In a move to cater to an increasingly diverse and international subscriber base, the newly acquired episodes will be localized into multiple languages. Viewers will soon be able to access the content in English, French, Spanish, German, and Arabic, making the franchise highly accessible to families across various key markets and expanding its footprint in Europe, the Americas, and the MENA region.

The Fixies has firmly established itself as a leading educational property in the global children’s content market. The CGI-animated series follows the comedic and educational misadventures of Simka, Nolik, and their fellow Fixies—tiny, resourceful creatures who live inside household appliances, electronics, and gadgets. By secretly repairing broken technology while explaining the foundational science behind how everyday devices work, the show successfully blends engaging character-driven storytelling with core STEM (Science, Technology, Engineering, and Mathematics) concepts.

This expanded acquisition aligns seamlessly with Sandbox Group’s overarching content strategy for PlayKids Learning, which prioritizes safe, curriculum-enhancing, and skill-building entertainment for children. By integrating more episodes of The Fixies, the platform bolsters its offering of high-quality edutainment that appeals to both young viewers and their parents.

Set in a small town in northern Norway, deep in the heart of the Indigenous Sámi homeland of Sápmi, Shut Up (Oro Jaska) breaks new ground by unflinchingly addressing complex issues such as sexual assault, queer identity, and the silence that often surrounds these topics within tightly knit communities.

The narrative centers on Elli Anne, a young woman whose life is upended after she is raped. As she seeks justice within a community bound by tradition and family loyalty, the storyline takes a gripping turn when Issat, a celebrated snow cross racer, is accused. The allegation not only threatens his local reputation but forces him to confront his own closely guarded secret: he is queer.

The acquisition by Whakaata Māori highlights a strong cultural synergy between Indigenous broadcasters globally, facilitating the exchange of narratives that resonate across borders. A representative from the New Zealand channel expressed enthusiasm for the series’ upcoming broadcast, noting its deep alignment with their target audience:

‘Oro Jaska celebrates culture, language and identity at its core, while exploring the darker but extremely universal themes affecting rangatahi / youth all over the globe. I am so very looking forward to sharing this Sami language kaupapa with our Whakaata Māori and Māori + audiences and particularly with our rangatahi here in Aotearoa’.

Shut Up (Oro Jaska) marks a historic first for the region, serving as the first Sámi television drama of its kind to center social issues from within the community, told entirely by Sámi voices. Guided by the principle «Nothing about us without us,» the project was spearheaded by creators Silje Bürgin-Borch and Vegard Bjørsmo. The production prioritized narrative autonomy and cultural authenticity at every stage by assembling a writers’ room composed exclusively of young Sámi creatives, including queer voices.

The series is part of a rising global wave of acclaimed Sámi film and television projects—standing alongside titles such as Sámi Blood, My Father’s Daughter, Mácchan (Homecoming), Je’vida, and the 2025 Berlinale Series selection A Sámi Wedding (Heajastallan). These projects have benefited significantly from the advocacy and support of the International Sámi Film Institute (ISFI), which continues to champion Indigenous storytelling on the global stage.

The Sunny Side of the Doc announcement arrives as the drama garners broader international recognition, having recently secured a nomination for Best Limited Series at the prestigious 2025 Rockie Awards, part of the Banff World Media Festival held earlier this June in Alberta, Canada. As it prepares for its premiere in New Zealand, Shut Up (Oro Jaska) continues to amplify underrepresented voices and set a new standard for bold, authentic Indigenous television.

The announcement comes as the global animation industry gathers at the Annecy International Animation Film Festival, where Toonz is introducing the series to broadcasters, streaming platforms, and content partners from around the world.  

Created by animation veteran Dave Gallagher and produced under the AnimSchool Studios banner, MechWest has emerged as one of the animation industry’s most notable independent success stories. The CG-animated action-adventure series is set in the dieselpunk frontier world of Meridian, where coal-powered robots known as mechs are treated as disposable tools. At its heart is Pearl West, a compassionate but overlooked teenager who befriends Six, a mysterious mech carrying a dangerous secret. Joined by her cowboy brother Pico and quick-talking friend Casey, Pearl embarks on an adventure that could change the fate of an entire world. 

Targeted at kids aged 7–12 and family audiences, the series blends cinematic animation, action, humor, and emotional storytelling. To date, MechWest has generated more than 11 million lifetime views and earned multiple industry honors, including Gold and Silver wins at the Telly Awards and Gold and Audience Choice recognition at the Collision Awards. The series has also attracted coverage from leading entertainment and animation publications, further cementing its reputation as a standout independent production. 

‘Exceptional storytelling has always been at the heart of successful global entertainment, and MechWest is a powerful example of that’, said Viswanath Rao, CEO of Toonz Media Group. ‘What Dave Gallagher and the AnimSchool Studios team have achieved is remarkable, creating a visually stunning, emotionally engaging series that has already built a passionate audience through its own merit. We are delighted to partner with the team and help bring the series to audiences worldwide’.  

‘MechWest stood out immediately, the quality of the animation, the world Dave and the AnimSchool team have built, and an audience that’s already found it’, said Gulshan David, Vice President – Feature Films, Toonz Media Group. ‘What they’ve achieved is rare for an independently produced series, and we believe it has exactly what major global platforms and broadcasters are looking for. We’re thrilled to bring MechWest to the world stage starting at Annecy’. 

The partnership adds to Toonz Media Group‘s expanding portfolio of internationally distributed animated content. With more than 25 years experience across animation, live-action production, and global distribution, Toonz has built a reputation for bringing high-quality family entertainment to audiences worldwide. The company also operates a rapidly growing digit of al ecosystem that reaches millions of viewers daily through its YouTube network, VOD and telecom partnerships, and the recently launched MyToonz FAST channel, extending its direct connection with audiences across global markets. 

The series was written by Noah Gallagher and Clifford James Taylor, with a creative team that includes Galen Chu as Layout Director (Ice Age: Collision Course, Ferdinand) and Moroni Taylor as Head of Story (The Super Mario Bros. Movie, The Iron Giant, Despicable Me).» Together, the team brings decades of experience from some of animation’s most successful feature films and franchises. 

Dave Gallagher, creator of MechWest and Founder and CEO of AnimSchool, said, ‘We’re very excited to partner with Toonz Media Group for this next chapter of MechWest. Our team has made the series independently, one episode at a time, and it’s very rewarding to see the show resonating with audiences. Toonz brings so much expertise in international distribution and a genuine enthusiasm for the series. They share our vision for the show’s broad appeal, and this partnership gives us an opportunity to introduce the show to new audiences and expand its global reach’.

A defining aspect of MechWest is its innovative production model. The series has been produced primarily by recent AnimSchool graduates, demonstrating how emerging talent can deliver feature-quality animation outside traditional studio systems. The project has become a case study in the evolving economics of animation production, combining high-end visuals, creator-led storytelling, and organic audience growth. 

Founded by Dave Gallagher, AnimSchool (accredited ACCSC) is one of the world’s largest 3D animation schools, with a global reputation for training animation professionals and developing production-ready talent. Gallagher’s own credits include lead and supervisory roles on major animated feature films such as the Ice Age franchise, Rio, Robots, and Horton Hears a Who. 

The fantasy adventure, written and designed by production designer Geoff Taylor (Rocket Club, Super Monsters), centers on an overlooked Dragoon worker at the corporate monolith WizCorp. After a freak accident transforms him into a mighty dragon, the worker uncovers a devastating hidden truth: his kind were once the legendary rulers of the skies. Their legacy was stolen by Hex, a wizard-CEO who shrank the dragons, erased their memories, and siphoned their power to build his corporate empire. Alongside his best friend, the fiery hero must find the courage to rise against Hex, awaken his kind, and prove that even the smallest spark can light up the sky.

The project is spearheaded by a veteran animation team, including director and producer Shea Wageman, who also serves as President and CEO of ICON Creative Studio, and producer Carson Loveday, whose recent credits include Monsters at Work and Star Wars: Young Jedi Adventures.

