The presentation underscored the company’s strategic collaborations with elite producers and top-tier on-screen talent, delivering a lineup rich with psychological thrillers, espionage, and character-driven narratives.

Addressing the crowd, Louise Pedersen, CEO at All3Media International, highlighted the growing importance of the week’s events.

‘The London TV Screenings is now firmly established as a must-attend highlight in the industry calendar, attracting buyers from across the world looking for exclusive insights into the latest new shows’, Pedersen said. ‘We’re thrilled that our 2026 slate is packed with must-see drama from leading producers—and on and offscreen talent, such as Bella Ramsey, George Kay, Robyn Malcolm, James Marsh, Gemma Arterton, and Paapa Essiedu… our showcase is guaranteed to be a hot ticket event’.

The showcase was anchored by a diverse mix of thrilling and poignant new series, featuring some of the biggest names in British and international television:

Maya (Channel 4): Leading the slate is this 6×60’ psychological thriller from Two Brothers Pictures. Created and co-directed by Daisy Haggard, who stars alongside Golden Globe and Emmy nominee Bella Ramsey. The series follows a devoted single mother and her teenage daughter forced into witness protection in rural Scotland, only to find their past has followed them. Tobias Menzies, Harriet Walter, and Tom Courtenay round out the stellar cast.

Secret Service (ITV): Oscar-winner James Marsh directs this 5×60’ espionage thriller adapted from Tom Bradby’s novel by Potboiler Productions. Gemma Arterton stars as a senior MI6 officer racing to prove a high-ranking politician is compromised by Russian intelligence. The ensemble includes Rafe Spall, Mark Stanley, and Alex Kingston.

Gone (ITV): Written by George Kay, this atmospheric 6×60’ mystery from New Pictures and Observatory Pictures stars David Morrissey as a respected headmaster who becomes the prime suspect when his wife vanishes. Eve Myles stars as Detective Annie Cassidy, sparking a tense psychological duel layered with privilege and trauma.

Careless (Stan / Channel 4): A 4×60’ character-driven thriller from Synchronicity and Easy Tiger. Solly McLeod plays a Scottish backpacker who becomes a live-in carer for a former rock star (Richard Roxborough) with MS. Alongside Robyn Malcolm and Katie Leung, the story asks whether a hidden past could endanger the family.

Saviour: This six-part thriller from Drama Republic and Parti Production brings high-stakes moral complexity to the screen. Led by Anjli Mohindra, Shaun Parkes, and Aidan Gillen, and penned by Imran Mahmood, it examines systemic corruption and how far people will go to protect their loved ones.

Counsels (BBC / ZDFneo): From Balloon Entertainment, this 8×60’ legal drama co-created by Bryan Elsley and Gillian McCormack follows a cohort of young Glasgow lawyers navigating life-defining cases and fierce personal rivalries.

Babies (BBC): Written and directed by BAFTA winner Stefan Golaszewski (Snowed-In Productions / The Money Men), this poignant 6×60’ drama stars Paapa Essiedu and Siobhán Cullen, intimately examining the love, grief, and emotional weight of a couple’s journey to parenthood.

Global favorites return

Beyond the new premieres, All3Media International also assured buyers that their most reliable ratings-winners are coming back. The distributor showcased upcoming seasons of the Keeley Hawes and Freddie Highmore action thriller The Assassin, beloved family drama All Creatures Great and Small, and the final term of Studio Lambert’s acclaimed comedy-drama Boarders. Additional returning hits include Trigger Point, The Brokenwood Mysteries, Midsomer Murders, and The Island.

Moving earlier in the week for its second edition, the new concentrated three-day format saw packed main stage keynotes from YouTube, Goalhanger, Sidemen Productions and Evan Shapiro as part of a comprehensive programme featuring over 200 contributors and an expanded focus on transformational areas including the creator economy, brand entertainment, microdramas, podcasting and AI running alongside country showcases, show screenings and genre tracks across Formats, Doc and Factual, Kids & Teens.

“This second edition has had amazing energy and wall-to-wall engagement.” said Lucy Smith Director, MIP LONDON. “We’ve seen major deals announced, strategy defining insights from the stage, packed houses for sessions around exploding sectors like podcasting and microdramas and huge sign-ups for our expanded matchmaking programme. All of which delivered on our promise of bringing in more people, business and opportunities to this major week for the global industry through a complementary, inclusive, multi-genre market.”

“Our focus as ever now moves to MIPCOM CANNES, the industry’s biggest and most impactful global market, where we will be expanding the brand entertainment presence and doubling down on bridging traditional and transformational digital sectors at the one definitive global gathering.” 

MIP LONDON registered 750 buyers from 66 countries with most hailing from UK, followed by the US, France, Germany and Spain; these included strong delegations from Turkey, Canada, Korea, China, Japan and Romania and reflected a diverse range of content funders with representatives from telecoms, manufacturing and publishing alongside those from broadcasters, platforms and streaming.

The 42nd edition of MIPCOM CANNES will take place from October 12-15 and MIPJUNIOR October 10-11 2026.

