life has been a lie. Tuzak is the story of three siblings who come together to find that they do not have the bond they thought they had. The title centers on themes of family, love and lies. The Inter Medya slate also features Another Chance and Poison Ivy.

“Global Screen is celebrating its 60th anniversary as a diversified media company in the film and series business.”

—Ulrike Schröder

“We believe Another Love will be the hit of the new season.”

Kanal D International

A Father’s Promise / Daylight / Farewell Letter

Set in 1980, the Kanal D International highlight A Father’s Promise follows a struggling factory worker who faces dire financial circumstances in a quest to save his wife’s life. After she dies and he is rejected by his boss, he flees to avoid arrest and leaves his daughter in an orphanage. Later, he infiltrates the family who adopts her. Daylight centers on a girl whose university plans are postponed when her family makes the sudden decision to move away from Istanbul. Farewell Letter, meanwhile, tells the story of two opposed families whose fate lies in the hands of their children. “Universal themes such as love, family, sacrifice and human connection often transcend cultural boundaries, making these series appealing to a diverse international audience,” says Selim Türkmen, sales director.

Paramount Global Content Distribution

Elsbeth / Matlock / The Turkish Detective

Elsbeth, from Robert and Michelle King and produced by CBS Studios, is featured among Paramount Global Content Distribution’s MIPCOM slate. Carrie Preston stars as Elsbeth Tascioni from The Good Wife and The Good Fight. The character is an astute but unconventional attorney who, after her successful career in Chicago, utilizes her skills to corner criminals alongside the NYPD. Matlock, starring Kathy Bates, is inspired by the classic television series of the same name. “With Kathy Bates at the helm, we believe the series will resonate with viewers across the globe,” says Lisa Kramer, president of international licensing. Also a featured title, The Turkish Detective is a drama set in Istanbul following Inspector Cetin Ikmen and Detective Mehmet Suleyman as they solve each unique case across sets of two episodes.

Record TV

Genesis / Kings

Kings, one of Record TV’s highlights at MIPCOM, tells the story of the nation of Israel, including the moment the prophet Samuel is used by God to lead his people and the fall of Jerusalem, brought about by the armies of Babylon.

“You will experience the pains, joys and stories of the main kings of Israel as they lead the nation,” comments Delmar Andrade, the company’s international sales director. “It is a story full of battles, love, betrayals and valuable teachings.”

Record TV also presents Genesis. “It is an impressive and great work, which is doing well in Latin America and is currently a hit in the U.S.,” Andrade says. “This strengthens our expansion plans in Europe and other continents.” Further catalog highlights include Moses and the Ten Commandments and The Slave Isaura.

“Each title features a compelling and relatable storyline that resonates with a wide range of viewers.”

—Selim Türkmen

“We are looking to be present in new markets with different distribution strategies.”

—Delmar Andrade Kings

Elsbeth

“The slate we have to present encompasses gripping storytelling and incredible talent in front of and behind the cameras and is relatable to viewers across the globe.”

—Lisa Kramer

The Mediapro Studio

The Head / Las Pelotaris: 1926

The Mediapro Studio has on offer a second season of The Head, an English-language suspense thriller created by Ran Tellem (Homeland). The new season gives biologist Arthur Wilde a second chance after being convicted for the events of season one, but his life is thrown into disarray again soon after his release. Las Pelotaris: 1926, inspired by the story of the first Basque pelota female players, “raises universal conflicts, still valid today, such as obstacles to striking a balance between motherhood and a professional life, social prejudices restricting sexual freedom, abuse and difficulties accessing positions of power,” says Marta Ezpeleta, general manager of distribution, co-productions and international offices. The Mediapro Studio is also bringing the reality adventure format El Conquistador to MIPCOM.

Turkish Radio and Television Corporation

The Joy of Life / My Lovely Family / Come What May

The Joy of Life, on offer from Turkish Radio and Television Corporation, centers on 40-year-old housewife Neşe. With three children, their adolescent crises and a husband who does not know much about caring for them, Neşe is lost. When she re-enrolls in the medical school she dropped out of to marry Mustafa, drama ensues. Also on offer, My Lovely Family follows the life of the Akyol family, while Come What May centers on the beautiful 22-year-old Alize and her love story. “Since all three of these series are centered on warm, strong family structure and relationships, and since family relationships are a universal theme that transcends cultural boundaries, series that highlight these themes can appeal to audiences from different cultures,” says Mustafa İlbeyli, director of advertising and sales.

ZDF Studios

The Swarm / Stories to Stay Awake / Before We Die

The ZDF Studios highlight The Swarm centers on a group of international scientists as they rush to discover what is causing the world’s oceans to exhibit strange happenings, including ice worms triggering tsunamis, deadly bacteria poisoning drinking water and whales aggressively attacking boats. Produced by Schwarm TV Production, Bravado Fiction, Beside Production and ATHOS, it is “a testament to the power of co-production and the incredible outcomes diverse partnerships can achieve in the worldwide arena,” says Robert Franke, VP Drama at ZDF Studios. Also on offer, four new episodes of the Stories to Stay Awake reboot continue to modernize Chicho Ibáñez Serrador’s horror series. Season two of Before We Die sees the return of detective Hannah Laing and Dubravka, a figurehead of the Mimica crime family.

“We invite you to explore a diverse and compelling content portfolio that transcends borders, languages and genres.”

—Mustafa İlbeyli

“We will arrive at MIPCOM with an extended portfolio of content, including these three titles and many more.”

—Marta Ezpeleta

“At ZDF Studios, our ethos centers on forging relationships and strategic collaboration with producers globally.”

—Robert Franke

GameChange

Change has been a constant in the television business. From the days of the small black-and-white square TV set with bunny ear antennae to programming in color, cable channels, VCRs, DVDs, DVRs and catch-up services—technology has put viewers in control of where and when to watch. Content companies have eagerly filled the pipeline of the moment with films and TV shows.

The most significant tectonic shift has come from SVODs, ushering in bingeing and vast programming volumes. Not only have streaming services, particularly the global ones, altered viewing habits, but they have also pushed distributors to modify and expand the way they do business.

“There was a time when producers were attracted, and many still are, and some for good reasons, to going to streamers and getting one check for one deal to fully finance a show and have it exploited globally,” says Dan March, Dynamic Television’s managing partner. “[We’ve seen] some contraction with those streamers, and maybe a greater interest in exploiting shows in a different model where possible.

“There is a bit more momentum back to traditional distribution, for both having the ability to sell a show and making a profit,” March continues. “Maybe we’re even

more active now than we have been because there’s so much content in the marketplace, and buyers can be choosy. So, sitting back as a distributor and waiting for content to come to you and you evaluate it and invest in it is harder. We need to work with our partners to ensure the shows we invest in are successful locally but can also be successful globally.”

“Fewer series are being produced,” explains Nadav Palti, president and CEO of Dori Media Group. “All of the majors have cut production and budgets dramatically. Everybody is trying to get more efficient. On the one hand, there are fewer orders for new productions. On the other hand, everything costs more. Each drama you see on-screen now is much more expensive than dramas from two, three or even one year ago. After Covid, costs went up. I think it’s the same all around the world, but everything costs 30 to 40 percent more here in Israel. Inflation, problems with supply chains and the war between Russia and Ukraine influence our business. And that means that every production is much riskier.

“But when you have high risk, you have greater opportunities,” continues Palti. “So, if you find a way to continue to produce, you may have a better chance to sell it at a good price.”

“We see a massive shift in power dynamics right now in the market, driven by the general economic environment we are all facing,” says Robert Franke, VP Drama at ZDF Studios. “After these boom years, driven by many streamers setting up

As streamers and broadcasters shift their strategies, leading distributors are expanding their approaches to financing, distributing and marketing scripted shows. By Anna Carugati

shop and starting to produce a lot of original content, we see that the market is contracting. I would dare say it’s going back to a more sustainable level because we are now coming out of the years that were all about subscriber growth.”

“Production budgets are rising, yet channels are not paying more, so the financing is getting harder to close for producers,” says Lisa Fidyka, the senior acquisition manager at Bavaria Media International. “Therefore, international distribution is increasingly getting involved early to gap finance projects.

“It is also getting more common for a distributor to partner with producers to share development costs and help find partners for the show,” Fidyka continues. “Thus, it is increasingly important for a distributor to be on board a project even before a platform or broadcaster is attached.”

MONEY MATTERS

In a market where money is tight, using the appropriate funding models for a given project is essential.

Dynamic’s March doesn’t believe the fundamentals of financing have changed very much, but the economic factors underpinning the business have.

“The numbers have changed for two big reasons,” he says. “First, costs have gone up considerably, and it’s different in different markets. We’ve seen inflationary pressures increase labor [costs] throughout the world, but certainly in the U.K. and Europe. The flip side is that there’s a lot of negative pressure, especially on the ad markets. So, values have been declining because there’s so much content in the marketplace. There’s been an incredible increase of supply over the last three or four years, [as well as] some demand depression. Today, you have to work very hard with your partner.”

Given the economic environment, many drama projects require more than one partner to help cover costs.

“Budgets for dramas are increasing quite dramatically, and that means that now we’re looking at lots of shows with multiple partners on board,” notes David Swetman, the senior VP of content and commercial strategy at All3Media International. “So, it’s not just the case that we’re attaching one co-producer, but there may be two or even three on a single project, which comes with a lot of complexity. As a distributor, we also look at doing presales—selling

off the script or perhaps some early footage to get money directly into the budget. But those types of deals come without necessarily having creative input into the project. We also provide distribution advances or MGs toward almost all the dramas we work on. In many ways, they’re familiar models and have been going on for a long time, but the amounts of money involved are getting higher, and the number of deals needed on any single project has gone up as well.”

PARTNERSHIP PERKS

“We are seeing a comeback of the traditional coproduction model,” says Yi Qiao, Director Drama at ZDF Studios. “Before the streamers came in, co-production was very common. You had two broadcasters partnering, maybe a distributor would come in to close the financing, and then you would go into production.”

After the streamers launched, they were primarily focused on securing a global commission. “What we see now,” continues Qiao, “is that we are going back to the initial co-production model even with streamers. They carve out certain territories and co-produce with a local partner, and you still have a distributor closing financing, retaining rights and selling internationally. Also, people are taking fewer risks in general. That’s why distributors [are becoming] important because we are so crucial to the financing of a project. We are the ones sending projects into production sometimes without having partners on board.”

Alexandra Finlay, the VP of international scripted copro ductions at A+E Media Group, adds: “The most common financing model we’ve used has tended to be a more tradition al structure with one or two primary commissioning broadcasters or partners, enlisting tax breaks or incentives from relevant territories, A+E supplying a distribution MG, and maybe one or two other presales that will help close the financing. There may also be equity investment or talent deferring equity in relation to their participation.”

“The financing models in Europe have remained the same, basically, so you have money from the commissioning entity, a broadcaster or a distributor if you are doing a theatrical film,” says Ulrike Schröder, the VP of international acquisitions and co-productions at Global Screen. “You have the soft money, tax rebates and tax incentives. You have an MG from a distributor. What is new in the sense that it’s not so common is private-equity money. We can handle bigger projects or smaller ones involving private equity. And this works very well with all parties.”

Tax incentives also factor into financing formulas. “Soft money is always a key part of any finance plan,” notes Finlay. “There are great opportunities, whether it’s the U.K. high-end tax break, Spain, Belgium or Eastern Europe. The key is figuring out how to match those relevant incentives with the creative and logistics of your project.”

“We’re based in the U.K.,” says Swetman, “but we shoot projects and work with channels all over the world. The main consideration is always how authentic and accurate the location is to the story. Soft money is important, but we don’t want to locate projects somewhere completely alien just because there’s better soft money there. It’s

more about when we’ve got a project set in a specific location, how we can maximize the soft money we get from that loca tion and tax credits. In the U.K., for exam ple, various regional funds are available that might contribute to funding. In Australia, where we film several projects, there is a tax credit at the federal level, but there are also individual states and agencies that can contribute money to funding.”

SOFT MONEY GAINS

“One of the really important factors is the threshold where tax credits kick in,” contin ues All3Media International’s Swetman. “Usually, there’s a minimum spend required, and that varies from territory to territory. We’ve filmed a lot of projects in Ireland, where the threshold is slightly lower than in the U.K. That has allowed us to get tax credits on projects that otherwise wouldn’t have qualified in the U.K. It makes drama production at a slightly lower budget level more viable. Those are the kinds of considerations that we’re weighing. But it’s all about having the right fit for the project.”

Dori Media’s Palti points out that financing models are continually evolving and must be adapted to the territories where production is taking place.

He gives examples of three models Dori Media uses. The first is a regular commission from one broadcaster or production company, but for a show for which Dori Media owns the rights and the format.

Another model was used for a political action series shot in Uruguay and Argentina called Amia, about the Argentine Israeli Mutual Association that was bombed in Buenos Aires in 1994.

“We financed Amia by ourselves,” explains Palti. “We took a risk to develop it, but then we got some private investors. We also found a fund that invests in media productions. So we managed to cover the cost through investors.

“The third model is what we are doing in Israel,” continues Palti. “We produce a lot in Israel, and most of the time, it’s a commission by one of the platforms or broadcasters in Israel. Most often, they cover the entire production budget, and then we produce it and split the rights fifty-fifty. They get the rights for Israel, and we have international rights, sell it worldwide and we get a commission as a distributor. We always try to keep the distribution rights in our hands. This is key. We’ve done it for the last 20 years. We try to keep the IP and the distribution rights. This is what gives you value. Most production companies want some margin on the production and are very happy to get some revenue, but that’s it. We sometimes do not get any revenue from production, and sometimes we even have to bring some money to complete the production. But we keep the distribution rights, which is very important.”

MANAGING & MONETIZING

From concept to screen, drama projects require ongoing conversations and collaboration among all parties. To best manage monetizing IP and windowing, distributors must start working with producers very early on.

“Distributors are getting involved much earlier in negotiations,” notes Bavaria Media’s Fidyka. “That’s why they must

become more creative with sharing the rights: who receives which rights in which exclusivity in which time window.”

SVOD services have been changing their strategies, opening up opportunities for indie distributors. “From the acquisitions point of view, streamers had been competitors to international distribution partners when it came to financing models,” explains Fidyka. “They took too many territories and rights. Such a financing model was not attractive for international distribution anymore. Now, the situation has changed. Streamers are increasingly adopting a similar approach to that of traditional broadcasters. They focus on a selection of territories, meaning they have less production budget. Such a situation creates more opportunities for international distribution companies to step in and co-finance a show.”

“Platforms are always going to be key clients for us,” says Swetman. “Sometimes [it’s for] bigger scale global co-productions, but we’re also working with them on more traditional licensing deals in individual territories. So, perhaps taking some back catalog titles for the service

in one or two territories. Like all clients, their exact needs change from time to time.”

Swetman has noticed one change in working with streamers. “Increasingly, across all the different platforms, there’s a bit more openness to working not on a global basis. There are more opportunities to do deals in specific regions or individual territories. As a distributor, that gives us more of a role in some of the projects they’re working on. Because historically, we might have been excluded from that. But now, I think there is an opportunity to pair up and work with a streamer that’s commissioning for one territory. We can bring on board co-pro partners or provide an MG for other territories. It’s exciting to have that shift and new opportunities in the market.”

Dori Media’s Palti adds that Netflix has modified its strategy in Israel. “Netflix today is buying only for Israel, non-exclusive, which is a dramatic change from last year,” he says. “Netflix decided that Israel is big enough as a stand-alone country or operation that it started buying Israeli content in Hebrew that was produced in the past and has already aired. It pays a relatively good amount of money because the rights it gets are not exclusive—only for Israel—and most of the time, it’s for two years. This change opened an opportunity because we can resell our Hebrew libraries. Netflix is buying less for its global audience, but it is buying much more for Israel.”

POWER OF PACKAGES

Even with like-minded co-production partners and financial models that work for all parties, attaching talent to projects can help secure sales.

“Because we produce and distribute shows, packaging has been second nature for us for quite a while,” says Dynamic’s March. “For any [broadcaster or platform] investing in content, the challenge to attract the audience to that content is extraordinarily tough. You need something to sell. There’s been this flurry around known IP for the last few years because it is marketable. But if you don’t have IP, talent is marketable; it moves the needle on almost any show because it’s an asset that a broadcaster can market. Jane Seymour on our show Harry Wild was such a phenomenal asset. She was incredible in her ability to attract an audience to our show.”

“You don’t get a commission if you don’t bring the whole package, and the commissioner is very involved,” notes Dori Media’s Palti. “In Israel, platforms and broadcasters finance the production. It starts with the development budget, which is very small. They want to see the idea. [If they approve it, they] give you a writing agreement and a bigger budget to write the script. And then, you attach the writer and the creator. The platform or broadcaster doesn’t give you the money if they don’t like the creator or the writer. Then, they approve the production agreement. And this is the biggest amount of money out of the three agreements, and they want to see the actors.”

A distributor’s job is not done with selling a series—helping a commissioner or buyer market a series is essential.

MAKING A MARK

“Marketing is storytelling in your imagery and assets,” says March. “It’s knowing what you’re selling to an audience. Sometimes, we’re selling a genre, sometimes locations, sometimes cast, sometimes IP. But you have to understand your marketing goals, how you’re going to attract that audience and what the story is that you’re trying to sell that audience.”

“For a major highlight, visibility and transparency are vital, ideally from an early stage,” explains Helge Köhnen, the head of content sales at Bavaria Media International. “The presentation of the show should happen in all media so buyers can get on board as early as possible. It is also important to update buyers about news in terms of cast, director, completion and availability.”

As viewers have flocked to SVOD and now increasingly to AVOD platforms, distributors have to devise tools to reach consumers directly and, at times, even attract influencers.

“It has become increasingly imperative to leverage various digital channels for promoting television shows,” Köhnen says. “Video content, such as trailers, teasers and clips, has gained significant prominence in the digital landscape. In addition to the conventional physical markets, several new digital platforms have emerged, providing B2B show promotion services. It is crucial to explore and embrace these digital opportunities and emerging technologies to enhance our visibility in the digitally driven world.”

TVDRAMASCREENINGS.COM

The only video portal for the global TV drama community.

Between cost cuts and the Hollywood strikes, scripted commissions are expected to be down across the globe this year, but if there’s any genre that is likely to come out unscathed, it’s crime dramas. From procedurals to twist-laden serialized shows, whodunits never seem to go out of style. However, as with any clever caper, a fair bit of ingenuity is needed to solve the riddle of what will compel audiences to tune in.

“Viewers are looking to be intrigued and engrossed by crime stories—be they procedurals, glossy, expensive drama series or highly produced TV movies,” observes Ulrike Schröder, VP of international acquisitions and co-productions at Global Screen.

CRIMINAL INTENT

Béatrice Nouh, head of sales at Onza Distribution, believes audiences are searching for “stories never told before, or stories that are difficult to believe. It can be fantastic stories and mysteries to solve that keep the public entertained and hooked to their screens until the next episode. It can be true stories where viewers think, ‘It could have been me.’ Identifying with the characters and the situations shown in the series is an important factor in its success. We cannot forget that fiction, since Greek theater, has always had a cathartic function, and if you do not identify with the main characters, it makes it more difficult to enjoy.”

Jimmy George, VP of sales and acquisitions at GoQuest Media, says that crime drama’s “diverse stories, intricate plots and the excitement they generate will continue keeping it in demand.”

George adds: “Crime dramas offer themes such as restoring order in the world and offer a level of control to audiences living in these present times rife with political, economic and social tensions. We are suckers for the status quo and justice being served. Audiences are increasingly more attracted to the representation of crimes that are realistic both in terms of victim demographics and the nature of the crime. What we may consider unpalatable in a real-life situation becomes exciting to watch onscreen. Audiences want visceral experiences from all parts of the world. Geography is not a concern; the more unfamiliar the surroundings, the stronger the interest in the content.”

At Cineflix Rights, James Durie, head of scripted, points to the importance of delivering something “fresh and different,” highlighting the MIPCOM launch of The Doll Factory, which he bills as “a gothic thriller about love and freedom with a shocking story viewed from a female gaze. It comes from the pedigree producers at Buccaneer, behind award-winning series such as Irvine Welsh’s Crime and Marcella.”

Irvine Welsh’s Crime taps into the popularity and name recognition of the Scottish author and his 2008 novel of the same name. Indeed, those surveyed for this report indicate that known IP is crucial.

Mansha Daswani spotlights the wealth of crime dramas on the market, hearing from distributors about the importance of known IP, unique takes and scripted formats.

Of note, Onza Distribution arrives at MIPCOM with Flowers

Over the Inferno, based on Ilaria Tuti’s best-selling book series. It comes with built-in “potential of several seasons following the investigations of our main character,” says Nouh, given that Tuti’s Teresa Battaglia series features several novels. “As a matter of fact, the second season is already in the pipeline.”

At Global Screen, Schröder also points to the need for recognizable brands, referencing new specials in Seaside Crimes; The Undertaker—The Movie , which builds on the highly successful SRF series Der Bestatter; and Auris, based on the thriller by Vincent Kliesch from an idea by best-selling author Sebastian Fitzek.

“With such an excellent pedigree and already with a huge fan base, we are sure these titles will have strong appeal to international audiences.”

REAL DEALS

Stories based on true-crime cases are also proving popular with clients and audiences, Nouh observes, highlighting Onza’s own Godless John.

“ Godless John is a true story about a big scandal that exploded in Brazil in the past few years. It shows a powerful man taking advantage of his position and spiritual aura to abuse young women. This resonates in an international society where the #MeToo movement is still strong. Also, the cast and artistic crew are top-notch from Brazil and Portugal, where it was produced, and you can feel the quality and special sensibility.”

Nouh also references Parot, which, while fictional, takes its inspiration from an actual event. “The Parot doctrine was a sort of ‘pardon’ that allowed many criminals to be set free. Using this as a starting point and making the victims the recently freed criminals makes it particularly original. With the premium cast, it also features well-known Spanish actors in the series.”

Global Screen is bringing to market DAVOS 1917, “a spy drama based on real but largely unknown events that occurred in the early days of the European secret services,” Schröder says. “Its unique storyline will grip viewers from the very start.”

Schröder adds that DAVOS 1917 is a crime story merged with a period drama, reflecting a trend toward crime dramas fused with other genres. “You can certainly see the €18 million ($19 million) budget on-screen in each of the six episodes. We know that Switzerland is a neutral territory, but during WWI, who knew it was a hotbed of espionage and unscrupulous political dealings? The fate of women at that time is also explored—the protagonist has her child taken from her at birth because she did not conform to values at the time. So, as well as being a crime series, it’s also an emotional piece of social history.”

GoQuest’s George notes, “True crime continues to be an inspiration for crime drama makers; it has an increasingly loyal audience.”

George is also seeing an uptick in interest in so-called “light crime” and non-English-language productions.

“A space earlier dominated by British crime dramas and procedurals has expanded to include stories from around the world,” George adds. “There couldn’t be a better time than now to be a crime drama enthusiast.”

Indeed, GoQuest is so encouraged by the interest in for eign-language drama it has been expanding its offerings from Central and Eastern Europe. “A slow-burn, intense psychological crime period piece called Erinyes follows a sinisterlooking, broody ex-cop/detective in 1930s Poland on a mission to clean crime from a pre-WWII neighborhood. We also have Crusade, a pacy, action-packed procedural where the Crime and Criminal Terror Division of the Warsaw Metropolitan Police chases a group of influential young criminals as they cause havoc by murdering the city’s elite.”

“There is an explosion of crime dramas on the market, and they come in all directions,” agrees Nouh. “True crime works well, but more complex stories also keep the viewer’s attention. There is also a significant appetite for crime-comedy combinations to engage the public in a lighter manner.”

While the streaming revolution ushered in a wave of über-serialized stories, drama distributors continue to see a strong demand for story-of-the-week procedurals, “as long

as they are innovative and cleverly produced,” says Schröder at Global Screen. “We have been investing in and acquiring strong IP and optioning shows in this space to codevelop with like-minded producers. We currently have a number of projects in the works that we are co-producing and co-developing with well-regarded producers, enabling us to go together to broadcasters and commissioning editors to get shows greenlit.”

GoQuest’s George adds: “Procedurals create more windows on both television and streaming, and we’re seeing more networks and platforms consider them for continued engagement with their audiences.”

From Nouh’s perspective, “The audiovisual landscape is divided. Pay TV and streamers are betting on serialized

content, allowing them to delve deeper into one story, a pool of characters, and so hook the viewer. On the contrary, free TV still prefers lighter procedural dramas because they are easier to schedule and reschedule. If they opt for serialized content, they tend to prefer shorter series. In Spain, procedural dramas are no longer in vogue, but they may come back one day; everything is cyclical!”

ADAPT & SHIFT

There are also several crime dramas being offered in the scripted-format space, and those adaptations are proving to be strong sellers across the globe. For example, ZDF Studios arrives at MIPCOM with a second season of Before We Die , Channel 4’s U.K. adaptation of the Scandi hit of the same name. All3Media International has a range of crime-drama formats to offer, including Liar , the acclaimed Two Brothers Pictures series adapted in 12 markets, including Italy, Spain, Turkey, Germany, Greece and Malaysia.

“Two Brothers Pictures’ compelling, impeccably crafted scripts have resulted in consistently successful adaptations,” says Nick Smith, executive VP of formats at All3Media International. “Told through a specific cultural lens while always delivering outstanding high quality, this is universal storytelling at its best that appeals to international and local audiences.”

Stephen Driscoll, executive VP for EMEA at All3Media International, adds: “Clients are often drawn to genre pieces, domestic thrillers or crime stories such as Liar , The Missing , Informer, Innocent, Angela Black and Cheat stories from renowned writers that explore compelling universal themes such as consent, betrayal and family.”

GoQuest Media has been expanding its slate of CEE crime dramas, which includes Erinyes

Erin Underhill Universal Television

Universal Television, a division of Universal Studio Group, currently produces more than 40 comedies and dramas that run on broadcast, cable and streaming platforms, from the Dick Wolf franchises Law & Order, One Chicago and FBI to The Equalizer and Quantum Leap. Erin Underhill, the president of Universal Television, is responsible for all of the studio’s activities, including creative aff airs, casting and production. She talks to TV Drama about off ering culturally relevant series to a wide range of outlets, all the while building the library, which is crucial to the studio’s future.

TV DRAMA: What is your vision for Universal Television (UTV)?

UNDERHILL: My vision for producing programming at UTV is shows that have broad appeal, are culturally relevant and resonate and entertain a global audience. I want to continue our legacy and expand even further our fan-favorite shows across multiple platforms because, as I like to say, we’re truly universal; we sell everywhere. We tell lots of different types of stories. Half of our shows account for ten of the top series on broadcast this past year. That’s more than any other studio combined, which is an amazing feat. And, of course, the Dick Wolf shows are some of Universal’s most successful franchis es: FBI on CBS and One Chicago and Law & Order on NBC. We’re very excited because Dick is expanding his footprint into streaming. He has a new series, On Call, that will launch on Prime Video in 2024.

TV DRAMA: Universal Television serves the NBCUniversal outlets, including NBC and Peacock, but you also take shows out to the market. What is UTV’s remit?

UNDERHILL: UTV creators come in the door and they share their pitches with us. We listen and the first question we ask is, Where is the best home? Luckily, we have great series within the ecosystem of NBCUniversal, whether it’s NBC or Peacock, but we also have other avenues to sell shows from our visionary creators on nonlinear or linear. I would describe it as a portfolio approach. That’s our remit. It’s about taking the idea and finding the right home. We approach it from a holistic point of view. We look for that match where you see the eyes light up when you’re pitching something to the buyer, where they understand the DNA of the show. They will support it and [will] grow that show because we’re not just looking for a sale. We want something to go on for multiple seasons because building the library is so vital for Universal Television. Of our 40-plus current series, I would say about half are on NBC and Peacock, with the remaining on external platforms.

TV DRAMA: Is there a difference between the type of scripted shows that work best on linear and those suited for streamers?

UNDERHILL: I do think there are some fundamental differences between linear and nonlinear. At the same time, the lines are blurring. There’s no doubt that procedurals and closed-ended stories work great on linear. Dick Wolf [shows are the] perfect example of that success. At the same time, New Amsterdam is a bit of a hybrid. It has character arcs, but it has closed-ended stories, and it has been doing exceptionally well. It’s interesting to see how successful the linear shows have been on non linear. But I do think, to this day, those serialized, bingeable shows thrive on the streaming platforms more so than the linear platforms.

TV DRAMA: How do your teams look for new talent and voices? Can social media lead to discoveries?

UNDERHILL: I have two young boys at home. They are always showing me TikTok videos of people they think are wildly creative and funny. One of the most exciting things about our industry these days is how many avenues there are to explore for new talent. There are lots of different ways to approach how you find that new voice. We’ve been lucky to be able to nurture and incubate some of our most promising new voices by bringing people in at an early stage in the creative process onto one of our shows and then watching them flourish and ultimately create their own show. It’s making sure that you’re scouring everywhere and you’re always open to unorthodox ways of finding those new voices and fresh talent.

TV DRAMA: What are the benefits of long-running franchises like Law & Order and One Chicago?

UNDERHILL: These are huge fan favorites every week. The crossover events, in particular, are tremendous work. But they are so well received by the audience. The highest-rated episodes of the whole season tend to be the crossover episodes. Beyond the incredible stats that I could sit here and rattle off, it’s the value that the Wolf shows bring to our library and showing the entertainment community that Universal can produce 22 episodes times however many series, year after year after year, which in some ways is becoming a lost art.

DRAMATIC VIEWS

GoQuest Media’s Rakesh Vasani spotlights the Lithuanian comedydrama Troll Farm

Aformer corporate diva ends up creating a secret business to take down shady corporations in Troll Farm, a Lithuanian comedy-drama from Dansu Films that GoQuest Media has added to its expanding slate of titles for the international stage.

“Troll Farm first caught our attention in 2021, when it became the inaugural winner of the most promising project award at the Tallinn Black Nights Film Festival’s TV Beats Forum,” explains Rakesh Vasani, global head of content acquisition at GoQuest. “It went on to be one of the 16 new series to be featured in EFM’s Berlinale Series Market this year.”

“In Gabija Siurbyte, the producer’s own words, ‘ Troll Farm germinated from the ambition to create Lithuania’s first-ever high-end drama series with a strong female lead.’ This fits with two goals we always have when finding content for the GoQuest slate: It needs to be a high-quality production suitable to feature across platforms and networks,

and the series has to have a powerful story and a strong lead,” he says.

The five-part drama follows as Ana, played by Siurbyte, is fired from the cosmetic empire she founded as a scapegoat for its wrongdoings and embarks on a crusade of vengeance. Armed with Agriculture for Dummies and extensive corporate experience, she ends up running two farms to cover her underground business, Troll Farm, targeting exploitative companies. As she becomes blinded by her desire for revenge, however, she begins to turn into the same manipulative person she is determined to fight.

Vasani and the GoQuest team were eager to take on the title, as “the exciting topical subject and the fact that the characters are completely relatable make Troll Farm a great watch and a show with exceptional format potential.”

“

T he exciting topical subject and the fact that the characters are completely relatable make Troll Farm a great watch. ” —Rakesh Vasani

Michael Ellenberg Media Res

TV DRAMA: What was the vision you and the team laid out for season three of The Morning Show ?

ELLENBERG: Coming into season three, we wanted to chart a new course. Both our lead characters, Alex and Bradley, had gotten a lot of what they wanted, in theory. We were drawn to how the media has been in a state of evolution for several years now, but it’s hitting a peak. So, let’s put the entire network in play. And what does it mean for an outsider, a tech and finance guy like Paul Marks, played by Jon Hamm, to come in? Is he the savior, or is he the destroyer? That’s a great question to anchor the season around, particularly with Jon Hamm playing that role, and be aligned with what everyone in the industry is wrestling with (and the public, too). We’re both in love with our tech overlords and concerned. It’s quite accurate to what’s going on in media right now. The larger questions are relevant for anyone alive today. So, we thought it was the right subject to tackle.

TV DRAMA: What other topical themes are explored throughout the ten episodes?

ELLENBERG: From the beginning, the show, first and foremost, is about gender relations within the professional world and beyond. Those themes continue to be explored. This year, the overturning of Roe v. Wade is in the background; that informs a lot of story [points]. We explore the intensity of our political environment and how that’s spilling over into the news media and people’s professional lives. The possibility of love and reconnection at a certain point in life and whether one can find a connection with a true equal. What happens when your heart and your head are really in conflict? For both of our leads, there’s tension between their professional and personal needs. The show has no easy answers for any of the dilemmas this year. It’s one of the best things about it; there are no clear answers to most of the challenges our characters face.

TV DRAMA: How does The Morning Show fit in with the types of projects you want Media Res to develop?

Tstar-studded from the start. Toplined by Jennifer Aniston and Reese Witherspoon, season one also featured Steve Carell, Billy Crudup and Mark Duplass and has since welcomed big names such as Julianna Margulies and, new for season three, Jon Hamm. The Emmy-, SAG- and Critics Choice Award-winning drama, which has already been renewed for season four, touches on topical themes such as gender relations, sexism, ageism, racism and cancel culture. It is a testament to the type of premium, cutting-edge, cinematic television that Media Res, the show’s producer, wants to be known for. Michael Ellenberg, founder and CEO of Media Res and executive producer on The Morning Show, tells TV Drama about the level of ambition playing out in front of and behind the camera.

ELLENBERG: Media Res was built to do premium, unique, cutting-edge, cinematic television. The Morning Show was, and remains, our anchor. It’s topical. You never know what you’re going to get. It’s at a scale of brilliant, glittering actors that only our show can provide. Every show should be a unique, distinct experience for the audience—one they can’t get anywhere else. There is no other show on television that comes close to having Reese Witherspoon, Jennifer Aniston, Jon Hamm, Billy Crudup, Greta Lee, Mark Duplass (and the list goes on and on), but that’s also super smart and moving, and you can’t look away from. We want our shows to be entertaining and provocative. That’s what I’m drawn to and what everyone at the company is drawn to. We also want material that speaks to the issues of our time and has something to say. That’s what the public is yearning for. No one wants to be preached at; we get enough of that in the real world. We’re very proud of this show. If we could have three more, we would.

t’s been a busy year for Lionsgate. The leading indie studio recently acquired Entertai nment One (eOne), adding 6,500 film and television titles to its 18,000-title library.

Lionsgate, which already has the movies Crash and La La Land, the John Wick and The Hunger Games franchises, and the TV shows Mad Men, Ghosts and Selling Sunset, now adds the films 1917 and Green Book, along with The Rookie TV franchise. With a broadened pool of IP, Lions gate has strengthened its scripted and unscripted tel evision business and has more franchises to extend into its live experiences division.

tel evision programs; and another for the media networks, encompassing the STARZ premium subscription services. Separating the two groups is motivated by a desire to highlight the value of each business as an independent, stand-alone, pure-play company.

JON FELTHEIMER LIONSGATE

As Jon Feltheimer, Lionsgate’s CEO, tells World Screen , the eOne acquisition aligns with what has always been Lionsgate’s core strategy since he and partner Michael Burns invested in the company in 2000— adding scale to its library.

This past year, Lionsgate also announced its planned separation into two independent, publicly traded companies: one for the studio business, comprising the development, production and distribution of feature films and

Lionsgate has had a good run with its feature film business. While continuing to produce wide-release movies, the studio is seeing continued demand for lower-budget multiplatform movies, most often in the action and horror genres. And the company’s TV business has been particularly prolific thanks largely to its platform-agnostic approach. Lionsgate Television produces not only for STARZ but also for third-party linear and nonlinear platforms.