During the festival presentation, Wageman emphasized the film’s core themes and the studio’s global distribution strategy. ‘Dragoons is about reclaiming your power and rewriting history’, Wageman shared in the announcement. ‘We’ve built a visually epic world where the smallest characters can spark the biggest revolutions. We’re thrilled to partner with Global Constellation to bring it to audiences worldwide’.

Founded in 2013 and headquartered in Vancouver’s historic Gastown district, ICON Creative Studio has scaled to become Canada’s largest independently owned CG animation studio. While widely recognized for delivering high-quality, full-pipeline animation services for industry giants such as Disney, Netflix, Apple TV+, Skydance, Warner Bros., Paramount, and Sony, the studio is now aggressively expanding its proprietary content. Dragoons represents a significant step in this direction, joining a slate of original productions that includes the recently released Charlie the Wonderdog, as ICON continues to lean into its holistic philosophy of combining storytelling, artistry, and technology to push the boundaries of CG animation on the big screen.

Tiny Terrors is a boldly conceived, character-driven entertainment universe centered on small yet extraordinarily expressive personalities that carry an outsized chaotic energy. Each character within the franchise is a sharp, exaggerated distillation of universally relatable human traits, ranging from obsessive food culture to the paralysis of chronic overthinking, rendered through clean, punchy visual designs engineered for contemporary digital audiences.

Conceived from inception as a cross-platform universe, Tiny Terrors is built to exist with equal vitality across both physical and digital environments, spanning animation, consumer products, publishing, and interactive gaming.

Redefining the Indian IP Model

Unlike traditional animated properties, Tiny Terrors was designed from the ground up with a toy-first philosophy—making it one of the few Indian IPs built for true cross-platform expansion:

The Tiny Terrors franchise ecosystem is structured across five core pillars:

•            Toys — A curated range of collectible plush figures, premium vinyl characters, and blind-box series designed for the collector and casual consumer alike
•            Animation — Short-form social content and episodic series with a distinctive comedic voice, developed for both domestic and international distribution
•            Publishing — Children’s books and illustrated narrative extensions that deepen and expand the Tiny Terrors universe
•            Gaming — Branded avatars, character skins, and purpose-built minigames integrated within leading platforms including Roblox and Minecraft
•            Merchandise — A comprehensive lifestyle product range encompassing apparel, accessories, stationery, stickers, and personal electronics accessories

The creative force behind

Vikas Kumar, Founder & CEO of Digitoonz and creator of Tiny Terrors, drew inspiration from years of working alongside his core studio team transforming real personalities, everyday chaos, and candid studio moments into a full-fledged entertainment universe.

Mike Parker, Music & Voice Director, brings sonic identity and comedic energy to the property, shaping the emotional and tonal core of the Tiny Terrors world through music, sound, and voice direction.

Gur Simran Kaur plays a pivotal role in translating creative concepts into engaging content and experiences, anchoring the youthful, high-energy identity of the brand.

The narrative backbone of Tiny Terrors is led by an exceptional writing team. Joe Vitale, writer and story editor, is a seasoned creative executive with credits spanning Disney, Nickelodeon, Netflix, Hulu, Amazon Prime, Warner Bros., Lionsgate, and Paramount+ and studio experience at DreamWorks Feature Animation, Little Airplane Productions, and Baboon Animation. He brings world-class expertise in crafting globally resonant animated storytelling for kids and family audiences.

Joining him is Yash Ghadia, a writer and stand-up comedian from Surat, known for his sharp humor, relatable voice, and punchy comedic style. Yash brings a fresh, youth-driven energy that gives Tiny Terrors its irreverent, culturally connected edge.

CMA Media’s streaming platform in France acquired a 250-hour content package heavily focused on the true crime genre. The agreement encompassed the eight-part series Cult Justice, produced by Law&Crime Productions in association with True Crime Network, as well as the first three seasons of Cold Blood, a 46-episode production by Cineflix for Investigation Discovery. The French platform also secured the third season of Homicide: Hours to Kill, produced for Hearst Networks EMEA, and seasons two through four of Crimes That Shook Britain, originally produced by Title Role Productions for Crime and Investigation Network UK and the Foxtel Group.

In the Canadian market, Bell Media acquired the three-part CNN Original Series Kobe: The Making of a Legend. Additionally, Quebecor Content secured the rights to 40 episodes of Top of the Block, produced by Scott Brothers Entertainment for HGTV Canada, alongside the 25-episode seventh season of Property Brothers, produced by Cineflix for HGTV in the US and Canada.

Addressing the acquisitions during the factual gathering, Ayala noted, ‘The event provided a practical venue to finalize sales for both new releases and established series, while allowing us to present our updated catalog to international buyers and producers’.

Alberto Buitron

Beyond video streaming, the brand maintained a strong presence on social media and audio networks during the same period. The official TikTok account registered 5.1 million followers and a monthly reach of 49.5 million, while its Facebook page had 3.5 million followers and a 5.1 million monthly reach. On Instagram, the franchise reached 954,000 users monthly with an audience of 587,000 followers. The musical content also drew 3.5 million listeners and 32.9 million streams on Spotify, alongside 1.6 million listeners and 14.1 million streams on Amazon Music.

The IP, targeted at toddlers and preschoolers, featured a central hero character accompanied by a group of peers—Nesho, Bam, Acuarella, Mei-Li, Hoggie, Tuni, and Wichi—alongside their preschool instructor, Ms. Arafa. The production catalog encompassed over 450 musical videoclips, regular episodes, and themed specials distributed in multiple languages. The content focused on early childhood education, utilizing music and narrative sequences to encourage play-based learning, socio-emotional development, environmental awareness, and the establishment of healthy daily habits. The programming was also structured to function as an educational resource for parents and caregivers.

The established Argentine animation company Spiritum, by Guillermo Pino, the creator and owner of the franchise, recently showcased these audience figures and project developments during its participation in the 2026 edition of the Annecy International Animation Film Festival and its corresponding MIFA market. Industry professionals and partners seeking further information regarding the property were directed to contact the studio via info@plimplim.tv.

Central to their announcements was the launch of «Wonderland Junior TV», a new FAST channel designed to bring premium European children’s and family content to U.S. audiences. This platform will provide viewers with free access to more than 1,700 episodes, leveraging Mediawan’s deep expertise in production and editorial curation.

The company is also aggressively expanding its digital-first footprint through key collaborations. Notably, Mediawan is partnering with Madbox to bring Pocket Champs, a successful French gaming IP, to life as a YouTube-first digital series. Launching in 2027, the project will feature four special episodes and is intended to scale into a 360-degree transmedia franchise, capitalizing on the IP’s massive global player base and social media traction.

On the cinematic front, Mediawan reinforced its presence in the market with four ambitious animated feature films currently in production, all aimed at a 2027 release. The slate includes Twisted, directed by Lino DiSalvo and co-produced with Palomar; the Dutch-South African co-production Spike; the Toon2Tango-developed PalutenFreedom, which brings the world of the popular German gamer to the big screen; and Wings of Freedom, a futuristic tale from studio Good Hero co-produced with Studiocanal.

The television and series pipeline remains equally active. The studio is launching Atta Slam, an action-adventure series led by Igloo Studio, and has commenced production on a 52-episode CGI series based on the Niko franchise, in collaboration with Toon2Tango and ZDF Studios. Furthermore, the company confirmed that projects such as Anansi, Artefacts: Thieves of Thieves, and Alexander Deliver are actively moving through development and production, ensuring a steady stream of high-quality content across diverse platforms.

Mediawan’s distribution arm continues to strengthen its library as well, acquiring new titles like the second seasons of Maddie + Triggs and Barn Kidz. The group is also deepening its strategic partnership with El Reino Infantil, announcing that The Little Prince and Friends will soon join the latter’s network, further expanding the reach of Mediawan’s premium children’s content into international markets.

Finally, the Miraculous universe remains a central pillar of Mediawan’s portfolio. With the sixth season currently airing and the seventh already in production, the brand continues to demonstrate long-term viability. The group also teased Miraculous Stellar Force, an original 2D anime-inspired spin-off scheduled for 2027 with Disney Branded Television, while celebrating the continued explosive digital growth of the Miraculous Chibi series, which has seen a 132% year-on-year increase in views.