Fresh Takes on Reality and Entertainment Formats

WBITVP’s format presentation highlighted several clever spins on familiar genres, leaning heavily into tension, comedy, and survival:

See You in Court: Produced by Wall to Wall for Channel 4, this gripping format captures authentic legal processes using fixed-rig cameras. Over a single day, claimants and defendants face off with the help of real barristers to resolve serious disputes. With real financial consequences on the line, the show blends the tension of the courtroom with the raw human drama that drives it.

Class Clowns: Taking comedians back to school, this Australian format (produced for ABC) strips away the rules as house teams compete across classic school day activities. Overseen by a playful Principal, the comedians battle through everything from academic assignments to physical education to lift the coveted Class Clowns Cup.

FBoy Survival: Produced by Fox6 Media for Discovery India, this rugged spin-off of the hit dating show FBoy Island trades luxury villas for a harsh desert. Three single women must navigate endurance challenges and high-stakes encounters under the blazing sun while trying to figure out which of their suitors are genuine «Nice Guys» and which are self-proclaimed «FBoys» simply trying to survive the next elimination.

Reality Queens of the Jungle: Family Edition: The Netherlands’ Videoland is extending its hit franchise by sending reality stars into the wild alongside the people who know them best: their own family members. The brutal survival challenges test not only their physical endurance but their familial bonds, proving that surviving the jungle is tough, but surviving each other might be harder.

Premium Factual and Unprecedented Access

In the finished tape arena, WBITVP presented two standout 60-minute specials that offer rare, intimate looks at vastly different subjects:

L.S. Lowry: The Unheard Tapes: Unearthing audio archived for nearly 50 years, this fascinating BBC special brings one of Britain’s most distinctive painters back to life. In a brilliant creative choice, legendary actor Ian McKellen (The Lord of the Rings) lip-syncs directly to the famously private artist’s restored recordings, delivering a deeply personal look at Lowry’s childhood, grief, and his iconic vision of industrial Britain.

Artemis: More than 50 years after humans last walked on the moon, Wall to Wall (in association with Nova/GBH for BBC Two) secured unparalleled access to NASA’s upcoming Artemis II mission. Featuring interviews with mission commander Reid Wiseman, pilot Victor Glover, and insights from astronaut Tim Peake, the documentary explores the massive logistical and human challenges of reclaiming humanity’s place beyond Earth’s orbit.

A strategy built on impact

Addressing the global partners in attendance, André Renaud, WBITVP’s GVP of Format and Finished Sales, emphasized the studio’s focus on content that drives the cultural conversation.

‘We are delighted to be back at London Screenings this year to showcase the best of our formats—as well as selected finished programmes—to our broadcast, streaming and production partners from around the world’, Renaud commented. ‘This spring’s slate reflects our continued commitment to strong storytelling and fresh, distinctive ideas… expect a few surprises, too, as we share a broad range of content designed to create conversation and deliver real impact’.

Science and natural phenomena

Leading the charge on the science front is programming designed to capture immediate global attention and decode complex phenomena:

Eclipse Across Europe (1×60): Available now, this special serves as a cinematic countdown to the total solar eclipse set to sweep across Europe on August 12, 2026. Billed as the decade’s biggest astronomical event, the broadcast anticipates an audience of 980 million viewers and is packed with expert insights.

The Real Truth (6×60): Also available immediately, this bold series takes aim at the wellness industry by exposing popular health myths. The show relies on humor and real science to decode the marketing behind what consumers eat, drink, smoke, and feel.

Rain Bombs (1×60): Arriving in March 2026, this documentary investigates sudden, catastrophic downbursts that destroy everything in their path. The special follows scientists as they brave severe storms and hail to unravel the growing power of these weather anomalies and offer safety insights.

Meet the Aliens (w.t) (1×60, 2×60): Slated for Fall 2026, this forward-looking project asks what extraterrestrial life might look like following a possible sign of life on a distant planet. The series explores this question using a blend of astronomy, CGI, and a look at Earth’s strangest creatures.

Premium history and forensic investigations

PBS Distribution also showcased a strong lineup of historical programming, ranging from ancient civilizations to the modern American justice system:

Crime and Punishment in America (4×120): This landmark four-part series, coming in Fall 2026, traces the evolution of the American justice system from the colonial era to the present day. It explores the startling paradox of how a nation founded on concepts of liberty became the world’s leading incarcerator.

Vikings: First Blood (w.t) (1×60, 1×90): Also anchoring the Fall 2026 slate, this documentary uncovers the gripping origins of the Viking Age through a forensic investigation of 41 massacred warriors discovered in Estonia. The special utilizes 3D reconstructions alongside cinematic animation to detail a legendary brotherhood’s final stand.

Mystery of the First Temple (2×60): Launching in March 2026, this series heads to Göbekli Tepe to explore the world’s oldest temple. Through the examination of monumental stone circles and new archaeological digs, the series reveals humanity’s pivotal leap from hunter-gatherers to farmers.

Athens: Birth of Democracy (1×60): Rounding out the March 2026 offerings, this documentary traces the dramatic rise and fall of one of history’s most revolutionary political systems. The hour-long special covers the enduring global legacy of the system, touching on Cleisthenes’ reforms, the role of slavery, imperialism, and the ascent of Alexander.