Viewers’ continued demand for movies and programming makes Feltheimer confident about the future of the business despite the challenging economic environment. He also believes the recalibration of streamers’ investments in content will be good for the industry.

Feltheimer talks about Lionsgate’s businesses and factors that have been boosting revenues and off ers his views on the impact of continued changes in the industry.

WS: Are the magnitude and pace of change the content industry is experiencing now more wide-ranging or severe, or do they carry longer-term consequences than past periods of transition?

FELTHEIMER: When my partner Michael Burns and I started, one of the things we loved about this business was that you could make a piece of content, pay for it once and then sell it over and over again in response to new distribution methodologies. And that’s still true today. Those changes used to come every five or six years. Now, it seems like they come every five or six months, creating a new calculus for our business each time. I’m concerned that in trying to react quickly to these changes, we will lurch from one side to another before we figure out what’s good for the business as a whole, not just what’s good for each company in the short term. Good managers know that we have to plan and build for the future. Right now, three, four or five significant changes are going on at the same time, and that’s what makes it feel so turbulent and disruptive.

I’m a big believer in what we do: finding great IP, executing it with great storytelling and getting it to consumers around the world effectively. I’m super confident in the future of our business if we stay true to these principles.

WS: What motivated the acquisition of eOne? And though it’s early days, how will eOne’s library and brands help Lionsgate grow its businesses?

FELTHEIMER: The acquisition of eOne is an example of one of the core ways we’ve built the business. Going back to January 2000, when Michael and I started, we recognized that to have longevity in this business, you have to have recurring cash flow, and libraries create recurring cash. We started acquiring libraries from the beginning: Lionsgate, then Trimark, then Artisan Entertainment, and we built a global infrastructure around them. Nearly all the businesses

we’ve acquired over the years have had a library or significant IP component. The eOne deal is very much in line with this core strategy, adding scale to our library with thousands of new titles and intellectual property like The Rookie, Yellowjackets and Naked and Afraid, as well as getting back the film development rights to Monopoly, all of which will help make this a highly accretive transaction.

The acquisition ticks off all the boxes in continuing to strengthen our scripted and unscripted television businesses. It gives us access to a number of theatrical releases that we will handle, and it expands our reach in Canada and the U.K. with several ongoing businesses and a lot of additional library content. The acquisition allows us to contin ue building our business and theirs while maintaining consistent cash flow, which is

key to being able to continue to invest in new businesses.

WS: Lionsgate announced its first quarter 2024 fiscal year results. What businesses drove increases in revenues?

FELTHEIMER: All of our businesses had strong performances in the quarter. The financial results from our motion picture business showed how we operate with a different model. Though we didn’t have any big theatrical breakouts in the quarter, what we call segment one wide releases, we had a number of successful segment two multiplatform releases. We do 40 or 50 of these a year, and we’ve found that to be a very profitable busi ness, something none of the other studios are doing. Combined with strong homeenter tainment performances from hit films like John Wick: Chapter 4 and Plane, released

in the previous quarter, the motion picture group had a very strong financial quarter.

As our shows continue to mature, our television group is expected to achieve a record contribution this year and again next year. As you know, the first seasons of new series typically don’t make money, but by the time you get into the third and fourth seasons, you turn everything around and these shows become profitable. We have 11 series currently in their third or fourth seasons.

STARZ continued to execute its focused content strategy of delivering premium adult series to two valuable and scalable core demos, restructured its business to concentrate on the English-speaking territories of the U.S., U.K. and Canada and implemented a successful rate increase, all contributing to its profitability in the quarter.

We reported another record library performance of nearly $900 million in trailing 12- month revenue in the quarter. In the last ten years, we’ve grown our library from $500 million to $900 million in annual revenue. If you assume a 50 percent margin, that represents growth of about $200 million in annual run rate margin. And if you’re putting a 13, 14 or 15 multiple on that $200 million, you can see that we’ve built $2.5 billion to $3 billion of value in that library over the past ten years.

Ten years ago, 60 percent of our library revenues came from acquired and third-party films and television series where we were getting distribution fees but not keeping the bulk of the revenue. Today, 75 percent of our library revenue comes from films, television shows and STARZ original series that we created, improving our margins and enhancing the sustainability of our growth.

WS: You’ve indicated you plan to separate the company into two, spinning off the media networks segment. What factors motivate that separation, and what are its benefits?

FELTHEIMER: We’re still navigating the best course in a difficult financial market. When you separate businesses, you’re creating two separate capital structures. We’re in the process of developing the most efficient structure for each business. We told Wall Street we’re aiming for the first quarter of 2024.

We’ve enjoyed operating these two businesses together, and they’ve done exactly what we intended them to do: turn STARZ into a streaming business and use our film and television pipelines and library to help do that. We’ve transitioned STARZ to over 60 percent digital while staying profitable. We have always been profitable and continue to be even amid that transition. You can’t say that about most streamers.

STARZ has two valuable, scalable core demos and six or seven hit shows. We took the Power franchise, which had one show, and turned it into four hit series. We’ve launched over a dozen shows created by our studio for STARZ, and we put together a pay-one theatrical output deal for STARZ with our films, which we just extended through 2027. We did what we set out to do, making sure that one plus one added up to more than two. But people who want to invest in a streaming business don’t want to invest in the studio, and vice versa. We need to shine a spotlight on the value of each business as an independent, standalone, pure-play company; separate in order to differentiate.

We will still have a tremendous relationship between the two businesses with our theatrical output deal and all the shows we’re doing together, including the sequels and prequels for those shows. But with the separation, each company will be able to focus on its core businesses and scale up in its core area of focus.

If you look across the industry, the big conglomerates are grappling with the dilemma of having too many diversified assets, and they’re starting to think about how to spin off some of them or combine them with other assets in the marketplace. We’re doing something we believe others will start looking at as well.

WS: Much has been written about Lionsgate selling STARZ or the studio operations. Is there anything you can say about that speculation at this time?

FELTHEIMER: Our strategic imperative right now is simply to separate these businesses in the time frame I laid out. You’ve been doing this long enough to know that it’s the company people aren’t talking about selling that usually gets sold!

As each business is scaling up, I believe we’ll look at more horizontal consolidation, achieving more scale in a focused, specific area. So, whatever happens with the studio business or STARZ will most likely occur after the separation.

WS: How do you view the streaming business pivoting from subscriber growth to a focus on profits?

FELTHEIMER: As an industry, we may have all gotten a little too excited and spent too much money on streaming, though we haven’t gone crazy at STARZ. It worked for Netflix, but everyone else has been losing a lot of money and seen their valuations impacted as a result. If there’s a temporary pullback in spending, that will ultimately be good for the industry. We want everyone to be profitable

and have a sustainable business. There may be some short-term pain that comes with it. We believe we’re well positioned to weather cyclicality in the business with our ability to sell to everyone, a reliable free cash flow from a valuable library and dependable revenue streams from mature television shows going into syndication.

WS: What is your view of the motion picture industry today? What are some of the challenges and opportunities? And what is Lionsgate’s strategy?

FELTHEIMER: Every time we go into the marketplace, we’ve got a lot of buyers for our content. Our lower-budget multiplatform

movies are very profitable. They’re action and horror-focused; it’s very clear what they are, and we know how to sell them. Sometimes, they’re a theatrical release, sometimes a PVOD release, or a limited theatrical, but nearly always profitable. More than 90 percent of them generate an ultimate profit: Sisu, super profitable; Plane , super profitable; Alice, Darling and Fall, doing very well on STARZ. We use numerous distribution patterns for them, and when you’re doing 30, 40 or 50 a year, we can turn that into a thriving business.

I also still believe in the wide-release motion picture business, what we call segment one, though I think studios, including

ours, end up relying too much on branded franchise tentpoles. Ours are The Hunger Games , John Wick , Saw , The Expendables , Now You See Me and hopefully Borderlands. I hope we can continue making them for a little bit less because in every part of the business, whether film or television, we have to be even smarter about spending. Everyone is looking at infrastructure and rethinking their costs. And we have to have a smart strategy for extending these franchises with spin-offs, prequels, sequels and TV adaptations, like Ballerina for the John Wick franchise. The Continental: From the World of John Wick television event series [premiered on] Peacock and Prime Video.

But we also have to create new franchises. The big home runs in our business have often been the new surprise intellectual properties that come out of nowhere. We think we have one in Highlander with John Wick filmmaker

Chad Stahelski attached to direct. We’re developing Naruto, one of the biggest manga franchises of all time. We got back Monopoly development rights from Hasbro in the eOne deal. And we just greenlit the Michael Jackson film with Bohemian Rhapsody ’s Graham King producing.

WS: What factors have benefited the company’s TV production and distribution businesses?

FELTHEIMER: I’m a television guy from way back. It’s in my and [Lionsgate Television’s chairman] Kevin Beggs’ DNA. [Vice chairman of Lionsgate Television] Sandra Stern has been working with me for 40 years, helping me think through all the changes in the business and what we have to do to create a calculus that can adapt effectively to them.

When people think about doing a television show for Lionsgate, the first thing they consider is the fact that we can sell to

every body. We don’t lose interest if it’s not the right show for STARZ. We have to be able to supply a new platform like Roku as well as platforms that we’ve been in business with for decades, like CBS or ABC. We’ve had to figure out how to continue to do business with legacy businesses that are changing their whole approach to investing in content, along with streamers who offer a different kind of deal that we’ve had to rationalize and adapt to. We want to be able to make profitable shows for every single platform. And as the domestic market has become more chal lenging, we’ve added more focus on international, lower-cost co-productions with partners like CBC and Bell Media in Canada and Stan in Australia.

We also have the world’s largest talent management and production company in 3 Arts Entertainment; another fast-growing talent management company in the U.K., 42; the top unscripted producer in Pilgrim Media Group; and, when the acquisition closes, eOne; combined with our global distribution and syndication business that distributes not only our own content but great third-party IP like eight Quentin Tarantino films and the hit TV series The Chosen and The Conners

WS: Lionsgate has been dedicated to serving underserved audiences and finding new and diverse voices. Besides being beneficial for viewers, how have these strategies also been good for business?

FELTHEIMER: I’ve always said that our focus on diversity and inclusion is not only the right thing to do but good business. That’s been evident throughout our studio’s history with Academy Award-winning films like Crash, Precious and Monster’s Ball; our partnership with Tyler Perry on 20 films and two television series; and groundbreaking TV series like Orange Is the New Black

Today, we have STARZ’s #TakeTheLead focus on women and underrepresented groups, with five different series achieving between 8 million and 11 million multiplatform viewers apiece. It’s also evident in our talent relationships with top creators like Oprah Winfrey, with whom we partnered on Precious, the hit series Greenleaf for OWN and the acclaimed The 1619 Project docuseries for Hulu earlier this year (along with Nikole Hannah-Jones and The New York Times).

Not everything in the diversity and inclusion space works the way we hoped. Our recent film Joy Ride didn’t find its audience but earned great critical acclaim and is expected to over-index in ancillary markets. We’ll continue to focus on inclusive content in which we can take pride, and that strengthens our brand and provides a platform for new creative voices.

TVRE AL

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Anna Carugati Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Alexa Alfano

Associate Editors

David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Daphne Menard Bookkeeper

Theory of Evolution

Delivering the MacTaggart Lecture at Edinburgh this year, documentary filmmaker Louis Theroux called out an “atmosphere of anxiety” in the content business and urged those in the audience to amp up the creative risk-taking.

“We need television that is confrontational, surprising and upsetting,” Theroux said in his speech, titled The Risk of Not Taking Risks. “We serve social justice best when we aim to make television that reaches people and engages them. Take risks. Sail close to the wind. Do that thoughtfully, and you can do almost anything in television. Expect the highest values from TV as you would from any art form.”

While speaking to the support he has long received from the BBC, “there have been changes in the broader culture,” Theroux stated. “We are, I’m happy to say, more thoughtful about representation, about who gets to tell what story, about power and privilege, about the need not to wantonly give offense. I am fully signed up to that agenda. But I wonder if there is something else going on as well. That the very laudable aims of not giving offense have created an atmosphere of anxiety that sometimes leads to less confident, less morally complex filmmaking. And that the precepts of sensitivity have come into conflict with the words inscribed into the walls of Broadcasting House, attributed to George Orwell: ‘If liberty means anything at all, it means the right to tell people what they do not want to hear.’ And that as a result, programs about extremists and sex workers and pedophiles might be harder to get commissioned.”

CONTENTS

FEATURES SURVIVAL GUIDE

From tapping into AVOD opportunities to exploring new financing mechanisms, leading distributors share how they are navigating the factual business today.

THE GOOD LIFE

A look at the innovation happening across the lifestyle content space, from new twists on travel shows to the latest in home reno.

GETTING REAL

Unique access, stunning visuals, stranger-than-fiction stories and brand-new perspectives on rarely seen and well-known scenic vistas can be found across the highlights in our latest edition of the TV Real Screenings Festival.

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Anna Carugati Executive

Mansha Daswani

Development

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While Theroux was addressing the anxiety in the commissioning landscape, there’s a bit of anxiety in the distribution business, too. FAST has become a new thing you need to, at some point, come to grips with. Restructures at the streamers have meant new people to connect with and new needs to be aware of. Securing access to content increasingly requires early involvement and some level of risk-taking; making a financial investment in a project before you know if you’ll be able to recoup it. As we heard from leading distributors across this edition, dealing with those developments requires a fair bit of innovation.

As for innovation happening on the production side, we hear from Jonny Keeling, who heads up BBC Studios’ storied Natural History Unit (NHU), and the popular on-screen talent and National Geographic filmmaker Bertie Gregory on how they are bringing the wonders of nature to audiences across the globe in pioneering new ways. Mansha Daswani

INTERVIEWS

Albatross World Sales

Along Ancient Tracks / The Secret Network of Animals / Webs & Wings—Nature’s Tiny Ballet

Along Ancient Tracks is a featured title among Albatross World Sales’ slate for MIPCOM. The multipart series showcases some of the last regions in Europe where trains remain the primary connection to the outside world. Their ancient tracks wind through untouched and wild locations that can only be discovered from the air, on foot or through the train window. The Secret Network of Animals, exploring the complex system of knowledge that unites all living creatures and predates the internet, and Webs & Wings—Nature’s Tiny Ballet, centering on the busy world of bugs, are also among the company’s top titles. “Our titles range from blue-chip wildlife to environmental or escapist stories to gripping historical facts,” says Lisa Anna Schelhas, sales director for Western Europe, the Nordics, the Americas and Australia.

APT Worldwide

Ocean Invaders / The U-Boat and the Rocket / Curious Traveler

Ocean Invaders and The U-Boat and the Rocket are among the top program highlights from APT Worldwide. Ocean Invaders is a documentary about the lionfish, an invasive and unstoppable species wreaking havoc in oceans across the globe. The U-Boat and the Rocket, a new World War II documentary, delves deep into both military strategy and scientific research, exploring the human beings behind the history as well. Another program highlight, Curious Traveler, visits Switzerland, Estonia, the Netherlands, Poland, France and more. The title “is a fan favorite,” says Judy Barlow, VP of international sales. “Award-winning host and travel journalist Christine van Blokland dives deep into the curious histories and traditions of each place she visits. ”

Autentic Distribution

Hot Roads—The World’s Most Dangerous Roads III / Golden Kingdom: The Normans in Sicily / Scotland—The New Wild Autentic Distribution’s Hot Roads—The World’s Most Dangerous Roads III showcases treacherous roads around the world. Golden Kingdom: The Normans in Sicily details the era when Normans ruled Sicily. “The high-quality reenactments make history entertaining and easily understandable for a wide audience,” says Mirjam Strasser, head of sales and acquisitions. “It doesn’t hurt that Sicily is a popular tourist destination known around the world.” Scotland—The New Wild offers a portrait of Scotland’s natural world and the resilience of its wildlife despite climate change and “creates awareness by shining a light on the ecological issues of our time,” Strasser says. “With all the negative news surrounding climate change and environmental crises, viewers always appreciate programs that give us all a little hope.”

“This year, we present our best documentaries in nature, science and destinations.”

—Lisa Anna Schelhas

“APT Worldwide is bringing a strong slate of new history, science, nature, travel and lifestyle programs to MIPCOM.”

—Judy Barlow

“As always, we are excited to bring a brand-new slate of engaging and entertaining documentaries to MIPCOM.”

—Mirjam Strasser

BossaNova Media

The Flight Attendant Murders / Adventure Gold Diggers / Ottoman Empire By Train

Coming out of BossaNova Media’s 2022 Development Day, The Flight Attendant Murders unravels the stories of four flight attendants who were brutally killed during the ’70s and ’80s in Texas. Though someone was found culpable, three subsequent murders took place while he was incarcerated. “It is a gruesome story yet very stylishly produced,” says Tatiana Grinkevich, head of sales. “Also, who doesn’t like a good whodunit story?” Adventure Gold Diggers follows five mining teams as they search for gold in some of the most remote areas of Australia. The show “has it all: big gold, big wins, big jeopardy and big characters,” Grinkevich says. In Ottoman Empire By Train, professor Alice Roberts takes to the railways to reveal the turbulent history of the Ottoman Empire, which spanned three continents and lasted 600 years.

Curiosity

Connections with James Burke / Blindspots / Living with Lions

Curiosity is presenting Connections with James Burke, in which the eponymous historian follows threads of knowledge through time to demonstrate how seemingly unrelated ideas can build a path to the present. In Blindspots, blind host and filmmaker James Rath travels the world to explore accessibility, technology and what would be needed for those with disabilities to travel without barriers. Living with Lions sees Tanzanian filmmaker and conservationist Erica Rugabandana and South African writer and director Muneera Sallies unite to provide a new perspective on the big cats. This program “presents this world-famous wildlife sanctum from an African perspective,” says Jay Sodha, VP of business development and partnerships.

MBC

Meeting You / Marital Nightmare / Empty House Project

Recent hits among MBC’s factual programs include the VR documentary series Meeting You, the marriage talk show Marital Nightmare and the social-experiment reality show Empty House Project Meeting You integrates VR technology into a documentary-style series to create a digital version of a person who has passed. “Ever since the production of the first episode in early 2020, Meeting You has delivered a miraculous and heartfelt experience through the collaboration of documentary and VR technology,” says Jean Hur, director of format sales and co-development. Marital Nightmare invites a Korean psychiatrist to provide practical advice to married couples in crisis. In Empty House Project, four celebrities and an architect transform a complex of empty and abandoned houses into a brand-new space to spur a social ripple effect.

“These shows are a result of our ambitions to contribute to and support creative development, financing and good old-fashioned distribution.”

—Tatiana Grinkevich

“We are increasingly adding value to our partners worldwide and can adapt to your business needs and objectives.”

—Jay Sodha

NHK Enterprises

Deep Ocean: Red Sea / Amazing Dinoworld 2 / Nature’s Hidden Miracles

The NHK Enterprises highlight Deep Ocean: Red Sea invites viewers to a deep-sea world of adventure. The project is a coproduction with ZDF and ARTE, in collaboration with the National Center for Wildlife of the Kingdom of Saudi Arabia and OceanX Media. Amazing Dinoworld 2, meanwhile, was done in co-production with Bonne Pioche, Curiosity and Autentic. “The series is highly acclaimed for its state-of-the-art CGI technology and the dramatic arc of the dino stories,” says Yuko Fukuyama, producer for international co-productions at NHK. Curiosity and NHK also created augmented reality content around the project, targeted to a younger audience. Nature’s Hidden Miracles, in co-production with Curiosity, Autentic and Rai, takes a deep dive into the surprising abilities of plants, insects and microbes.

Paramount Global Content Distribution

Crush / Deadlocked: How America Shaped the Supreme Court / All Up in the Biz

Part of Paramount Global Content Distribution’s factual slate, Crush retells the events of the tragic Korean Halloween stampede in 2022 through eye-witness accounts of a group of international friends. “It is a powerful two-part docuseries that gets up close to the terrifying scenes while also exploring themes of governmental negligence that led to the disaster,” says Lauren Marriott, senior VP of content partnerships and brand strategy. Deadlocked: How America Shaped the Supreme Court examines the role the Supreme Court plays in the ongoing fight for civil liberties in the context of America’s shifting political landscape, “a topic that intrigues viewers from around the world and is never far from global headlines,” Marriott says. All Up in the Biz shines a spotlight on the life and rhymes of Biz Markie.

Passion Distribution

Into the Congo with Ben Fogle / The Impossible Journey / NFT: WTF?

Into the Congo with Ben Fogle , on offer from Passion Distribu tion, takes viewers into the heart of Africa, exploring the length and breadth of the Republic of the Congo. The Impossible Journey celebrates the human spirit through Mexi can explorer David Liaño González’s audacious quest: a 7,000-meter ascent from a 40-meter underwater free-dive to the top of the highest mountain in the Americas. “Incredible endeavors and extreme endurance are forever captivating,” says Nick Tanner, director of sales and co-production. “This thrilling documentary delivers heart-in-mouth adventure, emotion and drive and the grandeur of South America.” NFT: WTF? examines the crypto world of digital art and NFTs (nonfungible tokens). “With striking production values, this is an enthralling dive into a brave new digital world,” Tanner says.

“These premium documentaries reflect our dedication to captivating, thought-provoking content.”

—Nick Tanner

“We are bringing a diverse slate of unscripted titles to MIPCOM and have everything from award-winning feature documentaries to outrageous reality series—with a whole range in between.”

—Lauren Marriott

“Finding ways to continue providing viewers with high-quality content is a key priority for us.”

—Yuko Fukuyama

PBS International

The American Buffalo / Concorde: The True Story / Elon Musk’s Twitter Takeover

The American Buffalo, a new four-hour series from Ken Burns, takes viewers on a journey through more than 10,000 years of North American history to trace the journey of the buffalo and its significance to the Indigenous people. Ringing in as a top highlight from PBS International, the series “is not only the story of America’s national mammal but the story of its near-catastrophic extinction and how it was saved from this fate,” says Joe Barrett, VP of global sales. More highlights from the company include Concorde: The True Story , uncovering what happened in the lethal Cold War race for aerial supremacy, and Elon Musk’s Twitter Takeover, chronicling the billionaire’s often fraught relationship with the social media platform he acquired.

TVF International

The World’s Most Remote Hotels / The Pill Revolution / The Negotiators International

The World’s Most Remote Hotels tops TVF International’s MIPCOM slate. The co-production with Pronto Prod visits hotels that are far from the comforts of modern civilization. Luxury takes on a new meaning in this series, as guests are encouraged to sleep under the stars and respect the ways of the wild. “ The World’s Most Remote Hotels is a truly international look at a modern need for peace and quiet in an age of overstimulation,” says Poppy McAlister, the head of TVF International. The Pill Revolution and The Negotiators International are also featured titles, with the former taking a deep dive into medicine’s gender gap in relation to contraception methods, while the latter looks at four high-stakes negotiations in Nigeria, the Philippines, Mexico and the U.S.

ZDF Studios

Namibia’s Natural Wonders / Mega Building Collection / Ancient Apocalypse

Leading the ZDF Studios unscripted slate, Namibia’s Natural Wonders goes into the heart of the African country to explore its arid savannas, flowing rivers and rugged Atlantic coastlines. Mega Building Collection provides insights into groundbreaking technology and engineering achievements, including the Pont de Normandie, one of the largest cablestayed bridges in Europe. Ancient Apocalypse tells the stories of lost civilizations. Every continent “has places where crumbling stones tell the stories of fallen civilizations, whether they are buried under the Earth, hidden in the shade of the jungle or in the chaos of a lost city,” says Ralf Rückauer, VP Unscripted. “They all raise the same questions: How could something so gigantic simply vanish, and why do civilizations collapse?”

“PBS International is proud to offer factual films that bring contemporary relevancy to the local, global and historical stories we tell.”

—Joe Barrett

“TVF International’s specialist approach to distribution has earned us a place within the media landscape as the leading independent factual distributor in the U.K.”

—Poppy McAlister

“We cordially invite everybody with good ideas to talk to us at ZDF Studios or to our production companies about investments and distribution.”

—Ralf Rückauer

BossaNova Media’s Ottoman Empire

Guide

The headaches in the scripted business tend to garner the most headlines—be it the strikes in the U.S., escalating tal ent costs or belt-tightening at the stream ers. But those operating in the factual distribution business face sea changes of their own, not immune to strategy shifts and complex rights negotiations. At the same time, consolidation continues to play out in the background, adding a further complication to the always-present challenge of securing access to highquality content.

As for what’s happening in the streaming landscape, “‘strategy shifts’ is indeed one very diplomatic way of putting it,” quips Stefanie Fischer, managing director of distribution at Off the Fence. “Over the past year, there has been massive restructuring in these organizations, including their personnel, which means many valuable relationships are instantly lost. We all know that some of these projects take weeks and months of discussion, and we have found ourselves in search of new contacts, building up new relationships in an environment that often still holds a lot of uncertainty, which leads to very careful decision-making and that can frustrate the process hugely.”

“We can feel the impact and uncertainty in the market,” adds Anne Olzmann, managing director of Albatross World

Sales. “It’s challenging to keep up with all the mergers, acquisitions and overall shifts. Unfortunately, there have been many layoffs in the industry and also a num

ber with business partners we had long-standing relationships with, so we have to adapt to this new market situation. What’s new today may be old tomorrow—it all moves quickly.”

And with that comes the need for agility. Where once companies were learning to adapt to streamers wanting to take all rights globally, they are now evolving quickly to meet the need for more flexible models.

“We have ‘leaned into’ the global streamers more as they are way more co-pro friendly,” notes Paul Heaney, founder and CEO of BossaNova Media. “If they’re more open to our model, we are very happy to include them in this world, as long as we can supply the projects that fit their briefs. We’re finding that the producers are already developing in this area: short, impactful crime, noisy singles and unusual reality or access.”

Mirjam Strasser, head of sales and acquisitions at Autentic, has also seen the global streamers be “more open to windowing and carving out territories than before, which is also a good thing. On the other hand, however, they increasingly focus on local productions and themes that are locally relevant for their users, making programs harder to sell internationally.”

From tapping into AVOD opportunities to exploring new financing mechanisms, leading distributors share with Mansha Daswani how they are navigating the factual business today.

The rights landscape, meanwhile, continues to evolve as SVOD operators roll out ad-supported tiers, broadcasters expand their on-demand services and everyone eyes the FAST space for even more monetization opportunities.

“We need to be very careful as many SVOD streamers now also seriously consider AVOD and FAST rights, which can collide with broadcaster catch-up and holdbacks,” explains Albatross’s Olzmann. “If the limits between SVOD and AVOD vanish, rights and budget negotiations will become even more challenging for all parties involved.”

ON THE FAST TRACK

AVOD is an increasingly important part of a show’s overall distribution life cycle, “and these days not just for the long tail of revenue they have traditionally represented,” says Off the Fence’s Fischer. “Of course, now, with the market expanding exponentially, there is an endless sea of platforms and channels. You really need to partner with the right ones, but when you do, it helps with overall revenue targets and can additionally help with getting projects over the line to greenlight if that last bit of financing is still missing. Also, the beauty of FAST channels is that they can go micro-niche as they don’t need to serve a broad audience.”

Albatross has several AVOD and FAST clients, working across flat-fee, minimum guarantees and revenue-shares, Olzmann explains. “2022 was the first year with significant revenues coming from these rights. In general, it is still all about volume and package deals, as well as titles with a longer shelf life, which have mostly made their TV runs or are in their second or third VOD window. This is great for genres such as wildlife and travel, which have a longer life span than science and current affairs programs.”

Strasser says that AVOD is beginning to have a material contribution to the revenues at Autentic, both in content sales and advertising revenues. “We have launched five of

our own FAST channels within the last ten months, and we have plans for further expansion of our FAST activities. These channels are a great way to extend the life cycle of our back catalog programs.”

PBS International, the commercial arm of American public broadcaster PBS, is also eyeing the FAST opportunity.

“There has been somewhat of a subscription fatigue happening,” says Joe Barrett, VP of sales. “About half of online users are doing both SVOD and FAST. It just gives them another option to alleviate this subscription fatigue. We’re leaning into that cautiously, but we intend to grow our FAST business by expanding our partners and channel offerings.”

SLATE SAVVY

Having a library is one thing; having a steady flow of product to sell is another. And given the competitive landscape, distributors are boarding projects as early as possible.

“Think of the earliest possible time, and it’s earlier than that,” quips Heaney at BossaNova. “Of course, we have to be early—and now so early that some of us are even helping to shape the projects in a sensitive way so we have global appeal but don’t influence too much and make it an editorial blancmange.”

BossaNova works with its producer clients and partners in a range of ways, Heaney explains. “It’s our day job, so funding allowing, we would help get a well-loved project up and running very early, not just by preselling but by cash-flowing. This is the new world. The risk profile is greater, but this is how the market has changed.”

Off the Fence similarly touts its financing skills, both as a producer and distributor. “We can come in at any stage, purely as a distributor to secure financing or as a co-producer to develop a project further,” Fischer says. “We work very closely together on making a project as globally appealing as possible while securing the right partners. Having bases in London, Bristol, Amsterdam

and Toronto means we have an international perspective as part of our culture.”

As for the assistance it provides producers, Fischer notes: “The makeup of our business covers all aspects of the creation and delivery of content—and in that way, we’re super flexible, we can come on board any time, in any way, since we’re an integrated studio with expertise on all levels of development, production, financing and distribution and can go beyond what a ‘traditional’ broadcaster can offer in terms of co-development, co-production, co-finance and distribution advances. Naturally, we can also help find co-financing partners, presales and co-productions.”

Albatross can also come in at different stages of a project, as long as there is “some financing in place,” Olzmann says, “and it should be very clear what editorial angle the film will have. Depending on the finance gap, we can work out a detailed strategy for each project individually.”

Strasser says that Autentic is firmly focused on expanding its network of producer relationships, especially in Canada, the U.S., Italy, France and parts of Asia.

“We also partner with producers as early as the project stage to help them find the right partners for getting a program financed,” Strasser says. “We connect producers with international broadcasters that we think could be a good match, and they might not be in touch yet. In addition, we are actively increasing our investments in factual productions by co-financing, providing gap-financing solutions and offering minimum guarantees as part of our commitment to continuously strengthen our content portfolio.”

COLLABORATIVE SPIN

In the funding jigsaw, co-productions remain a vital tool. “It is a dominant solution to the funding puzzle, but there are other ways,” says BossaNova’s Heaney. “Co-pros allow you a reasonably and comparatively quick way to greenlight a series by using various members of the coalition of the willing.”

For U.S. pubcaster PBS, co-pros have been key, Barrett notes. “We do engage in production financing and co-pros pretty regularly. We’re public TV, so we need to be creative in our financing.”

Off the Fence’s Fischer says co-pros are of “utmost importance” today. “It’s hardly the case that you see a fully funded commission, which means we increasingly rely on coproductions or at least co-financing to get the projects to greenlight.”

Autentic’s Strasser, meanwhile, calls copros “essential. A lot of content would simply not get produced without co-production partnerships. We are lucky to be able to rely on established relationships with co-production partners that we frequently work with. Coproductions help us to reduce our investment risks, ultimately allowing us to get involved in more projects. Our team is good at understanding factual viewing habits and preferences, and we love to play in the linear channel market alongside VOD opportunities.

Especially in the digital channel business, production volume is key when it comes to playing a meaningful role.”

While the old-school co-production model is still in vogue, industry experts are watching to see what new funding models emerge and will be waiting to see how the business as a whole adjusts to what may be a protracted shutdown of scripted production in the U.S.

“It is still too early to predict the actual impact, though we feel a shift in buyers’ approach to documentaries,” says Olzmann at Albatross. “More streamers are trying out wildlife or travel content, and they seem to be more open to international content. I believe we will mostly see the change next year when the strike will be felt on-screen; at the moment, they still have a lot of content to go through, but this will change.”

TECTONIC SHIFTS

“The current circumstances have amplified the already high demand for documentaries and non-scripted content even further, creating an even greater surge in interest,” says Autentic’s Strasser. “Broadcasters and platforms need to fill their schedules, and when scripted shows can’t be produced and they run out of content, factual is the first thing they turn to.”

“In the U.S., we’re seeing major channels acquiring our long-running brands for prime-time slots,” says Heaney at BossaNova.

“While we haven’t seen an immediate impact, we foresee a non-scripted world where scripted talent will be more available to help package shows, be that on- or off-screen,” observes Off the Fence’s Fischer. “Our collaboration with Dash Pictures for Billy and Dom Eat the World , for example, is a six-part series featuring talent more often associated with the big screen: actors Billy Boyd and Dominic Monaghan ( The Lord of the Rings ).

We are very keen to see more talent of this caliber work with us.”

As for audience interest, the cores of wildlife, true crime and history never go out of style, but viewers are seeking new perspectives.

“We’re still mainly focusing on our strong core genres and keeping an eye on how the requirements are changing, e.g., less blue-chip, more diverse, hitting a younger audience and talent,” Fischer says.

GOING GREEN

“Recently, we have witnessed a growing interest in popular science programs that engage and resonate with a broad audience,” observes Strasser at Autentic. “Global viewers seek programs that demystify current scientific developments and discoveries in an accessible and engaging way. We have also seen an increasing interest across broadcasters and platforms in green productions and storytelling. As the impacts of climate change become increasingly pronounced, programs about our climate and environment are something that speaks to audiences around the world. We are always looking out for documentaries that address environmental issues.”

Olzmann at Albatross is keeping an eye on the overall trend toward “more innovative and emotionally engaging storytelling techniques, leveraging the latest filmmaking technology and approaches to provide unique and compelling viewing experiences for audiences. Especially when it comes to wildlife films, we observe a focus on the intimate and emotional stories of individual animals rather than just presenting a broad overview of a particular species or habitat. It could be described as character-driven, though it must always remain scientifically accurate, which can be tricky. But it seems to work well with the audience and can be a great tool to get the viewer emotionally engaged.”

GRB Media Ranch’s Down to Earth with Zac Efron

Lifestyle is one of those evergreen programming categories that no matter what’s happening in the marketplace, there’s always an appetite for it. The genre did get a bit of a boost from the pandemic—with people staying home more and thinking about sprucing up their spaces or wanting to travel vicariously—and the flourishing FAST market is driving demand even further.

“Lifestyle is a ubiquitous genre that is always in style,” says Sophie Ferron, co-principal of the newly formed GRB Media Ranch, which combines the distribution activities of GRB Studios and Media Ranch. “It bridges escapism with realistic and relatable scenarios and, by nature, is scalable and adaptable to audiences worldwide. We get to dream of travel to magical locations while also hunkering down to take notes on a myriad of DIY projects.”

Post-pandemic, she says, there’s been an uptick in the need for more travel-based content, as audiences are using the information while they research their upcoming adventures. Down to Earth with Zac Efron , which features actor Zac Efron and superfoods expert Darin Olien traveling the world in search of the secrets to good health, a long life and a higher level of eco-consciousness, fits the bill.

“U.K. broadcasters, in particular, are moving toward lifestyle content, as it’s what their audiences want,” says Sean Wheatley, head of acquisitions at Passion Distribution. “We also see international buyers looking for lifestyle series, possibly because we all need some escapism at the moment.”

He, too, points to travel as an in-demand genre, noting that broadcasters love a good celebrity travelogue, and adds to that list property shows.

“A lot of the content we are doing well with falls somewhere between factual and travel,” Wheatley says. “The Cotswolds with Pam Ayres and Miriam and Alan: Lost in Scotland are both more factual than lifestyle but lean into the travel genre. This sort of show works on mainstream channels rather than just, for example, lifestyle-only cable channels.”

Judy Barlow, VP of international sales at APT Worldwide, also sees a lean-in toward hybrid styles, such as travel and food.