CNC President Gaëtan Bruel outlined the transition during the session, directly addressing the necessity of adapting the market to current industry demands. ‘The creation of this new international documentary market in Strasbourg marks a major step for the structuring and outreach of the sector’, Bruel stated. ‘In a context of sector reconfiguration, it is essential to ambitiously position an internationally recognized market that also promotes the associated institutional challenges. I want to believe that the impact of this new event will be decisive in fostering meetings and cooperation, but also in diversifying and accelerating access to the financing that will sustain the diversity of documentary perspectives’.

Organizers selected Strasbourg specifically for its established institutional ecosystem, as the city houses the European Parliament, the Council of Europe, the European Audiovisual Observatory, Eurimages, and the broadcaster Arte. By positioning the market in this political center, the CNC intends to facilitate immediate access to regulatory bodies and decision-makers. The revised format for 2027 will feature a dedicated European segment, providing a practical venue to negotiate co-production financing, cross-border distribution, and operational frameworks directly with institutional players.

The announcement on Monday also served as the official conclusion of the current market structure. Before concluding his presentation, Bruel used the opening day platform to acknowledge the four-decade legacy of the original event, recognizing the foundational work of the late Yves Jeanneau, the outgoing DocServices organizing team, and the local governments of Nouvelle-Aquitaine and Charente-Maritime for their historical support.

The most poignant segment of the inauguration involved local official François Astorg. The mayor of Annecy dedicated a portion of his address to Satrapi, who passed away earlier this month. Astorg referenced her acclaimed works, such as Persepolis and Woman, Life, Freedom, framing her legacy around the ongoing struggle for artistic and personal liberty. He urged the creative community in attendance to continue utilizing animation as a vital medium for challenging audiences and shaping public discourse.

Festival director Marcel Jean presided over the evening’s formalities, acknowledging the jury, international dignitaries, and notable attendees, which included an unannounced appearance by Mexican director Guillermo del Toro. During the proceedings, Jean presented Illumination chief executive Chris Meledandri with a commemorative handprint plaque destined for the upcoming La Cité internationale du cinéma d’animation hall of fame.

The screening marked a continuation of the studio’s historical ties with the French municipality, dating back to the inaugural Despicable Me showing in 2010. Addressing the audience, Meledandri credited the workforce at Illumination Studios Paris for their role in sustaining the franchise, which has accumulated over $5 billion in global ticket sales. He also elaborated on the creative direction of Minions & Monsters, noting that the narrative relocates the characters to 1920s Los Angeles. According to the executive, the historical backdrop functions as a tribute to early silent cinema icons like Charlie Chaplin, Harold Lloyd, and Buster Keaton, centering around a specific Minion who aspires to produce a motion picture. Helmed by Pierre Coffin, who made a brief appearance to introduce the screening, the feature closed out the first night’s programming. The picture will enter domestic theaters in the United States on July 1, positioning the French market as the initial testing ground for one of the major studio releases of the summer season.

This year’s pavilion brings together a diverse array of national and regional mainstream broadcasters, fully demonstrating the creative strength of the Chinese documentary industry. Key exhibitors include the China Intercontinental Communication Center, Guangdong Radio and Television, Jiangsu Broadcasting Corporation, Beijing Radio & Television Station, and Chengdu Radio & Television.

The China Pavilion is showcasing 30 exceptional films at the international documentary market, covering a wide range of themes that break the boundaries of traditional production to build diversified Chinese stories. The works delve into several core areas:

• Nature and Scientific Exploration: The slate includes Missions to the Moon, a feature documentary offering a first-time inside look at China’s lunar exploration program and the groundbreaking Chang’e-6 mission, which collected samples from the far side of the Moon.
• Ecological Conservation: The series Chinese White Dolphin, which took six years to film, provides a comprehensive record of the species within the Guangdong-Hong Kong-Macao Greater Bay Area. ARTE has already acquired the rights to the series and expects to broadcast it in French and German across multiple European countries in 2027. Other nature titles include Ash Dykes’ Yellow River Adventure, Diary of Biosphere, Wetlands, Our Land, and Mangrove.
• Culture and History: Projects such as Shining Treasures of China, The Potala Palace: Between Heaven and History, and The Unending Journey Roger T. Ames and Chinese Philosophy delve into the profound heritage of Chinese culture. Furthermore, Bridges and Currents: Beijing’s Other Pulse interprets the cultural and urban spirit of ancient and modern China, utilizing artificial intelligence for some scenes.
• Digital and AI-Driven Production: Keeping pace with global trends, the pavilion prominently features the pioneering AI experimental work Fly with the Swift. Chinese creators are looking to establish long-term cooperation with institutions that embrace AI technologies, like AIGC, while exploring the creative norms and ethical boundaries of documentary filmmaking to maintain authenticity.

To build efficient bridges for cooperation, the China Pavilion is hosting targeted thematic exchange events focused on top global industry resources.

The «China Hour» themed event is scheduled for the afternoon of June 23. Invited representatives from world-leading international audiovisual organizations will gather as the pavilion unveils new co-production projects, quality licensed works, and cross-border cooperation plans. This event aims to help international institutions gain an in-depth understanding of China’s documentary development trends and cooperation needs.

Additionally, to celebrate the 2026 China-Brazil Cultural Year, the China Pavilion and Sunny Side of the Doc are launching the innovative «Copro Connections: China-Brazil» event on June 23 at 11 am CET. Key decision-makers from Brazilian broadcasting platforms, top production companies, streaming operators, and investment institutions will engage in deep discussions with Chinese industry representatives. These talks will cover the entire industrial chain, aiming to build a long-term cooperative mechanism that includes program co-production, investment, FAST channel operation, and the joint construction of streaming platforms.

Through these initiatives and documentary images that combine international aesthetics with Chinese essence, the China Pavilion aims to build a bridge for mutual learning and deliver a multidimensional, vivid, and diverse Chinese story to audiences worldwide.

Representing ZDF Studios on site will be Directors of Unscripted Nikolas Hülbusch and Margarita Garcia, alongside Kristina Hollstein, Director of Acquisitions and Coproductions Documentaries at the company. The executive team arrives at the market looking forward to discovering powerful new stories while developing international co-production and distribution partnerships.

Ralf Rückauer, VP Unscripted at ZDF Studios, highlighted the strategic importance of the event. He stated that Sunny Side of the Doc is a key marketplace for meaningful partnerships and premium storytelling. According to Rückauer, the latest slate brings together globally relevant topics, outstanding craftsmanship, and strong narrative hooks to satisfy the continued demand for factual content that both informs and resonates emotionally.

The current headline titles for the event include flagship historical docuseries addressing subjects of enduring global relevance. A major highlight of the slate is the brand-new historical documentary America’s Wars (3×50’). This series offers a critical perspective on how military conflict has shaped the identity, values, and global perception of the United States. Spanning from the War of Independence to the present day, it traces a nation founded on ideals of freedom yet repeatedly defined by war, painting a nuanced portrait of a country caught between its ideals and its actions in an increasingly unstable world.

The historical offering is further strengthened by Silent War: In the Shadow of Atomic Bombs (2×50’), which delivers a timely exploration of the ongoing nuclear threat and its historical background. Additionally, Ancient Betrayals (6×50’) examines how deception reshaped the fate of ancient civilizations, covering events from the fall of the Spartans to the political intrigues of Emperor Caligula. The slate also features Constantine the Great (2×50’), providing fresh insight into one of antiquity’s most enigmatic rulers.

Broadening its robust portfolio, ZDF Studios is bringing documentaries focused on social, cultural, and environmental issues. Citrus World (6×50’) takes viewers on a visually rich six-part journey into the cultural and ecological significance of citrus fruits worldwide, while Las Vegas: From Rags to Riches (1×50’) uncovers the forces behind the city’s glittering façade to reveal the true cost of the American Dream.

The distributor will also showcase its strength in nature and wildlife programming. Cheetah Fast and Wild (1×50’) follows two cheetah cubs raised under human care as they face the ultimate challenge of surviving in the wild. Complementing this is Lord Howe Island – Reset for Paradise (1×50’), a hopeful story of ecological restoration featuring rare wildlife footage captured over two decades. Rounding out the factual lineup is Wild about Art (1×50’), a fascinating exploration of the origins of creativity in the animal kingdom, underlining ZDF Studios’ commitment to delivering distinctive and high-quality factual entertainment.