The presentation was spearheaded by key executives Ruth Berry (Managing Director, Global Partnerships), Mike Beale (Managing Director, Global Creative Network), and Lisa Perrin (Managing Director, International Production). Together, they unveiled a massive new slate comprising six groundbreaking formats, 34 compelling non-scripted titles, 12 new star-studded dramas, and 21 returning scripted series.

Speaking directly with Prensario during the event, attending buyers specifically praised The Neighbourhood and Apocalypse as two highly innovative formats that push the reality genre forward. Buyers highlighted the fisrt one for its fresh take on everyday life and community dynamics, while second, was lauded as a major leap forward in the extreme survival space.

Here is a breakdown of the key products presented at today’s screening:

Groundbreaking formats

The formats slate is filled with new genre-defining reality shows, heavily driven by social experiments and intense competition:

The Neighbourhood (Lifted Entertainment and The Garden for ITV): Hosted by BAFTA-winning broadcaster Graham Norton, this entertainment format sees families and households compete in a street-sized reality game for a life-changing cash prize. With power shifting episode by episode, neighbors must strategically decide who to keep on their side and whose property to put up for sale.

Apocalypse (The Garden for Channel 4 / ITV Studios Australia for Foxtel Binge): An ambitious social experiment where 16 ordinary people are abandoned in a real-world location ravaged by an apocalyptic event. With no running water, heating, or electricity for 28 days, the group must scavenge and survive, testing whether strangers will band together or fall apart.

The Heat (Twofour for ITV2): Hosted by Olivia Attwood, this format turns up the pressure on a group of driven young chefs living and competing in Jean-Christophe Novelli’s kitchen in sun-soaked Barcelona. It’s a fierce culinary contest by day, with romances, rivalries, and ego-clashes taking over at night.

Star-studded drama

The scripted slate delivers a mix of high-stakes thrillers, emotional relationship dramas, and atmospheric mysteries:

Two Weeks in August (Various Artists Limited for BBC): From the producers of I May Destroy You, this riveting 8-part drama follows a woman whose family holiday turns into a nightmare following an illicit kiss. The stellar cast includes Jessica Raine, Nicholas Pinnock, and Antonia Thomas.

The Party (World Productions for ITV): A suspenseful thriller based on Elizabeth Day’s novel, starring Luke Evans as Martin Gilmour, a journalist whose lifelong devotion to a wealthy politician (Tom Cullen) leads to tragic consequences during a lavish birthday party.

The Rapture (Mammoth Screen for BBC): Adapted from Liz Jensen’s novel, this psychological thriller follows forensic psychologist Gabs Fox, who meets a 17-year-old girl convicted of murder who claims to have psychic powers. The cast features Ruth Madeley and Iwan Rheon.

Tip Toe (Quay Street Productions for Channel 4): From acclaimed writer Russell T Davies (It’s A Sin), this tense suburban thriller stars Alan Cumming and David Morrissey as two neighbors whose lives unravel as they gradually become deadly enemies.

Invisible (Scene 23 for M-Net): Set in South Africa’s Kruger National Park, this action-packed drama follows Inspector Jack Phatudi as he hunts a vigilante killer, uncovering a buried political conspiracy.

Adultery (Poison Pen Studios for ITV): Penned by Danny Brocklehurst and starring Dominic Cooper and Romola Garai, this captivating drama explores the fallout when two parents embark on an intense love affair, threatening the lives of their teenage children who are also dating.

The Dark (6×60 for ITV): An atmospheric crime thriller based on G.R. Halliday’s novels. Detective Inspector Monica Kennedy (Laura Donnelly) plays a dangerous game of cat and mouse with a serial killer in the Scottish wilderness.

The Killings At Parrish Station (Helium Pictures for STAN): A cosmic mystery intertwining with a cold case across two time periods, starring Mia Wasikowska. A detective investigates a gruesome 1987 massacre at a remote Australian desert research station, only for the nightmare to repeat 37 years later.

Compelling non-scripted

The factual slate offers an exploration of the natural world, deep dives into modern technology, and gripping true crime:

Force of Nature (Plimsoll Productions for ITV/ARD): Filmed over three years, this landmark natural history series reveals how wildlife is adapting to and surviving today’s extreme weather events, from hurricanes to bushfires.

Ages of Ice (Northern Pictures for PBS/ABC Australia): Follows modern-day explorers pushing the boundaries of science in Earth’s coldest corners to understand the planet’s future.

AI Confidential (Curious Films for BBC): Mathematician Prof. Hannah Fry investigates the profound and untold human stories emerging from the AI revolution, from «grief tech» to life-or-death decisions made by robots.

Murder Map (Two Rivers/Soho Studios): Line of Duty star Vicky McClure and historian Jonny Owen travel the UK exploring historic crimes that fundamentally changed modern British law and society.

Unbreakable: The Jelena Dokic Story (Roadshow Productions for Nine Network): A powerful documentary detailing the former world No.4 tennis player’s survival against poverty, life as a refugee, and the unimaginable abuse from her father and coach.

The Claudia Winkleman Show (So Television for BBC): A vibrant new chat show hosted by the beloved BAFTA-winning presenter, welcoming top names from film, television, and music.