She further highlights hobby programs, such as The Joy of Painting, needlework and gardening content.

“For the lifestyle content we represent, it’s very important that the hosts are not just hired presenters,” Barlow adds. “They need to be interesting, entertaining and also have a real expertise in their field. If they are genuine and have a passion for their subject, they stand out to any audience.”

Of course, it’s great to have a household name leading the series, says GRB Media Ranch’s Ferron, “but we’ve found that programs can still be successful as long as the hosts are authentic. Audiences want to feel confident in their guides.”

“For it to travel, you want to go high end, such as World’s Most Expensive Cruise, or picturesque—there’s not much room for anything else,” says Passion’s Wheatley. “This is the same in the home market. Viewers want to see the inside of the Savoy Hotel, or they want a dramatic Scottish coastline as the sun rises.

“In terms of personalities, it’s about them being engaging and warm on-screen,” he continues. “It’s rare to get talent that’s genuinely internationally known for these series, even if they’re well known in the U.K. We’ve found it helps if the presenter has some purpose, they know and love the place, they’re from there or have some connection. It gives the viewer a reason to trust them.”

For property and home renovation, Wheatley adds, an issue with U.K. content is that homes there tend to be relatively modest in size. “We’re a densely populated island nation, so even quite expensive houses can look small onscreen. That doesn’t mean it won’t sell, but you have to factor that in. Aspirational content, people buying homes abroad or embarking on an ambitious renovation or new build, always has more appeal.”

What’s popular now, though, is a marked evolution from where the genre started, he says. “Traditional lifestyle shows were often instructional, focusing on how-to guides. Today’s lifestyle programming is more experiential, emphasizing personal experiences, storytelling and immersive journeys. Viewers are drawn to real-life stories and relatable experiences rather than just step-by-step instructions.”

A look at the innovation happening across the lifestyle content space, from new twists on travel shows to the latest in home reno. By Kristin Brzoznowski

Another innovation evolving the genre, according to Wheatley, is tech. For example, Your Home Made Perfect makes use of VR to bring designs to life.

TURN OF THE WHEEL

“Lifestyle shows were almost always didactic—from cooking to renovating,” says GRB Media Ranch’s Ferron. “Along the way, producers and viewers came to understand that the inherent value of the content isn’t always the instruction; it’s also the aspirational aspect, driving the programs to push the limits in terms of ingredients, locations or makeovers. We watch now not only for the takeaway information; we watch because we want the entire ‘lifestyle’ that the program is showcasing.”

She has seen, as of late, a lot of lifestyle series blended with reality, such as real estate shows that dive deep into the housing market while also exploring the drama among the agents.

For GRB Media Ranch, Ferron says that demand for lifestyle programming is coming from traditional broadcast and FAST and AVOD partners these days. “Streamers are still leaning toward reality, especially reality dating and competition,” she adds.

“The streamers are all about ‘lean-in’ programming,” Ferron continues, “and while there’s a great place for that, most of our lifestyle content can also be considered fabulous ‘lean-out’ programming, as well as being very brand-friendly, making it a perfect fit for FAST and AVOD.”

APT Worldwide’s Barlow, though, says there’s been “quite a lot” of interest in lifestyle from streamers and ondemand platforms. “There seems to be a big need to fill all those new channels, but also to fill the on-demand needs for traditional broadcasters.”

THE FAST LANE

Acknowledging that the genre is well suited to the FAST space, she says it “can be challenging to keep up with inventory demands. And while it’s where everyone seems to want to be, the revenue is not fully realized yet.”

“A lot of our traditional broadcast buyers are acquiring certain shows primarily for their AVOD platforms, as that’s where so many of their viewers are,” says Passion’s Wheatley.

“A lot of lifestyle content is very well suited to VOD, as it’s all about casual browsing, the audience spotting it and wanting to enter that world for a while,” he adds. “They get to know the show and come back to it.”

Passion is also looking at YouTube for new opportunities. “Our partner UpStream Media has just started a Find It, Fix It, Flog It channel, for which we have a fantastic archive of restoration content just from that one series,” Wheatley says.

The company is working with FAST channels in the U.S. and other territories in this area as well. “The great thing with FAST channels is that they love volume, and lifestyle often has volume,” says Wheatley. “We’ve got some fantastic older series we’re exploiting in this way.

“It’s a big growth area, and we’re looking at all opportunities, including working with our partners at UpStream Media,” he continues. “We’ve all seen some of the big players opening their own FAST channels in lifestyle, like Fre mantle with its dedicated Jamie Oliver channel. I think we’ll see more dedicated channels like this, using strong brands where there is a lot of volume.”

Jonny Keeling BBC Studios NHU

Jonny Keeling had been making wildlife programming for BBC Studios’ storied Natural History Unit (NHU) for more than 25 years when he was tapped to lead the unit in 2022. With a long list of credits that includes Seven Worlds, One Planet; Planet Earth ; and The Life of Mammals , Keeling is ensuring the NHU slate—which includes the upcoming Planet Earth III and Asia continues to inspire a love of the natural world among audiences worldwide. He talks to TV Real about the values instilled in all NHU productions, using CGI and other techniques to drive new forms of storytelling and the unit’s £1 million talent-development initiative.

TV REAL: Tell us about the mandate you wanted to put into place coming into the role of head of the NHU.

KEELING: Our mission at the NHU is to inspire people across the globe to love and understand the natural world and want to protect it. We do that in three ways, through three important pillars of the NHU. One is factual integrity. That’s the scientific rigor in which we do things. Emotional storytelling and impactful storytelling that has heart. And then the third thing would be that it’s original. Whatever ideas we’re doing, there’s originality and innovation; something new and distinct about it. We’re telling nice stories about the natural world with a healthy and happy team and inspiring the audience. That runs through everything we do.

TV REAL: You’re still making wonderful productions for the BBC, but talk to me about how you’re approaching third-party clients like Apple TV+.

KEELING: We watch the content the streamers put out and, of course, adapt to ensure we’re making content that will resonate with their audience and be fresh and new as well. If you are Apple, Discovery or Nat Geo, you’re buying into our natural history values. We’re tailoring them according to the client.

TV REAL: Your Apple TV+ slate includes Prehistoric Planet, featuring significant CGI use. What’s the approach toward CGI and special effects in NHU productions?

KEELING: It’s all about storytelling. That’s the most important thing. With CGI, we can show people things they’ve never seen before, like in the prehistoric world. It’s a tool for us to inspire awe and wonder, and it’s getting better and better.

TV REAL: What other tech advancements allow you to tell stories in new ways?

KEELING: In The Green Planet , we had a camera tech advancement that meant we could film plants like animals. It gave us a very different time frame. A tree, bush or flower has a very different time frame from a mouse or an elephant. To be able to capture that and speed things up and show a plant moving and behaving like an animal was an important advancement. On projects like Springwatch, we use AI with our cameras, camera traps and the footage coming in. It helps select when there’s been an animal going through the frame and what animal that is.

We also innovate in terms of on-screen talent. Big Cats 24/7, which is coming out next year, has brand-new onscreen contributors and presenters.

And new platforms; we’re making podcasts and short-form content. That’s what I love about the NHU. That unique range we get when we’re making content for many clients is creatively challenging, and we’re making them on very different platforms as well—everything from a five-second clip through to a ten-part series.

TV REAL: You announced a £1 million talent-development grant last year. Tell us about that initiative.

KEELING: In the past, we were going to countries filming something, coming back and then showing it on different channels within Europe and North America. We want to train people in those countries to tell stories. And show that footage back.

Project Songbird is for in-country training and in-country screenings. That’s just one of the things we’ve been doing regarding outreach. We have outreach for schools and colleges; students can come in, meet filmmakers and understand different skills and job titles. I grew up without television, so I didn’t even know there were jobs in television. We also partner with Creative Access to improve our representation, offscreen and on. We do things like the Festival of Nature.

When we start a project, I always say to the teams, you’ve got two jobs; you’re delivering your series—something that’s high-quality, high ambition, will make the audience happy, made by a healthy and happy team—but also you are growing someone’s career. You’re helping to support their career development. They have a responsibility to grow their careers, but we have a responsibility to support them.

TV REAL: You also make a lot of kids’ content at the NHU. Tell us about what’s guiding the strategy there.

KEELING: There are similarities—factual integrity, emotional storytelling, original and new. We’re doing a lot with Andy Day; he’s super creative. We’re working with Steve Backshall on Deadly Mission Shark. It takes kids from the U.K. to meet up with kids in the Caribbean. They’re learning to dive with sharks. I don’t know another company that could have managed that: kids traveling overseas, working on boats, working with sharks, all the health and safety. To deliver that series was exciting. We’ve been doing Steve and Aneeshwar Go Wild Aneeshwar Kunchala was on Britain’s Got Talent. We teamed him up with Steve Backshall. Steve is typically on CBBC but is now stepping onto CBeebies. It’s such a heartwarming show.

TV REAL: You’ve done follow-ups to several of your landmark productions. What’s the decision-making process behind making a Frozen Planet II?

KEELING: It was 16 years between Blue Planet and Blue Planet II. There have been so many species discovered and advancements, both in technology and science, in the oceans and our understanding of the ocean. We have Planet Earth III coming up shortly. I worked on that series for three years. I’m watching as it goes through those final processes. The stories we found are new and original. How the world has changed even in ten years is quite dramatic. Those stories are important to tell. So it isn’t, Hey, we should just do Planet Earth III because we feel like it. Is there good momentum there? Are there stories we need to tell? Is there a new way of telling them?

TV REAL: What other projects are you working on now that you’re particularly excited about?

KEELING: We have Mammals. I worked on the original series of that 20 years ago. There are mammals in there I’ve never

heard of. And I did a PhD in wildlife! And there’s behavior I’ve never seen! We also have Asia next year. We’ve focused on Africa a couple of times. We’ve done South America. We’ve never made one about Asia, yet it’s the biggest continent, with more wildlife and more superlatives in terms of the highest mountains, the biggest sand deserts and the deepest oceans. There are so many incredible animal stories. And it’s a continent that is changing fast. We have The Americas for NBCU niversal, with Tom Hanks narrating. We have some non-landmark series, like Big Little Journeys, which is a wonderful, innovative way of telling stories. We have two characters we follow through on their amazing journeys. They are characters that you don’t usually get to see, like chameleons and pangolins. It’s following their journeys as they’re on a mission to do something, like mate or find food. They’re lovely, well-told stories.

TV REAL: You mentioned traveling less and tapping into local film crews as part of your talent-development initiatives. Is that also helping to reduce your carbon footprint so you can make these shows more sustainable?

KEELING: It completely has. We made Seven Worlds, One Planet a few years back. We had met some up-and-coming camera people from Australia. We took a chance on them and bought them a camera and lens, and they ended up filming two-thirds of that episode. We didn’t fly them and the cameras or our crews and cameras back and forth to Australia. But we have to take a chance on those people. It’s worth it. We’re not using helicopters as much. We’re using drones, which are brilliant. There are lots of ways in which we’ve mitigated our carbon use. We’re incredibly conscious of that.

TV REAL: Is there anything else you want to share about NHU’s priorities?

KEELING: I’ve worked here for 27 years. The creative mix, in terms of the sorts of programs that are made and the different clients we make for, is really exciting. The people are really lovely. And it has a sense of purpose. That’s why I love working here. And the chance to reach hundreds of millions of people around the globe. The Planet Earths and Blue Planets reach about a billion people. That’s incredible. For us to be trusted makers of those shows, we’re honored to be able to do that.

Co-produced with PBS, NHU’s Big Little Journeys was made for BBC Two and iPlayer.

GETTING REAL

Unique access, stunning visuals, stranger-than-fiction stories and brand-new perspectives on rarely seen and well-known scenic vistas can be found across the highlights in our latest edition of the TV Real Screenings Festival.

ZDF Studios is playing to all of its non-scripted strengths with its collection for the TV Real Screenings Festival, highlighting a mix of science and knowledge, history and wildlife projects. Two blue-chip natural history titles are on offer: the two-part Namibia’s Natural Wonders and wildlife filmmaker Thomas Behrend’s four-episode Seas in Motion . Of Seas in Motion , Ralf Rückauer, VP Unscripted, remarks: “Innovative drone and underwater camera technology provide an intimate insight into the lives of rare sea creatures, including behavior never before captured on film.” History’s Greatest Myths questions long-

held beliefs about iconic historical figures and events. Also on the history slate, a new season of Ancient Apocalypse will continue its explorations of lost civilizations. ZDF Studios is also showcasing a new slate of episodes in its Mega Building Collection , each focusing on a specific technical achievement. “What drives scientists, inventors and engineers to push the limits of what is possible? These innovators continually strive to design and develop technology, machines and buildings that help us defy the challenges of space and time,” Rückauer says.

All3Media International, similarly, is showcasing a slate of titles that speak to the depths of its factual catalog. On the factualentertainment front, Drone Cops delivers “a unique, multi-layered view of highoctane frontline policing,” says Rachel Job, senior VP of non-scripted, while Get ting Filthy Rich looks at the world of online sex work with Olivia Attwood. A third season of Remark able Places to Eat is “perfect escapist viewing,” says Job of the show, hosted by Fred Sirieix. Also on the lifestyle end, Inside Royal Kensington & Chelsea lets audiences see “inside how the other half live,” Job says. “Viewers can

All3Media International’s Celebrity Race Across the World TV REAL

gasp at homes worth over £20 million, enter into the most exclusive of private members clubs, take a table at Princess Diana’s favorite restaurants and discover where Prince Philip had his stag do.” Celebrity Race Across the World, a new take on Studio Lambert’s global travel format, is also available. All3Media International is also rolling out a new crime documentary, London Bridge: Facing Terror , about the three men who stopped the attacks at London Bridge in 2019. “The talented team at Raw has crafted an intelligent, powerful, important documentary, asking huge moral questions about heroism, redemption and finding humanity and hope in the aftermath of horrific tragedy,” Job says.

BossaNova Media’s Leave No Trace

prospect for gold. “With its breathtaking landscapes, authentic characters and heart-pounding challenges, this show is a must-watch for thrill-seekers and adventure enthusiasts,” says Holly Cowdery, the company’s head of sales. Motorway Hotel, meanwhile, takes viewers inside a family-run hotel near Staffordshire’s M6. “This series blends heartwarming family dynamics, high-stress events and quirky local characters,” Cowdery says. BossaNova is also touting a new travel show, Leave No Trace, which “combines luxury travel with a profound commitment to ecotourism and sustainability,” Cowdery says. Travel meets history in Ottoman Empire By Train, fronted by Professor Alice Roberts. “It unveils the empire’s epic scale and turbulent history,” Cowdery says. “Following the success of Ancient Egypt By Train, we are excited to share this unmissable new series.”

Bertie Gregory

Bertie Gregory is a BAFTA Award-winning cinematographer a nd National Geographic Explorer. Now 30 years old, he was one of the youngest BAFTA winners ever, recognized for his work on David Attenborough’s Seven Worlds, One Planet. Gregory embarked on a new adventure for the Nat Geo series Animals Up Close with Bertie Gregory , which takes viewers across the globe to Antarctica, Africa, South America and Asia as he tracks down animals, capturing their lives like never before. The show features behind-thescenes moments Gregory and his team faced while adapting to unpredictable wildlife in remote environments. Gregory tells TV Real about charting the places to go and the animals to showcase, as well as the technology that enables him and the crew to get up close and personal with subjects. He also shares what drives his passion for exploring and bringing these types of stories to the screen.

TV REAL: How did Animals Up Close come about?

GREGORY: Animals Up Close is a hybrid series; it’s part wildlife and the action and adventure of the animals, and part behind the scenes, with the action and adventure of our struggles to keep up with the animals as they do amazing things.

TV REAL: How did you chart the places you would go and the animals you’d showcase?

GREGORY: We have six episodes, and in each, we track down a different animal. In my previous project on Disney+, Epic Adventures, the key thing that we found was when we were going in search of these big wildlife gatherings, the most engaging, intimate and exciting way to tell those stories was through the eyes of an individual animal or an individual animal family, instead of focusing on the whole gathering. That’s what we’ve leaned into on Animals Up Close

My favorite episode, for example, is all about pumas in Patagonia. We didn’t just film any puma; we went to film one puma in particular. I first met her four years ago when she was a tiny little cub, a little fluff ball of loveliness, completely reliant on her mother for survival. She was pretty helpless. Four years on, we went to see how she was doing, and I’m very pleased to say not only has she survived, which is huge for a puma—the survival chances of a cub are not very high—but she’s now a powerful boss mom with two of her own cubs. She took us on a physical and emotional rollercoaster. Physical because we’d follow her. Sometimes she’d walk 15 miles in a day, up and down big mountains, and we’d have a lot of camera equipment with us. And emotional because I’ve known her since she was a cub, and she would get into all kinds of trouble, like defending her cubs from a big male puma that was twice her body weight and wanted to kill her cubs. When she went hunting to try to feed the cubs, she’d be taking on really challenging prey and having these gladiator fights to the death. It’s amazing how an animal could be so powerful and lethal when it comes to feeding, but then the same animal is so loving, nurturing and protective of her cubs.

TV REAL: Tell me about some of the technology that has enabled you to get up close and personal.

GREGORY: We want to tell these stories on the animals’ terms. The well-being of the animals is our number one priority. We’re using new technology to allow us to do that. For our underwater episodes, there are a couple that had marine elements. In the case of the “Devil Ray Islands” episode, we went to Raja Ampat, which is an archipelago in Indonesia. The devil ray is like a secretive, speedy relative of the manta ray; they’re very shy, and they don’t come around often. So, it’s key to spend the maximum amount of time underwater as possible and to be very quiet while we’re waiting. On land, that’s easy; you sit in a tent and hang out. Underwater, it’s different. Humans can’t breathe like fish, so instead of using traditional scuba diving equipment, which makes bubbles and limits you to maybe an hour underwater at a time, we used a militarygrade technology called a rebreather. It was originally developed for the U.S. Navy. When you breathe out, instead of making bubbles, it captures that breath and

sends it down a tube into a bag on your back. There’s a scrubber that absorbs the carbon dioxide from that breath. You have a little tank that adds a bit of oxygen, and then the unit feeds you that breath back via another tube. You can recycle your air and stay down for hours at a time. We would do dives that would last longer than three hours. Over the series, we spent more than 200 hours underwater and, critically, we were silent because we were not making bubbles. So, all of the marine life that usually would be a few feet away or more suddenly is all really close. And that’s key when you’re limited by the visibility of the water.

TV REAL: I’m in awe of the patience this work requires.

GREGORY: It’s a common misconception that you need to be patient to make wildlife films. You need two other “Ps” that are actually more important: passion and persistence. I’m not a particularly patient person, but I’m very persistent.

TV REAL: What drives your passion for exploring and bringing these types of stories to the screen?

GREGORY: I’m a wildlife filmmaker, but first and foremost, I’m a wildlife enthusiast. The best part of my job is that I get to hang out with cool animals. Obviously, I have to film them because it’s my job. But I’m perfectly happy just hanging out with wild animals. That’s where my drive and passion come from. I’m interested in the animals first, and the camera technology and all that stuff second.

TV REAL: How do you view television as a vehicle for educating in a way that’s accessible to all audiences?

GREGORY: Courteney Monroe [president of National Geographic Global Television Networks] famously said, “Smart and entertaining don’t have to be mutually exclusive.” That has stayed with me. If you want to tell a story that is educational or has a really important message, that

doesn’t mean it has to be independent of entertainment. Our job is to make those stories entertaining. For me, a really important part of this series is setting the animal behavior that we’re seeing in a bigger environmental context. It’s no secret that humans are not doing very nice things to the planet. It’s important that we have that as part of the show. What I’m most proud of with the series is that we also celebrate the conservation success stories. Our news cycle is so dark and depressing; we need some good news. If we celebrate the wins, that’s going to inspire us to do more.

A good example is the devil ray episode, where we used the rebreathers. We were diving in the Misool Marine Reserve. About 20 years ago, this area was just getting trashed. Lots of overfishing. There was lots of dynamite fishing, where you drop bombs onto the coral reef, so it blows up all the fish, and you get a very quick, easy catch. There was lots of shark finning for shark fin soup. The local community came together and said, this is not good; it’s not good for the wildlife, and it’s not good for us people. So, they set up the Misool Marine Reserve. Twenty years on, it’s one of the best examples of not just ocean conservation but conservation anywhere in the world. The biomass (the weight of living things) has gone up in that time period by 600 percent in some places. There are now 25 times more sharks inside the protected area than outside. This is what happens when you give nature the chance. Not only are these now some of the best coral reefs in the world (if not the best), but people are also benefiting. There’s all the tourism money from people coming from overseas to see these reefs. Also, all those fish that are thriving inside the protected area don’t stay there; they migrate in and out all the time. The local community and the fishermen outside of it are also reaping the rewards. It’s a blueprint for how we should be protecting the oceans. People win, and wildlife wins; it’s a no-brainer.

TVREALSCREENINGS.COM

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t’s been a year of growing pains for Warner Bros. Discovery, the entity formed at the start of 2022 following Discovery, Inc.’s $43 billion deal with AT&T to acquire WarnerMedia. Through the deal, Discovery, home to a portfolio of linear channels focused on unscripted, food, travel and home-improvement programming, joined forces with the storied Hollywood studio Warner Bros., the prestige pay-TV outlet HBO, a bouquet of linear services and the global streamer HBO Max.

Among the newly formed Warner Bros. Discovery’s first moves was renaming HBO Max as simply Max and adding content from Discovery’s brands to its off ering. Warner Bros. Discovery has also been working through several challenges, servicing its debt, containing costs, maximizing revenues and shifting the priorities for Max from gaining subscribers to reaching profitability.

international, oversees these brands and has joint responsibility for direct-to-consumer services in more than 220 territories. He also oversees local theatrical productions and acquisitions.

GERHARD ZEILER WARNER BROS. DISCOVERY

Zeiler talks to World Screen about the numerous priorities facing Warner Bros. Discovery in the ever-evolving media industry. Top of the list is transitioning from linear to stream ing and, within the streaming business, balancing investments against revenues and profitability. He also shares the company’s commitment to offering content to numerous outlets. Except for key exclusive titles that will be available either on Max or Warner Bros. Discovery’s linear channels, Zeiler believes in windowing films and shows across third-party broadcasters and platforms. All this is in service of maximizing monetization and viewership.

While Warner Bros. Discovery is an American company, it operates and owns numerous businesses and brands around the world where the decline in linear viewing has been slower than in the U.S. Gerhard Zeiler, the company’s president of

Though streaming is one of Warner Bros. Discovery’s growth engines, and Zeiler is overseeing the launch of Max in international territories, so are gaming and theatrical films. Zeiler says the company remains committed to releasing more movies in theaters, proudly pointing to the enormous success of Barbie

WS: How has the integration of the Discovery and WarnerMedia businesses gone internationally?

ZEILER: Mergers are always difficult, and this merger brought together two companies with very distinctive cultures—the Discovery culture and the WarnerMedia culture. When we started this integration in the U.S. and internationally, our goal was to focus on the culture and bring these two companies together. That went very well. There were three big results from the integration. Number one, we have an incredible powerhouse of content from both companies.

Second, we have a clear strategy, which I describe in one short sentence: We are not a one-trick pony. We don’t believe that putting all the content we produce into one window is the right business strategy, nor is it right for the consumer. We see it differently. We want the consumer to decide when and what they want to watch and on which device. We believe in theatrical releases. We believe in streaming. We also believe in linear. We not only have product for our networks but are also open to selling them to third parties. The goal is to maximize not only the monetization but also the viewership. That is the second part of our strategy.

Third, and it comes back to what I said in the beginning, having a one-company mindset is so important. We had big successes this year. Look at Barbie , the Hogwarts Legacy game and the launch of Max in the U.S. These would have been successful regardless. But all three were even more successful because we brought the whole company together. Bringing these two companies together was not easy; a merger is not easy. But with the results we’ve seen, also on the international side, I’m satisfied because of this one-company mindset.

WS: Regarding Max, what factors motivated the shift in focus from subscriber count to revenues and profits?

ZEILER: It was about 18 months ago, the Q1 results of Netflix last year, when, all of a sudden, the investor community thought, Oh, maybe we overestimated the total amount of possible subscribers. We as an industry, and, of course, at Warner Bros. Discovery, need to prove to investors that streaming is a profitable business model. In Q2 of this year, we said we would break even with our U.S. direct-to-consumer business. This is important as we need to balance our investments [in content] and revenues and profitability. We are much further ahead than most of our peers, with the exception of Netflix. All others are still losing money. We are breaking even. When it comes to our KPIs [key performance indicators] on the Max side, JB Per rette, CEO and president of global streaming and games , was very clear. We have subscribers, but we also have revenues, profitability and engagement. These are our three big KPIs. This is what success looks like in our Max business.

WS: What is the strategy for rolling out Max internationally?

ZEILER: We launched Max in the U.S. in the spring of this year with quite a big success, and it was also a test case. It was the biggest migration of subscribers in the streaming business so far. And the results have been quite go od: 95.8 million global subs [in Q2], and engagement is up, which is important. And the product, which was not so great on HBO Max, is way up. When you look at the app store ratings of Max, they are fantastic. Our teams have also worked on giving Max more product. At the end of September, we started with CNN Max, our news business.

Internationally, the plan is to launch Max in Latin America and 22 territories in Europe where we already have HBO Max— the Nordics, Central and Eastern Europe, the Netherlands, Spain and Portugal—early next year. We also want to have additional market launches in Europe. We also will

launch Max in the parts of Asia where we currently have HBO GO, but that’s probably later in the year. There will be new launches in 2025 and 2026, and we will do that market by market.

WS: Warner Bros. Discovery is a production powerhouse. What is the strategy for distributing and monetizing films and TV programming?

ZEILER: Warner Bros. Discovery received 181 Emmy nominations. The Emmys will be postponed until next year, but the nominations show the fantastic powers that we have, with Casey Bloys on the HBO side, Channing Dungey at Warner Bros. Television and Kathleen Finch at the U.S. networks group. A lot of that content goes to our own networks, and some of it is exclusive. But our philosophy is that we want to maximize viewership. We believe that the consumer has to decide when, where and on what device he wants to watch our content. And in the case of certain products for which we believe we can’t maximize the viewership on our networks, we’re happy to sell them to third parties. That will not happen with every product we have, but it will happen with quite a few. That’s our philosophy: maximize viewership and monetization because we owe that to all the people who work on this content. So that’s number one. Number two, we want to offer our content on both linear and streaming. When I talk about streaming, I don’t mean only SVOD streaming but also making a cheaper offering with limited ads available international ly during the next year. And then, of course, to linear. We want to be on all the platforms. That’s on the TV side.

On the theatrical side, I repeat what I said at the beginning: we believe in theatrical releases. We saw during the pandemic that there is nothing more powerful to promote a product than a global theatrical release. That’s what we promised all the filmmakers; we believe in that strategy.

WS: I have not had as much fun at a movie theater as I did watching Barbie! It was fabulous: the humor, the nostalgia and the underlying feminist commentary.

ZEILER: It’s now close to $800 million box office internationally. In total, $1.4 billion. It shows how powerful a film that points to the zeitgeist is and has marketing behind it. One of our biggest surprises was China. Six months ago, nobody believed that the Chinese authorities, with the restricted amount of feature films, would approve Barbie for release. That was the first surprise. Our forecast for the box

office in China was minuscule— it was maybe $2 million to $5 million. Instead, it made nearly $40 million at the box office in China, and nobody imagined this would happen. So, if something is a powerhouse, it’s a powerhouse!

We currently have three films in theaters: Meg 2: The Trench , Blue Beetle and The Nun II . So, after some months while we were, let’s say, a little bit disappointed, now it’s great.

WS: You’ve always believed in the power of local stories. What are the production priorities of the international channels and brands?

ZEILER: We have to look at both sides. On the one hand, for Max, local products are important. You will not be successful as a global company without relevant local content. We started that a few years ago. In Europe, we had Patria in Spain. 30 Coins will premiere its second season on the global Max platform in October, and Casey Bloys is very much counting on that for Max in the U.S. Among our true-crime shows, there is Dolores: The Truth About the Wanninkhof Case , a six-part Spanish docuseries about the murder of Rocío Wanninkhof, and in Brazil, the docuseries

A Brutal Pact: The Murder of Daniella Perez , about a young telenovela star who was murdered by one of her co-stars. So relevant local stories, whether scripted or non-scripted, have a place in the stream ing business. They count for subscriber acquisition but also engagement and retention. But that’s only on the streaming side. When it comes to linear, we get a lot

of product from the U.S., but we also have local shows, whether it’s in the Nordics, Poland or Italy. In Italy, we persuaded one of the Rai 3 presenters, Fabio Fazio, to come to us. We will start his show in October. Everybody was so excited that it was on the covers of all Italian newspapers that cover entertainment. So, we are investing in local content on linear and streaming.

WS: International brands and businesses make up a significant portion of Warner Bros. Discovery. Which brands and businesses have been performing particularly well?

ZEILER: Among the pay-TV brands, Discovery Channel and TLC work very well. In Europe, we have a strong free-to-air business. We own TVN in Poland—it’s the ITV or RTL of Poland. It’s the number one brand in Poland. Our Nordics business, especially in Norway and Sweden, is doing very well. We have Kanal 5 in Sweden and TVNorge in Norway. In Italy, our two biggest channels, Nove and Real Time, have had a fantastic year. Even DMAX, our biggest free-to-air network in Germany, is doing very well. These are only a few examples.

In Latin America, we have TNT Sports, which has the Champions League in several

countries. In Argentina, together with Disney, we have the Argentinean league, and in Chile, the Chilean league, CDF. We launched TNT Sports in the U.K. this summer, home to the Champions League, Premier League and more. On linear television, sports is a successful business.

WS: Viewing of linear channels has been declining more rapidly in the U.S. than in countries around the world. While I imagine this varies by territory, what is the state of linear viewing, and which international channels remain relevant to viewers?

ZEILER: Everywhere in the world, we see a shift from linear to streaming, but not at the pace we see in the U.S. And interestingly, yes, free-to-air—whether commercial

or public—is doing quite well in a lot of European countries, and not only in European countries.

Pay TV is a little bit more under pressure in Europe and also in Latin America. But linear, if I take everything together, is still incredibly strong, much stronger than in the U.S. That’s what we see going forward. But there is still a shift from linear to streaming. Our company has to get this shift right because, for us, linear is not completely separate from streaming. We see them together. How we window, which is an important decision, market by market, product by product, [is critical] to get this transformation right.

WS: Warner Bros. Discovery is focused on containing costs and reducing debt. Is this

having an impact on the international businesses and brands?

ZEILER: It’s public that this merger [created a] certain amount of debt, which is not small. But during these last 14 or 15 months, we paid quite a lot of debt back. The focus also has to be on the free cash flow because free cash flow is the vehicle for paying the debt back. David [Zaslav, president and CEO of Warner Bros. Discovery] and Gunnar [Wiedenfels, CFO] said that at the end of this year, we want to have a leverage of below 4.0x. That was the new guideline that we will have a free cash flow of more than $5 billion this year. We are doing quite well with that.

This, of course, meant we had to do some cost containment and cost control. We started last April. If you look at what Disney, Paramount or NBCUniversal are doing, even Roku and Amazon, everyone is cutting costs because we live in a very challenging time. Two things are coming together: the transformation from linear— a very successful, profitable but declining business model—to streaming has to prove it’s a good, profitable business. That’s one shift, which is the structural shift. Then, there’s the macroeconomic uncertainty with inflation. So Russia and Ukraine and all of that comes together. This makes it necessary that every company look at costs and balance them out. What is it worth investing in, and what is not worth investing in? And that’s a day-to-day, product-by-product decision that we have to make.

WS: What opportunities for growth do you see in the various international businesses in the next 12 to 24 months?

ZEILER: Number one, streaming is one of our growth engines in the next years. JB and Gunnar were very clear on that. The second one is theatrical. It’s David’s goal to release more feature films theatrically than we did in the last three or four years, in part because of the pandemic. The third is gaming, and this is an underestimated business. We are the only media company among our peers with a big gaming business, with 11 studios. This year, we had the huge success of the Hogwarts Legacy game. This is another growth engine, and it’s similar to theatrical. It’s a hit-driven business. My colleague David Haddad, who heads the gaming business, tells us every week: Don’t expect every game to be a hit. But our company is committed to investing in gaming. There are other businesses, too, but these are the three biggest growth engines and will lead us into the future.

TVFORMATS

INTERVIEW

Live Does Still Matter

Broadcast TV usage in the U.S. saw an uptick in August for the first time since January. Per Nielsen’s The Gauge, broadcast viewing rose by 1.6 percent month-on-month to reach a share of 20.4 percent, driven in part by brands like America ’s Got Talent and Big Brother.

Further proof that live television still matters even outside the core realms of news and sports? Live TV is still the most common starting point for viewers, according to a study from Hub Entertainment Research: 46 percent of consumers start on live TV, with SVOD at 45 percent.

And then there’s the FAST space—look at the engagement on channels for Survivor, Got Talent, Wheel of Fortune and other behemoth reality, talent competition and game-show brands that have enough volume to sustain 24-hour services. If you have a library of an older but beloved brand, you could even use a single-IP channel to explore reboot potential while making revenues off of hours of content that you perhaps haven’t monetized in years.

Of course, for that you need to have a library, and sustaining an entertainment format season after season takes a lot of time and effort. Rob Wade, CEO of FOX Entertainment, knows a thing or two about franchise management; he oversaw flagships like MasterChef and The Masked Singer in his previous post overseeing alternative entertainment at FOX. In our Q&A with him in this issue, he talked about the strategies that have worked for FOX and how FOX Alternative Entertainment is seeking breakout new concepts that can be cost-effectively produced and easily replicated in multiple markets.

FOX’S ROB WADE

A veteran of the formats business, FOX Entertainment CEO Rob Wade shares his thoughts on taking big swings and franchise management.

FEATURES GAME TIME

Leading distributors offer up their perspectives on how to win in the competitive game-show formats space, including amping up viewer interactivity.

THAT’S ENTERTAINMENT!

Adaptability and scalability are the hallmarks of any good format, but especially crucial in the game-show arena. As broadcasters look for ways to cut costs but still lure audiences, prime-time game shows remain in high demand, but you do need something special to break through the clutter. Hybrid elements—fusing game shows with other genres—help, and having some level of play-at-home engagement is key. But as Wade told me, you do also have to think about the long tail: “As a broadcaster, we believe in the power of urgency, bringing people into the big tent while simultaneously making sure the shows we buy have that ability to be consumed in a way that some viewers prefer, i.e., when they want and how they want it. You have to think about how you serve both.”

Whether you’re in need of an out-of-the-box game show, heartwarming factual entertainment or even a gripping scripted format, our latest TV Formats Screenings Festival has you covered.

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

BBC Studios

The 1% Club / Lost Dogs: Live / Bridge of Lies

BBC Studios is bringing the prime-time entertainment show The 1% Club live to the Hi5 Studio in Cannes, where MIPCOM attendees can participate in the international hit. In the series, the host engages contestants with logicbased questions that ultimately reveal whether they have what it takes to join the exclusive 1% Club. “ The 1% Club has already proven to be a hit with buyers,” says Matt Forde, managing director of global entertainment. Also on the format slate, Lost Dogs: Live calls upon the public to help reunite missing dogs with their devastated owners. Bridge of Lies sees teams of contestants competing for cash by crossing a bridge on the studio floor, stepping on the truths and avoiding the lies within the time limit.