Both new specials will air globally on Nickelodeon, a long-standing partner of Peyo Company and the primary broadcaster of the hit 2021 CG animated series. Additionally, regional broadcasters RTBF and Ketnet have confirmed their partnerships to bring «Smurfs Adventures» to viewers in Belgium, ensuring the beloved blue characters reach both children and lifelong fans in their home country.

As Peyo Company—founded by Peyo’s daughter, Véronique Culliford, to preserve her father’s legacy—celebrates the 45th anniversary of the classic Hanna-Barbera The Smurfs TV series, these new adventures aim to push the boundaries of the franchise. The brand-new TV specials will take the iconic characters out of their village to face unprecedented challenges, while strictly maintaining the core DNA of laughter, excitement, and friendship established since their creation in 1958 and revitalized in the 2021 reboot.

Spanning across genres, these 22-minute standalone episodes introduce a new narrative depth to the fast-paced, addictive series, raising the stakes for the universe’s well-known inhabitants.

The first adventure will center around a high-stakes magic skills competition featuring wizards from across the globe. Unsurprisingly, the storyline will heavily feature the evil wizard Gargamel, finally shedding light on the core reasons behind his obsessive, lifelong quest to capture the Smurfs.

The second standalone episode will introduce a brand-new character to the franchise: Baby Smurfie. Described as an adorable little girl with a mischievous face and a head full of delightfully bad ideas, her arrival guarantees a wild ride for both the Smurfs and audiences worldwide.

In anticipation of the upcoming Annecy festival, Peyo Company also confirmed that a social media teaser for «Smurfs Adventures» will be released in the near future.

Industry perspectives

Nele De Wilde, Executive Producer and CCO of Audiovisual & Music at Peyo Company, highlighted the strategic value of the project. ‘These standalone episodes were born out of a real demand from our partners for additional content between seasons. It’s also an opportunity for us to do something different: a 22-minute format that gives us more room to tell a story, and a higher ambition both narratively and visually. Peyo Company is genuinely thrilled with the quality of what is being made… Working again with partners such as Nickelodeon and RTBF has been an absolute joy. Their contributions ensure the Smurfs remain a meaningful part of the lives of audiences all over the world’.

Broadcast partners also expressed their enthusiasm for the expanded format. Telidja Klaï, Content Manager at VRT, stated, ‘The Smurfs have been part of the Ketnet family for ages. We are absolutely delighted to welcome these two new adventures at our Ketnet home. We are sure that the Ketnet viewers will love these two brilliant specials’.

Similarly, Paola Acosta, Animation Commissioning Manager at RTBF, emphasized the enduring appeal of the property: ‘The Smurfs have an extraordinary ability to reinvent themselves, while remaining unmistakably true to who they are. RTBF is proud to support this new adventure, proving that timeless characters can continue to evolve, inspire and capture the hearts of audiences around the world’.

Previously titled Christmas in the Boonies, the special brings back characters from the acclaimed 13-minute short The Photo That Came to Life, which was produced by the same studio and screened at over 20 international festivals. The plot follows Peter and his friends as their Christmas Eve celebration at a country manor is interrupted by an eccentric Robot Santa who insists that beetroots are the ultimate holiday gift. The children must team up as the rogue Santa banishes two of them to a dysfunctional AI world and another to the Frog Kingdom. The full 3D production promises a distinct visual style, blending offbeat humor with a hint of spookiness to offer an unconventional take on holiday traditions and an ironic look at modern technology.

This announcement coincides with the distributor’s recent acquisition of Blooming Wonders, a series produced by Miyu Productions that is also competing at Annecy in the TV Series category. This catalog expansion follows the Média-Participations Group‘s recent acquisition of a stake in Miyu Productions, a move aimed at reinforcing ties with prominent independent animation players.

Morgann Favennec, Deputy Managing Director of Mediatoon Distribution, expressed: ‘We are particularly proud to represent both a series and a TV special in competition this year, each with its own unique DNA. It perfectly illustrates our ambition at Mediatoon Distribution: to build a line-up that combines the strength of our in-house productions with carefully curated gems from external producers’.

Co-developed bythree companies, this new 3D animated feature will bring the iconic Lucky Luke franchise back to the big screen with a budget of €18.5 million. The film is set to be directed by Bernard Campan and Célestine Plays, featuring an original screenplay by Campan and Antoine Schoumsky. The visual development will be managed by La Grange Animation and Stim Studio, while Szymon Biernacki and Clément Dartigues will lead the artistic direction. The plot centers on Lucky Luke and Jolly Jumper as they attempt to take a few days off in Fanga Town, a city obsessed with modern trends like selfies, burgers, soda, and jeans. There, they must face off against unapologetic capitalism in the form of Jeff McDium, a tycoon monopolizing drinking water and polluting the local river.

Produced by Nathalie Gastaldo Godeau, Caroline Duvochel, and Raphaële Ingberg, the film will begin production in the second half of 2026, with Pan Distribution handling the release planned for 2029. The brand is currently celebrating its 80th anniversary with a major cross-media rollout and boasts over 320 million copies sold across 36 languages.

In adittion, Pan Distribution will handle the French theatrical distribution for the second project, Yakari Brave Heart, which targets family audiences from age five and is scheduled for release in the first half of 2027. Produced by Ellipse Animation and Belvision with a €9.3 million budget, the feature is written and directed by Xavier Giacometti, who previously helmed the TV series and the first feature adaptation. The story follows Yakari and his spirited mustang Little Thunder on a quest across the vast plains to find the guardian bison Tathanka in order to wake his friend Buffalo-Seed, who threatens to fall into the world of dreams. To ensure cultural authenticity, the production, featuring Pierre Reyssat as artistic producer, involved extensive research on Lakota culture alongside academic Maurice Rebeix, Lakota screenwriter Lucas Brown Eyes, and Lakota culture preservation activist Andrew Iron Shell. The Yakari property continues to be a massive success, boasting 42 comic book volumes in 24 languages, five animated series, and a previous feature film released in 2020.

Caroline Duvochel, Managing Director of Ellipse Animation, expressed excitement about the partnership, noting the shared ambition of creating standout European animated features for global audiences using major IPs like Lucky Luke and Yakari. Furthermore, Nathalie Gastaldo Godeau, President of Pan Animation, stated that the company is committed to creating a contemporary Lucky Luke film that captures the humor and codes of today’s society while remaining faithful to the original comic book legacy.

Directed by Guy Padovani (Chauvet Humanity’s First Great Masterpiece, Denisova Unveiled) and written by Flore Kosinetz, the ambitious project explores the epic 19th-century urban transformation of the French capital.

In the second half of the 19th century, Paris was an unsanitary and dangerous medieval city, lagging significantly behind modernizing hubs like New York, Berlin, Rome, and London. Building Paris chronicles the monumental challenge undertaken by Emperor Napoleon III and Baron Haussmann to completely overhaul the metropolis.

Over the course of 40 years, massive public works reshaped the capital—introducing the iconic Haussmannian buildings, establishing reliable drinking water supplies, and forging an immense sewer network. At the center of this architectural revolution lies the crowning achievement of Haussmann’s vision: the Paris Opera.

Through exclusive access to iconic monuments and hidden subterranean locations, combined with state-of-the-art visual effects (VFX), the documentary brings this 19th-century urban adventure back to life. Present-day architects, engineers, and artisans guide viewers through the historic engineering feats that ultimately defined the modern Parisian way of life.

Strategic international ambitions

Commissioned by French broadcaster France Télévisions, the documentary is available in both 2×45’ and 52’ formats. The project aligns with KM‘s focus on delivering universally appealing factual content to the global market.

‘We are thrilled to collaborate with the teams at France tv distribution on this film, which fully aligns with KM’s strategy: premium documentaries with an international scope’, stated Catherine Alvaresse, President of KM.

Patrice Gellé, Producer at KM, emphasized the widespread appeal of the subject matter: ‘Our film Building Paris will reveal how Paris became Paris – the City of Light that has inspired so many capitals around the world. A grand, universal, and immersive story for a wide international audience’.