The centerpiece of the Lionsgate screening was the unveiling of two major new scripted series, both promising high-stakes action and deep franchise potential:

Fightland: Starring Nicholas Pinnock (For Life, Top Boy), this propulsive new crime drama dives into the cutthroat, cash-rich world of the British boxing underground. Executive produced by Curtis «50 Cent» Jackson through his G-Unit Film & Television label, the series follows a disgraced, formerly incarcerated boxing champion who returns to London to enact brutal vengeance against the crime family he believes betrayed him. It promises a gripping mix of betrayal, ambition, and edge-of-your-seat clashes both inside and outside the ring.

Power: Origins: The juggernaut Power universe continues its massive expansion with this highly anticipated prequel series. Helmed by showrunner, writer, and executive producer Sascha Penn (Power Book III: Raising Kanan), Origins delves into the action-packed backstory of fan-favorite characters Ghost and Tommy. Starring Spence Moore II and Charlie Mann as the young iterations of the iconic duo, the series explores their unbridled rise as ambitious teenage entrepreneurs determined to become legends on the gritty streets of 1990s New York City.

A Robust returning slate

Beyond the two massive new IP reveals, Lionsgate also demonstrated the enduring strength and reliability of its catalog by presenting 13 returning series that will be launching new seasons soon.

Before introducing the evening’s centerpiece, Prentiss Fraser, President of Fox Entertainment Studios, outlined a year of aggressive growth and diversification. Emphasizing a platform-agnostic approach, Fraser detailed how the company is expanding its reach to meet audiences wherever they choose to watch.

Key business highlights from Fraser’s address included:

A Growing Footprint: Fox has expanded its sales infrastructure to seven offices across Europe, Asia, and North America, backed by a dedicated content and acquisitions team targeting both internal assets and third-party productions.

Digital and Experiential Investments: The studio has launched the Fox Creator Studio, invested in the vertical video platform Holy Water, established a video podcast business, and entered experiential storytelling with Chain.

A Powerful Ecosystem: The wider Fox portfolio now leverages Tubi (America’s number one AVOD platform), Fox One, Fox Nation, Fox First Run, and the core network.

Massive Network Momentum: New network series—including Memory of a Killer (starring Patrick Dempsey), Fear Factor (hosted by Johnny Knoxville), and Best Medicine (with Josh Charles)—each delivered over 12 million multi-platform views during their US premieres.

‘All this to say, Fox is back’, Fraser declared to the crowd. ‘The name, the lot, the legacy, the innovation, the entrepreneurial spirit, and the creative engine’.

A new lane for premium content: The Faithful

The night culminated in the presentation of The Faithful, an event miniseries that Fraser described as a «new lane» in Fox‘s growing slate of premium, primetime signature content.

Available to international buyers as either six 60-minute episodes or three 90-minute installments, the series will debut on the Fox network on Sunday, March 22, airing weekly through Easter Sunday. The project boasts a heavy-hitting creative team, developed by Executive Producer Carol Mendelsohn (CSI) and Executive Producer/Showrunner René Echevarria (Star Trek, Terra Nova, Carnival Row).

Taking the stage alongside the cast, Echevarria explained the delicate creative balance required to adapt one of the world’s most sacred texts for a modern audience.

‘The question for us wasn’t simply how we’re telling them, but how to illuminate them in a way that felt reverent and meaningful for today’s audience’, Echevarria explained. The creative solution was to explore the ‘space between the lines’ of scripture, shifting the narrative lens entirely to the women of the Bible.

‘By telling this story as we chose to through the eyes of the women—these brave and bold and deeply human and beautifully flawed women—I think we’ve done this’, he said, emphasizing the themes of faith, discovery, and love.

The series is anchored by award-winning actress Minnie Driver, who was introduced to the London crowd in her starring role as Sarah. Echevarria praised Driver’s performance, noting that her ‘depth, strength, and humanity brought a profound heart to this story’, elevating the project from a standard historical drama into something deeply moving and enduring.

Highlighting the sheer scale and creative strength of the group, the presentation demonstrated a strong balance between fresh, original intellectual property and the strategic revival of proven superbrands.

The Executive Vision

The showcase underscored Banijay’s dual focus on global resonance and local execution. Cathy Payne, CEO of Banijay Rights, emphasized the strategic importance of the event: “The London TV Screenings is the perfect stage to spotlight the scale and breadth of our catalogue. This year’s line-up reflects the continued global appetite for premium storytelling, with stand-out UK dramas sitting alongside hit returning titles which resonate with buyers worldwide.”

On the unscripted and formats side, James Townley, Chief Content Officer of Development, and Lucas Green, Chief Content Officer of Operations, highlighted the company’s dynamic approach to global entertainment. “From sports-driven reality and comedy-crime entertainment to physical competition formats, we’re turning up the heat,” they stated. “We continue to build formats that evolve, travel and resonate in this environment… a testament to the creativity and originality born from our global teams.”

Premium Scripted: Reboots and High-Profile Adaptations

Banijay’s scripted presentation was headlined by several major announcements and highly anticipated adaptations:

Wallander: A major reimagining of the iconic detective drama, produced by Jarowskij/Yellow Bird and Banijay Rights for TV4 and ARD Degeto, starring Gustaf Skarsgård.

A Woman of Substance & Falling: Channel 4 is set to receive The Forge’s brand-new adaptation of Barbara Taylor-Bradford’s iconic novel, alongside Falling, a modern love story from BAFTA-winning writer Jack Thorne.