FOX Entertainment Global

Snake Oil / Next Level Chef

In the game show Snake Oil, on offer from FOX Entertainment Global, contestants present unique products to convincing entrepreneurs, some of whom are real while others are “snake oil salesmen.” With the help of guest celebrity advisers, contestants must determine which products are real and which are a sham for a chance to win life-changing money. The series on FOX in the U.S. is hosted and produced by David Spade (SNL, Just Shoot Me) and executive produced by Will Arnett (LEGO Masters, Arrested Development) through his Electric Avenue Productions. In Next Level Chef, another FOX Entertainment Global highlight, chefs Gordon Ramsay, Nyesha Arrington and Richard Blais recruit chefs as they face cooking challenges with the goal of finding the food world’s newest superstar.

Global Agency

Match the Family / The Rolling Kitchen / Blind Duets

Global Agency is highlighting three studio-based entertainment formats at MIPCOM: a game show, a cooking competition and a shiny-floor singing series. Match the Family challenges contestants to identify family members of a person in the studio. “The global resonance of the format is rooted in its central theme: family,” says Izzet Pinto, founder and CEO. The cooking show The Rolling Kitchen features a competition set within a rotating kitchen. “Couples need to read each other’s minds and estimate the cooking procedure in order to win,” Pinto says. Blind Duets brings together four celebrity singers in a jury and contestants to perform for them, though their identities are concealed by cabinets. “Blind Duets stands out from other singing contests by tapping into the talent of its jury members as performers,” says Pinto.

“Our MIPCOM slate this year perfectly demonstrates BBC Studios’ range and versatility of format titles.”

—Matt Forde

“The pandemic has inevitably led to an increase in the search for entertainment formats in the TV industry.”

—Izzet Pinto

Media Ranch

Mirror Island / Love Maze / Who Are You Now?

The competitive social experiment Mirror Island is a featured title from Media Ranch’s MIPCOM roster. Dividing identical twins into two separate houses, the show implements one crucial difference in gameplay that sparks a web of differing social dynamics. Love Maze centers on singles looking for love, having them navigate a real maze to reach their potential mates. With many temptations hiding behind every corner, the participants either get lost or find their partner. Dating games such as this are “always of interest to audiences around the world who are seeking a special relationship,” says Philip Kalin-Hajdu, director of storytelling and business development. Who Are You Now? features celebrities who discover that they are related to some of history’s most famous and infamous figures.

Nippon TV

Suspects on the Set / 5 Friends, 5 Favours!

Nippon TV’s Suspects on the Set is a murder mystery game show with a mix of scripted crime-drama elements. Set at the scene of a murder, actors each play a role and must improvise until the culprit is revealed. The studio game show 5 Friends, 5 Favours! sees friends battle it out to win for their celebrity pals. The keys to unlocking victory lie in who they know and their rich social connections. “We are actively pursuing codevelopment and co-production partnerships and hoping to announce a new original unscripted format, codeveloped and co-produced with a global partner,” says Tom Miyauchi, head of formats at Nippon TV’s global business unit. “It will first be produced and broadcast in Japan on Nippon TV as a pilot version for international markets.”

Suspects on the Set

Paramount Global Content Distribution

Wheel of Fortune / Pictionary / The Joe Schmo Show

The classic game show Wheel of Fortune, on offer from Paramount Global Content Distribution, ranks as the second highest-rated series in U.S. syndication, reaching more than 9 million viewers nightly. “Wheel of Fortune is classic, iconic, current and hugely successful,” says Paul Gilbert, senior VP of international formats. “We currently have it optioned or licensed in more than 20 countries. Not bad for a 42-year-old show that just never stops giving.” There’s also Pictionary, based on the classic board game. “In today’s environment of smaller production budgets, it’s an extremely low-cost production, with as many as seven episodes recorded in a day,” Gilbert says. The hoax reality series The Joe Schmo Show is returning in 2024. The show originally debuted in 2003 and “quickly became a cult classic,” says Gilbert.

Pictionary

“We are meeting with partners and producers to source the best new formats for our portfolio.”

—Philip Kalin-Hajdu

“Pictionary is family viewing at its finest.”

—Paul Gilbert

“Our creative team wanted to ensure that we created new programs that were cutting-edge and unique, with captivating stories that will resonate with global audiences.”

—Tom Miyauchi

Rob Wade FOX Entertainment

During his tenure heading up alternative programming at FOX—including the launch of its successful non-scripted studio, FOX Alternative Entertainment (FAE)—Rob Wade has overseen the rollout of some of the format business’s biggest hits. He helped place the quirky Korean singing talent show The Masked Singer on the global map, extended Gordon Ramsay’s powerhouse presence on the FOX network and pioneered a new approach to spotting up-andcoming ideas via a $100 million International Format Fund. For the last year, Wade has been CEO of FOX Entertainment, and his extensive non-scripted expertise is certainly coming in handy as he programs a broadcast network amid a strikeimpacted fall season. Wade talks to TV Formats about franchise management and championing breakout concepts.

TV FORMATS: FOX has been quite the game-changer in the non-scripted formats space. Let’s start with your iconic returning brands like The Masked Singer . What’s the approach to franchise management and keeping them fresh?

WADE: It’s a testament to the quality of the network executives and the producers involved. They are challenged every time to come up with new ideas. The pitfall you can encounter as an executive and a production company is to say, let’s do another season! We say, we can do another season, but what is that season? Let’s talk about that first. It’s almost a pain point for people to break through. We’re not going to greenlight this until you come up with the idea. That produced the latest MasterChef season, in which regions of America compete against each other. You’ll see it in the newest season of The Masked Singer with theme nights and the overall creative structure of the format. They are continuously striving to improve and are not resting on their laurels. It requires an investment of time, sometimes an investment of money. But if the idea is right, it’s worth it because you need to sustain these returning formats; they are precious.

TV FORMATS: Tell us about the approach you’re deploying at FAE, from scouting for ideas internationally to developing new concepts in-house.

WADE: It’s a combination of everything. We are making a lot of headway in creating successful business models and price structures. From a creative point of view, unscripted needs fresh and new ideas and bigger swings. I’ve been saying this for a few years now; it’s a mature business. You can’t get away with new ideas inspired by old ones; you need true freshness. We do various things as a catalyst to solve this. One is the International Format Fund, which

encourages some of the countries that are ambitious in their ideas, but because of the size of the market, they don’t have the financial ability to take big swings. We’re offering them support to take the big swing in return for participation in the format and the ability to make the show in the U.S. The other huge thing is that more entertainment viewing is being transferred away from day and date, so there’s a long tail with these shows, in-season and out-of-season. As a broadcaster, we believe in the power of urgency, bringing people into the big tent while simultaneously making sure the shows we buy have that ability to be consumed in a way that some viewers prefer, i.e., when they want and how they want it. You have to think about how you serve both.

TV FORMATS: You’ve been in business with Gordon Ramsay for a while. Why was expanding that relationship further via the Studio Ramsay Global joint venture important?

WADE: Gordon’s been an important part of FOX for the last two decades. FOX and Gordon Ramsay are synonymous with each other. He is what I would call a sexy rebel! He’s not your typical hero; he’s a bit of an antihero who fits our brand in so many ways. What’s attractive about that whole venture now is all the linear business with Next Level Chef and Gordon Ramsay’s Food Stars, and the continuing success of the MasterChef and Hell’s Kitchen franchises and now Kitchen Nightmares . What’s also exciting for us is Gordon has over 100 million social media followers. We see real potential to build new ventures and franchises outside the linear television ecosystem. Over the next 12 months, you will see a lot more announcements on that in the digital and product spaces. It will show everyone a blueprint for the future of how we should be looking at content.

That’s Entertainment!

Whether you’re in need of an out-of-the-box game show, heartwarming factual entertainment or even a gripping scripted format, our latest TV Formats Screenings Festival has you covered, spotlighting new and returning properties from across the globe.

Four long-r unning European hits are being made available for adaptation by international broadcasters and platforms via ZDF Studios, including the beloved entertainment show Wanna Bet? , which fuses talk, game and variety elements. “In this show, nothing is pre-recorded or edited,” says Ralf Rückauer, VP Unscripted. “If the celebrities lose their bet, they must complete a task of their own, most often an entertaining charitable gesture. Airing since 1981, Wanna Bet? is the absolute top entertainment show in the Germanspeaking territories and a hit around the world.” QUIZ HUNT , meanwhile, has shown consistent ratings growth in its home market. “The

market share in this time slot has almost quadrupled, and subsequent time slots benefit from this rapid growth,” Rückauer notes. ZDF Studios has another quiz show on offer, the beloved Dalli Dalli , along with the factual offering Crime Watch XY . “

Crime Watch XY is one of the most successful TV formats on German television and was the first reality show in the world,” Rückauer says of the format, which enlists audience help in tracking down fugitives.

All3Media International has a selection spanning all the key categories in the formats space, including a range of buzzy game shows. There’s Head to Head , which originated in Sweden and has already been adapted in four markets; Catch Phrase, created by Pasetta Productions and Steven Radosh; and the brand-new Picture Slam from Objective Media’s Triple Brew. “Easy to play, hard to win,” says Nick Smith, executive VP of formats, about Picture Slam , which launched on BBC One in the U.K. “This is the game where you need to know something about everything. Now more than ever, we are bombarded with pictures and images, making this addictive new prime-time quiz incredibly timely. Easy to play along at home, it will have viewers hooked to the TV and laughing from start to finish.” On the factual-entertainment front, there’s Millionaire Hoarders , in which antiques experts sift through homes seeking valuables; and Teenage Boss . “Audiences in Australia, Mongolia, the Netherlands, Poland and Sweden have been hooked to

this hugely entertaining format that looks at how teenagers handle money,” says Smith. All3Media International also boasts a slew of scripted formats, among them Liar , which has been successfully translated to over 12 territories, including Italy, Spain, France, India, Turkey, Germany, Greece and Malaysia.

Korean formats continue to make waves across the globe, and one of the buzziest new entries in that space is Something Special’s reality game show Battle in the Box. “Since the news broke in September about UKTV’s commissioning order, which features beloved comic Jimmy Carr, everyone has been eagerly waiting to see it,” says Praise ChanMi Shin, VP and head of sales and licensing. “The show is simple and entertaining,

Something Special’s Battle in the Box

appealing to audiences of all ages. Even if you tune in halfway through, you’ll instantly know who’s winning or losing thanks to the centerpiece of the show—a moving wall. Optioned in Germany, with more to come.”

Something Special is also showcasing a mystery-solving reality gameshow concept called Still Alive , which has already been optioned in Italy and is in discussions for a full-season commission in Korea. Also on offer from South Korea are Munhwa Broadcasting Company’s Alumni Lovers and Keep Talking I Love It, while from neighboring Japan, TV Asahi Corporation is rolling out Beat the Champions . The TV Formats Screenings Festival also features Dori Media Group’s Power Couple and The Best of All and Onza Distribution’s The Celeb Challenge.

G A M E T I M E

Leading distributors offer up their perspectives on how to win in the competitive game-show formats space. By

Daswani

Game shows never go out of style, but making an impact with one amid a sea of options— from the long-running juggernauts to vintage classics being dusted off for a new era to brand-new spins that are tapping into technological advancements to make at-home viewers feel like they are competitors—has never been more challenging.

The good news is that demand is surging; the strikes in Hollywood have left a lot of gaps in broadcast network schedules, so there are several game shows in U.S. prime time again. And the appetite in the rest of the world shows no sign of diminishing.

“Game shows are always in the forefront and always will be,” says Paul Gilbert, senior VP of formats at Paramount Global Content Distribution. “They are less expensive than other forms of programming, and the return can be high. Low cost and high ratings—it doesn’t get any better than that.”

“When I speak to clients around the world, there’s always a feeling that viewers come to game shows,” adds Andre Renaud, senior VP of global format sales at BBC Studios. “Regardless of what’s happening around the world, I don’t see any waning of game shows happening anytime soon in markets where there is already an appetite for them. I am starting to see that markets that don’t necessarily have a traditional appetite for game shows are also considering them. You can film three or four of these in a day.”

Tom Miyauchi, head of formats at Nippon TV’s global business unit, is of a similar perspective, noting: “Our view is that game-show formats are expected to remain resilient during budget constraints and uncertainties in the market due to their cost-effectiveness and trusted outcomes.”

Global Agency is feeling especially bullish about the U.S. at present, looking to land local commissions on The Married Game and Match the Family , according to Izzet Pinto, founder and CEO. “There is a great interest in unscripted from the U.S.,” Pinto observes. “In the next six to 12 months, we will see many formats on the screen.”

The slowdown of scripted, in the U.S. and elsewhere, is goosing demand for game-show formats, concurs Sophie Ferron, co-principal at GRB Media Ranch, the distribution joint venture between GRB Studios and format specialist Media Ranch. “However, game shows usually have hosts— who will not be able to perform” due to the U.S. actors’ strike. “And game shows take a lot of development and expertise to get right. I foresee perhaps a small bump in what we’ll see out there—but not a huge shift.”

As for how to craft the perfect game show, Renaud highlights the importance of having a simple premise that can be easily understood, questions and topics that can be easily localized, and, he says, “make it as visual as possible.”

Ferron also stresses the importance of “solid, simple gameplay,” noting, “If it has that, it is scalable. And

relatability and playability. We all want to spell the word Wheel of Fortune . We all want to guess the song on Beat Shazam. We all want to know if our answers fall in line with the top 100 on Family Feud and to ask what that says about us. Our show Watch! plays on the fact that no matter how enthralling a performance is, we all see things differently, and it’s difficult to remember and describe reality.”

All3Media International is promising easy adaptability for Catch Phrase, the prime-time game show created by Pasetta Productions and Steven Radosh. “Every country has its own iconic catchphrases, and this beloved prime-time hit holds endless global appeal,” says Nick Smith, executive VP of formats at the company.

Meanwhile, BBC Studios’ The 1% Club, a key highlight for MIPCOM, “is not about what you know; it’s just about what you see,” Renaud says.

At Nippon TV, Miyauchi distills the essence of a good game-show format down to three core pillars: universal appeal, scalability and audience engagement.

“First of all, universal appeal is the key—a strong, relatable concept, touching wider audiences while avoiding any cultural

references that may be specific to a country or territory,” he says. Alongside that, he notes, is the need to establish “clear and concise rules and structure for the format to keep consistency and make it easy to replicate across multiple markets.”

Miyauchi explains that scalability is paramount for accommodating different budget levels, and audience interactivity is more important than ever. “By incorporating elements such as guessing and voting that allow for audience participation, it builds a sense of community and engagement around the format.”

ARMCHAIR VICTORS

Indeed, in surveying leading format sales executives about what’s transforming the game-show sector, it turns out that “interactivity,” while not a new concept, is essential for a successful game-show format today.

BBC Studios is rolling out a play-along app for The 1% Club , a fairly new game-show format that is becoming a significant hit for the company. “The success of The 1% Club keeps growing for us and for Magnum Media,” Renaud explains. “We’re on air in seven countries.”

Home play-along is also central to All3Media International’s brand-new Picture Slam , which hails from Objective Media’s Triple Brew. “Easy to play, hard to win,” says Smith. “This is the game where you need to know something about everything. Now more than ever, we are bombarded with pictures and images, making this addictive new primetime quiz timely. Easy to play along at home, it will have viewers hooked to the TV and laughing from start to finish.”

Global Agency’s Pinto observes: “It’s very important to make formats more interactive right now. For example, a board game is on sale for Joker, and we are working on designing a live app for Match the Family.”

GRB Media Ranch’s Ferron has also witnessed new approaches to technology in gameshow formats and points to an emerging interest in hybrids. “For example, our paper format Watch! is a hybrid between variety and quiz;

proven format Round Table is singing meets game strategy; and our Horsepower incubatormade paper format House Party , which is based on the hit game Just Dance, uses stateof-the-art tech developed by Ubisoft to ensure that the TV version has the gameplay recognized by fans of the game.”

BBC Studios’ Renaud also points to the fusing of genres in game-show formats and is of the perspective that “physicality is back, but not necessarily in the way we might think. It’s not necessarily physical game shows but something with movement. While budgets are tight, we’re seeing something else come through: game shows that are not stationary. Moneybags is an example—they’re physically picking up things as they go. Breaking Point , which we had on RTL in Germany, where you’re waiting to see what the breaking point of something is, also has a lot of physicality. And the game within a game, a hybrid with reality, is also picking up interest.”

Nippon TV, too, is plugging hybrids like Suspects on the Set. “The murder mystery game show incorporates elements of scripted drama to heighten the thrill and create unique and engaging experiences across audiences from both genres,” Miyauchi says. “Also, there is sometimes ‘gamification’ in game shows, taking inspiration from video games by incorporating elements such as leveling up, earning life points and clues to unlock stages. Our best example in this genre is Time Potion , a high-concept game show where time is the ultimate ruler and time potion is used as an item to recover time.”

FRESH FACTOR

Interactivity and hybrid elements are helping to inject new life into veteran game-show brands, with innovation required season after season to keep audiences engaged.

“We work with the right partners as a distributor,” says Global Agency’s Pinto on maintaining the success of a game-show brand. “The local producers in each country are adding new elements or twists to keep the format fresh. As long as the format goes well, every season is better than the previous one, as their budgets increase. That’s why many of our formats have been on air for about ten years, bringing new versions around the world.”

GRB Media Ranch’s Ferron stresses the need to “balance familiarity with freshness. There is a reason people watch, say, Family Feud . We get it, and it has a feeling of nostalgia and comfort. However, it also innovates in terms of the style of questions, the tone, the type of families, enhancing the set, etc. Also, new challenges and twists that feel authentic to the show are important to bring into the mix every so often.”

Looking for a fresh take is especially important when trying to resurrect a classic gameshow brand, observes Renaud: “People are looking

for authenticity and truth in storytelling. That also can go through into a great game show. If I look at Friends Like These, does it have to be gendered groups now? Can it be colleagues? Can it be things that make it a bit more modern and inclusive? If you look at The Weakest Link , the people hosting it now are true comedians. There’s a wink and nudge that makes it feel more inclusive, warmer and less combative.”

Indeed, choosing the right host is key to a game show’s success, Renaud says. “We spend a lot of time on the role of a host in a particular game show. Are they on your side? Are they your enemy? Are they there to create a sense of fun? That’s crucial in finding the talent to allow that to happen and create the atmosphere.”

It’s equally important to choose the right contestants, and that differs depending on the nature of the show, according to Paramount’s Gilbert. “ Jeopardy! is a very intellectual show that requires very smart contestants. Wheel of Fortune,

on the other hand, looks for contestants who are outgoing and can solve the puzzles.”

“We work with the best casting directors in each country,” says Pinto at Global Agency. “We discover colorful characters for TV, and those characters even go viral on TV.”

Nippon TV is bringing Masquerade back to Japanese viewers for the first time since the pandemic, with a special 99th episode planned for the show, which has been on the air since 1979. “One major point when we plan the show lies in the detailed meetings with the contestants so that the performances will be stronger and the talents are diverse, ensuring that the viewers’ experiences are more engaging than ever,” Miyauchi explains. “It is very difficult to ‘better’ the show each time, but our dedication casts a good vibe to the contestants and creates miraculous performances, leading to great results in ratings and views.”

GRB Media Ranch’s Ferron distills her approach to casting game shows down to three words: “Excited, entertaining, confident. We want to feel excited to get the correct price on The Price Is Right and feel that rush and jubilation of the contestant while laughing with their over-the-topness.”

TIME WARS

Perhaps the biggest selling point of game-show formats is their versatility; the best can be easily adapted to any budget level and time slot.

“A good format has to be scalable,” says Renaud at BBC Studios. “We’re talking about elements that satisfy a daytime viewer and budget versus a prime-time viewer and budget. You’re possibly looking at games that can be played across the week in a daily strip instead of high-stakes stand-alone. The tone is usually lighter for daytime, and there’s quite a lot more tension in prime time. Let’s remember that game shows have transitioned from daytime to prime time and can have those versions, and you see what

scales up. The Weakest Link in the U.K. at the moment is in access. An excellent format is always scalable.”

TIME WARS

Paramount’s Gilbert has a similar opinion, noting, “It’s possible to take most any access game show and make it look prime time by making the set bigger and flashy. Referring to Wheel of Fortune, in the U.S., the daily version also plays in prime time. The prime-time version is 60 minutes versus 30 minutes for the daily show, and the prize money is more.”

A studio set can be scaled up to accommodate a prime-time slot, Pinto notes. “Naturally, in this way, a shiny-floor project emerges for prime time. Bigger productions come out due to having a big budget. We run the business with one celebrity in smaller studios for daily access formats. But, since daily formats are aired five times a week, they are even more significant than prime time in the economy.”

“We would say that daytime and access prime are more familiar and comfortable,” observes Ferron at GRB Media Ranch. “Less focus is needed, and it’s more about the zaniness of the contestants. Prime time has higher stakes, more tech, bigger budgets, more celebrities and drama.”

While the genre has long been best suited to linear viewing, Renaud doesn’t count out game shows in the streaming space.

“Streamers will continue to try all genres to capture the audience,” he says. “Even if you look at how streamers were exploring reality as a genre to begin with and how we all thought perhaps that wouldn’t be something that would work, they continue to test the models. The insight and the data streamers have means they can drill down into what viewers enjoy when they’re watching something. There’s a way of differentiating that streamers will probably continue working on. I don’t think they’ll walk away from it— espe cially streamers with linear channels that can stream across all their platforms.”

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Movie Magic

Nicely Entertainment’s Scott Kirkpatrick on offering family-friendly and female-driven feel-good content.

Though Nicely Entertainment is a young company, having launched in 2020, it has fast become a leader in providing feel-good TV movies. In less than four years’ time, the company has built a library of 80 films and is averaging 20 original films each year. Alongside its feature films, Nicely has developed and produced three scripted TV series—with more in the development pipeline. “We’ve expanded our client base, working

directly with all major U.S. and international platforms and broadcasters and have grown our staff significantly,” says Scott Kirkpatrick, executive VP of distribution and co-productions.

“On top of that, we’re expanding into new genres—including a few edgier projects—and have elevated our on-screen casts by

hiring names such as Denise Richards and Ashlee Simpson to play major roles.”

What’s driving this growth isn’t some trade secret, Kirkpatrick says: “We’re producing very strong content, focusing on core genres and putting a major emphasis on reliably delivering highquality, well-produced programs to our broadcast and VOD partners. We make every content decision by putting audiences’ and our clients’ needs first. And my sense is that we’re only starting to ascend a strong growth curve.”

Nicely’s core offering is family-friendly and female-driven feelgood content. “Although we’re not the only company in the romance, family or Christmas romance space, we’re producing very inspirational and uplifting films that genuinely tap into what audiences truly want,” Kirkpatrick says.

The company is bringing 18 brand-new films to MIPCOM. Highlights include the Denise Richards-led A Christmas Frequency, which will premiere on Hulu this November.

“We make every content decision by putting audiences’ and our clients’ needs first.”—Scott Kirkpatrick

THE LEADING SOURCE FOR PROGRAM INFORMATION

A+E MEDIA GROUP

m events@aenetworks.com

w catalogue.aenetworks.com

Stand: C15.A5

James Brown: Say It Loud (Bio., 4x60 min.)

Exec produced by Mick Jagger and Questlove, explores James Brown’s impact on 20th-century Black America, uniquely told by a Black director. The UnBelievable with Dan Aykroyd (Mysteries/paranormal, 10x60 min.) Dan Aykroyd ( Ghostbusters , SNL ) explores the strangest moments in history.

Five Families (Crime/investigation, 3x120 min.)

Narrated and executive produced by Michael Imperioli ( The White Lotus ). Explores the rise and of the American Mafia—the Genovese, Gambino, Bonnano, Colombo and Lucchese families—inspired by the bestseller Five Families.

Booked: First Day In (Crime/investigation, 10x60 min.) Get an insider’s look at the most unusual, bizarre and often tense bookings. Follow arrestees as they move through the court system and find out what led them to jail.

Secrets Of... (Crime/investigation) The groundbreaking franchise expands once again this year to include Secrets of Miss America (4x60 min.) and Secrets of Penthouse (4x60 min.).

AARDMAN

O (44-117) 984-8485

m sales@aardman.com

w www.aardman.com

Stand: R7.D33

Alone (Factual, S10: 11x60 min. & format) Ten contestants vie for a $500,000 prize by enduring isolation in the harsh Canadian wilderness.

V.C. Andrews’ Dawn Cutler Series (Scripted, 4x120 min.) After the success of Flowers in the Attic: The Origin comes the next installment in the V.C. Andrews franchise, following the dark and twisted history of the Cutler, Longchamp and Booth families.

Miss Scarlet and the Duke (Scripted, S3: 6x60 min.) The adventures continue for Victorian London’s first-ever female detective.

Yukee (Preschool 2D, 52x7 min.) Offers young audiences a gentle, child-centered introduction to music, exposing them to simple yet fundamental musical concepts that form strong foundations for lifelong learning.

Ready Eddie Go! (4-6 CGI, 26x7 min.) Offers fun bitesize “how to” guides for an array of life scenarios such as dressing up, exploring new foods and playing a board game.

Mitten & Shoe (CGI comedy, 52x7 min.) Best friends

Mitten and Shoe live in the playground, where each day brings fun and play and all sorts of new friends.

Happy the Hoglet (2D comedy, 26x7 min. & 26x1 min.) Inspires preschoolers with the inner strength that comes from tackling big feelings and growing positive ones.

Interstellar Ella (CGI adventure, 52x11 min.) In the year 3021, on a faraway space station, Ella and her friends set out on interstellar adventures and discover the wonders of the universe!

Lloyd of the Flies (CGI comedy, 52x11 min.) It is estimated that there are some 10 quintillion insects alive at any one time. This series is about one of them: Lloyd.

Pop Paper City (3D/mixed media view-and-do, 52x11 min.) Preschool series focuses on creating adventures together, encouraging “doing as well as viewing” through lovable characters and adventures.

The Very Small Creatures (Stop-frame comedy & discovery, 21x3 min.) Five curious friends have lots of fun exploring a child’s playroom. Through play and discovery, they learn about themselves, each other and the world around them.

Shaun the Sheep (Stop-frame comedy, 170x7 min., 1x30 min., 1x28 min., 15x1 min., 21x1 min.)

The series is recognized for its slapstick humor, distinctive look and strong, quirky characters and enjoyed across multiple media platforms.

Colourblocks (CGI educational, 30x5 min.) Helps children understand the world of color they see all around them, sparking creativity and imagination with every colorful adventure and catchy song.

ADK EMOTIONS NY

O (1-646) 284-9801

m sales@adkemotions.com

w adkemotions.com

Stand: P-1.D82

Beyblade X (Action animation, 51x22 min.) A ragtag team of Bladers come together as friends and battle their way up The X to prove themselves against the best of the best.

ALBATROSS WORLD SALES

O (49-341) 4428-2450

m info@albatrossworldsales.com

w www.albatrossworldsales.com

Stand: P-1.K19

Save the Wild (Nature/wildlife/conservation, 3x52 min./3x44 min.) In a world facing catastrophic biodiversity loss, this series explores

solutions, from protecting endangered species to collaborating with locals.

Webs & Wings—Nature’s Tiny Ballet

(Nature/wildlife, 3x52 min.) Discover the lives of the unloved fly, the garden-saving ladybug and the enigmatic spider.

The Secret Network of Animals

(Nature/wildlife/science, 1x52 min.) Scientists are bringing to light the invisible network that shapes animals’ lives, migration and behaviors and how it can help us predict natural disasters.

most, garden dormice vanished across Europe. A coalition of researchers, citizen scientists and experts races to solve the mystery and rescue these rodents from extinction.

The Kennedys—The Story of An American Dynasty (History, 1x52 min./1x90 min.) Explore the multifaceted Kennedy family beyond the famous brothers. This documentary uncovers their complex dynamics and Irish heritage, offering a fresh perspective on American royalty.

Godwit! The Incredible Journey of a Wader (Nature/wildlife, 3x46 min./1x96 min.) The iconic Dutch black-tailed godwit is vanishing. This documentary explores its struggle to survive amid changing landscapes, both locally and globally.

Game of Fish (Nature/wildlife, 1x52 min.) Explore Sweden’s aquatic world in a thrilling saga of salmon, pike and cod. Discover their unique strategies, secrets and the challenges they face due to human impact.

Along Ancient Tracks (Travel, 3x43 min.) Discover Eastern Europe’s remote, untouched regions via ancient train tracks.

Wild Crossings—Animals on the Move

(Nature/wildlife/conservation, 1x52 min.) Animals crossing our roads face great danger. But humans are coming up with innovative solutions. Hidden cameras offer unique insights into animal behavior.

Steppe Pumas (Nature/wildlife/conservation, 4x48 min.) In the stunning Patagonian wilderness, this series explores human-nature conflicts. Pumas, livestock and conservation efforts clash.

Dormouse Detectives—A Science Mystery

(Science/conservation, 1x52 min.) Unknown to

ALL3MEDIA INTERNATIONAL

O (44-20) 7845-4350

m international@all3media.com

w www.all3mediainternational.com

Stand: P3.C10

Blue Therapy (w.t.) (Reality, 6x60 min.) Based on the international YouTube sensation, Luti Media’s new reality series explores the complex modern relationships of five young, diverse and aspirational couples rarely shown on screens.

Shakespeare Unfiltered (Doc., 3x60 min.) Depicts the life of the world’s most famous playwright as it’s never been told before, brought to life

by 72 Films’ trademark forensic research, visual flair, authoritative storytelling and A-list experts.

Searching for Satoshi: The Mysterious Disap pearance of Bitcoin’s Creator (Doc., 1x60 min./1x90 min.) An investigation into the mysterious disappearance of the inventor of Bitcoin, a secretive character who goes by the pseudonym Satoshi Nakamoto.

Lost Boys & Fairies (Drama, 3x60 min.) Duck Soup’s drama, set in Cardiff, explores the universal theme of parents and children through the perspective of gay adoption.

Dead in the Water (w.t.) (Doc., 3x60 min.) From Raw, a true-crime documentary that tells a global story of the hunt for a brutal killer.

AMUZ DISTRIBUTION

O (1-514) 208-5733

m info@amuzdistribution.com

w www.amuzdistribution.com

Stand: R8.E1

About Antoine (Dramedy, S1-2: 20x30 min.)

Authenticity, sensitivity and humor explore life with a poly-handicapped child.

Keeping it Up (Doc., 1x90 min./2x45 min.) Two Rivers Media’s untold story of the creation, promotion and exploitation of Viagra, the little blue pill that launched a sexual revolution 25 years ago.

Boat Story (Drama, 6x60 min.) Two Brothers Pictures brings its action-thriller balance; character-driven, surprising storytelling; off-beat humor; and highoctane action sequences.

The Long Shadow (Drama, 7x60 min.) A definitive depiction of the desperate five-year hunt for serial killer Peter Sutcliffe, focusing on the lives of the victims who crossed his path and those of the officers at the heart of the police investigation.

Far North (Drama, 6x60 min.) Based on a strangerthan-fiction true story about an everyday couple from the Ahipara community who foiled an international crime ring’s largest-ever deal in the Pacific.

Anyway… (Comedy, 30x30 min.) Award-nominated comedy series featuring the loving, stormy and genuinely funny relationship between a mother and her two adult children living in the big city.

Counter Offer (Comedy, S1-4: 48x30 min.) The family-run Levesque agency desperately tries to survive the highly unpredictable real estate industry. The company helps buyers and sellers find happiness.

About Antoine

THE LEADING ONLINE DESTINATION FOR THE INTERNATIONAL MEDIA BUSINESS.

In Lieu of Flowers (Comedy format) Studio variety format where artists attend their own mock funerals. Surrounded by peers and loved ones they inspired, they celebrate life with live music and studio audiences.

Larry (Dramedy, 10x60 min.) A former undercover police officer with a tarnished reputation is now a security guard with an injured wife.

LOL—ComediHa! (Comedy, 154x30 min.) Unique comedy series of non-verbal sketches where versatile characters evolve in different scenarios. Outlandish situations deliver unexpected payoffs.

Snowball Effect (Comedy, 25x30 min.) Simon becomes a popular festival’s mascot. Disguised as a friendly snowman, he employs shady methods to become the greatest Snowman of all time.

Writers’ Block (Comedy, 22x60 min.) Two TV showrunners experience creative failure for season one of their crime series but must create season two. They try to acquire genuine criminal experiences.

APC KIDS

O (33-1) 8508-7017

m lionel.marty@apckids.com

w www.aboutpremiumcontent.com

Stand: R7.B12

Isadora Moon (Kids 2D, 52x11 min.) Isadora is a fairy vampire who doesn’t realize just how special she is. She might have a lot to learn about the human world.

Jade Armor (Kids CGI, 26x22 min.) Lan Jun suddenly becomes a legendary hero, thrust into actionpacked adventures, with the help of her friends and the mystical Beasticons.

GET GLOBAL MEDIA

Sheep’s Hotel (Preschool 2D, 104x5 min.) Little lambs Bella and Benny and their close-knit family of sheep run a small, independent hotel.

Kididoc (Kids 2D, 52x11 min.) Two kids and their extraterrestrial friend travel to a parallel universe to find answers to any question while on exciting adventures.

Galactic Agency (Kids 2D, 52x11 min.) These allrepair specialists come to the rescue at any destination in the galaxy. But with freaky creatures and oddities, nothing ever goes as expected.

DinoCity (Preschool 2D, S1-2: 104x5 min.) In a world where dinosaurs live an urban life like ours, Ricky and his elder sister Tyra turn most everyday situations into something quite extraordinary.

Tinka (Live-action fantasy/adventure, 72x26 min.)

Fifteen-year-old pixie Tinka discovers she is also half human and embarks on a true adventure to save the kingdom with her new friend Lasse.

Angelo, Wake Up! It’s Christmas! (Kids CGI, 1x60 min.) Angelo finds himself on Santa’s naughty list and gets stuck reliving the day before Christmas over and over again, in a nightmarish yuletide time loop.

Once Upon a Time… The Objects (6-10 2D, 78x7 min.) After seven series and a growing range of licensed educational products, Maestro returns

with a new series in which children discover objects that surround them in their daily lives.

Sky (Tween live-action sci-fi mystery, 72x22 min.)

A young alien stranded on Earth hides in the body of Millie, the most popular girl in high school, with the help of three goofy friends.

APT WORLDWIDE

O (1-617) 338-4455

m david_potashnik@aptonline.org w aptww.org/home

Stand: P-1.K68

Code Name: Ayalon (Doc., 1x60 min.) A documentary about Israeli teens who operated a secret bullet factory under a kibbutz during Israel’s war for statehood.

The U-Boat and The Rocket (Doc., 1x60 min.) The story of Germany’s deadliest weapons, the U-Boat and the V-2 rocket, and the fate of two brothers.

Behind the Wings (Science/history, 20x30 min.)

Explore the world of aerospace treasures with access to military aircraft and spacecraft in a new season.

Ocean Invaders (Doc., 1x60 min.) Scientists battle against the beautiful but invasive lionfish, an unstoppable species that is wreaking havoc across the globe.

To the Ends of the Earth (Nature/science, 4x60 min.) A look at the creatures that inhabit the last wild places on Earth with award-winning photographer Todd Gustafson.

Golden Eagles: Witnesses to a Changing West (Nature/science, 1x60 min.) Researchers rappel into eagle nests, witness newborn eaglets and visit wildlife rehabilitation centers to learn how majestic golden eagles are adapting to their changing habitat.

Rick Steves’ Europe (Travel, 138x30 min.) In a new season, travel expert Rick Steves invites viewers to experience Europe’s rich artistic culture and history.

Curious Traveler (Travel, 64x30 min.) Explore curious destinations in Europe and beyond in a new season hosted by award-winning travel writer Christine van Blokland.