France tv distribution anticipates strong global demand, building on the track record of its factual catalog. Julia Schulte, SVP of International Sales at France tv distribution, noted the strategic value of the title: ‘We have great ambitions for Building Paris internationally. Following the worldwide success of the film about Eiffel produced by Patrice Gellé, we are convinced that this proposal will appeal to our foreign partners, who will discover both the medieval and the rebuilt Paris in a completely unprecedented way, along with the history of this iconic city that has influenced major capitals around the world’.

The curated slate combines science, adventure, comedy, friendship, and discovery across different age groups. The Fixies introduces children to technology and everyday science through the adventures of tiny characters who live inside machines and gadgets. DinoCity follows a lively dinosaur family navigating a modern world, blending humor with relatable family moments for preschool audiences. Detective Finnick brings mystery-driven storytelling to young viewers through the mischievous adventures of a house spirit, while The Fixies: Top Secret expands the beloved edutainment franchise into a feature-length adventure.

‘India is a highly dynamic and multilingual market, where localization plays a key role in how children and families connect with content’, said Julia Nikolaeva, General Manager at Animotion Media Group. ‘We are very pleased to partner with ZEE to bring our titles to audiences across India in Hindi and other regional languages, making our stories more accessible to children through platforms they already know and enjoy’.

Chandan Khandelwal, Business Head – ZEE5 KidZ added, ‘At KidZ on ZEE5, we are seeing families increasingly seek content that blends entertainment with imagination, curiosity, and positive values. As choices expand, the need for a trusted kids’ destination becomes even more important. Animotion Media Group’s titles deliver a strong mix of learning, humour, and adventure that resonates with today’s audiences, and with KidZ making this content available in multiple regional languages, these stories become even more relatable and accessible to children across India. Partnerships like this help us continue building a platform that children love and parents trust’.

With ZEE’s strong understanding of the Indian audience and ZEE5 KidZ serving as the primary destination for kids’ entertainment within the ecosystem, the partnership creates new opportunities for Animotion Media Group’s brands to reach children in a way that feels local, accessible, and culturally relevant. The agreement also highlights the growing role of regional-language dubbing in expanding the life cycle of international kids’ content across India and beyond.

Produced jointly by Akwa Creative Lab (Brazil) and GVG Producciones (Chile), the musical series has been building steady momentum since launching its distribution strategy last year. Driven by strong creative fundamentals, the property has already surpassed half a million views on YouTube and secured key international festival selections, including prominent screenings at MONSTRA – Lisbon Animation Festival in Portugal and the Abidjan Animation Festival in Ivory Coast.

The Chilemonos accolade comes on the heels of the series’ successful regional expansion, which recently included a linear broadcast deal with NTV Chile for its preschool programming slot—a milestone finalized during the Quirino Awards by creators Amanda Fernandes (Akwa Creative Lab), Julian Rosenblatt (GVG), and NTV‘s Programming Director Mariana Hidalgo.

‘We are thrilled with the journey Mundo de Lírio has taken’, stated Fernandes, highlighting the strategic effort put into researching Ibero-American biomes and developing musical rhythms that reflect true Latin American identity.

The award-winning series consists of 26 seven-minute musical episodes centered on Lírio, a five-year-old Afro-descendant boy raised by a single mother, who learns about emotional growth and daily self-care through his interactions with nature. To complement its television and festival run, the franchise is expanding its transmedia footprint with the release of four musical streaming albums, split between early-childhood lullabies and up-tempo tracks from the show’s soundtrack.

Just as the Cité internationale du cinéma d’animation prepares to open its doors to create a unique showcase for the art form, the MIFA Pitches continue to serve as a crucial incubator for supporting and nurturing projects from their conceptual stages through to audience release. According to the organizers, this year’s 48 shortlisted works offer a vibrant and emotionally resonant range of styles and aesthetics, reflecting the incredible diversity of talent, perspectives, and storylines driving the industry today.

The MIFA pitches schedule

The selected MIFA Pitches will be presented across seven targeted sessions—available by reservation only—followed by a comprehensive awards ceremony accessible to all professional attendees. The 2026 schedule is organized as follows:

• Series & TV Specials Pitches (in partnership with Disney+)
• Session 1: Tuesday, June 23 | 9:00 a.m. – 10:15 a.m.
• Session 2: Tuesday, June 23 | 10:45 a.m. – 12:00 p.m.
• Feature Film Pitches
• Session 1: Wednesday, June 24 | 9:00 a.m. – 10:15 a.m.
• Session 2: Wednesday, June 24 | 10:45 a.m. – 12:00 p.m.
• Immersive Experiences Pitches
• Wednesday, June 24 | 5:45 p.m. – 7:00 p.m.
• Short Film Pitches (in partnership with the SACD)
• Thursday, June 25 | 10:30 a.m. – 12:30 p.m.
• Documentary Pitches
• Thursday, June 25 | 1:30 p.m. – 2:45 p.m.
• MIFA Pitches Awards Ceremony
• Thursday, June 25 | 6:15 p.m. – 7:30 p.m.

Partners pitches expand global reach

Complementing the main selection, the Partners Pitches will span 26 sessions, showcasing nearly 130 projects supported by international delegations, institutions, and associations dedicated to promoting independent animation.

Attendees will have the opportunity to discover emerging talent from the 2025-2026 International MIFA Campus workshops, featuring creators from São Paulo, India, Portugal, and Mediterranean nations including Albania, Croatia, Greece, Lebanon, and Tunisia. The global footprint continues with dedicated delegations from Black Sea countries, Central and Eastern Europe, Latin America, East Africa, Canada, Japan, South Korea, and Southeast Asia. Notably, for the first time in the market’s history, Palestine will also be represented among the delegations.

In addition to the pitches, the market will host a special session dedicated to feature films supported by the Annecy Festival Residency in recent years. Scheduled for Tuesday, June 23 at 3:15 p.m., the presentation will highlight the significant progress of these initiatives and reveal exclusive footage from highly anticipated projects, including Heirloom, Hanta, The Bird Kingdom, and Insectario.

Leading the NFB’s presence in the Official Competition is the international premiere of Catherine Lepage’s new animated short, Ultra Strong. Produced and executive produced by Christine Noël—who also co-produced the Oscar-winning The Girl Who Cried Pearls—the 9-minute film is a candid, self-deprecating autofictional exploration of youthful ideals, ranging from Cinderella to heavy metal.

The project stands out for its high-profile collaborations, featuring the special participation of Iron Maiden frontman Bruce Dickinson, who plays an idealized version of himself in both the English and French versions. It also includes narration and original music by Régine of Arcade Fire. Lepage assembled an almost entirely female core crew for the production, including sound designer Sacha Ratcliffe, animator Rachel Samson, and editor Xi Feng. Ultra Strong arrives in Annecy with strong momentum, having already secured the Special Mention for Best Animated Film and the People’s Choice Award at the 2026 Sommets du cinéma d’animation in Montreal.

In the Works in Progress category, the NFB will unveil The Shiatsung Project, an animated feature co-directed by Brigitte Archambault and Eva Cvijanović. Co-produced by Embuscade Films and the NFB, the narrative centers on a woman living in an impenetrable suburban bungalow with a talking screen as her sole companion. The Annecy presentation will feature the co-directors alongside producers Félix Dufour-Laperrière and newly appointed AMPAS member Jelena Popović, in a session moderated by film educator Vivien Forsans.

Beyond its screenings, the NFB will maintain a strong institutional and strategic footprint at the MIFA market. A major highlight will be an exclusive networking event co-hosted by Suzanne Guèvremont, NFB Chairperson, and Julie Roy, Executive Director and CEO of Telefilm Canada. Set for June 23 at the Impérial Palace park, the event aims to explore new global partnership opportunities and celebrate the Canadian animation sector.

Additionally, director Catherine Lepage will represent the NFB at the 10th Women in Animation (WIA) World Summit. She will participate in the «Short Films and Fresh Perspectives» panel, moderated by Meredith Shea, Chief Membership, Impact and Industry Officer at the Academy of Motion Picture Arts and Sciences (AMPAS).