Half Man: A highly anticipated new project from Emmy-winning creator Richard Gadd (Baby Reindeer), produced by Mam Tor Productions in association with Thistledown Pictures for the BBC, BBC Scotland, and HBO.

Open Water: An adaptation of Caleb Azumah Nelson’s multi-award-winning debut novel, produced for the BBC.

The presentation also highlighted strong third-party acquisitions, including the Irish comedy These Sacred Vows and the Paramount+ romantic comedy Two Years Later, alongside a robust list of returning hits like Rogue Heroes, the final season of Grantchester, and the Swedish crime drama Fallen.

Unscripted: Bold Formats and Factual Entertainment

Banijay continues to push the boundaries of reality and competitive formats. The showcase introduced buyers to several bold new concepts:

Football Island: A sports adventure reality format for Videoland.

100 Knives: A high-pressure culinary competition from Mastiff Sweden, Bunim/Murray Productions, and Smart Dog Media for TV4.

How Old Is Your Brain?: A primetime quiz show for France’s M6.

Staying Alive & The Dinner: A singing competition for ProSieben and a psychological reality game for SBS6, respectively.

On the factual front, buyers were presented with gripping new series including America’s Toughest Jails for Discovery, Mission To Space with Francis Bourgeois for Channel 4, and CNN’s Eva Longoria: Searching for France.

Superbrands and Digital Expansion

Banijay also showcased its strategy for maximizing established intellectual property. Buyers were treated to updates on reimagined hits like Johnny Knoxville’s Fear Factor: House of Fear and the Emmy-winning Shaolin Heroes. Third-party non-scripted titles also made waves, notably the cult strategic reality format Werewolves and the iconic Ninja Warrior.

Finally, the company highlighted its ongoing push into the digital landscape. Beyond the highly anticipated return of television superbrands like Big Brother and Peaky Blinders (returning as a new series for BBC and Netflix), Banijay detailed its aggressive creator-led initiatives. This includes the «Creators Lab» partnership with YouTube, the launch of creator-led football team FCF in the Netherlands, and digital-first brand extensions like MasterChef Creators and Big Brother: Knossi Edition.

Deeny Kaplan, CMO, The Kitchen, said: ‘To celebrate 25 years is not an easy thing, it means to do the things right for a long time. And to honor such anniversary, we will announce breaking news soon, a step ahead in the evolution of the company. We will have an new office in Los Angeles and more services, within bigger structural news that we can anticipate but surely for NAB time we will turn public’.

About MIPLondon: ‘We have local facilities and we are very involved with the big national players that lead the content initiatives worldwide. We’ve had a good market and the cocktail was an opportunity to share experiences with our partners and friends. GC-SC is doing a great work, in favor of the business but also in networking, to collaborate together better’.

Uche Okocha, Trino (Nigeria): ‘We brought to London 6 different companies, from Nigeria and South Africa as first stage. Africa has always had unique stories, culture, style-life but now handles also production quality for the central markets. We’ve already had contents at Netflix, Prime Video, HBO, Canal+, etc. There are lots of content opportunities from and towards Africa nowadays’.

San Diego volvió a vestirse de gala para celebrar lo mejor del contenido infantil. En el marco de Kidscreen Summit 2026, los Kidscreen Awards reconocieron anoche a las producciones que marcaron el pulso del último año en televisión y medios digitales.

La ceremonia, conducida por la comediante y presentadora Jessi Cruickshank, reunió a estudios, plataformas y talentos en una noche que combinó humor, emoción y muchos aplausos.

En preescolar, el premio a mejor nueva serie fue para Maddie + Triggs, mientras que Hey Duggee (temporada 5) se llevó el galardón a mejor serie animada. Gabby’s Dollhouse reafirmó su fortaleza en el terreno mixto y Dino Dex destacó en live-action. En la categoría kids, Shaun the Sheep volvió a imponerse como mejor animada y KPop Demon Hunters fue distinguida como mejor especial o película para TV.

Entre los teens, Wolf King se coronó como mejor nueva serie, y Heartstopper volvió a demostrar su conexión con el público al ganar como mejor serie live-action. Out of My Mind fue una de las grandes protagonistas de la noche, con premios tanto en película como en inclusividad y elenco.

En rubros creativos, Kiff brilló al quedarse con música y guion, mientras que Jurassic World: Chaos Theory fue reconocida por su dirección. En actuación, Samantha Lorraine fue premiada por Dora and the Search for Sol Dorado, y Dawn French por su trabajo de voz en BeddyByes.

El apartado digital también ganó protagonismo. En preescolar, My Carrots!: A Mittens and Pants Game y Sago Mini School marcaron tendencia, mientras que en kids el fenómeno Brookhaven se llevó el nuevo premio a experiencia en Roblox.

Durante la tercera jornada de Kidscreen Summit 2026, el panel “The Roblox Revolution: Rethinking brand management for a new era” dejó en claro que la gestión de franquicias infantiles ya no se limita a pantallas tradicionales. Moderados por Ken Faier (Epic Story Media), ejecutivos de DreamWorks Animation, Voldex, Fresh TV y Miraculous Corp coincidieron en que plataformas inmersivas como Roblox son hoy el corazón del vínculo con la Generación Alpha.