Changing Seas (Nature/science, 56x30 min.) In a new season, explore the Earth’s vast underwater wilderness with oceanographers who study marine life and our changing seas.

Welcome to My Farm (Lifestyle, 16x30 min.) In a new season, host Lisa Steele shares DIY projects and tips on everything from raising poultry to baking bread.

ARTIST VIEW ENTERTAINMENT

O (1-818) 752-2480

m scott@artistviewent.com

w www.artistviewent.com

Stand: R8.E1

Valentines Town (Rom-com, 1x90 min.) Working for a popular dating app, Jude heads up a plan to build a love-themed resort in his hometown. Standing in its

way is a local business owner, Melissa, the match maker—and his old high school love.

Bad Tenant (Female-driven thriller, 1x90 min.)

After leasing out her guest room to a charming British music manager, a young homeowner quickly learns that her new renter is a desperate con man.

She Wants My Baby (Female-driven thriller, 1x90 min.) A new mother begins to suspect that her nanny is scheming to steal her baby and her husband—but no one believes her due to the postpartum depression she suffered after the child was born.

Furry Fortune (Family, 1x85 min.) When twins discover their pet dog is shedding money, the fun begins until their parents find out and their nosy neighbor kidnaps the money-making canine.

Hearts Creek (Rom-com, 1x90 min.) After having a small car accident, a young event planner finds herself lost in the Rocky Mountains, only to be rescued by a handsome mountain guide on horseback.

Stay the Night (Romantic adventure, 1x94 min.) A failed work opportunity prompts Grace to pursue a one-night stand with a stranger. To her surprise, he’s a well-known professional athlete stuck in town with a problem of his own.

Looking for Dr. Love (Romantic comedy, 1x90 min.) Recently divorced hairstylist Jenny, on a mission to reconnect with Liam, her college sweetheart, is shocked to learn that he is “Dr. Love,” the DJ she lis tens to on the radio.

Night Train (Action/adventure, 1x95 min.) A single mom struggling to survive agrees to run black market medical supplies in her legendary pickup truck, “Night Train”—and must stay one step ahead of the FBI.

Remote Danger (Action, 1x90 min.) During a manhunt for a serial killer, a beautiful young woman becomes lost and offers a hitchhiker a ride in exchange for directions. Their journey takes an actionpacked turn as they get caught up in a police pursuit.

Project Pay Day (Family, 1x90 min.) When three teen friends are forced by their parents to get summer jobs, they invent fake jobs and hang out instead but then embark on a series of get-rich-quick schemes to make the money they should have been earning.

ATLANTYCA ENTERTAINMENT

O (39-02) 4300-101

m distribution@atlantyca.it

w www.atlantyca.com

Stand: R7.L23A/L23B

Berry Bees (5-9 2D spy action, 52x12 min.) Bobby, Lola and Juliette, three ordinary girls with the most extraordinary talents, have been recruited by the B.I.A. to become spies and solve missions in which only child agents can be involved.

Bat Pat (5-9 2D sitcom, 104x11 min.) Bat Pat and his friends Martin, Leo and Rebecca unravel mysteries and cross paths with supernatural creatures who don’t really want to hurt anyone.

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

Geronimo Stilton (6+ 2D adventure, 78x23 min.) The famous mouse journalist, together with his companions Benjamin, Trap and Thea, is launched into adventures in New Mouse City and around the world.

ATRESMEDIA TELEVISIÓN

m sales@atresmediatv.com w international-sales-atresmedia.com

Stand: R7.J11

Zorras (Tramps) (Dramedy, 8x30 min.) Alicia, Diana and Emily found a new social club, the Sex Friends Club. They have only one goal in mind: to fulfill all their sexual fantasies.

Honor (Drama, 8x50 min.) Adaptation of the successful Israeli series Kvodo (Your Honor). The son of Judge Daniel Romero accidentally runs over the child of one of the most dangerous gangsters in Cadiz.

Entre Tierras (Drama, 10x50 min.) Adaptation of the Italian series La Sposa. Maria agrees to marry a rich landowner who comes to her village looking for a wife.

Cristo y Rey (Drama, 8x50 min.) Biopic of Ángel

Cristo and Bárbara Rey, the best tamer in the world and the most desirable woman in Spain.

Las Noches de Tefía (Nights in Tefía) (Drama, 6x65 min.) Between 1954 and 1966, the Francoist regime sent homosexuals and others condemned under the law to a penitentiary colony in Tefía. In 2004, Airam Betancor, one of those prisoners, receives a visit from a documentary filmmaker.

Déjate Ver (Show Yourself) (Drama, 8x30 min.) A dramatic comedy that revolves around the search for oneself and the need to transcend in today’s world.

La Ruta (Drama, 8x50 min.) The journey of five friends from Valencia during the years of La Ruta Destroy, the clubbing movement that revolutionized electronic music, beginning in 1981 and ending in 1993.

No Se Lo Digas a Nadie (Don’t Tell Anyone)

(True crime, 5x50 min.) The first crime shared on WhatsApp. In the summer of 2016 in Pioz, a small town in the Alcarria region, the lifeless bodies of a Brazilian couple and their two children were found.

Rabia (Rage) (Ent., S1-4: 7x30 min. each) A new format in which different participants, all famous young influencers and content creators, will have to test their “detective” skills if they do not want to be eliminated.

El Desafío (The Challenge) (Ent., S1: 8x120 min., S2-3: 10x120 min. each, S4: 12x120 min.) A talent show where eight celebrities must overcome

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

impossible physical and mental challenges to win the competition.

ATV

O (90-212) 354-3701

m info@atvdistribution.com

w www.atvdistribution.com

Stand: P-1.J2

Safir (Drama, 45 min. eps.) Feraye, a textile design student and housekeeper at a wealthy Gülsoy family mansion in Cappadocia, has a flaw in her affection for Yaman, one of the family’s heirs. Street Birds (Drama, 67+x45 min.) Five street kids discover a baby, Gülayşe, in the trash. Years later, as adults running a café, everything falls apart after a policeman comes looking for Gülayşe.

but everything starts to fall apart when he is discovered and forced to return to Istanbul.

For My Family (Drama, 315+x45 min.) Kadir takes responsibility for his siblings’ care after the sudden death of their parents. Despite poverty and homelessness, they always stick together.

The Ottoman (Drama, 422+x45 min.) The young and brave Osman will fight both internally and externally to defeat his enemies and empower the Kayı tribe in Anatolia.

AUDIOVISUAL FROM SPAIN

O (34-91) 349-1989

m ana.canadas@icex.es

w www.audiovisualfromspain.com

Stand: R7.J11 & R9

The Sun’s Kingdoms (Los Reinos del Sol) (Doc., 1x80 min.) Explores how wildlife has adapted to the changing seasonal cycles produced by the sun. (Artico Distribution)

Zorras (Tramps) (Dramedy, 8x30 min.) Alicia, Diana and Emily found the Sex Friends Club. (Atresmedia Televisión)

A Little Sunshine (Drama, 117x45 min.) Hakan and Elif were a happy couple until Hakan’s accident shows all the lies. Güneş brings Elif’s dark life a bright light and Elif takes Güneş under her wing with the support of Fırat, who was responsible for the accident.

The Father (Drama, 113+x45 min.) A secret service assassin fakes his own death for the sake of his family and the government. He starts a new life,

The Last Night of Sandra M. (La Ultima Noche de Sandra M.) (Feature film, 1x87 min.) Sandra is an 18-year-old actress at the time of the Spanish transition to democracy: a time when being young and beautiful automatically placed you in what was known as “nude” cinema. (Feelsales)

Free Falling (Caída Libre) (Feature film) A controlling and demanding national rhythmic gymnastics coach does not contemplate failure as an option. (Film Factory Entertainment)

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

Hope! (Docuseries, 6x50 min.) Looks at the world’s most cutting-edge solutions to the climate crisis. Presented by Javier Peña, one of the world’s best-known climate change influencers, together with 12 celebrities (including Mark Ruffalo). (Inside Content)

Many of its homes, temples and paved roads remain well preserved. (Zona Mixta)

AUTENTIC DISTRIBUTION

O (49-89) 673-469-797

m sales@autentic.com

w www.autentic.com

Stand: R7.F2

17 KHZ (Thriller, 7x50 min.) Five people are faced with the task of stopping a conspiracy. A network of young adults have decided to stop climate change by exterminating the adult population. (Mediacrest)

Urban (YA drama, 6x50 min.) The story of two girls from opposite worlds embarking on an inspirational music life trip, trying to follow their dreams. (Mediterraneo Mediaset España Group)

Allende, the 1,000 Days (Los mil Días de Allende) (Biopic, 4x50 min.) Revolves around the last three years of Chilean President Salvador Allende. (Onza Distribution)

Wild Andalusia. The Iberian Lynx Land (Andalucía Salvaje. La Tierra del Lince Ibérico) (Doc., 2x52 min.) Over the course of a year, reveals the intimate life of the Iberian lynx in the mountains of Sierra Morena in Andalusia. (Wild Stories Distribution)

Lion City (Doc., 2x52 min.) Lion City is an ancient underwater city in Qiandao Lake, China. The city was flooded for the dam construction in 1959.

Nuclear Power Plants in War Zones—A New Threat? (Current affairs, 1x52 min.) How safe are nuclear power plants in war-torn areas? This film sheds light on the current situation in Ukraine. Believe (History, 5x52 min.) A picture of the faith of mankind, from the world religions’ origins to their festivals, traditions and the challenges of today. Uncovering Hitler’s Failed Putsch of 1923 (History, 1x45 min.) A hundred years ago, a courageous young woman worked undercover at the editorial office of the Nazi party newspaper—and got caught in the middle of a coup d’état.

Scotland—The New Wild (Nature/wildlife, 3x50 min.) From city to coast to mountain to the bottom of the ocean, we present a portrait of Scotland’s wildlife that is both iconic and surprising.

The Storm—Wildlife in Wild Weather

(Nature/wildlife, 1x50 min.) A wildlife documentary with the stylistic devices of a disaster thriller.

Raptors (Nature/wildlife, 2x50 min.) Birds of prey are our planet’s greatest hunters. United by a hooked beak, taste for flesh and razor-sharp talons, they have conquered the globe.

In a Sea of Dust and Stars—Hiking Mauritania (People & places, 1x45 min.) Embark on a desert adventure, experience absolute freedom and learn what it means to endure heat, thirst and isolation.

Between Andes and Pacific—The North of Chile (People & places, 1x45 min.) Volcanoes, salt lakes and a fascinating abundance of marine ecosystems—embark on an extraordinary expedition through Northern Chile, a region of extremes!

The Green Energy Revolution—A Race Against Time (Science/tech., 2x52 min./2x45 min.) The world is facing the greatest change since industrialization: a shift from fossil fuels. We show how this transformation can become a reality.

From Macro to Micro: Uncovering Earth’s Unseen Wonders (Science/tech., 2x45 min.)

Delve into the world of insects and microbes.

BAVARIA MEDIA INTERNATIONAL

O (49-89) 6499-3097

m international@bavaria-media.de w www.bavaria-media.de

Stand: R7.K3

Inside a Family (Suspense, 6x45 min.) During a wedding, a family member vanishes, unearthing their dark history.

Dead End (Dramedy, 12x45 min.) Four best friends are connected by a dark secret. The curious newcomer Julia is determined to uncover the truth. Champions (Comedy, 1x90 min.) Andreas, a suc cess-driven coach, serves community service by coaching intellectually challenged players. Andreas learns from their unity and zest for life.

Meme Girls (Teen, 6x25 min.) Liv, 15, an aspiring influencer, faces change when banished from the online world, transitioning from private to regular school and discovering friendship’s true meaning. Law, and No Order (Dramedy, 2x90 min.) Eva, a passionate lawyer, navigates love, menopause and complex cases while facing colleague Hanno’s widower status with three kids.

Codex 632 (Thriller, 6x45 min.) Adapted from José Rodrigues dos Santos’ best-selling novel, follows history professor Tomás Noronha as he decrypts a document that could reshape history.

Underdogs (Crime, 4x90 min.) Detective thrillers play at untangling deep psychological knots through unexpected turns of human darkness, all while struggling to solve the next bizarre murder. Young Doctors (Medical, S1-8: 336x50 min.) The popular and youthful hospital drama returns.

Zoo Doctor (Romantic drama, S1-8: 97x45 min.)

Susanne Mertens balances family and zoo life with dedication and excitement.

CGLC: Coast Guard Lake Constance (Crime, S1-7: 68x50 min.) The investigative drama unfolds in the scenic alpine setting of Lake Constance.

BBC STUDIOS

m format.sales@bbc.com w sales.bbcstudios.com

Stand: P0.E1

The 1% Club (Game show, 60 min. eps.) Already in seven countries and counting, it’s not about what you know, but how your brain works.

Evil Genius (Comedy panel, 60 min. eps.) Lighthearted debate around the reputations of history’s best-known figures.

Get Lost, Honey (Fact-ent., 30 min. eps.) What happens when young adults, still living with mom and dad, are suddenly evicted—by their own parents?

Inside Our Autistic Minds (Factual, 60 min. eps.) Young autistic adults are given a unique opportunity to share with those closest to them what really goes on inside their minds using groundbreaking CGI and animation technology. Bridge of Lies (Game show, 60 min. eps.) One team. One cash prize. All that stands in their way is the “bridge of lies.” Can they make it to the end, avoiding the lies and stepping on the truths?

In with a Shout (Game show, 60 min. eps.) All you have to do is shout at the TV to win a fortune.

Ultimate Wedding Planner (Fact-ent., 60 min. eps.) Eight fledgling wedding planners battle it out to prove they have the talent, creativity and vision to deliver real-life couples the best day of their lives. Inside the Factory (Factual, 60 min. eps.) Discover the skill, scale and technology involved in the creation of your favorite foods and goods.

BBC STUDIOS KIDS & FAMILY

O (49-151) 1819-2581

m katharina.pietzsch@bbc.com w productions.bbcstudios.com/our-productionbrands/kids-family

Lost Dogs: Live (Fact-ent., 60 min. eps.) Live TV event that calls on the public to help reunite a nation’s missing dogs with their heartbroken owners. Big Love (Fact-ent., 30 min. eps.) Couples whose love lives have suffered as their waistbands have grown embark on a journey to lose weight and reignite the spark in their relationships.

Stand: P0.E1

Hey Duggee (Preschool 2D, 196x7 min.) Lovable club leader Duggee and his Squirrels are back for more fun and adventure.

Popularity Papers (6-9 live-action comedy, 26x22 min.) A tween comedy-drama series about

two best friends on a scientific quest to crack the popularity code and conquer middle school.

Stan Can (Preschool 2D, 52x11 min.) Meet Stanley, the can-do hamster who’s always happy to help. Based on the books by William Bee.

relationship between an inquisitive girl and her fun and active grandmother.

BEC WORLD

O (66) 262-3249

m inter-sales@becworld.com

w www.becworld.com

Love Destiny 2 (Prom Likit) (Romance drama, 26x70 min.) Sequel to the highest-rated drama in Thai land. Two seemingly unconnected souls from different time dimensions have a bond that can’t be broken.

Peter & The Wolf (Kids 2D, 1x33 min.) Enchanting animation of Prokofiev’s Peter and the Wolf, based on original illustrations by pop icon Bono and with music from Irish singer and songwriter Gavin Friday.

Lagging (6-9 live-action comedy, 10x24 min., 10x30 min.) The lively comedy about a tight-knit group of 12-year-old gamers. Created by BAFTAwinning writer Dan Berlinka.

Bluey (Preschool 2D, 153x7 min.) Australian Blue Heeler puppy Bluey has a boundless imagination and loves to turn daily life into playful adventures.

Deadly Mission Shark (6-9 live-action natural history, 10x30 min.) Steve Backshall recruits ten young trailblazers to become future shark saviors.

Nova Jones (6-9 live-action drama, 20x24 min., 10x25 min.) Join intergalactic pop star Nova Jones as she tours the universe, wows her fans—and battles a few trolls along the way.

JoJo & Gran Gran (Preschool 2D, 129x11 min & 1x22 min.) Animated series celebrating the special

Love at First Night (Jon Kwa Ja Dai Rak Kan) (Romance/comedy, 20x70 min.) Mueang, an outspoken eco-warrior geologist, and Apo, a distressed architect, share a passionate night. Later, Mueang learns she’s his father’s fiancée.

Never Enough (Loke Moon Rob Ter)

(Romance drama, 22x70 min.) A coming-ofage drama about the friendship, rivalries and love of three best friends.

My Secret Zone (Nan Fah Chalalai) (Romance drama, 16x70 min.) While Chalalai investigates the murder of her parents, both Nantawan and newcomer Fahkram vie for her heart.

To the Moon and Back (Matalada) (Rom-com/ drama, 21x70 min.) An emotionless heart surgeon’s life is upended when he meets Matalada, a sassy young lady raised by her loving drag queen father.

Royal Doctor (Mor Luang) (Romance drama/comedy, 22x70 min.) A medical student from the present is swept back to King Rama III’s reign—the golden era of Thai traditional medicine. Doctor Detective (Sueb Lub Mor Rabard)

(Action/drama/romance, 20x70 min.) When a deadly infectious disease ravages a small village, a team of epidemiologists races against time to investigate the source of the outbreak and contain the spread. The Office Games (Roi Lem Game Office) (Romance drama, 16x70 min.) Alice and Mes seek fulfilling jobs, facing personal challenges and cutthroat office politics. Together, they navigate shady deals and harassment, aiming to achieve their goals.

My Undercover Chef (Mue Prab Krata Rua) (Action/comedy, 16x70 min.) Brash detective Marwin goes undercover as a chef to bust a drug ring. The Scammer Games (Games Gong Games) (Action/comedy, 16x70 min.) A group of eight scammers, led by “The Admin,” aims to defraud mafia-run lotteries and gambling rings.

BLUE ANT MEDIA/MARBLEMEDIA

O (1-416) 646-4434

m feedback@blueantmedia.com w www.blueantmedia.com

Stand: R8.D7

The Playboy Bunny Murder (Crime/investigation, 2x60 min.) The extraordinary story of journalist and

filmmaker Marcel Theroux’s hunt to solve a series of brutal killings that shocked Britain in the 1970s.

Body in the Suitcase (Crime/investigation, 2x60 min./1x120 min.) Could a polite and devoutly Christian woman really have killed her friend and transported the body in a suitcase?

Murder in the Village: Who Killed the Doctor’s Wife? (Crime/investigation, 2x60 min.) Revisiting one of Britain’s most baffling cold cases: the 40-year-old murder of a prominent doctor’s wife in an idyllic town.

Deep Dive Australia (Nature/wildlife, 3x60 min.)

Lizzie Daly explores the richest and most isolated seas in Australia, meeting a host of incredible creatures, and the amazing people protecting them.

Levison Wood: Walking With... (Adventure/ wildlife, 3x60 min.) Explorer Levison Wood journeys in search of three critically endangered animals: desert lions, orangutans and polar bears.

My Best Friend’s an Animal (Nature/animals, 6x60 min.) The stories of humans who have unlikely, extraordinary friendships with wild animals.

History’s Most Haunted (Paranormal, 6x60 min.) Take a look at some of the most iconic cities in the world, and dive into the significant historical events that also make them the most haunted.

JFK: The Final Evidence (History, 2x60 min./1x90 min.) Takes a deep dive into the latest information and the prevailing theories around JFK’s assassination.

Supercar Showroom (Cars/automotive, 8x60 min.)

Dealer supremo Dean Bartle and his staff give potential buyers a no-strings, no-speed-limit test drive of his gleaming range of supercars on a real airport runway.

BOAT ROCKER

O (1-416) 591-0065

m sales@boatrocker.com

w www.boatrocker.com

Stand: R7.K8

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

Robyn Hood (Drama, 8x60 min.) Robyn Loxley and her masked hip-hop band, The Hood, right the wrongs of the corrupt elite to give back to the people.

Slip (Comedy, 7x30 min.) After Mae has a one-night stand with Eric, she wakes up in a parallel universe in which she and Eric are now married, and all traces of her life with Elijah have been wiped from existence. Beacon 23 (Drama, 8x60 min.) Follows Aster (Lena Headey) and Halan (Stephan James), whose fates become entangled after they find themselves trapped together at the end of the known universe. Orphan Black: Echoes (Drama, 10x60 min.) Follows a group of women as they weave their way into each other’s lives and embark on a thrilling journey, unraveling the mystery of their identity and uncovering a wrenching story of love and betrayal.

Secrets in the Ice (History/civilization, S1-3: 26x60 min.) Goes to the most remote, cold and inhospitable places on the planet to reveal great mysteries that were once frozen in time.

Listing Large (Home reno., 10x30 min.) Follows Odeen Eccleston and Lamont Wiltshire as they build a real estate empire while juggling parenthood, friendship and love.

Mary Makes it Easy (Food, S3: 25x30 min.)

Filmed in her home kitchen, follows Mary Berg as she shares tips, tricks and recipes to solve everyday cooking conundrums.

The Next Step (Teen/tween live-action, S9: 22x30 min.) Follows the lives of a group of dancers at The Next Step Dance Studio as they attempt to win dance championships. The Strange Chores (6-11 2D adventure/comedy, S3: 26x11 min.) Two teenage wannabe warrior heroes and a high-spirited ghost girl master the skills they need to replace the world’s greatest (and oldest) monster hunter by doing his chores.

BOSSANOVA

m sales@bossanovamedia.com

w www.bossanovamedia.com

Stand: R7.B1

The Flight Attendant Murders (Crime/investigation, 4x60 min.) Investigates four flight attendants’ murders in 1970s and 1980s Texas, questioning a

convicted rapist’s guilt. Modern forensics uncover the truth amid the era’s air travel glamour.

Adventure Gold Diggers (Access/ob-doc., S1-2: 13x60 min.) Five adrenaline-fueled teams seek gold in remote, harsh Aussie locations.

footballer and sneaker enthusiast, explores the world of the most expensive sneakers ever sold.

Cold Case Killers (Crime/investigation, S1-3: 20x60 min.) A chilling cold case, relentless detectives, nail-biting timelines. Returns for season three, unraveling Britain’s most intricate murder mysteries.

Puppy School (Nature/animals, S1-4: 40x30 min.) Returns for its fourth series, featuring adorable puppies growing into specialized, highly-trained roles, from police and biosecurity to guiding and rescuing.

BRANSCOME INTERNATIONAL

O (1-917) 349-2329

m sales@branscomeinternational.com

GPs in the Wild (Access/ob-doc., 6x60 min.) The challenges and beauty of rural GP life in the U.K.

Ottoman Empire By Train (History/mystery, 5x60 min.) Alice Roberts embarks on a rail journey to unveil the rich and tumultuous history of the vast Ottoman Empire, spanning three continents and 600 years.

Motorway Hotel (Access/ob-doc., 4x60 min.)

Showcases The Moat House Hotel and its staff, drawing a diverse cast of characters and their stories from this 24/7 commuter hotspot.

Hidden Histories of WWII (History/mystery, 4x60 min.) Renowned historian James Holland delves into WWII’s pivotal moments, joined by experts to explore battlegrounds and machines. Leave No Trace (Travel/adventure, S1-2: 18x60 min.) Explore the world with Richard Crawford as he checks off his bucket list, discovering incredible destinations, meeting ecoconscious locals and promoting sustainability on a luxury travel show.

World’s Most Expensive Sneakers (Doc., 1x60 min.) Jermaine Jenas, a former Premier League

w branscomeinternational.com

ROBOTIK Unplugged (42x2.5 min.) Beka is a cheerful robot who, with the help of her dogbot Bubo and all the tools in her Robotik Lab, discovers inventive solutions for friends in need.

ROBOTIK Super Charged (7 min. scripts in dvpmt.) Our next season promises adventures, more characters and more complex storytelling.

TIME FOR CLASSICS! (28x3 min.) A wide variety of short videos featuring classical music. Written especially for young children by world-renowned composers, unique animation styles visually interpret each memorable composition.

CAKE

m info@cakeentertainment.com w www.cakeentertainment.com

Stand: R7.D18

Cracké Family Scramble (4+/family animation, 52x7 min.) First-time daddy ostrich Ed scrambles to keep control over his eight kids, turning every family activity into a hilarious adventure! Non-dialogue.

Super Sema (5-7 animation, 20x5 min. & 24x11 min.) Ten-year-old Sema uses ingenuity, superintelligence and her technovating powers to save her African village from artificially intelligent villain Tobor and his robot minions.

Mush-Mush & the Mushables (4-8 animation, S2: 96x11 min. & 4x22 min.) Following the outdoor adventures of the Mushable community, pocketsized Guardians of the Forest, as they embark on a fun journey of self-discovery and more.

Tish Tash (Preschool animation, 104x5 min.)

Young bear Tish, her bear family and her largerthan-life imaginary friend Tash embark on fun adventures while inspiring imaginative play and problem-solving in young children.

Draw with Will (Art/educational, 40x7-9 min.)

Sherwood (8-12 animation, 10x22 min.) Teen hacker Robin Loxley and her band of warriors bring down the oppressive regime of the evil Sheriff Nottingham in a 23rd-century London devastated by climate change.

Toru Superfox (Preschool animation, 52x7.5 min.) Imaginative forest adventures with super fox Toru and his friends, who are on a quest to face the most puzzling of creatures—their emotions.

Angry Birds Summer Madness (6-11 animation, 32x11 min. & 4x22 min.) A teenage Red, Chuck, Bomb and Stella spend a wild summer together with other Angry Birds at Camp Splinterwood.

Total Drama Island (6-12 animation, 26x22 min.) After seven seasons, it’s time to go back to the island with wild challenges, dramatic eliminations and total insanity.

Lucas the Spider (Preschool animation, 78x7 min.)

Based on the YouTube hit, adorable spider Lucas and his friends leap into adventure and discovery.

World-famous Marvel comic book artist Will Sliney shows how to draw iconic characters in easy-tofollow entertaining tutorials.

CALINOS ENTERTAINMENT

O (90-216) 999-4999

m info@calinosentertainment.com

w www.calinosentertainment.com

Stand: P-1.M51

Farah (Drama, S1: 47 hrs., S2: on air) Adapted from La Chica Que Limpia , the story of an Iranian woman struggling to live in Istanbul who works as a cleaning lady to maintain her son’s medical treatments and becomes a mafia accomplice.

Indefensible (Drama, S1: 120x20 min., S2: on air, S3) A daily legal series that plunges us into the world of the Lapointe-Macdonald law firm and its criminal defense team.

EGO (Drama, 40 hrs.) Elif, Erhan and Sibel’s lives will completely change when Sibel decides to get

pregnant with Erhan’s baby and makes an indecent cash proposal.

The Voice, The Legend, Vicente Fernández (Series, 36x60 min.) Tells the life of “Chente” from when he was a child in Jalisco until he became the icon of ranchera music worldwide. In the Shadows (Series, 60x60 min.) The story of Julia and Magdalena, members of an elite group that strives to solve the most perplexing crimes in record time.

Forbidden Fruit (Drama, S1-6: 499 hrs.) Ender, a high-society woman, hires Yildiz Yilmaz to seduce her husband so she can get Halit’s assets after their divorce. But Yildiz betrays Ender, beginning an endless war, which will continue for seasons.

Adela (Drama, S1-4: 158 hrs.) Two sisters live with their parents in a slum near Bucharest. One day, the secret identity of one will be revealed when her biological grandfather decides to repair his mistakes.

The Clan (Crime/thriller, S1-3: 24x50 min.) The murder of a mafia boss shakes the Serbian underground. On the margins of that world, Shock and Pasha, petty thieves, are just beginning their careers.

CARACOL TELEVISIÓN

O (1-305) 960-2018/(571) 6430-430

Stand: P0.B1

Love of My Life (Drama, 60x60 min.) Transcends romance and tackles issues like racial discrimination to tell an epic legend of forbidden love.

Power Romina (Drama, 60x60 min.) Romina’s long-lost twin sister and mother are murdered by the Chitiva brothers’ criminal gang. Presumed dead, she assumes her sister’s identity and sets out to seek vengeance.

of My Life

The Challenge The Box (Ent. format) A new adventure in the middle of the jungle and the Andes mountains, where a small citadel like no other has been built.

CINEFLIX RIGHTS

m sales@cineflix.com

w www.cineflixrights.com

Stand: R7.L27

Men Up (Dramatic comedy, 1x90 min.) Swansea, Wales, 1994. Five ordinary men embark on one of the world’s first medical trials for the drug that would become Viagra.

Late Bloomer (Dramatic comedy, 8x30 min.) From YouTube sensation Jasmeet Raina, follows a turbanwearing millennial struggling to find his place in life while balancing Eastern roots with Western ideals.

The Doll Factory (Thriller, 6x60 min.) A searing story of what happens when a woman dares to

take what she wants in a world that would rather kill her than let her have it.

Last King of The Cross (Crime drama, S1-2: 18x60 min.) Inspired by John Ibrahim’s best-selling autobiography charting his rise from a povertystricken immigrant to Australia’s most infamous nightclub mogul.

Reginald the Vampire (Supernatural drama, S12: 20x60 min.) Reginald the Vampire proves the undead life is just as complicated as life itself.

Murder Uncut (Crime/investigation, 10x60 min.)

Takes viewers behind the scenes of riveting homicide investigations where body, surveillance and cellphone cams are critical to cracking the case.

CURIOSITY

O (1-301) 755-2050

m distribution@curiositystream.com

w www.curiositystream.com

Irvine Welsh’s Crime (Crime drama, S1-2: 12x60 min.) From the novels of Irvine Welsh, prepare to enter a dangerous world and the troubled mind of DI Ray Lennox.

Hidden Frontiers Arabia with Reza Pakravan (Fact-ent., 6x60 min.) The award-winning explorer and filmmaker ventures into uncharted and dangerous territory to reveal the mighty Arabian Penin sula like never before.

King Con: The Life and Crimes of Hamish

McLaren (Crime/investigation, 2x60 min.) The true story of a ruthless Australian who conned his lovers of untold millions—and how they turned the tide to catch him.

Tempting Fortune (Fact-ent., 6x60 min.) The ultimate test of willpower, 12 strangers are dropped in a remote wilderness where an epic cash prize awaits. But will they resist temptation?

Connections with James Burke (History, 6x52 min.) Forty-five years after his landmark series Connections , James Burke returns with another mind-blowing look at our past and our future. Blindspots (Lifestyle, 10x24 min.) Legally blind filmmaker James Rath travels the world, exploring accessibility, technology and what it’s like for those with disabilities to truly travel without barriers. Living with Lions (Nature, 1x45 min.) When hungry lions threaten the livelihood of a cattle-herder and his family, they are faced with a terrible lifeand-death decision. Filmed on location in Tanzania. Planet Insect (Science, 3x60 min.) Scientists have discovered that insects have remarkably sophisticated behaviors and even personalities quite like our own. Engineering the Future (Tech., S2: 6x60 min.) A new breed of visionaries are creating extraordinary machines to help the planet and humankind in the future.

Doug to the Rescue (Nature, S2: 5x30 min.)

Equipped with a cutting-edge infrared drone, Doug Thron heads into disaster zones to save the cats and dogs that have been left behind.

Oddly Satisfying Science (Science, 10x24 min.)

Nick Uhas and his guests test several visually appealing experiments designed to blow our minds.

Rescued Chimpanzees of the Congo with Jane Goodall (Nature, S2: 6x52 min.) We move from Tchimpounga’s history to its future, deeply immersed in the day-to-day activities at the Sanctuary.

Titans: The Rise of Hollywood (History, 6x50 min.) Inspiration, power, greed, scandal. This is the gripping drama of how Hollywood was built.

NYC Revealed (Factual, S2: 10x24 min.) This returning series reveals more of the mostly unseen network of infrastructure systems that keep the city breathing.

CYBER GROUP STUDIOS

O (33-1) 5556-3232/(1-818) 844-1660

m sales@cybergroupstudios.com

w www.cybergroupstudios.com

Stand: R7.D22

Press Start! (Bridge CGI comedy/adventure, 52x11 min.) Eight-year-old Sunny and his younger sister, Rue, are all about the exciting, fast-paced world of the Super Rabbit Boy video game series.

Alex Player (Kids adventure/esport, 26x22 min.) Camille, Amy and Mike founded the Mongooses esports team. Forced to replace their captain, they meet Alex, a passionate and charismatic football player. Droners (Kids adventure/comedy, S1-2: 52x22 min.) Young droners Corto, Mouse and Enki put their unique skills together in order to save their island. But help from scientist and genius Wyatt Whale might be more than needed.

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

50/50 Heroes (Kids comedy/adventure, 52x11 min.) Mo and Sam are half-siblings and have powers— well, half-powers. Managing their abilities isn’t easy when they need to do everything together.

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

Dive Olly Dive! (Preschool comedy/adventure, S1-2: 104x13 min.) Follows the underwater escapades of Olly and Beth, two young, unmanned research submarines in training.

Nefertine on the Nile (Bridge comedy, 52x13 min.) Nefertine is a special little girl endowed with lively intelligence, inexhaustible curiosity and great courage. She aspires to be the first female scribe in the history of Egypt.

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

Squared Zebra (Preschool comedy/edutainment, 78x7 min.) The daily adventures of Checkery the zebra. With her friends, they learn to overcome their differences and embrace life in all its diversity and beauty.

DANDELOOO

O (33-9) 7264-4601

m e.petry@dandelooo.com

w www.dandelooo.com

Stand: P-1.E1 (Unifrance)

Hold on Gaston! (Upper preschool edutainment/comedy, 52x11 min.) Gaston is a young unicorn like many others—except that his rainbow mane changes colors according to his emotions.

to the polar popsicle festival. But they don’t know where the pole is.

Pompon Little Bear (Preschool adventure, S2: 72x7 min. & 2x21 min.) In bear cub years, Pompon is 7. He is mischievous, cheerful and playful, but above all, he adds a bit of extra to the ordinary.

Dounia (Kids/family, S2: 7x7 min./1x49 min.)

Dounia is 6 years old and a little refugee.

Ernest & Celestine (Preschool animation, S2: 26x11 min.) In this new season, Celestine is more mischievous than ever.

DISNEY ENTERTAINMENT

LATIN AMERICA

O (1-305) 567-3700

w www.dmdcentral.com

Stand: P3.C1

Billy the Cowboy Hamster (Upper preschool adventure, 52x11 min.) Billy dreams of being a cowboy but is still just a child—well, a hamster child.

Royals Next Door (Kids comedy, 52x11 min.) Due to water damage in the castle, the royal family has to move out.

Jasmine & Jambo (Preschool edutainment, S1-2: 52x7 min., 52x1 min., 26x1 min., 4x26 min.) Jasmine and Jambo live in Soundland, a funny and surreal land where music and life go hand in hand.

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

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

Hungry Bear Tales, to the Pole! (Preschool adventure, 1x26 min.) Ned and Mishka get an invitation

Artemis Fowl (Adventure/family/fantasy, 1x95 min.) Based on the beloved book by Eoin Colfer, follows the journey of 12-year-old genius Artemis Fowl, a descendant of a long line of criminal masterminds, as he desperately tries to save his father.

Cruella (Comedy/crime, 1x134 min.) The liveaction feature film about the rebellious early days of one of cinema’s most notorious—and notoriously fashionable—villains, the legendary Cruella de Vil.

Die Hard (Action/adventure/holiday, 1x132 min.)

It’s up to John McClane to take on terrorists with all the grit and determination he can muster—but not without a sense of humor.

Die Hard 2 (Action, 1x123 min.) Bruce Willis returns for the sequel to Die Hard

Die Hard with a Vengeance (Action/ adventure/thriller, 1x128 min.) Beleaguered NYC

Detective John McClane faces his worst day yet when a new foe wreaks havoc in downtown Manhattan.