Also, The festival’s thematic «Animated Thrills and Chills» program will screen eight NFB titles, emphasizing animation not merely as a genre, but as a robust cinematic language. The showcase spans three distinct themes and features acclaimed works like The Trenches by Claude Cloutier, who is also serving on the Annecy jury this year for the Graduation Films and Off-Limits Short Films categories.

Furthermore, the NFB’s legendary archival contributions will be highlighted in the Annecy Classics section through Walking with Animators. Eight years in the making, this documentary by Gilles Penso and Alexandre Poncet features extensive NFB archival footage and insights from Eloi Champagne, the NFB’s Head of Technical Direction, alongside conversations with acclaimed filmmakers like Theodore Ushev, Regina Pessoa, and Joanna Quinn.

Rounding out the Canadian footprint, the NFB is also supporting independent talent through its Aide au cinéma indépendant du Canada (ACIC) and Filmmaker Assistance Program (FAP). Three NFB-supported independent shorts will screen at the festival: Marcy Page’s Virgin Fandango and Birute Sodeikaite’s Blessed in the Official Competition, alongside Julie Charette’s La comète in the Perspectives competition.

The extensive 2026 delegation highlights the NFB’s continued commitment to elevating Canadian voices, driving international co-productions, and shaping the future of the global animation industry.

Located strategically in the newly established “Cross IP Area” (First Floor, Booth B.05), the BCBF delegation is bringing its comprehensive transmedia ecosystem to animation professionals. The dedicated space will feature the TV/Film Rights Centre, the Games Business Centre, the Bologna Licensing Trade Fair/Kids, and the recently launched Toy Lounge (new for 2026). This robust offering positions the booth as a mandatory stop for audiovisual producers looking to discover, acquire, and adapt children’s intellectual property across multiple formats.

To maximize the intersection between print and pixels, BCBF has partnered with Mimaster Illustrazione to present the «Illustrator Survival Corner». This curated initiative features a packed schedule of masterclasses, panels, workshops, and portfolio reviews designed specifically for MIFA attendees, exploring the seamless transition of IP across visual platforms.

On Tuesday 23, the programming kicks off with a focus on cross-format adaptation. Illustrator and concept artist Alida Pintus will lead a masterclass titled Between Print & Pixels: Moving Across Different Media, followed by an afternoon workshop on building characters for the cross-media era.

A major highlight of the day will be the IP Crossroads panel at the Parc de l’Impérial Palace, featuring MIFA partners and Elena Pasoli, Director of the Culture B.U. and Director of BCBF at BolognaFiere Group. Later, industry veterans including Giona Dapporto (FOORE Srl), Marco Grifoni (Palomar Spa), Marianna Panebarco (Panebarco), and Franco Serra (Gertie) will discuss how IPs fly across borders and media, moderated by BCBF consultant Cristina Angelucci.

On Wednesday 24, the day delves into the dialogue between publishers, creators, and animation studios. Beatrice Fini, Director of the Children’s and YA Division at Giunti Editore, alongside author Paola Myriam Visconti, will explore the book-to-screen pipeline.

The day also highlights digital success stories, featuring a comprehensive case study by SIO (Simone Albrigi) and FRAFFROG (Francesca Presentini), co-founders of Gigaciao, who will share their journey from comics and YouTube to publishing and animation. In the afternoon, Pietro Pinetti, CEO of Studio Bozzetto, will provide an inside look at how creativity translates into the global market during his dedicated masterclass.

The final day of the BCBF program centers on hands-on development and project feedback. SIO and FRAFFROG will return for a masterclass connecting comics to animation, specifically highlighting projects like Mega Tree, Majokko, and Dragon Village. The event will conclude with the Brick-O-Scope workshop led by director, animator, and motion designer Giacomo Manzotti.

Throughout the three days, exclusive portfolio review sessions will be conducted by industry leaders, providing emerging talents and established creators with direct access to top-tier publishers, animators, and concept artists.

While Netflix continues to dominate the global subscription video market, a new tier of challengers is emerging through corporate mergers. Omdia estimates that a theoretical combined platform merging HBO Max and Paramount+ could amass approximately 175 million subscribers globally by 2031. This would instantly secure the unified service a position among the top five global streamers. The potential synergy is backed by current consumer behavior: Omdia’s research highlights that 40% of Paramount+ users would also subscribe to HBO Max, while 26% of HBO Max subscribers already pay for Paramount+.

‘The streaming industry is entering a new era where scale, profitability, and audience reach matter more than ever’, Rua Aguete explained during her presentation. She emphasized that while consolidation will inevitably forge stronger competitors, ‘Netflix remains uniquely positioned to capitalize on global growth opportunities’.

Despite Netflix’s undisputed stronghold in the subscription video-on-demand (SVOD) sector, the broader video ecosystem reveals a much more complex battle for viewership. Omdia forecasts that Netflix’s global monthly audience will cross the 1 billion viewer mark by 2027—a historic milestone for any media company.

However, YouTube’s audience scale continues to dwarf traditional and SVOD platforms. Projections indicate the video-sharing giant will reach approximately 2.7 billion monthly active users by 2026, scaling up to around 3 billion by 2027. This contrast underscores the evolving nature of the television business and consumer attention.

«The industry’s biggest battle is no longer simply streamer versus streamer,» Rua Aguete added. «Netflix is winning the subscription streaming war, but YouTube is becoming one of the most powerful forces in television, adding more premium content to the platform.»

Looking ahead, Omdia anticipates the next phase of the audiovisual market will be driven by strategic bundling, advertising growth, and further consolidation. As the definition of television continues to expand across both paid and ad-supported models, Netflix remains the definitive benchmark for the global streaming industry.

Marc du Pontavice, Founder and CEO at Xilam, said: ‘This year, Annecy will mark a historic milestone for Xilam as we introduce an unprecedented slate of varied and ambitious mix of projects at Annecy. We’re thrilled to be showcasing our work across all areas of the festival’s programme and highlighting our creative strength and resilience during a time of continued industry-wide challenges – and this breakthrough across both our film and TV pipelines is testament to our commitment to creating and supporting striking and original content’.

Screening as part of Annecy’s ‘Work in Progress’ sessions, upcoming feature film The Wolf is co-written and directed by Benjamin Massoubre and Fursy Tessier – who previously collaborated on Xilam’s 2020 Academy Award-nominated I Lost My Body. It is produced by Xilam’s Marc du Pontavice, with Sabine Dabadie (‘Ourika’) also serving as co-writer, and follows Gaspard, a hardened shepherd haunted by the death of his son, whose apparent tranquility is shattered by the menacing appearance of a stray wolf. The session will be followed by a book signing with author Jean Marc Rochette, for the graphic novel on which the film is based.

After its 2025 ‘Work in Progress’ session, Lucy Lost is screening this year as part of Annecy’s Official Competition. Based on award-winning author and previous British Children’s Laureate Michael Morpurgo’s 2014 novel Listen to the Moon, Lucy Lost is co-written and directed by Olivier Clert (Klaus, Little Prince), and is co-written with Helen Blakeman (Dustbin Baby, Hetty Feather) and produced by Xilam’s Marc du Pontavice. The feature was produced at Xilam’s animation studio, and Goodfellas is handling international sales on the project, with French broadcasters Canal+ and Ciné+ OCS previously acquiring pay-TV rights. The film will be released in French theatres October 28^th through Le Pacte.

Also following a successful ‘Work in Progress’ session in 2024, supernatural horror comedy series The Doomies will screen in the TV Films category. Produced by Xilam in association with Disney Television Animation, the series is created by Rémi Zaarour, Andrès Fernandez, Henry Gifford and directed by Andrès Fernandez – and will premiere on Disney+ during the Annecy festival on 26^th June with 22 half-hour episodes, along with a new short-form series featuring four episodes.

Rounding out Xilam’s TV activity, original 2D series Submarine Jim is premiering in France on Wednesday 24^th June, with the first 26 episodes launching on Okoo, France Télévisions’ FVOD platform for kids. The series launched this year in the UK & Ireland on CBBC & iPlayer, in French speaking Switzerland on RTS and on Cartoon Network in Latin America and South East Asia. Upcoming launches also includes Super RTL in Germany who commissioned the series with France Télévisions; RTBF and VRT (Belgium), NPO (Netherlands), YLE (Finland), NRK (Norway) and Noga (Israel).