Katelynn Heil recordó que su desembarco en Roblox con Blippi fue, ante todo, un experimento. El objetivo no era solo lanzar un juego, sino generar contenido dentro del propio entorno para YouTube y crear un círculo virtuoso donde el gameplay financiara actualizaciones. “Es una forma innovadora de sostener un canal”, explicó.

Desde DreamWorks, Ryan Bradley detalló cómo un show preescolar encontró en su “casa de galletas” digital una extensión natural: portable, expresiva y pensada para múltiples propósitos. El resultado: más de 70 videos en siete idiomas y 62 millones de views, integrando marketing, narrativa y comunidad.

Tom McGillis contó cómo un fan convirtió Total Drama Island en uno de los 100 juegos más populares de Roblox sin intención inicial de monetizar. La comunidad llegó primero; los ingresos, después. Hoy trabajan en una versión oficial para capitalizar ese fenómeno y atraer a un público donde el 75% no conocía la serie.

Andy Yeatman compartió el caso de Miraculous: su juego, coproducido con un estudio israelí, superó el millón de partidas en 24 horas sin inversión en marketing. Sin embargo, advirtió que el escenario cambió: la plataforma creció 350% y hoy lanzar sin estrategia es impensable.

La conclusión fue unánime: el ROI no se mide solo en ventas directas. Se trata de ecosistema, datos, engagement y presencia cultural. Como resumió Bradley, “los chicos están ahí. No estar es también una decisión”.

Durante el tercer día de Kidscreen Summit 2026, la música dejó de ser “acompañamiento” para convertirse en estrategia. El panel “Hit Play: How music can supercharge kids content” reunió a creativos y ejecutivos que coincidieron en algo: una buena canción no solo emociona, también construye marca.

Desde Disney Branded Television, Jessica Zhao explicó que en franquicias como High School Musical, la música entra en la fase de desarrollo, no al final. “No pesa más la historia que la canción: existen lado a lado”, dijo. Recordó cómo “All I Want”, escrita por Olivia Rodrigo, terminó trascendiendo la serie y multiplicando su alcance en plataformas. El objetivo es claro: que el tema viva en Spotify, YouTube o TikTok, y desde allí empuje al contenido original.

Daniel Rojas, de 506 Music, contó que en K-Pop Demon Hunters la música moldeó la historia desde temprano. Nadie anticipó el fenómeno: el filme no debutó primero en Netflix, pero las canciones explotaron en TikTok y dispararon el interés global. “Queríamos que funcionaran fuera de la película, en playlists y radio”, señaló.

Para Fletcher Moules, director y productor ejecutivo en Netflix Animation, pensar el sonido desde el guion permite que animadores y diseñadores trabajen con una emoción concreta. “Una canción es un marco de memoria: la escuchas y vuelves al show”, resumió.

Cuando la música entra temprano, deja de ser accesorio y se transforma en motor creativo, herramienta de marketing y puente con los fans. En la industria infantil, darle play puede ser el primer paso hacia un fenómeno cultural.

En un mercado donde todo compite por volumen y velocidad, BeddyByes apostó por lo contrario: bajar el ritmo. El panel “Dream Big: How BeddyByes is building a brand that sleeps well everywhere” mostró cómo una serie pensada para acompañar la rutina nocturna puede convertirse en una marca internacional con estrategia 360°.

John Rice, CEO de JAM Media, contó que la idea nació en plena pandemia, cuando él y Alan Shannon buscaban contenido adecuado para sus propios hijos de dos y tres años. “Había una verdadera escasez. Mucho de lo que encontrábamos era estridente. Este público estaba desatendido”, explicó. Así decidieron crear una propuesta diseñada casi como herramienta: estructura predecible, transiciones suaves, música que desacelera progresivamente y asesoramiento temprano de la psicóloga infantil Jacqueline Harrigan.

Sin presupuesto para un tráiler, el equipo salió a vender con guiones ilustrados tan detallados que muchos compradores creyeron haber visto un episodio terminado. El proyecto encontró apoyo en BBC y RTÉ, y luego dio el salto internacional con Blue Ant Media como socio estratégico.

Richard Goldsmith, EVP de la compañía, detalló una hoja de ruta clara: primero asegurar pantalla en EE.UU. y un streamer global (acuerdo que llegó con Disney), después juguetes y publishing. “Si el contenido es fuerte, el negocio acompaña”, resumió. Mantener control sobre YouTube y redes fue otra condición clave, entendiendo que allí está el contacto frecuente con padres.

Desde el área de consumo, Vienna Downes destacó que las rutinas que estructura cada episodio (juego, baño, cuento, sueño) abren naturalmente múltiples categorías de productos. En tiempos de fragmentación, BeddyByes demuestra que incluso el momento más calmo del día puede escalar globalmente si detrás hay contenido sólido y estrategia paciente.

Shapiro opened his session by revisiting his famous «Media Universe Map.» Over the last five years, the narrative has been clear: while traditional media companies have either flatlined (like Disney) or actively disintegrated, Big Tech has doubled, tripled, or even quadrupled in market valuation.