Home Alone (Comedy/kids/family, 1x103 min.)

Eight-year-old Kevin McCallister has become the man of the house. Two bumbling burglars are trying to break in, and Kevin’s rigging a battery of booby traps to welcome them.

Mulan (Action/adventure/drama, 1x115 min.)

Acclaimed filmmaker Niki Caro brings the epic tale of China’s legendary warrior to life.

journalist to find those responsible for a terrorist attack. Their journey draws them into a world of espionage, intelligence agencies and arms dealers.

Indal (Action drama, 8x45 min.) A group of Ethiopian Israeli youth decide to kidnap the police officer who peppered their adolescence with abuse and murdered their closest friend.

Lalola (Comedy, 20x30 min.) Lalo breaks Romina’s heart and she goes to a witch to teach him a lesson. He wakes up turned into Lola and learns to be a woman in a macho world while seeking to reverse the spell.

15 a la Hora (Minimum Wage) (Drama, 10x30 min.) Three Latina women in Los Angeles open their own cleaning services business.

Onward (Adventure/comedy/kids/family animation, 1x102 min.) Two teenage elf brothers get an unexpected opportunity to spend one more day with their late dad.

Raya and the Last Dragon (Action/adventure animation, 1x107 min.) It’s up to a lone warrior, Raya, to track down the legendary last dragon to restore the fractured land and its divided people. Soul (Adventure/comedy animation, 1x100 min.)

Jamie Foxx leads an all-star cast in this hilarious, heart-filled adventure.

DORI MEDIA GROUP

O (972-3) 647-8185

m sales@dorimedia.com

w www.dorimedia.com

Stand: P-1.F50

Amia (Political/action drama, 8x45 min.) A Mossad agent hooks up with a local Argentinean

Power Couple (Reality format) Puts love to the test like you’ve never seen before as eight couples face extreme challenges that will test how well they really know each other.

Shtisel (Drama, 33x45 min.) A bachelor Haredi (ultra-Orthodox) and his widow father share an apartment, a cynical humor and a quest for love.

Hammam (Drama, 6x45 min.) An enigmatic journey inspired by the Biblical story of Saul and David, taking place in an abandoned military base in the desert.

The Best of All (Game-show format) Is the average answer from a large group of people always closer to the right result than the answer of one?

Losing Alice (Psychological thriller, 8x60 min.) An ambitious 47-year-old female film director becomes obsessed with a 24-year-old femme fatale.

Nehama (Dramedy, 8x60 min.) A father of five children loses his wife in an accident and is forced to face the raising of his children and a dream to conquer the world of stand-up.

ECCHO RIGHTS

O (46-8) 5560-9380

m felicia@ecchorights.com

w ecchorights.com

Stand: P3.B1

Fallen (Drama, 8x50 min.) Each time Luce falls in love, she dies. But this is her last life, and there are controlling forces she must battle.

in love. However, soon they are faced with obstacles that try to separate them.

Golden Boy (Drama, S2: 131x45 min.) Ferit is shot after saving Seyran from marrying Tarık. Although his family opposes, Ferit’s love for Seyran is undeniable, and the two get married.

Ömer (Drama, S2: 80x45 min.) Ömer’s life is turned upside down when he falls in love with an older woman, a relationship that his conservative father will never approve of.

Legacy (Drama, S4: 254x45 min.) An innocent little boy’s future is at the heart of a bitter struggle between two families. Can love save him and his family’s legacy?

Redemption (Drama, S2: 273x45 min.) Hira, who was presumed dead, reappears, living a new life with amnesia. When Orhun finds Hira, he desperately tries to remind her of their past.

Threesome (Drama, S2: 8x23 min.) David knows that Siri has been unfaithful, and their relationship is in shambles. He decides to try to figure out who he is without her.

Everyone But Us (Drama, S2: 10x22 min.) Hilma is pregnant but, after a dinner party, has a miscarriage. Will the IVF journey continue, or will the dream of a child remain a dream?

The Vanishing Triangle (Drama, 6x45 min.)

Newspaper reporter Lisa believes the disappearance of young women may be linked to the man who murdered her mother 20 years earlier.

The Inheritance (Drama, 4x45 min.) After the unexpected death of their father, three siblings are left reeling, desperately trying to claw back the inheritance that they have lost.

Grapes of Love (Drama, 120x45 min.) During a summer day in Montenegro, Kerem and Sevda fall

ESCAPADE MEDIA

O (61) 411-035317

m natalie@escapademedia.com.au

w www.escapademedia.com.au

Stand: R7.B15

Portobello Road (Drama, 10x60 min.) The Portobello Road management company is on the verge of collapse and its owner needs to dance between creditors, egos and her own desires to keep the music playing.

With executive producer Eric Clapton, paints the musical world of 1970s London.

Stolen (Drama, 8x60 min.) Uses primary research to uncover the unknown true story of how a handful of normal people took advantage of chaos and laid the groundwork for the world we see today.

Whisky Trails (Lifestyle, 10x30 min.) Luke McKenzie is on a personal quest to taste all the colors of the whisky rainbow.

FILMAX

O (34-933) 36-85-55

m filmaxint@filmax.com

w filmaxinternationalsales.com

Stand: R7.J11

SUPERTHINGS Rivals of Kaboom—Kazoom

Power (Adventure/comedy animation, 52x7 min.)

Three friends from the sixth grade travel to Kaboom City, a world where everyday objects are superheroes and supervillains fanatical about battling each other.

Debriefing the President (Drama, 4x60 min.)

The capture, interrogation and execution of Saddam Hussain, based on the extraordinary memoir by CIA analyst John Nixon.

Breakaway Femmes (Factual, 1x90 min.) There has never been a more poignant time to celebrate these women’s achievements and inspire future women to ride the Tour de France.

Rose Gold (Factual, 1x90 min.) After 70 years of gallant performances and crushing defeats, what will it take for Patty Mills and the Boomers to finally bring home an Olympic medal?

For the Love of Pets (Fact-ent., S2: 8x60 min.) A heartwarming series offering insights into the world of pet ownership. Narrated by Jai Courtney.

L24 (Doc., 6x60 min.) The legacy and legend of 24-hour Le Mans racing, revealing the real stories behind the wheel in the pit lane and back at HQ. Spice Trails (Lifestyle, 12x30 min.) Travel photographer Jose Jimenez embarks upon a journey through 12 regions, spanning eight countries in Latin America, in search of distinctive spices and herbs.

Dating in Barcelona (Romantic comedy, 6x50 min.) Set in Barcelona, tells the stories of people who have met online, exploring the various fears, expectations and complexities of relationships. Selftape (Drama, 6x35 min.) Two sisters, one shared experience and a journey to find acceptance and the way to love one another just as they are.

Turu and the Wackies (Animation, 26x6 min.) Turu has set up a band with his charming friends: the pig Rhythm and the energetic sheep Tempo. Together, they will musically discover the world.

Mouths of Sand (Thriller, 4x50 min.) An inspector is sent to a fishing village to investigate the disappearance of a skipper.

FOX ENTERTAINMENT GLOBAL

O (1-310) 369-5500

m foxentglobal@fox.com

w www.foxentglobal.com

Stand: C16.D

Grimsburg (Animated comedy, 26x22 min.) A detective excels at catching killers in a murderous town but doesn’t have a clue when it comes to his family. Krapopolis (Animated comedy, 13x20 min.) A flawed family of humans, gods and monsters tries to run one of the world’s first cities in mythical ancient Greece without killing each other.

Crime Scene Kitchen (Food, S3: 10x45 min.) Chefs scour for clues in a kitchen that was just used to make a dessert that has since disappeared and must re-create the dish.

The Masked Singer (Game show, S10: 13x60 min.) Twelve celebrity performers wear costumes to conceal their identities, with one singer eliminated each week and unmasked.

Below Deck Deceit (Thriller, 1x90 min.) A steward on a yacht finds herself in the middle of a murder mystery when a pop star goes overboard.

Stolen Baby: The Murder of Heidi Broussard (Thriller, 1x90 min.) Based on the true events of the abduction and murder of Texas mother Heidi Broussard.

The Christmas Break (Holiday rom-com, 1x90 min.) A couple travels to Ireland for Christmas and must confront their own marital issues while staying with their large, chaotic extended family.

GLOBAL AGENCY

m info@theglobalagency.tv w www.theglobalagency.tv

Stand: R8.D21

Snake Oil (Game show, 10x43 min.) Contestants present unique products to convincing entrepreneurs, some of which are real, while others are “snake oil salesmen.”

Animal Control (Comedy, 12x22 min.) A group of animal control workers begin to see their lives complicated by humans and not so much by animals.

Next Level Chef (Food, S3: 15x45 min.) Chefs

Gordon Ramsay, Nyesha Arrington and Richard Blais recruit chefs as they face cooking challenges with the goal of finding the food world’s newest superstar.

Another Love (Drama, ongoing) The story of an anchorman and a prosecutor, drawn into an affair filled with tension and passion as they seek to reveal the dark truth about a mysterious serial killer. One Love (Drama, ongoing) The story of the idealistic Doga falling hopelessly in love at university with the charming Fatih, a man from a devout family whose values clash with those of her mother.

Vendetta (Drama, ongoing) The story of Dilan and Baran and the marriage they are forced into to end a blood feud.

Uprising Kitchen (Cooking format) A first-class chef, a housewife and a novice compete to produce the best dish, with the experienced cooks facing unique challenges to even out the contest. Our Songs (Singing talent format) A singing contest with an innovative scoring system that fires up ten contestants to perform at their best, showcasing themes such as golden oldies, rock or folk songs. Match the Family (Game-show format) Challenges two teams of three players to use intelligence and quick wits to identify family members of a person in the studio.

The Rolling Kitchen (Cooking/game-show format)

Couples must create dishes on a stage that rotates 180 degrees every 10 minutes, battling for a cash prize.

GLOBAL SCREEN

O (49-89) 244-1295-500

m info@globalscreen.de w www.globalscreen.de

Stand: R7.B2

DAVOS 1917 (Spy drama, 6x45 min.) WWI is ravaging Europe, but Davos, the spa town in the Swiss Alps, seems like an oasis of peace. Behind the scenes, neutral Switzerland takes center stage in a relentless battle between the secret agents of the world powers.

3Hz (Adventure, S3: 13x26 min.) Felix and his friends discover that in 2043, all the inhabitants of Roegerhout will be dispossessed and their entire village, including the swimming well, will disappear.

A Princess Betrayed (Finest Fairytales) (Fantasy, 1x60 min.) Melisa has journeyed to the mountains so she can work in the mines. When she disguises herself as a man to find work in a small principality, she becomes entangled in a dangerous game of intrigue.

Auris—The Hegel Case (Thriller, 1x90 min.) A famous forensic phonetician is a luminary in his field. When he confesses to a gruesome murder, a truecrime podcaster believes there has been a mistake.

Auris—Frequency of Death (Thriller, 1x90 min.)

When a young mother is horrified to discover that her baby has been kidnapped, she wants to call the police, but her husband, a psychologist, locks her in the attic of the house.

Band Together (1x85 min.) When Maka and Veni fail in getting tickets for the most important game of their lives, they decide to form a traditional Tongan marching band just so they can go to the game.

Chameleon (Comedy-drama, 10x30 min.) The flamboyant wannabe actor Chris and his three childhood friends want to make it in life and escape the deprived neighborhood they grew up in.

The Lady Diplomat (Kidnapped) (Thriller, 1x90 min.) At a concert in Rome, masked men abduct

the daughter of a German multimillionaire. The young activists trying to bring an uncomfortable truth to light will only negotiate with Karla Lorenz. The Magic Flute (Finest Fairytales) (Fantasy, 1x60 min.) Farmhand Tamino travels to the realm of the Queen of the Night and pretends to be a prince from a faraway land.

The Undertaker (Crime, 1x96 min.) Former undertaker and ex-policeman Luc Conrad, his old friend Fabio and two Aargau detectives are reunited at a birthday party. The festivities turn sour when the hotel manager falls from the fourth floor and dies.

GMA NETWORK

O (632) 8333-7633/34

w www.gmaworldwide.tv

Stand: P-1.E67

Love the Way You Are (Romance/drama/action, 20x45 min.) An heiress disguises herself as a man to escape her stepbrother, who wants her dead. She meets a kindhearted thief and falls in love. The Missing Husband (Drama/mystery, 40x45 min.) A man becomes a victim of a pyramid scam and goes missing. His wife searches for him and discovers that he vanished on purpose.

Love Before Sunrise (Romance/drama, 35x45 min.) Ex-lovers accidentally meet again after several years. They give in to their rekindled feelings and choose to continue their forbidden love.

Royal Blood (Crime/thriller, 35x45 min.) An illegitimate son reunites with his business tycoon father. Things get complicated when his father is murdered, and he becomes the primary suspect.

AraBella (Drama, 40x45 min.) After a decade, a mother finds her missing daughter—and discovers she has become a con artist.

Maria Clara and Ibarra (Fantasy drama, 54x45 min.) A student is transported into the novel Noli Me Tangere, but she can return to the present after she finishes the story and learns her lesson.

Hands on the Dream (Medical drama, 82x45 min.) A genius graduates from medical school at 19 years old and becomes the youngest surgical resident in a large hospital.

The Fake Life (Family drama, 37x45 min.) A perfect father of two kids gets sick and discovers that he has been infertile all along. He was practically living a fake family life, as schemed by his wife.

Break Shot (Drama, 35x45 min.) A young woman learns that winning at pool and life are filled with challenges, especially for a girl in the male-dominated world of billiards.

Return to Paradise (Romance, 33x45 min.) A young man and woman get stranded on an island following a plane crash. While surviving the perils of life in the wild, they fall deeply in love.

GRB

O (1-818) 728-7600

w www.grbmediaranch.com

Stand: R7.A16

Who is Stan Smith? (Doc., 1x90 min.) Complete with intimate first-person accounts and dynamic

archival materials, Danny Lee’s film brings us closer to the man behind the shoe.

Round Table (Singing competition format, 3x60 min.) Developed by DiTurn, headed by The Masked Singer creator Wonwoo Park. Singing game competition format with both celebrity and noncelebrity versions.

that walks among the dead. Nick Groff investigates the origin of some of the most notorious hauntings in America.

Untold Stories of the ER (Docuseries/format, 162x60 min.) These true stories demonstrate the nature of medicine practiced under pressure and unpredictable circumstances.

Aliens on the Moon: The Truth Exposed (Doc., 1x120 min.) An alternative take on the 1969 lunar landing presents a different picture of the event that governments may be secretly covering.

GURU STUDIO

O (1-416) 599-4878

m sales@gurustudio.com

Down to Earth with Zac Efron (Docuseries, 16x60 min.) Zac and Darin take an eye-opening adventure across Australia, delving into its rich biodiversity and culture and the efforts to protect both.

The Story Of… (Factual/docudrama, 10x60 min.)

Through high-end drama and sophisticated storytelling, brings viewers on a fascinating journey through the past and into the present.

Relative Justice (Courtroom format, 150x30 min.)

Family squabbles will play out on the arbitrationbased reality court show with Judge Rhonda Wills. Watch! (Game show/variety, 60 min. eps.) There’s nothing more gripping than watching world-class talent; and nothing more thrilling than a high-stakes game show.

Wild Zambezi (Wildlife, 8x60 min.) The journey of the lesser-known Lower Zambezi National Park in Zambia to overcome its historical and daily struggles against the encroachment of man.

Death Walker with Nick Groff (Paranormal, S1-3: 40x60 min., S4) Death walker: a person

w gurustudio.com Stand: R7.D25

123 Number Squad! (Preschool 3D, 104x11 min.) Paula, Billy and Tim use their love of numbers and counting to become a fast-response rescue team, helping solve problems faced by the citizens of Numberville.

Big Blue (5-9 2D comedy, 52x11 min.) Siblings Lettie and Lemo lead their quirky submarine crew to solve the ocean’s mysteries and find the origins of a new magical recruit named Bacon Berry.

True and the Rainbow Kingdom (Preschool 3D, 30x22 min., 5x22 min., 1x44 min.) True, our bright and fearless heroine, and her hilarious best friend, Bartleby the cat, come to the rescue of Rainbow City’s whimsical citizens.

Pikwik Pack (Preschool 2D, 52x11 min.) Follows Suki the hedgehog and her team of adorable animals as they deliver magical packages to the kind citizens of Pikwik.

Justin Time (Preschool 2D, 74x11 min. & 2x22 min.)

Justin’s imagination catapults him into larger-than-life adventures set in different points in history.

HALLMARK MEDIA

O (1-818) 755-1244

m franciscogonzalez@crownmedia.com w hallmarkmediainternational.com

Stand: R8.C9

The Way Home (Drama, 10x45 min.) Three generations of Landry women reunite and begin to heal from their family’s mysterious past when their youngest member finds herself on an unexpected journey.

A Merry Scottish Christmas (Rom-com/Christmas, 1x90 min.) When estranged siblings travel to Scot land at Christmas to reunite with their mother, a big family royal secret is revealed.

Love’s Greek to Me (Rom-com, 1x90 min.) Ilana travels to Santorini with her Greek boyfriend for a family wedding. When he surprises her by proposing, she gets caught in the whirlwind of his overzealous mom.

Making Waves (Rom-com, 1x90 min.) When a music exec goes to a festival to beat out the competition for an elusive new band, she discovers that the group is fronted by her childhood summer sweetheart.

Notes of Autumn (Rom-com, 1x90 min.) Ellie, a fun-loving, classically-trained pianist living in the city, and her best friend Leo, a novelist, swap homes in rural Canada to recharge their passions.

Aloha Heart (Rom-com, 1x90 min.) A conservationist travels to Hawaii for her best friend’s wed ding and, instead of a relaxing vacation, finds herself in wedding prep and helping the new hotel manager make changes to his family hotel.

Haul Out the Holly: Lit Up! (Christmas, 1x90 min.) Emily and Jared lead the Evergreen Lane homeowner’s association toward another successful Christmas season.

Fourth Down and Love (Christmas, 1x90 min.)

Sparks are reignited when a single mother and a pro football player coincidentally meet again on her daughter’s flag football field after his career is interrupted by a sports injury.

A Biltmore Christmas (Rom-com/Christmas, 1x90 min.) Screenwriter Lucy Hardgrove lands the job of a lifetime when she is hired to remake the beloved holiday movie His Merry Wife .

Christmas in Notting Hill (Christmas, 1x90 min.)

A football star has always been too busy for love, but when he comes home to Notting Hill for Christmas, he changes his mind after meeting the one person who has no idea who he is.

HARI

O (33-1) 4307-6577

m contact@studiohari.com

w www.studiohari.com

Stand: R7.L6

Grizzy & the Lemmings World Tour (Animation, S4: 78x7 min.) Sees the multi-awarded slapstick phenomenon—1 billion views a year on YouTube— traveling the world and kids’ favorite characters going even wackier.

PJ Masks Power Heroes (Preschool CGI, 52x11 min.) As night falls in the city, Catboy, Owlette, Gekko and all their masked friends join forces to form a brave new band of heroes: the PJ Masks Power Heroes.

My Little Pony: Make Your Mark (CGI, 23x22 min. & 4x44 min.) For Sunny Starscout and her new friends, the return of magic to Equestria is just the beginning of their story together.

My Little Pony: Tell Your Tale (CGI, 70x5 min.) Magic has returned to Equestria thanks to Sunny Starscout and her new friends. With unicorns, pegasi and earth ponies finally united, the Mane 5 work together to maintain unity between ponykinds.

Transformers: EarthSpark (Action comedy, 26x22 min.) This animated series centers on two human kids as they forge a connection with Transform ers robots and work alongside fan favorites like Optimus Prime and Bumblebee.

Mystery Lane (Animation, 26x22 min.) A new classic à la Scooby Doo meets Sherlock Holmes packed in a feature-quality CGI animation that will captivate kids and families. The Weasy Family (Animation, 78x7 min.) HARI innovates the genre by combining slapstick comedy and a heartwarming narrative with emotional stakes at the core.

HASBRO

ENTERTAINMENT

m contentsales@hasbro.com

w hasbro.com

Stand: C16.G

Peppa Pig (Preschool 2D, 429x5 min. & 4 specials)

Peppa is a lovable, cheeky little piggy who lives with her younger brother George, Mummy Pig and Daddy Pig.

My Little Pony: Make Your Mark

Power Rangers Dino Fury (Action/CGI, 44x22 min.) When an army of powerful alien beings is unleashed on Earth, a brand-new team of Power Rangers, fueled by the prehistoric power of the dinosaurs, is recruited to deal with the threat.

Transformers: BotBots (2D comedy, 20x11 min.) When the lights go out at the mall, the BotBots

come out to play. Meet a fun-loving crew of everyday objects that morph into robots at closing time.

Kiya & the Kimoja Heroes (Preschool CGI, 52x11 min.) Follows the adventures of dance and martial arts-loving Kiya and her best friends. Together with their crystal-charged powers, they are superheroes in the southern-African inspired Kimoja City.

Ninja Express (Animated comedy, 52x11 min.)

Imagine a delivery service that delivers anything, anywhere and anytime—run by three ninja brothers with incredible powers.

Baby Alive (Preschool 3D, 82x4 min. & 6x2 min. songs) The day-to-day adventures of Charlie and her three silly and adorable babies: Lulu, Tilly and Teo. When Charlie needs some help along the way, she calls on the Glo Pixies.

HEADSPINNER PRODUCTIONS

O (1-416) 882-5579

m michelle@headspinnerproductions.com

w www.headspinnerproductions.com

Aunty B’s House (20x7 min., S2 in dvpmt.)

Aunty B and her family of foster children use laughter, music, play and unconditional love to navigate the ups and downs and merry-gorounds of foster life.

Gisele’s Mashup Adventures (Animation, 10x3 min. & 20 live-action eps., S2 in dvpmt.) Each episode takes inspiration from children with diverse cultures and backgrounds.

Happy House of Frightenstein (20x3 min.) Join mini-monsters Count Jr, Iggy, Griz and Wolfie as they play and learn in the play castle behind the famous Castle Frightenstein.

Denis and Me (Animated, 30x3 min. & 4x11 min.)

Based on the popular YouTuber Denis and his chaos-magnet cat, Sir Meows A Lot.

My Shadow is Pink (In dvpmt.) Meet Riley Hill, a sweet, clever, energetic 7-year-old Australian boy with a big heart, an adventurous nature and a pink shadow. Based on the book by Scott Stuart.

INANIMATTI

O (39-0173) 73-21-04

m eric@rollmanent.com

w arkyarch.com

Stand: R7.L23A/B

Arky Arch Adventures (Animated comedy/ adventure, 13x20 min.) Follows Arky, a hopeful, young Roman Arch embarking on a high-stakes journey to uncover his true purpose—and save the world from devastation.

INTER MEDYA

O (90-212) 231-0102

m info@intermedya.tv

w intermedya.tv

Stand: C16.C

Blue Cage (Drama, 78x45 min.) In Çamlıkıyı, a love triangle develops between Ali, Defne and Ozan. Deception (Drama) A respectable family court judge living in Istanbul has what could be described as a perfect family. But when secrets are revealed, she confronts the reality that her life has been a lie.

The Trusted (Drama, 74x45 min.) An ex-soldier left the special forces to open up a secondhand bookstore and spend more time with his sick daughter, Zelis.

Scorpion (Drama, 91x45 min.) Ferda’s stubbornness and Perihan not wanting her lead to a great war between the mother and daughter.

Last Summer (Drama, 93x45 min.) An idealistic prosecutor agrees to protect Akgun in exchange for testimony from the young man’s father, an imprisoned mob boss.

THE JIM HENSON COMPANY

O (1-323) 802-1500

m knovick@henson.com

w www.henson.com

Stand: R7.E45

Tuzak (Drama, 82x45 min.) Tells the story of three siblings: Mahir, Umut and Umay.

Another Chance (Drama, 138x45 min.) Sadi Payaslı is a geography teacher who will balance his life and take care of five convicted students from a reformatory.

Poison Ivy (Drama, 83x45 min.) A love story about two souls finding each other despite the whole world, even themselves.

Hicran (Drama, 210x45 min.) Hicran believed she lost her baby at birth. Years later, she encounters a young girl named Melek and becomes her babysitter—without knowing that they are mother and daughter.

The Ivy (Crime/mystery) The police investigating Arzu’s murder witness entangled criminal relationships, anger born of jealousy, secret affairs and lies told in this housing complex.

Word Party (Preschool CG, S1: 26x11 min., S2: 14x11 min., S3: 20x11 min.) Invites young viewers to learn new words along with four adorable baby animals as they go through their day.

Splash & Bubbles (Preschool CG, 80x11 min.)

Join Splash, Bubbles and all their friends as they explore the world’s ocean and celebrate its amazing species and habitats.

Dinosaur Train (Preschool CG, S1: 80x11 min., S2: 52x11 min., S3: 26x11 min., S4: 20x11 min., S5: 22x11

min.) Baby T-Rex Buddy and his adoptive siblings travel through prehistoric times, meeting all different types of dinosaurs on the magical Dinosaur Train.

Doozers (Preschool CG, S1: 52x11 min., S2: 20x11 min.) Join the Pod Squad as they design, create and innovate to put their ideas into action. STEM teamwork at its preschool-level best.

Dot. (Preschool 2D, S1: 52x11 min., S2: 26x11 min.) Dot is an exuberant tech-savvy girl who embarks on escapades with her friends, using technology to satisfy her thirst for adventure.

Sid the Science Kid (Preschool CG, S1: 40x30 min., S2: 26x30 min., Shorts: 26x3 min.) Sid and his friends tackle questions kids have about scientific principles, proving science is all around us.

Jim Henson’s Monster Jam (w.t.) (Preschool

CGI) At the grooviest club around, kids can let their inner monster out. Characters from Jim Hen son’s drawings are realized with the Henson Digital Puppetry Studio.

Wowsabout (Preschool live-action puppets) Join two hilarious puppets, Roxy the Hedgehog and Ronald the Piglet, on a great quest as they search for awe all around our wonderful planet.

Dani Can Dance (Preschool CG) Dani dances through life in an imaginative preschool “dance-ical” series, produced with the Henson Digital Puppetry Studio.

KANAL D INTERNATIONAL

m kdisales@kanald.com.tr

w kanald.international

Stand: R8.D2

A Father’s Promise (Drama, 45 min. eps.) Set in 1980, weaves a tale of love, sacrifice and resilience amid a politically tumultuous era.

Daylight (Drama, 45 min. eps.) A touching youth drama about love and personal growth that reminds us life is too short to postpone happiness.

Farewell Letter (Drama, 76x44 min.) Secrets unfold, emotions reignite and the past casts its spell on the present.

Three Sisters (Drama, 179x44 min.) Crafted by the esteemed İclal Aydın, the narrative revolves around three sisters whose upbringing in the enchanting lanes of Ayvalık’s pine-scented streets does little to prepare them for the harsh complexities of adulthood.

That Girl (Drama, 79x45 min.) As Zeynep navigates the worlds of influence and adversity, she’s about to discover that her journey is intricately woven with threads of love, resilience and the power of embracing the unexpected.

Love and Hope (Drama, 180x53 min.) A small-town resident steps foot into the bustling heart of a metropolis for the first time and finds herself immersed in a world where power, money and egos collide.

KONAMI CROSS MEDIA NY

O (1-212) 590-2100

Stand: R7.C17

Yu-Gi-Oh! SEVENS (Animation, S1: 43x22 min., S2: 46x22 min.) Yuga Ohdo may seem like any other fifth grader in Goha City, but he’s about to take

his favorite game to the next level by inventing a whole new way to duel: rush duels. (Excluding Asia)

SurrealEstate (Supernatural drama, S1-2: 10x45 min. each) Real estate agent Luke Roman and his team specialize in investigating and closing haunted houses by using their abilities to solve metaphysical problems and make the properties sellable.

Juliet (Police drama, 6x60 min.) After a heartbreaking loss, detective Juliet Dumon leaves Brussels for De Haan, joining a local police team and seeking a foster family for niece Chloë.

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

Yu-Gi-Oh! Duel Monsters (Animation, 236x22 min.)

Meet Yugi and his best buds Joey, Tristan and Téa, who share a love for Duel Monsters. (Excluding Asia)

Yu-Gi-Oh! GO RUSH!! (Animation) As his home world rages in a never-ending battle, Yudias travels across the galaxy after learning that there is only one thing that can end the conflict: rush duels. (Excluding Asia)

LEONINE STUDIOS

O (49-89) 999-513-0

m worldsales@leoninestudios.com w screenings.leoninestudios.com/en Stand: P3.B38

The Seed (Eco-thriller, 6x45 min.) Two detectives searching for a missing journalist in Norway’s Arctic wastes uncover a conspiracy of global proportions.

Bonn (Period drama/political thriller, 6x48 min.) A young woman’s struggle to find her own place in the midst of the battle between Germany’s intelligence agencies formed after WWII.

Troppo (Crime drama, 8x60 min.) Ex-police detective Ted Conkaffey left Sydney to find redemption in a Queensland rainforest town. He finds himself drawn into the cases of an eccentric private investigator, herself a convicted murderer.

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

Professionals (Blue-sky action, 10x48 min.) Security operative Vincent Corbo is hired by billionaire futurist Peter Swann to investigate a medical satellite explosion suspected to be sabotage.

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

Bellevue (Crime/suspense/thriller, 8x45 min.)

In a small town, a detective must unravel the disappearance of a bullied teen while confronting her past.

Flashpoint (Action, S1-5: 75x40 min.) Follows the Strategic Response Unit (SRU), a team of elite cops who handle high-risk incidents and use their training in tactics and psychology to make split-second decisions.

LION FORGE ENTERTAINMENT

m sales@lionforge.com

w www.lionforgeentertainment.com

Iyanu (6-9 animation action/adventure, 52x11 min.)

Iyanu, a teen orphan studying Yoruba history and ancient arts, unknowingly triggers her divine powers and joins forces with two other teens on a journey to discover the truth about the evil lurking in her homeland.

Final Score (Drama, 6x60 min.) Between 1988 and 1994, Andrés Escobar rose to fame as a premier soccer player in Colombia while drug trafficking boss Pablo Escobar started investing his money into soccer teams. Population 11 (Comedy, 12x30 min.) When a man goes missing from a tiny Australian town with hundreds of thousands of dollars in cash, his American son travels to the outback to track him down.

Gray (Drama, 8x60 min.) CIA spy Cornelia Gray is coming in from the cold after 20 years in hiding. She returns to her old life just as it is discovered that there is a new mole within her old spy network.

The Chosen (Drama, 26x60 min.) Historical dra ma based on the life of Jesus, seen through the eyes of those who knew him.

BugTron (4-8 animation action/adventure, 52x11 min.) Ten-year-old Kayden is zapped down to bug size, finding himself in the middle of a conflict between the good-guy “Hexos” and the evil “Octos.” Kayden and his squad of Hexo pals are paired with their own “Tron,” a transforming mech-bug that is part vehicle and part pet.

Best Wishes (Girls 10-16 live-action comedy) Based on the best-selling book series by Sarah Mlynowski, each film focuses on one girl and her “wish.”

LIONSGATE ENTERTAINMENT

w www.lionsgate.com

Stand: C15.A8

The Continental (Action, 3x90 min.) Explores the origin behind the iconic hotel-for-assassins centerpiece of the John Wick universe through the eyes and actions of a young Winston Scott as he’s dragged into the hellscape of 1970s New York City.

Gray

Northern Lights (Drama, 6x60 min.) The worlds of two grieving strangers collide on a rainy night in Dublin. The Conners (Comedy, 93x30 min.) After a sudden turn of events, the Conner family is forced to face the daily struggles of life in a way they never have before.

O

The Gruffalo & The Gruffalo’s Child (Animation/ family/kids, 2x27 min.) A mouse must use his wits

when he encounters three predators, and a young Gruffalo tiptoes out into the snow in search of adventure.

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

Smeds and the blue Smoos must learn to overcome their differences and work together to find their young relatives who eloped to escape their families’ longstanding divisions and opposition.

Pip and Posy (Preschool animation, 104x7 min.) Pip and Posy are best friends who navigate the ups and downs of friendship through a wonderful world of play.

MATTEL TELEVISION

m content_sales@mattel.com w www.mattel.com

Stand: P4.C10

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

The Highway Rat (Animation/family/kids, 1x27 min.) Tells the tale of a greedy rat whose desire for buns, biscuits and all things sweet leads him to a sticky situation.

Zog & Zog and the Flying Doctors (Animation/family/kids, 2x27 min.) A young dragon enlists the help of a kind princess to succeed in school and later forms an unlikely flying doctor team to treat patients.

The Snail and the Whale (Animation/family/kids, 1x27 min.) A tiny snail hitches a ride on the tail of a humpback whale, and together they embark on an epic journey around the globe.

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

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

The Smeds and The Smoos (Animation/family/kids, 1x27 min.) In this intergalactic adventure, the red

Barbie: A Touch of Magic (Animation, 26x22 min.) Barbie and Barbie discover a mysterious baby Pegasus on the beach in Malibu and work to find out where the magical horse came from.

Barbie: A Touch of Magic

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

Barbie: It Takes Two (Animation, 26x22 min.) Follows Barbie “Malibu” Roberts and Barbie “Brooklyn” Roberts as they attend a year of performing arts high school in NYC, set out to record a music demo and take odd jobs to fund their dreams.

Barbie Mermaid Power (Animation, 1x60 min.)

Join Barbie “Brooklyn” Roberts, Barbie “Malibu” Roberts and her sisters Skipper, Stacie and Chelsea on an underwater adventure as they transform into mermaids to help save the world of Pacifica.

Thomas & Friends: All Engines Go! S25 (Animation, 52x11 min.) Adventure and excitement abound for Thomas and his friends as they work together and form lasting bonds that help them overcome any obstacle on the Island of Sodor.

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

Thomas & Friends: All Engines Go! S26 (Animation, 52x11 min.) Thomas and his loc-amigos will embrace unexpected surprises and discover more about each other as they get into new shenanigans on the Island of Sodor.

Thomas & Friends: The Mystery of Lookout Mountain (Animation, 1x60 min.) When cars begin to disappear in the mines, Thomas recruits the Biggest Adventure Club to dig into the history and uncover the mystery inside Lookout Mountain.

MEDIACORP

O (65) 6333-3888

m tellmediacorp@mediacorp.com.sg

w www.mediacorp.sg

Stand: P-1.H51

All That Glitters (Scripted, 30x60 min.) Three friends, trapped in society’s underbelly, turn to crime in their doomed quest for a better life, leading to their downfall.

Last Madame: Sisters of the Night (Scripted, 10x60 min.) Forced into prostitution, Nozomi, a young Japanese girl, rises to become the top karayuki-san in Malaya while secretly working as a spy for Japan during pre-war Singapore.

Undercover Asia (Factual, 10x60 min.) CNA’s awardwinning investigative series uncovers the hard truths in the underbelly of Asia and exposes the unintended fallout of change in the fast-moving continent.

The Negotiators (Factual, S2: 4x60 min.) Negotiation is integral to daily life, from everyday haggling to significant moments. Experts offer valuable insights, especially in high-stakes situations.

Growing Wild (Factual, S2: 4x60 min.) Plants ideas about how we can grow food better and safeguard the environment at the same time.

Operandi Gerhana (Scripted, 6x60 min.) In 1955 Singapore, rising crime and chaos prompt the government to deploy WWII veterans-turned-police constables Omar and Yusof to investigate the kidnapping of an army officer.