In Serbia, Prva TV has commissioned a first season of The Bachelor, one of the world’s most successful dating franchises. The format sees an eligible man searching for love among a group of women who are all hoping to be chosen as ‘the one’. Serbia becomes the 47th territory to fall in love with The Bachelor, with the series, produced by Emotion Productions, set to film in later this month.

Continuing the momentum for the franchise in the region, Pro TV in Romania has commissioned a first season of Bachelor in Paradise, which sees participants from The Bachelor and The Bachelorette head to an exotic setting where they live together and hope for a chance at love by turning missed connections into lasting romance. The commission follows the show’s successful 65-episode launch in Bulgaria last year, where broadcaster bTV has also commissioned a second season. Bulgaria and Romania become the sixth and seventh versions of the spin-off, joining seen adaptations in Germany, Australia, and Canada.

These announcements come as Cash or Trash continues to build momentum across CEE. Local versions of the ZDF Studios format launched in Serbia and Croatia last year with Nova TV, while the show has established long-running success in both Hungary and Poland, where four seasons have aired on TV2 Hungary and more than 500 episodes have aired on Polsat’s TV4. Following its Serbian debut, a second season of Cash or Trash launched in May this year.

André Renaud, GVP Format & Finished Sales at WBITVP, said: ‘Central and Eastern Europe continues to be a vibrant market for international formats, with broadcasters seeking proven brands that can connect with local audiences while delivering scale and longevity. What’s particularly encouraging is the breadth of demand we’re seeing across the region, from major dating franchises and reality formats to factual entertainment brands that continue to earn returning seasons. Together, these commissions and renewals demonstrate both the strength of our catalogue and the confidence broadcasters have in these formats, whether through finding love or finding hidden treasures, and we’re excited to see these brands continue their journeys with audiences across the region over the coming years’.

The deals were brokered by Reema Patel, Director of Formats at WBITVP.

The platform’s growth has been steady, reaching 400,000 users two years after its launch, crossing 600,000 by its third anniversary, and hitting 800,000 registrations at the beginning of 2026. This expansion validates JOJ Group‘s strategic decision to offer a mix of live broadcasting, archival content, original productions, and sports, anchored by a free-access tier for registered users that distinguishes it from strictly subscription-based international competitors.

‘Achieving the one million registered users mark is proof for us that Slovak viewers have adopted JOJ play as a fully-fledged part of their daily media routine’, stated Nikoleta Nagyová, Project & product manager for JOJ play. She emphasized that the success stems from a long-term strategy blending quality original content, exclusive sports, and free access. ‘Today, however, the challenges do not end for us; on the contrary, we are entering a new phase in which we want to focus even more on deepening the relationship with our community and bringing content that is tailor-made for the digital environment’, Nagyová added.

A significant driver of this recent growth was the Ice Hockey World Championship, which generated massive user engagement. The alternative interactive format Play On, featuring Marián Gáborík and Boris Valábik, emerged as a major hit among audiences. Additionally, JOJ introduced a corporate social responsibility innovation during the tournament by becoming the first broadcaster in the market to offer a dedicated, ad-free, and commentary-free live stream with authentic stadium sound specifically for underage viewers in the platform’s kids’ section.

The platform’s premium sports portfolio remains a strong pillar, featuring broadcast rights for the Ice Hockey World Championship until 2034, the domestic hockey league, the World Cup, and the highly anticipated 2026 FIFA World Cup.

The integration of the JOJ.sk website following its 2025 relaunch has further accelerated this growth by establishing a seamless ecosystem with a unified user account. This proprietary user database serves as a vital strategic asset for JOJ Group in a fragmented media market, enabling a deeper understanding of viewer preferences and fostering a direct relationship with the audience.

The content strategy capitalizes on this ecosystem by frequently releasing original Slovak productions online ahead of their linear television broadcast. The 2026 slate includes premieres such as OSUD, Miša v Košiciach, Jednotka Jastrab s Milanom Ondríkom, the romantic series Vôňa mora, and the high school drama Sexta. JOJ play has also revitalized established brands, notably the dating format Mama, ožeň ma, which became the network’s most successful digital original and now features weekly digital-exclusive bonus content like AFTER SHOW and Randíčka every Friday.

The platform continues to expand its library with robust archival hits like Profesionáli, Panelák, and Nemocnica, alongside licensed titles including the global adventure reality show Asia Express, the six-part political dramedy Víťaz, and the British version of Naked Attraction. Coupled with a dedicated News section launched in 2025—featuring live broadcasts, podcasts, and discussions—JOJ play is transitioning its primary focus from user acquisition to maximizing engagement across the web, mobile devices, and smart TVs.

Operating as part of JOJ Group, the largest private television network in the Slovak market with 15 channels across Slovakia and the Czech Republic, JOJ play continues to prove that local streaming has its own dynamic strength by successfully merging domestic brands with modern viewing habits.

The upcoming series is set to launch under the title A Szemfényvesztő – Hazudj, ha tudsz! and will be hosted by Hungarian actor, László Jáksó. It joins TV 2’s dynamic entertainment slate including Game Of Chefs and Your Face Sounds Familiar.

Set in an atmospheric location, The Hustler is a high-stakes tactical game of deception and betrayal where all players are under suspicion and viewers play detective. Contestants work together to answer questions correctly that build a collective prize pot, but one of the contestants – the Hustler- already knows all the answers. If they can keep their identity a secret, they win the cash prize but if the remaining contestants work out who the Hustler is then they walk away with prize pot. Each trivia question has a connection to the Hustler’s real life, revealing more clues as to their identity. As the Hustler’s tries to steer everyone to the right answers, whilst remaining undetected, other contestants must unmask the Hustler whilst staying on their guard – as the Hustler anonymously eliminates two of them ahead of the final showdown.

Ben Packwood, VP CEE at All3Media International commented ‘We are thrilled TV 2 are bringing Studio Lambert’s deception driven gameshowto Hungary.  It’s a brilliantly immersive, entertaining format that allows audiences and contestants to tap into their detective skills; and with beloved personality László Jáksó bringing trademark humor to the high-stakes gameplay, viewers can look forward to a fun, addictive new addition to TV 2’s slate’.

Created by Richard Bacon and produced by Studio Lambert, the team behind hit formats like Rise and Fall, Gogglebox, Undercover Boss and Race Across the World, The Hustler originally aired on ABC America, hosted by Emmy Award-winning host, actor, writer and comedian Craig Ferguson. This Hungarian adaptation joins a recent slate of Studio Lambert format successes, including an Indian adaptation of Rise and Fall on Amazon MX, which became the biggest ever show in the streamer’s history. The long-running, award-winning formats Undercover Boss and Gogglebox have both been adapted in over 30 territories. Additionally local version of the BAFTA-winning series Race Across the World have been produced in Denmark, Finland, Germany, the Netherlands, Norway, Spain and Sweden. The title also has a host of licensing successes including a live experience, board game, card game and publishing line-up. 

Canal+ Polska in Poland has acquired a slate of titles including Shasha and Milo, Stan & Gran, Street Football seasons four and five, and When I Was Your Age season 1. In Hungary, MTVA has licensed Lilybuds, Once Upon a Time… Life, Objects and The Explorers, and Stan & Gran. RTV Slovenija in Slovenia has taken multiple preschool and family titles, including Little Princess seasons one and two along with two specials, Mini Heroes of the Forest, and the first two seasons of Moom in valley. In the Czech Republic, Česká televize has picked up Piripenguins and Super Happy Magic Forest, while Lithuania’s national broadcaster LRT has licensed seasons one and two of Silverpoint.

Ute Cichocki, Exclusive Agent for CEE and CIS, Banijay Kids & Family, said: ‘We’re seeing continued demand across Central and Eastern Europe for our premium, distinctive storytelling, which continues to stand out thanks to its quality, creativity and global appeal to young audiences and families. This latest raft of deals reflects the strength and breadth of our catalogue and reinforces our commitment to maintaining strong partnerships with leading broadcasters across the region’.