Even streaming pioneers are not immune to the shifting tides. Shapiro pointed to Netflix‘s recent strategy to join traditional media rather than disrupt it—highlighted by its move to acquire Warner Bros. Discovery—as evidence that the original streaming model has plateaued.

The root cause of this massive disruption? A fundamental misunderstanding of demographics. ‘Seventy percent of the world’s population are now Millennials and younger’, Shapiro stated. ‘They grew up with supercomputers in their pocket… The idea that they’re gonna use media in the same way as their parents or their grandparents is just bonkers. They’re not gonna suddenly gain a taste for broadcast like they do beer or coffee’.

The convergence: streaming meets social

For years, the industry believed that streaming would simply act as a faster, digital replacement for linear television. ‘That’s not what happened’, Shapiro corrected. ‘What happened was, as streaming took off, social video took off even faster in a parallel track right alongside it’.

Today, those parallel tracks have merged. Shapiro argued that for Millennials and younger audiences, television has been entirely replaced by a seamless combination of streaming and social media. This convergence is now spilling over to older generations and invading the biggest screen in the house.

The data presented was staggering. In the United States, streaming accounted for 47.5% of all TV viewing last December. But the real shockwave comes from who is leading that charge: YouTube is now the number one channel on American television, larger than all of Disney‘s networks, Paramount, or NBCUniversal.

In the UK, the shift is equally dramatic. Shapiro cited recent BARB data revealing that in Q4 2025, YouTube officially surpassed the BBC in total reach across four screens, and ranked as the number two channel for total share of viewing. Furthermore, 50% of Generation A (Gen Alpha) in the UK watches YouTube on a television set every week, a trend rapidly being adopted by Gen X and Boomers.

‘For the flat earthers out there: the earth is round, water is wet, YouTube is TV. Period’, Shapiro declared to the audience. ‘Can we get over this conversation and move the f*** on?’.

The new ‘affinity economy’

Shapiro stressed that traditional media’s competition is no longer just other broadcasters. Because YouTube acts as an aggregator of 4.6 million active channels, programmers are now competing against ‘eight billion people with a f***ing iPhone’.

This level of fragmentation means that the era of ‘corporate media’ vs. ‘creators’ is a false dichotomy. The real battleground is what Shapiro coined the ‘affinity economy’. In this new merged ecosystem, success is not driven by passive, momentary viewership. It is built on deep engagement, loyalty, and community. ‘It isn’t based on ten seconds of view’, Shapiro explained. ‘Your advertisers want this from you, and this is what you need from your audience too. It’s about building a community, not necessarily an audience’.

A warning for democracy

Shapiro closed his session by elevating the stakes beyond mere entertainment revenue. Pointing to the BBC, he noted that while their iPlayer platform helped mitigate some linear losses, less than half of the British public is now reached by BBC News on television.

He warned that if legacy news and public service broadcasters do not aggressively adapt their distribution strategies to properly serve younger audiences on platforms like YouTube, the consequences will be dire. ‘You wanna know what’s wrong with the world? You wanna know why young people don’t trust traditional news outlets? It’s because we’re not addressing them’.

The Scripted Slate: High-Stakes Action and Espionage

Paramount continues to build on its legacy of gripping, high-octane dramas, showcasing two major series that plunge viewers into the dangerous worlds of cartels and clandestine operations.

CIA: Produced by Universal Television in association with Wolf Entertainment and CBS Studios, this highly anticipated procedural brings the spy game to the streets of New York. The series stars Nick Gehlfuss as a by-the-book FBI Special Agent who is loaned out to a covert task force, teaming up with a secretive and roguish CIA case officer played by Tom Ellis (Lucifer). Together, they navigate murky international plots and geopolitical secrets, operating in the shadows to keep the country safe.

M.I.A.: Produced by MRC, this neon-drenched crime thriller heads to the sub-tropical kingdom of the Florida Keys and Miami. The series follows Etta Tiger Jonze, whose dreams of a glamorous life are shattered when her family’s drug-running business ends in tragedy. Driven by revenge, Etta plunges into Miami’s criminal underbelly to take down one of the city’s most powerful cartels, pushing her own limits as internal rivalries threaten to tear the city apart.

Unscripted Formats: True Crime and Culinary Powerhouses

Beyond its scripted offerings, Paramount’s screening highlighted a massive push into premium entertainment formats, leveraging globally recognized talent across true crime, culinary arts, and travel.

Harlan Coben’s Final Twist: In a major crossover event, the world’s best-selling mystery author, Harlan Coben—known for massive scripted hits like Fool Me Once and The Stranger—is stepping into the true-crime genre. In this one-hour episodic series, Coben will use his signature storytelling mastery to guide audiences through real-life tales of murder and high-profile deceptions. Utilizing exclusive interviews and archival materials, the show promises to meticulously unravel cases where nothing is as it seems.

America’s Culinary Cup: Emmy-nominated food expert Padma Lakshmi (Top Chef, Taste the Nation) returns to the screen as creator and host of this elite new format. The series features an invitation-only cast of the United States’ most decorated chefs, putting them through a grueling, one-of-a-kind competition designed to test their culinary creativity, endurance, and leadership.