Wartime Food (Factual, 10x60 min.) Explores how soldiers, civilians, aggressors and POWs survived through food during wars.

Game Changer (Scripted, 6x60 min.) Elizabeth reunites with her comatose sister through a neural game but she must fight to save her life as dark secrets emerge.

Slumfood Millionaire (Lifestyle, 6x30 min.) Cooks from Asian slums demonstrate creating incredible, affordable dishes with limited resources, proving that good food doesn’t require high costs.

Brothers in Arms (Factual, 2x60 min.) Explores the 1972 Wahab-Hassan brothers’ crime spree, including a detective shooting and a hospital siege, shaping Singapore’s gun laws.

MEDIATOON DISTRIBUTION

m g.milagres@mediatoon.com w www.mediatoon-distribution.com

Stand: R7.E58

The Fox-Badger Family (Kids adventure/comedy, S1-2: 104x12 min.) While they are still learning to get along, the Fox-Badger household is filled to the brim with happiness and smiles.

Trotro & Zaza (Kids edutainment, 78x3.5 min.)

Trotro is back—but not alone. The most mischievous little donkey welcomes his little sister, Zaza.

Zoobox (Kids adventure comedy, 1x26 min.) Kerala, the enthusiastic and curious baby kangaroo, wakes up to discover a new adventure beginning in the wondrous place she lives in: a giant ship.

Nicholas’ Fantastic Summer (Kids comedy, 52x12 min.) Join Nicholas and his joyful gang on their holidays as they build sandcastles, explore new playgrounds and go treasure hunting.

Versailles Unleashed (Kids adventure/comedy, 26x22 min.) Make way for King Louis XIV’s favorite dog, Belfort, and his best friend, Lupin. They go on adventures through the palace of Versailles.

Living with Dad (Kids sitcom, 52x12 min.) Welcome to dad’s daughters’ realm of step-sisters Panda, Ondine, Roxanne and baby Bella. Dive into the unpredictable and hilarious life of this unconventional family. Edens Zero (Manga/anime, S2: 25x24 min.) Traveling through Sakura Cosmos, Shiki and his friends face challenges when seeking to meet Mother, an entity that grants wishes to those who are brave enough to find her.

Sardine (Kids adventure/comedy, 52x12 min.)

The Marsupilamis (Kids action/adventure/ comedy, 52x11 min.) Join the wild and playful Marsupilamis as they swing from the tops of buildings and cause chaos, all while having bucketloads of fun.

SamSam: Cosmic Adventures (CGI adventure/comedy, 52x11 min.) This 6-year-old superhero lives with his parents on Planet Sam. He goes to school, plays with the other kids and explores the galaxy on board his SamSaucer.

Follow Sardine, Little Louie and Captain Yellow Shoulder’s courageous crew in their never-ending fight against super-villain Supermuscleman and his evil sidekick, Dr. Krok.

MEDIAWAN KIDS & FAMILY

O (33-1) 804-804-46

m contact.mkf@mediawan.eu

w mediawankidsandfamily.com

Stand: P3.B38

The Little Prince & Friends (Adventure, 52x13 min.) The Little Prince sets off on his Asteroship

along with Charlotte and Elijah. Together they discover the universe and its inhabitants and go on amazing adventures.

Miraculous: Tales of Ladybug & Cat Noir (Action/adventure/comedy, S5: 131x26 min.) The global pop culture phenomenon, sold and acclaimed in more than 150 countries, is back with a brand-new fifth season.

Ki & Hi (Adventure, 52x13 min.) Animated series based on France’s all-time best-selling manga of the same name, written by Kevin Tran, the famous YouTuber with 6 million subscribers.

Witch Detectives (Action/comedy, 26x26 min.)

Juggling schoolwork, teenage problems, love stories— and magic. Get ready to solve magical mysteries with Max, Maya and Millie.

MERCURY FILMWORKS

O (1-613) 482-1814

m connect@mercuryfilmworks.com

w mercuryfilmworks.com

Sonic Boom (Adventure/action, 104x11 min.) Sonic will leave a trail of dust across TV screens all over the world in his first-ever CG-animated TV series.

Idefix and the Indomitables (Adventure/ action/comedy, 52x13 min.) The Indomitables, a group of four-legged revolutionary Gauls led by Ide fix, are still fighting the town’s romanization.

Robin Hood: Mischief in Sherwood (Adventure/ action/comedy, S4: 157x13 min.) Robin Hood as you have never seen before.

Petronix Defenders (Adventure/ecology, 52x13 min.) When animals around the world are in danger, the Petronix Defenders are there to rescue them.

Pirate Academy (Adventure/comedy, 52x13 min.) Finn, Sam and Andrew, three kids from very different backgrounds, enter the Pirate Academy to become the greatest pirates of all time.

Chefclub Adventures (Comedy, 52x13 min.)

Based on the channel Chefclub, which has 110 million subscribers around the world.

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

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

Tales of the Underwear Dragon (6-8 animated comedy, 52x11 min.) A musical series about valiant knights and dastardly dragons, infused with a fresh new spin, original music and life lessons for kids.

MIAM! DISTRIBUTION

O (33-6) 3716-5546

m contact@miam-animation.com

w www.miam-animation.com

Stand: P-1.E1 (Unifrance)

Edmond and Lucy (Preschool real-time CGI, 52x12 min., 13x3 min. & 1x45 min.) Meet Edmond, the squirrel, and Lucy, the bear cub, with their daily adventures in the forest. Nature is their best playmate. The MiniWhats (Young kids comedy, 52x7 min.) Six friends go on hilarious unexpected adventures thanks to Ollie’s magical pen—and their wild imaginations.

Kaeloo (Kids 3D comedy, S2-5: 188x7 min. & 1x26 min.) Crazy cartoon antics and authentic friendship make for an explosive cocktail.

The Dangers (Kids 2D comedy, 10x13 min.) From one day to the next, nature took over towns and cities, animals began talking and almost all human technology was wiped out. The Dangers family sets off in search of their missing mother.

Raffi (Preschool 2D, 12x7 min.) Welcome to Raffi and Emma’s world. This little girl and her beloved dog will show us their life on the farm, reminding us that food doesn’t come from the supermarket.

The Tinies (Upper preschool real-time CGI, 52x11 min. & 52x3 min.) Welcome to Attic City. Ollie and her best pal Titus are two toys who create their own games using upcycling.

MONDO TV GROUP

O (39-06) 8632-3293

m silvia.darchivio@mondotvgroup.com

w www.mondotvgroup.com

Stand: P-1.E73

Our Summer of Freedom (Kids/family 2D adven ture, 6x26 min.) Four friends from different communities who have nothing in common will be bound forever by their quest and life-changing summer.

Goat Girl (Kids 2D comedy, 52x11 min.) Gigi was raised by goats. Now that she’s a teenager, she attends a boarding school and, for the first time in her life, spends time around humans.

Boys Boys Boys (YA 2D, 10x5 min.) Between old and new models, traditions and modernity, where do men stand today?

It’s my body! (YA 2D, 20x3.5 min.) Adapted from the book Libres! by Diglee and Ovidie, wittily questions our prejudices and taboos about sex and fights against sexual diktats.

Monster Loving Maniacs (2D comedy adventure, 52x11 min.) Three siblings go into training with their grandfather to become monster hunters—but they want to get to know the monsters rather than hunt them. (Mondo TV & Toon2Tango)

Agent 203 (CGI sci-fi adventure comedy, 26x22 min.)

Zoe is Agent 203, on a quest to save the universe and find her father, while also coping with everyday teen issues. (Mondo TV & Toon2Tango)

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

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

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

delirious mother who raised her daughters to save the world.

The Other Side (El Otro Lado) (Horror/comedy, 6x30 min.) A journalist specializing in paranormal events is going through his worst professional and personal moments when he starts experiencing strange events in his personal life.

Galgos (Drama, 6x50 min.) A family saga in the business world, full of ambition, power, loyalty and deception.

Marbella (Thriller, 6x50 min.) Thriller, action, police investigation, crime and characters of various nationalities (U.K., Belgium, Italy) are some of the ingredients.

Lola on Board (Preschool CGI, 26x7 min.) Lola spends part of her summer holiday on a cruise ship where she has adventures and learns about the natural world.

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

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

Little Faith (Poquita Fe) (Comedy, 12x15 min.) A fresh comedy composed of short and simple stories about the daily life of a couple in their mid-40s.

O (34-91) 736-7000

m movistarplus.international@telefonica.com

w www.movistarplusinternational.com

Stand: R7.N7

La Mesías (Thriller, 7x50 min.) The new series by Javier Ambrossi and Javier Calvo about a

The Left-Handed Son (El Hijo Zurdo) (Drama, 6x30 min.) This drama about the difficult relationship of a mother and a son won the short-form best series award at CANNESERIES.

Bosé Reborn (Bosé Renacido) (Bio., 4x60 min.)

Documentary about the life of Miguel Bosé, who is loved, desired, criticized and chased on an equal basis.

Bisbal (Bio., 1x90 min.) We join David Bisbal in the run-up to one of the most important celebrations of his career, the concert commemorating his 20 years in music.

MUNHWA BROADCASTING CORP. (MBC)

O (82-10) 5910-9129

m mini941115@mbc.co.kr

w content.mbc.co.kr/english/index.html

Stand: R8.D15

Alumni Lovers (Dating reality, 12x70 min.) Four men and four women are invited to a heartpounding reunion. Together they visit their old school playgrounds.

with great physiques representing each university— a new physical competition show produced by the Physical 100 production team.

Adventure by Accident (Travel reality, 17x70 min.)

Gian 84, a famous webtoon artist, and his friends go on a journey to the other side of the world.

Mystery Story Club (Storytelling guessing game, 2x60 min.) Three entertaining stories are presented per episode. The storytellers need to guess and reason which story out of the three is actually fake.

Marital Nightmare (Talk show, 70 min. eps.)

Married couples hoping to rekindle their relationship seek help from Dr. Oh, a celebrated psychiatrist.

Mystery Ranking Show 1,2,3 (Quiz/talk, 36x50 min.) Five contestants with a distinctive commonality are arranged in a mysterious hierarchy, and seven celebrities are tasked with determining how the contestants are ranked among themselves.

Keep Talking I Love It (Game show, 17x70 min.)

The genres of the stories vary from horror to classics, historical anecdotes, criminal cases and all kinds of real-life experiences.

Midnight Horror Story (Storytelling battle, 70 min. eps.) Skillful storytelling hosts deliver spinechilling anecdotes or supernatural experiences to viewers. The winning story is awarded $666 and an additional bonus prize according to the voting results of the remote audience.

Bloody Game (Survival competition, 12x90 min.)

With 300 million won at stake, ten participants undertake a fierce survival in the “Blood Mansion.” The participants take part in daily challenges to win cash and exception from elimination.

League of Universities—The Athlete Boys (Survival competition, 10x70 min.) A clash of students

My little television (Reality competition, S2: 142x80 min.) Six names in fame engage in a competition to keep viewers tuned into their very own TV channels. In a studio divided into six rooms designated to each person, the contestants broadcast their content live.

NBCUNIVERSAL GLOBAL DISTRIBUTION

O (1-818) 777-1300

w www.nbcuniversal.com

Stand: P4.C4

Apples Never Fall (Drama, 7x60 min.) Based on Liane Moriarty’s best-selling novel, the series follows the Delaneys, who appear to be the perfect family. But when Joy suddenly disappears, their lives are upended and their family’s dark secrets are revealed.

Mary & George (Drama, 7x60 min.) A historical psychodrama inspired by the true story of a mother

and her son who schemed, seduced and killed to conquer the court of England.

The Irrational (Drama, 10x60 min.) Alec Mercer, a world-renowned behavioral science professor, lends his unique expertise to an array of highstakes cases involving governments, law enforcement and corporations.

was a narwhal until the day he discovers he’s actually a unicorn.

Team Mekbots: Animal Rescue (Animation, 39x7 min./13x30 min.) Four kids with tech skills travel the globe saving animals while suited up as giant Mekbots.

Fright Krewe (Animation/action/adventure/mystery, 20x30 min.) Five high school kids from New Orleans accidentally unleash a great evil onto the world. This band of unlikely friends are gifted with magic powers and must fight off this supernatural threat.

The Day of the Jackal (Drama, 10x60 min.) Eddie Redmayne stars in this cinematic, globetrotting “cat and mouse” thriller, which is a bold, modern reimagining of the beloved and respected novel and film.

Ted (Comedy, 8x30 min.) Based on the live-action/CGI hit films, an irreverent, side-splitting comedy about Bostonian teenager John Bennett and his best friend, the foul-mouthed stuffed bear Ted.

Kung Fu Panda: The Dragon Knight (Animation/ comedy/action/adventure, 41x30 min. & 1x60 min.) When the fate of the world is at stake, Po (Jack Black) must partner with a no-nonsense English Knight and embark on a globe-trotting quest for redemption and justice.

O (1-818) 777-1300

w www.nbcuniversal.com

Stand: P4.C4

Gabby’s Dollhouse (Animation/live-action, 60x30 min.) The preschool show with a surprise inside. Join Gabby in her fantastical animated world full of adventure and adorable cat friends.

Not Quite Narwhal (Animation/adventure, 26x30 min./52x15 min.) Kelp has grown up thinking he

Not Quite Narwhal

The Croods: Family Tree (Animation/ comedy/adventure, 52x30 min.) The ever-evolving story of the Croods and the Bettermans as they learn to live together on the most idyllic farm in prehistory. Turn Up the Volume (Live-action/music/drama, 10x30 min.) At a weekly music band camp, a group of young teens are grouped together and must work as a team to create their unique sound as The Volume.

Mighty Mustangs (Live-action/comedy/sport, 39x30 min.) United by their friendships and mutual

love of the game, a group of girls set out to form the first all-female soccer team at their local club.

Jurassic World: Camp Cretaceous (Animation/ action/adventure, 49x30 min.) Set against the events of Jurassic World, six teenagers’ once-in-alifetime camp experience on Isla Nublar is threatened as dinosaurs wreak havoc across the island.

One Zoo Three (Live-action/nature/education, 26x30 min.) Three brothers live and work in their family zoo, looking after over 800 endangered animals.

NHK ENTERPRISES

O (81-3) 3468-6984

m nep_international_sales@nhk-ep.jp w www.nhk-ep.co.jp/en, pf.nhk-ep.co.jp

Stand: P-1.E68

Amazing Dinoworld (Science/tech., S2: 2x52 min.) With state-of-the-art VFX technology, invites you to witness how dinosaurs could have survived the disasters in some areas on the continent.

Deep Ocean: Red Sea (Nature, 1x52 min.) The team who filmed the giant squid in Legends of the Deep reassembled for a deep-sea exploration in the Red Sea.

LIGHTNING: Our Flashing Planet (Science/tech., 1x50 min.) Storm chasers and experts in weather, geology, biology and planetary science from all over the world join forces to try to unveil the luminous phenomena.

Nature’s Hidden Miracles (Science/tech., 3x52 min.) Focusing on plants, insects and microorganisms, explores their amazing ecology.

Gift from the Ice—Japan’s Wild North (Nature, 1x52 min.) In Hokkaido, Japan’s northernmost island, lies the World Natural Heritage

site of Shiretoko, which is rich in biodiversity, but ongoing climate change is threatening the natural paradise.

Dragons’ Lair: A Colossal Cavern (Nature/travel, 1x49 min.) A vast network of caves in Guizhou, China, is considered to be the world’s largest underground space.

The Unknown Master of Restoration (Arts/culture, 2x49 min.) Mayuyama Koji is thought by afficionados of fine Japanese ceramics to have “hands of god” able to restore the vintage pieces to pristine beauty.

Ooku: The Inner Chambers (Period drama, S1: 10x45 min., S2: 10x45 min. & 1x59 min.) In the Shogunate era, as a strange disease spreads, the male population is reduced to a quarter that of females. The title of Shogun is handed over to a woman, and her harem filled with 3,000 beautiful men. Based on a hit manga.

The Honest Realtor (Drama/comedy, S1: 10x45 min., S1: 10x44 min. & 1x90 min.) Nagase Saichi will lie to close a deal. But one day, he can no longer lie. Based on a popular manga.

Traces of Grace (Crime/mystery/romance, 8x49 min.) Kikuo suddenly loses his wife to an accident. The only thing that remains is Grace, her car. He embarks on a road trip tracing Grace’s navigation history to find out if his wife was unfaithful to him.

NICELY ENTERTAINMENT

O (1-323) 682-8029

m info@nicelytv.com

w www.nicelytv.com

Stand: P3.B22

A Christmas Frequency (Holiday romance, 1x90 min.) A radio producer sets her recently separated boss up on blind dates on-air to save their show but accidentally falls for one of the contenders. The Holiday Proposal Plan (Holiday romance, 1x90 min.) When Sonny and her ex team up to help their best friends get engaged, they find themselves falling for each other again.

who cannot be with the one she loves unless Sam tames the shrewd owner of a competing winery.

Labor, Lies & Murder (Thriller, 1x90 min.) Upon her friend’s advice, pregnant Hailey hires a doula to help with her home birth but unknowingly puts trust in someone intent on stealing her baby.

One Perfect Match (Romance, 1x90 min.) When a matchmaker falls for her client, she’s faced with the ultimate dilemma: lose her reputation by following her heart or letting the potential love of her life slip away with the perfect match she made for him.

Reporting for Christmas (Holiday romance, 1x90 min.) When a TV producer is assigned a puff piece about a Christmas toy manufacturer, a toymaker inspires her to search her heart to find true happiness.

Christmas at the Amish Bakery (Holiday romance, 1x90 min.) After leaving her Amish community in her youth, an editor heads home and works with an illustrator to create a cookbook and save her family bakery.

OFF THE FENCE

O (31-205) 200-222

m info@offthefence.com

Super Icyclone (Disaster/action/adventure, 1x90 min.) A climatologist cuts her anniversary celebration short to save her family—and all of North America— from an unimaginably destructive storm.

Romance at the Vineyard (Romance, 1x90 min.)

A wine rep tasked with acquiring a vineyard goes undercover but falls for the winemaker as she tries to save the vineyard with a new blend.

The Abigail Mysteries (Mystery/faith/romance, 1x90 min.) A mystery podcaster finds herself in the middle of one of her stories when her neighbor mysteriously dies, leaving behind nothing but a cryptic note.

A Christmas Vintage (Holiday romance, 1x90 min.)

Samantha needs a Christmas miracle to help her sister,

w www.offthefence.com

Stand: R7.C30

Cursed Histories (History, 6x60 min.) Explore the historical places, icons or events that seem to be plagued by what can only be described as a “curse.”

Engineering Evolved (Science, 6x60 min.) Reveals the hidden stories behind transportation technology and how these complex machines are created to move the world.

Hitler’s Secret Missions (History, 6x60 min.) An in-depth investigation into six audacious and ruth less operations designed and ordered by Hitler as he set out to control the course of WWII.

Game

of Leopard Thrones (Nature/wildlife, 3x60 min.) Filmed over ten years, an in-depth look at the leopard characters of South Africa and their fascinating unfolding story once their Queen dies.

Ukraine: Holocaust Ground Zero (History, 1x60 min.) The story of a bloody chapter in Ukraine’s his tory and the start of the holocaust, which still casts a long shadow.

OGM UNIVERSE

m ekinkoyuncu@ogmuniverse.com, mustafakeyvan@ogmuniverse.com

w www.ogmuniverse.com

Miracle of Love (Drama, 38x45 min.) A brave commander who fought in the Battle of Sakarya in 1921 is resurrected by the “water of life” and stops aging. In 2023, he meets a young and beautiful writer; will she be able to help him find the answers he has been searching for?

Truthseekers (History, 20x60 min.) Discover the most iconic mysteries of the world and meet the Truthseekers, who stop at nothing to uncover the truth behind myths and legends.

Flying Knights (Science, 4x60 min.) Embark on a journey of technological advances, foolish bets, courage and sacrifice as we explore the unbelievable stories of history’s aviation heroes.

Billy and Dom Eat the World (Travel/adventure, 6x60 min.) In true hobbit style, we follow Billy and Dom to six unique locations around the world, each with its own unique culinary culture.

A User’s Guide to the Voice (Science, 1x60 min.) Join us for an exploration of the key components of the vocal system and how we can use our voices to optimize our everyday lives.

Invasion: The Norman (History, 2x60 min.) Explores the 12th-century Norman invasion of Ireland, a real-life Game of Thrones that changed the history of Europe forever.

Stickman (Drama, S1: 74x45 min., S2) Tamer, a wealthy game developer, meets Peri, a successful private bank manager in her early thirties who had a traumatic childhood.

Broken Destiny (Drama, 121x45 min.) After five years in a coma, Toprak wakes up to a family he doesn’t remember.

ONZA DISTRIBUTION

O (34-91) 562-0671

m onza@onzadistribution.com

w onzadistribution.com

Stand: R7.J11

Allende, the Thousand Days (Political thriller, 4x60 min.) Manuel Ruiz, a close friend of Salvador

Allende, witnesses his final moments during

Pinochet’s coup. He later exposes Chile’s political turmoil and Allende’s referendum plan.

Flowers Over the Inferno (Thriller/crime, 6x50 min.) In a mysterious mountain town, criminologist Teresa Battaglia, battling Alzheimer’s, leads a team to uncover dark secrets and confront a ruthless child-protecting killer.

The Celeb Challenge (Talent format, S1: 8x120 min., S2: 10x120 min., S3: 10x120 min.) Eight celebrities must overcome impossible challenges. A coach will help them face challenges each week that will test their physical and mental limits.

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

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

ORF-ENTERPRISE

Sweet Strawberries (YA fiction, 20x50 min.) A reboot of the popular Portuguese series unfolds at Barra Secondary School, where disturbing disappearances linked to cyberbullying unveil secrets among the students.

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

Young Addictions (Social issues/tech., 3x45 min./1x52 min.) The causes and consequences of the most common drug use among teens: non-substance addictions consumed through the screens of their cellphones like social media, porn and online gaming. Real Madrid, the White Legend (Factual/sports, 6x50 min.) Epic victories, magnanimity in defeat, legendary superstar players and great humanity have all contributed to Real Madrid becoming the world’s greatest football phenomenon.

Crimes (True crime, S1: 10x50 min., S2: 14x50 min., S3: 10x50 min.) Direct or indirect testimonies of 40 real crimes from the last ten years.

O (43-1) 87878-13030

m contentsales@orf.at

w contentsales.orf.at

Stand: P-1.L1

Untamed Vietnam—Wilderness Reborn (Wildlife/nature, 2x45 min./2x52 min.) Many of the last endemic species from Vietnam’s northern forests and mountains to the tropical Mekong Delta are threatened with extinction, even as they are rediscovered in the wake of the brutal war.

Arlberg—A Wild Celebrity (Wildlife/nature, 1x45 min./1x52 min.) Austria’s Arlberg Mountain attracts the international jet set. The region’s flora and fauna are no less glamourous—but have to make do with a less luxurious lifestyle.

Secret India—The Real Jungle Book

(Wildlife/nature, 1x45 min./1x52 min.) The daily and seasonal struggles of the living characters Kipling described in his book.

Nicobar Island—A Monkey’s Long Tale (Wildlife/nature, 1x52 min./1x45 min.) An adventurous

filmmaker has challenged himself to explore the Nicobar Islands in the Indian Ocean, the last remaining windows into the primeval past of tropical islands.

PARAMOUNT GLOBAL CONTENT DISTRIBUTION

O (1-323) 956-9994

m gdgsales@viacomcbs.com

w www.paramount.com

Stand: C14

Elsbeth (Drama, 60 min. eps.) Elsbeth Tascioni is an astute but unconventional attorney who, after her successful career in Chicago, utilizes her singular point of view to make unique observations and corner brilliant criminals alongside the NYPD.

Pride and Persecution (History/bio., 2x52 min./2x45 min.) The rise and fall of the first gay and lesbian movements in Austria and Germany.

Copernicus’ Secret—Triumph of Science (History/ bio., 1x90 min./2x52 min.) An astronomy thriller and a morality tale of the Catholic Church at the time of the Reformation. With high-quality play scenes, international scientists and previously unpublished sources.

Death Trap Mallorca—Koy and Sorrow in Exile (History/bio., 1x52 min./1x45 min.) The story of the horrifying rise of fascism in 1936 on what was once an island paradise, featuring eyewitness accounts.

Maria Theresa’s Dark Side (History/bio., 1x45 min./1x52 min.) How could Maria Theresa, the selfstyled “Mother of the Peoples,” refer to Jews as a “plague,” and why has this dark side of her reign been largely ignored?

School of Champions (Fiction, 8x45 min.) Tells the story of a freshman class at Austria’s most renowned and prestigious ski academy.

To Shores Unknown (Fiction, 1x90 min.) When the Czech police officer Stani asks retired investigator Grete for help with the investigation of his girlfriend’s murder, two unique allies find themselves in a life-threatening adventure.

Matlock (Drama, 60 min. eps.) Stars Kathy Bates as the brilliant septuagenarian Madeline “Matty” Matlock, who achieved success in her younger years and decides to rejoin the workforce at a prestigious law firm.

The Turkish Detective (Drama, 60 min. eps.) A detective drama set in Istanbul, based on the series of best-selling novels by Barbara Nadel.

Bargain (Drama, 30 min. eps.) Men are lured to a remote hotel under the guise of sexual encounters only to be caught in a trafficking ring where their organs are auctioned off to the highest bidder.

Poppa’s House (Comedy, 30 min. eps.) Stars Damon Wayans as legendary talk radio host and happily divorced “Poppa” and Damon Wayans Jr. as a brilliant dreamer who is trying to pursue his passion while being a responsible father and husband.

Frasier (Comedy, 30 min. eps.) Follows Frasier Crane in the next chapter of his life as he returns to Boston with new challenges to face, new relationships to forge and an old dream or two to finally fulfill.

NCIS: Sydney (Drama, 60 min. eps.) A team of U.S. NCIS agents and the Australian Federal Police (AFP) are grafted into a multinational taskforce to keep naval crimes in check.

Fleeting Lies (Comedy, 30 min. eps.) One month before her wedding and the day of her supposed big promotion, Lucía is accused of corporate espionage and fired from her job.

Deadlocked: How America Shaped the Supreme Court (Doc., 60 min. eps.) From Emmywinning director Dawn Porter, traces the modern history of the Supreme Court.

PASSION DISTRIBUTION

m sales@passiondistribution.com

w www.passiondistribution.com

Stand: P4.C18

Into the Congo with Ben Fogle (Doc., 3x60 min.)

Renowned adventurer Ben Fogle embarks on his most extreme journey to date—exploring the length and breadth of the Republic of the Congo.

Strip (Fact-ent., 6x60 min.) Explores the world of strippers working at the world-famous Crazy Horse

III Gentlemen’s Club in Las Vegas.

Australia’s Most Identical (Fact-ent., 2x90 min.) The ultimate search for the nation’s most identical twins.

The Impossible Journey (Doc., 1x90 min.) The story of David Liano, one of the most accomplished explorers alive today, and his quest to summit 7,000 meters in the southern hemisphere under his own power.

NFT: WTF? (Documentary, 1x120 min.) Reveals the crypto world of digital art and NFTs (non-fungible

tokens) and explores the way artists are responding to the new frontiers of the art market.

Tycoons Down Under (Doc., 3x60 min.) Covering such figures as Rupert Murdoch and Kerry Packer, the series reveals how business buccaneers made their fortunes at the end of 20th-century Australia.

Building Icons (Doc., 4x60 min.) Exploring structures that have come to represent the age, the culture or their nation.

Yorkshire by the Sea (Doc., 4x60 min.) Meet the people and families who live and work on the iconic stretch of coast by the North Sea.

Coastguard: Search & Rescue SOS (Doc., 6x60 min.) Follows the exceptional people behind His Majesty’s Maritime and Coastguard Agency, the multiple-team organization that works across the length and breadth of the British coastline.

PBS INTERNATIONAL

w www.pbsinternational.org

Stand: R7.F7

The American Buffalo: A Film by Ken Burns (History, 2x120 min./4x60 min.) Once numbering in the tens of millions and sustaining the Native people of the Great Plains, the North American mammal is driven to the brink of extinction. A collection of unforgettable characters rescues it from disappearing forever.

Concorde: The True Story (History, 2x47 min.) The explosive true story of scientific and technological espionage surrounding the world’s fastest-ever passenger planes.

Elon Musk’s Twitter Takeover (Current affairs, 1x60 min.) Follow Musk’s journey from one of the platform’s most provocative users to its sole proprietor.

The War on Disco (History, 1x60 min.) Explores the movement that gave rise to disco music, and the backlash that tried to destroy it.

Inside China’s Tech Boom (Science/current affairs, 1x60 min.) The inside story of China’s meteoric rise to the forefront of global innovation.

Power Trip: The Story of Energy (Science, S2: 6x60 min.) Take a journey around the world through the past, present and future of energy.

Epic Train Journeys from Above (Arts/culture/travel, 6x44 min.) Follow extraordinary railroads across spectacular scenery through the lens of aerial photography.

Native America (History, S2: 4x60 min.) Nativedirected series follows the Native American artists, engineers and leaders drawing upon deep traditions to build a better 21st century.

Baby Animals: The Top 10 (Natural history, 6x60 min.) Counts down nature’s youngest wonders and celebrates the animal kingdom.

The Platypus Guardian (Natural history, 1x52 min.) A universal story celebrating the urban wildlife often hidden under our noses and unraveling the mysteries of one of the world’s weirdest animals.

PINK PARROT MEDIA

O (34-689) 244-687

m begona@pinkparrotmedia.ca

w www.pinkparrotmedia.ca

Stand: R8.E1

Sleepy’s Dream Team (Preschool 3D edutainment, 52x5 min.) Sleepy, a teddy bear, Fleur the fairy and Fluffy the cloud collect the precious dream dust for Starlet, a shooting star, to scatter it to bedrooms all over the planet. Their mission is to make sure that all children have happy and fun dreams.

Louis the Piglet (5-8 digital cut-out 3D edutainment, S1: 13x13 min., S2: 13x13 min. in dvmpt.) Louis would be just like every other piglet if it weren’t for his long nose and his love of knights’ tales. With his best friend Rascal, he sets off on a quest to find the long-lost Magic Helmet of the legendary knight Sir Henry.

Snowsnaps (4-8 adventure/comedy, 52x5 min. & 6x1.25 min./26x11 min.) For Violeta, Tomás, Sami and Kiki, all aspects of life are fun and games. There is nothing they like more than playing outdoors, especially in the snow on a winter’s day.

Butterfly Academy (6-10 CGI adventure/comedy, 52x11 min.) All young Monarchs must go through training at the Academy before they are allowed to go on the yearly migration.

Joy Eternal (Teen cut-out & 2D mystery comedy, 13x11 min.) Joy, a 16-year-old girl, tries to take down the murderous mega-corporation H&H, resulting in her parents’ deaths and her own. When she learns that H&H also exists in the afterlife, she teams up with a geeky security intern to destroy the company once and for all.

PINNACLE PEAK PICTURES/ PANORAMIC PICTURES

O (1-818) 854-7320

m ron.assist@pinnaclepeakpictures.com

w pinnaclepeakpictures.com

Stand: R7.M2

The Blind (Drama, 1x108 min.) The true-life story of Phil Robertson and how he overcame internal struggles to be the father his wife and children needed and the founder behind the famous legacy.

I Heard the Bells (Drama, 1x110 min.) The inspiring story behind the writing of the beloved Christmas carol “I Heard the Bells” and its author, Henry Wadsworth Longfellow.

Lifemark (Drama, 1x105 min.) Alex and Stephen Kendrick have teamed up with actor Kirk Cameron to make a new movie about the beauty of adoption.

Love On the Rock (Action, 1x99 min.) A burnedout former cop finds his boring, Maltase charterboating lifestyle turned upside down when he finds himself catapulted into a web of high-stakes international espionage.

High Expectations (Drama, 1x96 min.) A soccer player cut from his legendary father’s club joins their rival team as a last resort.

Divine Influencer (Comedy, 1x105 min.) A wealthy 20-something influencer loses financial support from her parents and takes a job at a homeless shelter for the wrong reasons.

County Rescue (Drama, 5x30 min.) A behindthe-curtain look into the world of paramedics.

Saved by Grace (Drama, 5x30 min.) Each episode involves two angels who interact with a group of new people to help guide them to make the right choices during difficulties in their lives.

God’s Country Song (Drama, 1x105 min.) An upand-coming country music star is suddenly left to care for his long-lost son.

Finding Faith (Drama, 1x99 min.) A Christian advice columnist finds herself losing her faith after a series of life events.

POCKET.WATCH

O (1-424) 298-8234

m content@pocket.watch

w pocket.watch

Ryan’s

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

In the top-rated, Emmy-nominated series, kid video superstar Ryan, along with his parents and animated friends, work together to identify a mystery guest.

Toys and Colors Kaleidoscope City (Liveaction/CGI, 10x22 min.) Starring global sensation

Toys and Colors, a magical world where kids learn to see the world through new perspectives.

Love, Diana (Animation/live-action, 13x22 min.)

Real-life vlog superstar siblings Diana and Roma take you on a magical adventure.

adventures to save the most endangered species of all: monsters.

RAINBOW

O (39-071) 7506-7500

m info@rbw.it

w www.rbw.it/en

Stand: R7.H2

Mermaids—Magic of the Deep (CGI adventure/action, 10x24 min.) A story set between the ocean and the surface world starring a young mermaid called to save the merfolk from an evil threat.

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

Toys and Colors Ultimate Mishmash (Live-action, 90x22 min.) YouTube’s number one kids ensemble, Toys and Colors learn life skills, letters, numbers and more through musical and pretend play adventures.

Kids Diana Show Ultimate Mishmash (Liveaction, 45x22 min.) Join family vlog superstar Diana, aka the Princess of Play, and her brother Roma on their hilarious pretend play adventures.

LankyBox Ultimate Mishmash (Liveaction/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 Family Ultimate Mishmash (Live-action, 45x22 min.) Follow YouTube’s most popular AfricanAmerican family creators as they sing, try fun challenges and investigate mysterious occurrences.

Onyx Monster Mysteries (Animation, 8x22 min.)

The Onyx family comes to cartoon life in epic

Gormiti—The New Era (Action/adventure drama/ comedy, 20x22 min.) The popular franchise is reinvented into a live-action series starring four young heroes called to save Gorm and Earth from war and destruction.

Pinocchio and Friends S1 (Adventure comedy, 26x12 min.) A fresh adaptation of timeless Pinocchio’s adventures set in our day, a bridge show combining fantasy, friendship and big adventures.

Pinocchio and Friends S2 (Adventure comedy, 26x12 min.) A second season full of surprises starring old and new friends for plenty of comedy, friendship and sure-fire twists and turns.

Summer & Todd—Happy Farmers (Comedy edutainment, 52x7 min.) Summer, the enthusiastic

bunny, and Todd, the handy raccoon, live at Sunshine Farms, learning new things every day and solving farm issues in original ways.

44 Cats (Comedy, S1-2: 106x12 min.) The adventures of the Buffycats, four special musician cats, always ready to play new songs and help all friends in need with their Noodle Power.

Winx Club (Adventure/action comedy, S1-8: 208x24 min.) The fantasy saga that follows Bloom, Stella, Flora, Aisha, Tecna and Musa, six special fairies always ready to save anyone in danger.

Regal Academy (Comedy, S1-2: 52x23 min.)

Fairy-tale heroes and their grandkids come to life at Regal Academy, where Rose Cinderella and her friends combine their hero life with magic studies.

Maggie & Bianca Fashion Friends (Comedy, S1-3: 78x23 min.) Maggie and Bianca meet at the Milan Fashion Academy.