Led by Benoît Di Sabatino, Banijay Kids & Family is part of media and entertainment powerhouse Banijay Entertainment. Its dedicated sales division, Banijay Kids & Family Distribution, is responsible for the exploitation of linear and non-linear rights for the group’s premium animated and live-action kids’ brands, alongside select third-party titles such as Little Princess (The Illuminated Film Company), Moominvalley (Gutsy Animations), and Piripenguins (Eaglet Films, Red Monk).

The Canal+ Group emerged as a key volume buyer across different regional subsidiaries. CANAL+ Polska S.A. secured a package of lifestyle programming for its Canal+ Domo channel, acquiring Scott Brothers Entertainment titles Top of the Block and Don’t Hate Your House with the Property Brothers, alongside the True North series Help! We Bought A Village. Concurrently, CANAL+ Luxemburg S.À R.L. picked up the multi-regional license for the Australian scripted crime series Last King of The Cross for the Czech Republic, Slovakia, Benelux, and Romania. The platform also bolstered its factual slate with CNN Original Productions’ Billionaire Boys Club for the Czech Republic and Slovakia, and Kobe: The Making of a Legend for its channels across the Czech Republic, Slovakia, and Romania.

The true-crime genre continues to demonstrate strong traction in the territory, with Viasat World acquiring Law&Crime Productions’ Kill/Switch and On Trial: The Idaho College Killer for its Viasat True Crime channel across the entire CEE region. Meanwhile, public broadcasters and specialized networks also locked in premium factual content. Czech TV opted for historical, educational, and science documentaries, securing Can Dogs Talk?, Rome Underground, and Alexander the Great: Legendary Conqueror. In the Polish market, BBC Poland added Vanished History and «Recording Evil to its programming lineup.

Regional footprint expansion continued with AMC Global Media Central Europe, which licensed the HGTV property Don’t Hate Your House with the Property Brothers for its Spektrum Home channel across Hungary, Slovakia, and the Czech Republic. Additionally, regional powerhouse Pickbox closed a package of seasonal content, acquiring three Hallmark Christmas television movies—Undercover Holiday, Twas the date Before Christmas, and Trading Up Christmas—for its networks spanning Croatia, Serbia, Slovenia, Bosnia, North Macedonia, Montenegro, and Bulgaria.

The robust slate of agreements highlights the evolving demands of the European television landscape. Lucy Rawson, VP of Sales for German-speaking Europe, CEEMEA, and the Southern Mediterranean at Cineflix Rights, who brokered the agreements, emphasized the strategic value of the territory leading into the market. ‘CEE is an important and growing market for Cineflix Rights, with strong demand for both scripted and factual content from our existing partners at broadcasters and streamers, as well as the new platforms and genre channels which are launching across the region’, executive stated, adding that she is pleased to head into NEM showcasing the latest seasons of the company’s hit franchises alongside these new title sales.

To support this launch, the MIAM! team will present their upcoming projects at major industry events throughout the summer of 2026, including GameCamp, MIFA, and Gamescom.

Founded in 2016 by producer Hanna Mouchez, the company has grown through three complementary branches: MIAM! animation for series production, the real-time CGI facility company studio, and its international sales arm, unit distribution. Over the past decade, the group has built a global presence with animated brands such as Edmond and Lucy, The Tinies, and Goat Girl, while establishing a strong reputation for technological innovation and eco-friendly production methods.

This expansion into the gaming sector is a natural progression of MIAM!‘s technological strategy, which heavily relies on real-time 3D software like Unreal and Unity. By utilizing reusable real-time assets and shared production pipelines, the studio can seamlessly extend its animated universes into spin-off series, feature films, and video games, thereby reducing both production costs and environmental impact. Hanna Mouchez, Founder and CEO of MIAM!, noted that this move represents the next logical step in their transmedia strategy, allowing the company to diversify revenues, prolong the lifecycle of its IPs, and offer families new immersive experiences aligned with the studio’s editorial values.

Set to officially launch in 2026, the new label will bring together experienced gaming professionals and the studio’s creative teams to focus on premium, non-violent, and non-competitive ‘cosy games’. MIAM! games is currently developing two original titles: The Tinies: Craft Family, based on the 3D preschool comedy series broadcast on Canal+ and globally, and Edmond and Lucy: Thing’s Journey, adapted from the preschool franchise currently airing on France Télévisions and across 150 territories.

Both flagship titles are slated for release between 2027 and 2028. To pave the way for these major releases, MIAM! games has already produced several interactive WebGL experiences inspired by these franchises. This gaming expansion will run parallel to new audiovisual seasons and theatrical releases planned for the IPs between 2026 and 2028, consolidating MIAM!‘s sustainable creative business model for the future.

Según explicó Pellegrino, la transición hacia la TV 3.0 supone un cambio estructural en la radiodifusión que fusionará la televisión abierta con la experiencia de usuario propia de las redes sociales. En este marco, la EBC es la entidad responsable de desarrollar la plataforma común de esta nueva tecnología, la cual consistirá en una aplicación nativa instalada de forma predeterminada en la pantalla de inicio de los televisores. Esta interfaz funcionará como puerta de entrada para los ciudadanos, concentrando canales públicos y servicios ministeriales como el SUS digital.

En dicho contexto arquitectónico se proyecta la integración de Tela Brasil, la nueva plataforma estatal de streaming cuyo lanzamiento oficial está previsto para este sábado 30 dentro de la programación de Rio2C. El servicio, desarrollado en asociación con el Núcleo de Tecnologías Sociales de la Universidad Federal de Alagoas, debutará con un catálogo de 555 obras, de las cuales 139 pertenecen al Estado a través de entidades como Funarte, la Fundación Palmares, la Cinemateca Brasileña y el CTAv. Fernandes destacó que el objetivo central del proyecto es la formación de audiencias sin intención de competir con el mercado comercial, y aclaró que el código de la plataforma pertenece a la universidad, lo que permitirá compartir su infraestructura tecnológica para el desarrollo del ecosistema de la TV 3.0.

A la par de los desarrollos digitales, el gobierno detalló sus recientes inyecciones de capital en el sector. La EBC gestionó cerca de 270 millones de reales para producir y adquirir contenido local para TV Brasil, revirtiendo la antigua lógica de licenciamiento que priorizaba el material extranjero. Esta estrategia ha llevado a la emisora a ocupar el cuarto lugar de audiencia en la televisión abierta nacional. De este presupuesto, el mayor volumen de repases del programa Seleção TV Brasil, equivalente a 32 millones de reales, se destinó específicamente a contenidos infantiles y juveniles para abastecer la franja matutina diaria.

El debate sobre el acceso a la producción nacional también abordó las políticas de infraestructura física a través del Instituto Cine+, iniciativa que construye y adapta salas públicas de cine en municipios de hasta 200 mil habitantes. Feitosa indicó que la red ya opera 12 salas alimentadas con energía fotovoltaica en localidades como Itapipoca (Ceará) y Areal (Río de Janeiro), ofreciendo exhibiciones gratuitas orientadas a estudiantes de la red pública y jóvenes. El proyecto contempla construir un total de 30 salas con capacidad para entre 80 y 120 personas hasta el año 2030. Estos espacios son gestionados por el instituto durante sus primeros dos años de operación, tiempo en el que se forma a la mano de obra local, para luego ser donados a las respectivas alcaldías.

En paralelo, la Secretaría del Audiovisual trabaja en el fomento presencial mediante la reactivación de redes de cineclubes, registrando actualmente 1.120 puntos de exhibición comunitaria en conjunto con los ministerios de Derechos Humanos y Medio Ambiente. Para centralizar toda la información del sector, las autoridades anunciaron además la reformulación del portal Filme Cultura, que funcionará como un agregador de datos para redirigir a los usuarios hacia archivos institucionales, a 14 plataformas de streaming nacionales independientes y a los sistemas de compra de entradas del cine comercial. El gobierno federal estima que la transición completa al entorno integrado de la TV 3.0 tomará un período de diez años, proyectando las primeras experiencias prácticas de transmisión durante la Copa del Mundo, mientras que el debut de Tela Brasil este fin de semana marcará la primera etapa hacia la unificación integral del acervo público.