World of Winx (Action/mystery, S1-2: 26x23 min.) As talent scouts for WOW!, the Winx fairies travel the world searching for talented kids to prevent the mysterious Talent Thief from kidnapping them.

RECORD TV NETWORK

O (55-11) 3300-4022

m tbcastro@recordtv.com.br

w www.recordtvnetwork.com

Stand: P-1.H74

Moses and the Ten Commandments (Biblical telenovela, 242x45 min.) Tells one of the most famous passages in the Bible: the life of Moses. The Slave Isaura (Period telenovela, 167x45 min.)

Based on the 1875 novel by Bernardo Guimarães. Jesus (Biblical telenovela, 196x45 min.) For the first time, the trajectory of the man who changed humanity is told in its entirety.

Genesis (Biblical telenovela, 221x45 min.) A super production divided into seven phases that is already making history in Brazilian television drama with more than 250 actors and seven great stories.

Kings

Topíssima (Telenovela, 145x45 min.) Delves into the feminine universe and brings to light the conflicts of modern women. In parallel, a police investigation full of twists and turns involving the protagonists.

Ultimate Love (Telenovela, 148x45 min.) The beauty of old age, the struggle of young athletes for a career in sports, social prejudices and other parallel plots are part of this great telenovela.

Kings (Biblical telenovela, 140x45 min.) Tells the story of the nation of Israel, from the moment the prophet Samuel is used by God to guide his people up to the pitiful fall of Jerusalem.

RED ARROW STUDIOS

INTERNATIONAL

O (49-89) 9507-7303

m sales@redarrowstudios.com

w redarrowstudiosinternational.com

Stand: P4.C14

While the Men Are Away (Comedy/drama, 8x30 min.) This dramedy set in Australia during WWII views the experience through the eyes of women left behind on the home front.

Those Who Stayed (Comedy/drama, 6x30 min.) An anthology series inspired by true events in Kyiv in the first few weeks after the Russian invasion of Ukraine.

Descendants (Family drama, 6x45 min.) Tells the story of a dysfunctional Icelandic family through the exploration of universal themes such as greed, sibling rivalry, loyalty and responsibility.

Soon Comes Night (Crime drama, 6x60 min.) A liberation hero turned heist king and a broken Apartheid cop seeking redemption find their lives interlocked.

Miles from Nowhere (Comedy/drama, 6x30 min.) A comedy-drama about identity, community— and surveillance.

Double Parked (Comedy, 8x30 min.) Young lesbian couple Nat and Steph are left dumbfounded when a “disappointing” trip to the IVF clinic and a “botched” home insemination job actually leaves both women pregnant.

Smart10 (Ent. format) Based on the award-winning board game, an addictively simple quiz-show format with huge play-along appeal.

Us Against Them! (Ent. format) The game of sibling rivalry requires very specific, not general, knowledge. Stranded on Honeymoon Island (Reality format) Couples matched by experts are stranded on a deserted island. Isolated and pitted against the forces of nature, will true love blossom—and survive?

Claim to Fame (Reality format) The brilliantly secretive reality show where win or lose, it’s all relative.

SIC—SOCIEDADE INDEPENDENTE DE COMUNICAÇÃO

m sales@sic.impresa.pt w internationaldistribution.sic.pt Stand: P-1.K2

Timeless Love (Telenovela, 255x45 min.) Catarina is determined to find her mother. While looking for her, she falls madly in love with Vasco, unaware that he is a member of the powerful Torres family, responsible for her mother’s odd disappearance.

The Secret (Telenovela, 250x45 min.) Twins who have never seen each other find out that they were torn apart at birth. A crime was behind the disappearance of one of them. A romance can keep them from being a family. A secret will bring them together again.

For You (Telenovela, 100x45 min.) Two villages at war over the construction of a dam that will eventually submerge one of them. Living in rival villages are Mia and Afonso. Will they be able to build new bridges and burn old ones in the name of love?

Wild Land (Telenovela, 120x47 min.) In the quiet village of Vila Brava, a man returns to avenge his parents’ death. He was not expecting to fall in love with the daughter of the woman responsible for his misfortune.

Nazaré (Telenovela, S1: 72x47 min., S2: 69x47 min.) Nazaré is willing to do almost anything to save her mother’s life, even if it means betraying the man she loves.

The Good Girls Club (Drama, S4) Tells the story of the most iconic nightclub in Lisbon and its bestkept secrets.

PRAXX (Drama, S1: 6x45 min., S2: 6x45 min.)

When fun gives way to terror and a hazing ritual is taken to the limit. Inspired by real-life events.

Lúcia, the Guardian of the Secret (Miniseries, 3x45 min.) During her childhood, the Fatima prophet was arrested, subjected to cruel interrogations, taken away from her family and denied the right to her own identity. Lucia resisted it all and kept her story alive.

The List (Drama, S1-7: 10x35 min. each, S8: 5x35 min.) Patricia’s friends get together after her death to open a jar of papers with unfulfilled dreams that she left them. The initial tasks seem simple and positive until they find the person Patricia was planning to murder.

The General (Drama, 6x50 min.) Based on truelife events, the story of a woman who decides to live by a false identity of a general.

SINKING SHIP ENTERTAINMENT

O (1-416) 533-8172

m distribution@sinkingship.ca

w www.sinkingship.ca

Stand: R8.E1

Dino Dex (Kids CG/live-action, 13x22 min. or 11 min. eps.) Dex is a 9-year-old artist and “paleontologist in training” with the magical ability to see dinosaurs in the real world.

Odd Squad: UK (Kids CG/live-action, 12x22 min. or 11 min. eps.) Whenever something strange or

unusual happens, it’s Odd Squad’s job to put things right by using math to solve odd problems. Beyond Black Beauty (Live-action family, 12x30 min.) Inspired by the novel, the coming-of-age series follows Jolie, an Olympic-driven equestrian, as she struggles to find her roots alongside a spirited horse named Black Beauty.

Phoenix Rise (Kids live-action drama, 20x30 min.) The new school drama follows six students who form an unbreakable bond as they navigate the trials and tribulations of school life.

Ghostwriter (Kids live-action, 26x22 min.) When a ghost haunts a neighborhood bookstore and starts releasing fictional characters into the real world, four kids team up to solve an exciting mystery.

Alma’s Way (Animation, 65x22 min. or 11 min. eps.) Six-year-old Alma is a Bronx-born, Puerto Rican girl living a big-city life. She shares her feelings, challenges and colorful commentary.

The Fabulous Show with Fay and Fluffy (Preschool live-action, 26x11 min.) A story-time cabaret that inspires a love of reading and encourages messages of choosing kindness and love. Season two delivering now.

Endlings (Kids live-action/CG, 24x22 min.) Set 20 years in the future, the empowering story of four teenagers in foster care who discover they’re not alone in the universe.

The Unlisted (Kids live-action drama, 15x24 min.) Twelve-year-old identical twins Dru and Kal discover a secret society that plans to impose global control over the world’s youth.

Dino Dana (Kids live-action/CG, 52x22 min. or 11 min. eps.) Dana is a 10-year-old “paleontologist” with a magical ability to see dinosaurs, imagining the awesomeness of the past into present-day adventures.

SIXTEEN SOUTH RIGHTS

O (44-28) 90-244-675

m rights@sixteensouthrights.tv

w www.sixteensouth.tv

Coop Troop (5-9 CGI, 52x11 min.) The Coop Troop are an unlikely bunch of heroes on highaction missions to help any animal with a problem.

Lily’s Driftwood Bay (4-6 2D mixed media, 96x7 min. & 4x14 min.) Five-year-old Lily lives in a beach hut with her dad. Every day, the sea washes up a curious new treasure.

SPI INTERNATIONAL (A CANAL+ COMPANY)

m info@spiintl.com

w spiintl.com

Stand: R8.C17

FilmBox SPI’s flagship movie service, FilmBox provides entertainment to millions with a catalog that spans Hollywood blockbusters, classic evergreens, world cinema gems and local productions.

ODO (3-5 animation, 52x7 min.) Odo is a little owl with a huge amount of self-belief. This is a comedy series about a little owl’s refusal to be what society expects them to be.

Claude (4-6 2D, 50x12 min. & 11x2 min.) Claude is a very helpful little dog who, together with his best friend Sir Bobblysock, goes on madcap adventures in the town of Pawhaven.

WildWoods (4-7 live-action, 26x11 min.) A comedy featuring Poppy and Cooper, an odd couple in a laugh-out-loud series with a lot of heart.

FilmBox+ Combines the “lean-back” and ondemand viewing experiences by providing instant access to an extensive VOD catalog and live channels on any internet-connected device.

STUDIO 100 MEDIA

O (49-89) 960855-0

m distribution@studio100media.com

w www.studio100group.com

Stand: R7.K17

Vegesaurs (CGI comedy/adventure, S1-2: 40x5 min., S3: 20x5 min. in prod.) Each episode follows Ginger,

the young Tricarrotops, and the baby Pea-Rexes on adventures that lean into relatable themes for upper preschoolers like mealtimes, sharing or friendship.

100% Wolf (CGI comedy adventure, S1-2: 52x22 min.) Freddy, the fluffy pink were-poodle, must lead his friends through another series of adventures to prove once again that he is definitely 100 percent wolf.

FriendZSpace (Comedy/adventure, 52x11 min.) An animated comedy about three human kids committed to making friends with alien kids all across the supercluster of stars—and sharing cool selfies.

Tip the Mouse (CGI preschool comedy, S1-3: 104x7 min.) The exciting and funny stories about the little mouse Tip appeal to the youngest kids. Wissper (CGI preschool adventure/comedy, S1- 2: 104x7 min.) Wissper is a curious little girl who can talk to animals.

Maya the Bee (CGI preschool adventure, S1-2: 130x13 min.) A young bee named Maya has left her hive to discover the beauty and mysteries of nature.

SUPERIGHTS

m sales@superights.net

w www.superights.net

Stand: R7.K28

Tara Duncan (Fantasy/comedy, 52x13 min.) An ordinary girl from Earth goes to a magical planet where she will learn how to control her awakening powers in order to help her family to protect the Meme empire, as she is the heir to the throne.

SeaBelievers (CGI ecotainment, 52x11 min.) Each episode leads kids on an eco-adventure. The positive characters problem-solve and take action around key environmental issues.

Mia and me (Fantasy/adventure, S1-4: 104x23 min.) The fantastic adventures of Mia and her friends in the magic land of Centopia, where they must protect unicorns from villains of all kinds.

Game Keepers (Live-action, S1-2: 20x25 min.)

Mats and Sari have to enter an unknown digital gaming world, play a game and defeat the mysterious GameMaster. Losing is not an option. If the two don’t win the game, it’s game over, and the evil from the game will take over our world too.

Heidi (CGI adventure, S1-2: 65x22 min.) Heidi is a happy and communicative orphan girl who lives with her grandfather in the scenic idyll of the Swiss Alps.

Home Sweet Rome! (Live-action, 13x26 min.) A coming-of-age series about Lucy, a 13-year-old girl who moves from the U.S. to start a new life in Rome with her dad, who just married an Italian pop star. Sullivan Sails (3-5 adventure/comedy, 26x7 min.)

Encourages a love of adventure, exploration and imagination in young audiences, while introducing them to incredible facts about the natural world.

Deep in the Bowl (Comedy, 52x5 min.) Over the course of punchy episodes, we take a look at the lives fish lead when humans aren’t looking.

I Love This Job (Comedy edutainment, 26x7 min.)

Three adventurous preschoolers—Daniel the Cat, Ruby the Monkey and George the Elephant—discover the universe of different professions through a series of unusual encounters.

Maelys’ Mysteries (Adventure/comedy, 30x13 min.) Maelys is a 10-year-old girl eager to solve mysteries. With the help of her best friend Lucien, she is always ready to investigate.

Clay Time (3-5 edutainment, S1-3: 90x4.5 min.) Young viewers are invited to develop their imagination with a universal activity: modeling clay.

Croco Doc (Edutainment, S1-2: 52x7 min.) Croco Doc, a gentle crocodile doctor, heals animals while giving advice to take care of themselves. Season two in production.

Koumi’s Animated Picture Book (Edutainment, S1-2: 104x5 min.) Koumi, a playful 6year-old girl, observes the animals of the world in her picture book and takes you to meet them on every continent.

Momolu and Friends (Edutainment comedy, 78x7 min.) Momolu, a gentle panda, and his friends have a knack for stumbling into far-fetched situations. Each experience will be solved through creative thinking and collaboration.

TELEFILMS

O (54-11) 5032-6000

m telefilms@telefilms.com.ar

Stand: P-1.K3

Kandahar (Feature film, 1x120 min.) Tom Harris, an undercover CIA operative, is stuck deep in hostile

territory in Afghanistan. When an intelligence leak exposes his identity and mission, he must fight his way out alongside his Afghan translator.

Talk To Me (Feature film, 1x95 min.) Lonely teen Mia gets hooked on the thrill of conjuring spirits through an embalmed hand, but when confronted with a soul claiming to be her dead mother, she unleashes a plague of supernatural forces.

After Everything (Feature film, 1x105 min.) The fifth and final installment of the franchise finds Hardin struggling to move forward.

Hypnotic (Feature film, 1x93 min.) Determined to find his missing daughter, detective Danny Rourke finds himself spiraling down a rabbit hole while investigating a series of reality-bending bank robberies.

Ferrari (Feature film, 1x130 min.) The snapshot in the life of Enzo Ferrari is set in 1957 when the marriage of Enzo (Adam Driver) and Laura (Penélope Cruz) has begun to fracture.

Anatomy of a Fall (Feature film, 1x152 min.) Sandra, a German writer, is arrested for murder in France following her husband’s death in the snow under mysterious circumstances.

The Great Escaper (Feature film, 1x172 min.) The real-life story of Bernard Jordan, who in 2014 escaped from his care home in Hove, East Sussex, to attend the 70th-anniversary commemoration of the D-Day landings in France.

THE TELEVISION SYNDICATION COMPANY

O (1-407) 788-6407

m cassie@tvsco.com

w www.tvsco.com

Stand: P-1.F70

Protect Our Paradise (Environmental doc., 6x30 min.) Explore the environmental challenges threatening Florida and learn about efforts to protect the land, wildlife, water supply and coastline.

largest monthly car show. Meet the people who have secured, restored and maintained these vehicles. In the Line of Duty (Crime/current events, 7x60 min.) With footage of cops on duty responding to Chicago’s extreme violence, see how failing policies have led to an out-of-control crime wave.

Marlin Quest (Sports/travel, 13x30 min.) Two lifelong friends experience some of the best adventures on the high seas visiting exotic locations around the globe in pursuit of the magnificent marlin.

I’m Fine (Not) Really (Current affairs, 1x60 min.)

Olympic and other elite athletes reflect on the mental health challenges placed on them and share ways to build resilience and overcome anxiety in sports. The Soccer Academy (Travel/sports, 12x30 min.)

An Ozark Mountain Symphony: A Musical Celebration (Music, 1x60 min.) An array of worldrenowned, award-winning talent from Broadway, country, rock, gospel and more perform at the iconic Manion Theatre in Branson, Missouri.

Extraordinary Fascism (Current events/history, 3x60 min.) Russia’s influence is spreading through countries around the world. Experts analyze Russia’s aggression in Ukraine and discuss the implications for the future.

Where the Food Comes From (Lifestyle/agriculture, 39x30 min.) We go deep inside the food industry to meet the people who have a passion for growing our crops and keeping the world fed, from the farms to the research labs.

Caffeine and Octane (Sports/auto, 50x30 min.)

See all makes and models of autos at the world’s

Youth soccer enthusiasts and their families will be introduced to the culture of far-off locations while learning soccer instruction and tips from around the world. The Green Wave (Doc., 1x60 min.) The story of how Louis Mulkey, a firefighter, basketball coach and substitute teacher, reshaped teens’ futures until his tragic death in a massive fire.

TERRA MATER STUDIOS

O (43-1) 87003

m office@terramater.com

w www.terramater.at

Stand: R7.E67

Jaguar Beach (Nature, 1x50 min.) The previously unknown story of how the lives of jaguars and sea turtles meet with spectacular consequences for everyone on “Jaguar Beach.”

The Philippines—Islands on the Edge (Nature, 2x50 min.) More than 7,000 islands, close to the equator, straddling the unstable, volcanic Ring of Fire, teeming with life.

Healthy Cities—More Than Human (Nature, 2x50 min. & 1x90 min.) The well-being of many cities, their inhabitants, humans, animals and plants, is under threat. How can we keep them healthy?

Europe’s Amazon (Nature, 1x50 min.) Everyone knows the Danube. But do you know its major tributary, leading from White Summits toward the Black Sea? Unique characters and hidden treasures await.

Wild Vienna (Nature, 1x50 min.) Vienna: city of music and dreams. Hidden in the nooks and crannies of imperial palaces, ancient churches and magnificent gardens, other worlds exist.

Dethroned (Nature, 1x50 min.) Asks us to not only consider our own relationship with big cats, but also to contemplate what becomes of humanity if we continue to destroy all that is sacred.

Wild San Diego (Nature, 1x50 min.) Follows the stories of wild animals making a living throughout a full annual cycle in a landscape reshaped by humans and discover the wild side of San Diego. American Amazon (Nature, 1x50 min.) A journey into the last secret wilderness in North America. A world where big mysteries still tread around every corner of the swamp. This is not a world where life comes easy.

Nature of Christmas (Nature, 1x50 min.) Explore the fascinating connection between animals, plants and mystical landscapes with this beloved holiday.

Sentinels—Exploring Nature

from Space

(Nature/science, 1x50 min.) It’s hard to appreciate how our planet works or how truly global some creatures really are here on the ground. So, we take to the skies thanks to satellites.

THE MEDIAPRO STUDIO

m themediaprostudio@mediapro.tv

w www.themediaprostudio.com

Stand: R7.N1

The Head (Thriller, S1-3: 6x50 min. each) Everything seems to be going well until a new murder and a new missing head unleash the nightmare all over again.

Las Pelotaris: 1926

Las Pelotaris: 1926 (Drama/romance, 8x50 min.) Recounts the struggle of three Basque pelota players who try to achieve their dreams by overcoming the prejudices in the 1920s, when men monopolized all power. Express (Thriller, S1-2: 8x50 min. each) Bárbara will discover that the express kidnappings they have been entrusted with are just the tip of the iceberg of an industry built and sustained on fear.

UPA Next (Musical comedy/drama, 8x50 min.)

The Carmen Arranz dance school opens its doors with Silvia, Lola and Rober as teachers and champions of a new project: the musical UPA Next.

Las Bravas (Comedy, 8x50 min.) A small seconddivision women’s soccer team from Playa Ángel

has more passion than talent—and a new coach in Roberto Casas, who was the best player in the world and is now a bitter and narcissistic drinker.

The Paradise (Thriller, S1-2: 8x50 min. each) A Finnish crime detective and her Spanish colleagues reunite and start a new criminal investigation after the dead body of a Finn is found on a golf course.

The Age of Anger (Thriller, 4x50 min.) Seventeenyear-old Marcos’ father has been murdered. All the evidence points to this teenager himself after they got into a heated argument.

The Boarding School Las Cumbres

(Mystery/adventure, S1-2: 8x50 min. each, S3: 6x50 min.) Three months after the terrible events that ended Paz’s life, Amaia is sure that the mysteries that inhabit the boarding school have not been solved.

TOON2TANGO

O (49-89) 2080-471-0

m info@toon2tango.com

w www.toon2tango.com

Stand: P4 (Creative Europe MEDIA)

Monster Loving Maniacs (2D comedy/adventure, 52x11 min.) Three siblings go into training with their grandfather to become Monster Hunters—but they want to get to know the monsters rather than hunt them. (Belvision, Ja Film, Ginger Pictures, Mondo TV & Toon2Tango)

Agent 203 (CGI adventure/comedy, 26x22 min.)

Zoe is Agent 203, on a quest to save the universe and find her father while also coping with everyday teenage social and emotional issues. (Toon2Tango, Mondo TV & Cosmos Maya)

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

unique and inventive flair. (Magpie 6 Media, Toon2Tango & Mondo TV)

Hey Fuzzy Yellow (2D/live-action edutainment/emotainment, 52x11 min.) An unconventional curriculum-designed show to equip children with 21st-century skills, with an approach that mirrors the parenting values of millennials. (Toon2Tango, Jungle Fruit, Curiosity Ink Media, Hotel Hungaria & Treehouse Republic)

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

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

Bek and the Bunnies (CGI comedy, 52x11 min.) A 7year-old girl has no friends living nearby, so she invents the most adorable, fun-loving robot bunny friends. (Toonz, Baboon Animation & Toon2Tango)

Littlest Robot (CGI comedy/adventure, 52x11 min.) With plenty of adventure and full of heart, takes us to a world filled with glorious new discoveries. (Toon2Tango & V House Animation)

Santa.com (Animated adventure, 1x90 min.) An outcast Elf, driven by his passion for yuletide, becomes the North Pole’s only hope of saving Christmas from a vengeful hacker. (Toon2Tango, Studio 56, M.A.R.K.13 & Curiosity Ink Media)

TURKISH RADIO AND TELEVISION CORPORATION (TRT)

O (90-312) 463-2540

m isik.uras@trt.net.tr

w www.trtsales.com

Stand: P-1.N51

Come What May (Comedy/drama/family, 100x45 min.) Tells the story of Alize, who grew up being pampered for years after losing her mother, her plan to get revenge for her father’s decision to remarry and how she falls into the well she dug herself.

calls the lawyer Zeynep and gives her a letter to be opened after her death.

An Anatolian Tale (Comedy/drama, 365x45 min.)

Taner, who longs to reunite with childhood sweetheart Dilek, creates a remarkable invention with his cousins that sets off an unforgettable chain of events.

The Great Seljuks: Alparslan (Action/history, 198x45 min.) Explores the governance system of the Great Seljuk Empire, including its political dynamics, wartime struggles and the life of Sultan Alparslan.

Barbaros: Sultan’s Order (Action/history, 53x45 min.) Tells the life of the famous sailor Barbaros

Hayreddin Pasha, known as the first captain Pasha and captain-general of the Ottoman Empire.

The Patriots (Action, 100x45 min.) The Turkish armed forces create elite teams to carry out precision operations.

The Town Doctor (Drama/romance, 107x45 min.) After the loss of his father, Ömer becomes a doctor. At a remote town hospital, his path crosses with Hakan, a legendary surgeon.

TV ASAHI CORPORATION

O (81-3) 6406-1952

m ml-international@tv-asahi.co.jp

w www.tv-asahicontents.com/en

Stand: R7.H6

The Joy of Life (Comedy/family, 100x45 min.) Neşe, who can’t win the appreciation of her family and make them happy no matter what she does, returns to the medical school she dropped out of years ago.

My Lovely Family (Comedy/drama/family, 100x45 min.) The family is preparing for the wedding of their last child when the other three siblings show up with suitcases in their hands.

Secrets of an Angel (Drama, 90x45 min.) Cennet, who has been abused by her husband for years,

Overdone (Reality format, 30 min. eps.) Our team of overqualified experts goes above and beyond to solve daily dilemmas.

License to Cheat: Ex or Next (Dating/reality format, 60 min. eps.) Seven couples divided in two places have the license to cheat for one week. Exes are not watching them. Will they choose the ex or go to the next?

Legal Enforcement (Drama, 9x60 min.) A drama about a woman who aspires to become a “marshal,” a

profession that seizes the debtor’s property by forced execution.

Mr. Housekeeper (Drama/mystery, 40x60 min.)

Mitazono is a highly skilled housekeeper. Every time he cleans a house, he digs up the dirt of the family he works for.

Beat the Champions (Game/sports format, 60 min. eps.) A fun and fast-moving game show featuring celebrities and amateurs challenging worldclass professional athletes in their very own sports.

supernatural hotel after he makes a bet with the evil hotel owner Gregory.

TV FILM INTERNATIONAL

O (1-305) 505-3343

m pamela.argandona@tvfilmcl.com

w www.tvfilminternational.com

Stand: P-1.N9

Kiwi Island (3-6 3D, 26x22 min.) Each Kiwi inhabitant of Kiwi Island has a specific feeling or emotion that guides them.

Celeste (78x60 min. & 4 specials) Join 13-year-old Celeste in her preadolescent journey, experiencing first love with Teo, loyalty to friends, self-discovery and family challenges.

Neighborhood Treasures (Ent. format, 60 min. eps.)

Variety show packed with a myriad of hilarious video clips, such as a unique trio toilet, a dog with eyebrows, an avant-garde train and a baby that lifts weights.

Obocchama-Kun (Animation, 26x22 min./52x11 min.) A comedy about a “crazy rich” boy with his outrageous school life and family love. Scheduled to finish and launch in 2024, targeted to kids 6 to 11.

Doraemon (Animation, 1,000+x22 min. & 42 movies)

One of the longest-running Japanese animation series about a robot cat from the future. With his gadgets, he saves a boy from getting into trouble.

Shin chan (Animation, 800+x22 min. & 31 movies) A slice-of-life show about a fun and cheeky 5-year-old boy.

Gregory Horror Show -Save Our Souls- (Animation, in dvpmt.) Seeking co-producers. Jack must save the souls of the monster guests of a

Juaco y Paco (15x5 min.) Juaco and Paco, diehard soccer fans who’ve never been to a live game, embark on hilarious, often bumbling missions to The Campeche stadium.

Black Soul (8x60 min.) Hosted by Carlos Pinto, a fiction series based on real-life crimes in Chile.

Partners Around the World (24x60 min.) Chilean TV anchor Pancho Saavedra and actor Jorge Zabaleta explore exotic places, experiencing chaos and trying various unpredictable modes of transportation. The Rebel Soul (Soap opera) A beautiful lady meets a widowed estate owner, where her family works.

The Truck Driver (Soap opera) A truck driver receives a letter from his late ex-girlfriend, revealing he is the father of the daughter she gave up for adoption.

Don’t Be Late (Series) Clara and Santiago, reeling from their son Ignacio’s murder, embark on a tumultuous journey to uncover shocking secrets, sparking chaos in their once-peaceful life.

TVF INTERNATIONAL

O (44-20) 7837-3000

m int@tvf.co.uk

w tvfinternational.com

Stand: R7.C40

Inside Air Cargo (Access, 2x48 min.) Goes behind the scenes at Changi Airfreight Centre to witness how the highest-pressure shipments reach Singapore on time every day.

The Pill Revolution (Health/family, 1x45 min.)

Davina McCall tackles the troubling truth behind the pill, busting the myths and taboos surrounding it and sorting fact from fake news.

Satanic Panic (Crime, 8x25 min./4x60 min.) A controversial true-crime story revolving around a crime that never occurred, leading to the wrongful imprisonment of Peter Ellis, a gay childcare worker.

China: Preparing for Dangerous Storms (Current affairs, 3x48 min.) Featuring experts from the U.S., China and beyond, offers insights into China today and how its rise can impact all of us.

Neanderthal: In the Footsteps of our Ancestors (History, 1x52 min.) On a Normandy beach, archaeologists are racing against time to preserve the world’s largest collection of prehistoric footprints from approximately 80,000 years ago.

The World’s Most Remote Hotels (Travel, 10x30 min.) Goes behind the scenes of the world’s most

unexpected and remote hotels, as guests are encouraged to step back and respect the ways of the wild.

Kung Fu (Lifestyle, 3x45 min.) With unprecedented access to kung fu’s most revered masters, actor Jacky Heung learns about its remarkable 2,000year history, vibrant present and exciting future.

The Negotiators International (Crime, 4x48 min.)

With exclusive access to experts, this adrenalinepumped thrill fest looks at four high-stakes negotiations in Nigeria, the Philippines, Mexico and the U.S. Martin Compston’s Scandi Fling (Travel, 6x30 min.) Actor Martin Compston embarks on an unforgettable road trip, traveling the length of Norway to see what connects Britain with its Scandinavian neighbors. The Last Seed (Environmental, 1x90 min.) A cinematic odyssey through the heart of Africa’s modernday food and agriculture saga.

WILDBRAIN

O (1-416) 363-8034

m sales@wildbrain.com

w www.wildbrain.com

Stand: R7.N13

Pet Hotel (7-9 2D comedy, 26x11 min. & 100x2 min.) Join Lili the dog, Bubu the guinea pig and cats

Nai Nai and Vicky as they welcome new animal friends to their home at the Pet Hotel.

Jonny Jetboy (4-7 3D action/adventure, 40x11 min./20x22 min.) Jonny Jones and his family are secretly superheroes known as The JetFleet. Together they face off against their city’s villains, all the while learning what it is to be a true hero.

Caillou (4-7 3D, 52x11 min.) A preschool dra ma about the home and social life of a sensitive and imaginative boy named Caillou and the supportive family and friends who help him navigate his big feelings.

Fireman Sam (4-7 3D action/adventure, S14-15: 52x11 min.) Fireman Sam and the daring Rescue Team are back in action to save the day on land, at sea and in the air.

Ruby and the Well (Family live-action, 28x45 min.) Follows the adventures of 14-year-old Ruby O’Reilly as she tries to grant wishes for the residents of the hard-luck rural town of Emerald.

Brave Bunnies (3-5 2D adventure, 100x7 min. & 4x7 min.) The Ukrainian-created inspiring story of two curious and adventurous bunny siblings, Bop and Boo, who set off on a bunny road trip to explore the world and make new friends along the way.

Johnny Test (6+ 2D comedy, S1-2: 40x11 min.)

Johnny Test is back, along with his loyal dog Dukey, his super-genius sisters Susan and Mary and all the craziest kid-villains of Porkbelly.

Strawberry Shortcake: Berry in the Big City (4-7 2D, 120x4 min./60x9 min.) The arrival of the Berryworks’ new owner, Crabapple Jam, shakes things up in unexpected ways for Strawberry Shortcake and her berry friends.

Strawberry Shortcake: Berry Big Specials (4-7 3D, 4x44 min.) Through winter, fall, spring, and summer, Strawberry and her Berry Besties find big adventures wherever they go.

Summer Memories (6+ 2D, 40x12 min./20x23 min. & 20x4 min.) The adventures of best friends Jason and Ronnie as Jason looks back on the most pivotal summer of his life (which was just a few weeks ago).

WINSING ANIMATION

O (86-20) 3763-5953

m media@winsing.net

w www.winsing.net/en

Stand: P-1.G1 (China Pavilion)

Shadows of the Void (14-29 3D anime sci-fi/action, 13x21 min.) A hot-blooded story with two heroines.

Mega Meow (6-9 3D action/adventure, 52x13 min.) An exciting story about the mecha adventures of adorable felines that save humans from danger. Mongo (2D comedy, 30x2 min.) A dialogue-free slapstick series showcasing the humorous tales of lovable pets in daily life.

GOGOBUS Mars Trip (2-5 3D edutainment, 52x13 min.) Gordon, the world’s first AI school bus, leads children on an exciting adventure from Earth to Mars, taking on the role of safety guardians and tackling unexpected challenges while shapeshifting to assist.

GOGOBUS (2-5 3D edutainment, S11-S12: 52x13 min.) A series of stories about the world’s first AI school bus, Gordon, who can transform into different vehicles to ensure children’s safety and help them to solve problems.

Space Journal (3-6 2D edutainment, 60x5 min.)

A curious little girl named Tess explores the solar system accompanied by a school bus named Gordon that can transform into various forms.

Racing 72H (4-8 3D adventure/action/comedy, 1x85 min.) Racing City, a floating metropolis in the sky, is in peril when its core energy is stolen. Star agent GG Bond must retrieve it within 72 hours to prevent disaster.

GG Bond: Racing (4-10 3D adventure, 52x13 min.) GG Bond and Mr. Mihoo join forces with the legendary racer Gala’s son, Star Navi, to compete in a thrilling racing competition, forming an unexpected friendship and advancing to the final round.

WONDERWORLD.FUN

O (1-323) 634-1570

m info@wonderworld.global

w wonderworld.global

Secret Agent Jack Stalwart (CGI adventure, S1-2: 14x26 min. each) Jack Stalwart, a spirited, inexperienced but brave 9-year-old secret agent, travels the world solving mysteries and righting wrongs while searching for his missing brother and fellow secret agent, Max.

Walk Off the Earth in Space! (CGI action/comedy, 14x26 min.) The human band Walk Off the Earth are plucked mid-concert into an alien world where they must use emerging superpowers along with their natural gifts to piece together their mission and navigate constant threats from a super villain.

ZDF STUDIOS

O (49) 6131-9910

m info@zdf-studios.com

w www.zdf-studios.com

Stand: R7.D5

Ancient Apocalypse (History/bio., S1-2: 12x50 min.) In six new episodes, we examine archaeological remains across the world and uncover the scientific reasons why history’s greatest empires and civilizations collapsed.

Mega Building Collection (Science/knowledge, 10x50 min.) In five new episodes, we discover incredible buildings, vehicles and projects and provide viewers with fascinating insights into groundbreaking technical achievements.

Namibia’s Natural Wonders (Wildlife/nature, 2x50 min.) Namibia is a country of contrasts, from the arid savannahs to flowing rivers and rugged coastlines. This documentary explores the natural wonders of the country in southern Africa.

Tobie Lolness (Junior animation, 13x52 min./26x26 min.) Timothée de Fombelle’s awardwinning novel has sold over 1 million copies in 30 countries. It’s a coming-of-age story of adventure, heroism, friendship and survival, with a powerful environmental message, set in a miniature world.

Theodosia (Junior live-action, S1-2: 52x26 min.) In season two, when her magic goes out of control, Theodosia is caught up in a battle to save the world, save her relationship and survive a new school.

#LikeMe (Junior live-action, S1-4: 52x26 min.) In season four, Caro’s final year is full of emotion: Vince wants

to study in England, DeeDee is ill and deteriorating. Now, Caro must make a heartbreaking choice.

The Swarm (Drama, 8x45 min.) The world’s oceans are exhibiting strange happenings. Scientists believe there is a sophisticated intelligence retaliating against man.

Stories to Stay Awake (Crime/suspense, S12: 8x50 min.) Four new episodes are brought to the screen by four masters of present-day cinema and tele vision and continue to show the validity of the genius and vision of their creator Chicho Ibáñez Serrador.

Before We Die (Drama, S1-2: 11x52 min.) One of Channel 4’s most successful series is back. Two matriarchs are at war: Detective Hannah Laing, a mother fighting to protect her son Christian; and Dubravka, figurehead of the Mimica crime family.

Feelings (Drama, 10x20 min.) Teenager Alva traverses friendship and love in a secluded village deep in a mystical forest as the line between reality and fantasy begins to fade.

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

Battle in the Box

Contestants battle it out to secure space in two rooms separated by a moving wall. When one team’s space expands, the opponent’s space shrinks. It is a game show where two groups compete to win a larger space and more prizes. Distributor: Something Special

Adventure Gold Diggers

Five adrenaline-fueled teams seek gold in remote, harsh Aussie locations. From Tasmanian rapids to Victoria’s mineshafts and North Queensland’s heat, they’ll go to extremes for treasure. Distributor: BossaNova Media

Keep Talking I Love It

The genres of the stories vary from horror to classics, historical anecdotes, criminal cases and all kinds of real-life experiences. Distributor: Munhwa Broadcasting Corp. (MBC)

Tobie Lolness

Timothée de Fombelle’s award-winning novel has sold over 1 million copies in 30 countries. It’s a coming-of-age story of adventure, heroism, friendship and survival, with a powerful environmental message, set in a miniature world.

Distributor: ZDF Studios

Jonny Jetboy

Jonny Jones and his family are secretly superheroes known as The JetFleet. Together, they face off against their city’s villains, all the while learning what it is to be a true hero.

Distributor: WildBrain