Everything on the Menu with Braun Strowman: Produced by WWE Studios and Bright North Studios, this unique food-travel series takes Adam Scherr—better known as WWE legend Braun Strowman—out of the wrestling ring and into kitchens across America. Season one follows Strowman through eight major cities, from New Orleans to Chicago, as he dives into signature local dishes and meets the people who bring the culinary heart of each city to life.

This paradox was the central theme of the «Video Podcasts 2026: Scaling Stories, Maximising Revenue» session held on the final day of MIP London. Moderated by Claire Tavernier, Chair of the Film & TV Charity, the panel brought together leading executives from Podimo, Acast, Patreon, and Little Dot Studios to dissect the shifting economics of digital audio and its rapid pivot to video.

For Georgia Brown, Chief Content Officer at Podimo (and former Amazon Studios executive), the pivot to podcasting was driven by undeniable consumer data. ‘It was really apparent to me a few years ago that there was a big gravitational shift in audience behavior, much like a few years before that when I noticed the shift on the streaming side’, Brown noted.

However, Brown pointed out a glaring discrepancy between audience engagement and financial return. ‘You look at that monetization gap and it doesn’t quite add up. There’s a massive monetization gap in terms of that consumption. How do you monetize that meaningful attention?’.

According to the panel, part of the problem lies with the traditional advertising industry, which Brown described as ‘just not sophisticated enough’ in certain markets to fully grasp the value of digital audio and video, often defaulting to heritage media buying habits.

While traditional advertising catches up, creators are finding massive success through direct-to-fan subscription models. Lina Renzina, Head of Top Creator Management at Patreon, revealed that the platform has paid out over $10 billion to creators over the last 12 years.

To illustrate the sheer scale of the opportunity, Renzina highlighted the case of podcaster Joe Budden, who accidentally leaked his earnings on a live stream last year. ‘He makes a million dollars a month on Patreon’, Renzina confirmed. ‘He has built a robust media company… he has a dedicated audience and following. And to say that you’re making a million dollars a month just through Patreon, ad-free—it has nothing to do with advertising’.

However, the panel cautioned that such success requires treating the podcast as a serious business. Brown noted that the perception of the «creator economy» is often skewed by these massive outliers. ‘The majority of people are not entrepreneurs. They don’t know how to monetize effectively’ she said, stressing the importance of the infrastructure provided by companies like Patreon, Acast, and Little Dot Studios to help creators build sustainable businesses.

Perhaps the most significant evolution discussed was the industry’s decisive shift toward video podcasting, primarily driven by platforms like YouTube and, more recently, Apple.

Josh Woodhouse, Managing Director (UK/IE) for Acast, described the addition of video as a «game-changer» that has «supercharged» the growth sparked during the pandemic. The financial impact is already palpable. ‘We’ve already, at Acast, delivered more booked revenue relating to video-specific formats in 2026 than we did in the entirety of 2025’, Woodhouse revealed.

To capitalize on this, Acast has partnered with Little Dot Studios, a digital content agency known for bridging the gap between legacy media and emerging platforms. Wayne Davison, CRO at Little Dot Studios, explained that they are leveraging their extensive YouTube expertise to help Acast‘s creators optimize their video strategies and drive direct sales revenue.

This shifting landscape was the focal point of the «Sport & Creators: Strategic Priorities Shaping Streaming Platforms» session on the final day of MIP London. Moderated by Jennifer Batty, Media Advisor at JJB, the panel brought together heavyweights from across the streaming spectrum: David Salmon, MD International at Tubi; Olivier Jollet, EVP and International General Manager at Pluto TV; and Walker Jacobs, Global Chief Revenue Officer and President of DAZN US.

The economics of Free Sports

One of the most significant shifts in the European market has been the migration of premium sports—once locked exclusively behind paywalls—into FAST environments. DAZN, traditionally a pure-play SVOD service, has recently led this charge through strategic partnerships with platforms like Pluto TV.

For DAZN, the decision to ungate certain live events comes down to a simple, unapologetic metric. ‘The simple answer is economics. It really is as simple as that’, Jacobs admitted.

The exec also explained that unlike traditional broadcasters who buy one or two marquee rights and lock them into prime-time windows, DAZN broadcasts over 110,000 live events annually. By selectively sampling live rights outside the SVOD window, the service can better understand viewership habits without cannibalizing its core subscription base.

For Pluto TV, bringing sports into a FAST environment isn’t about competing with SVODs; it’s about top-of-funnel acquisition. ‘We use sports more as an acquisition driver’, Jollet explained. ‘The free and cheap-only market is now growing faster than the AVOD market… You need to find a new window, new opportunities to reach this younger target group, the hard-to-reach audience’.

Creating cultural relevance

To capture these younger, hard-to-reach demographics, platforms are getting highly creative with how they package sports, leaning heavily into local relevance and creator culture.

Jollet highlighted Pluto TV’s creation of the «Snooker 900» league in the UK. Recognizing that traditional snooker matches could drag on for hours—alienating younger viewers with shorter attention spans—Pluto partnered with legend Ronnie O’Sullivan to create a fast-paced format where games last exactly 900 seconds. In Germany, Pluto TV merged the darts fandom with the Borussia Dortmund football fandom, pitting professional darts players against footballers to create viral, highly engaging social moments.

Tubi is taking a similar approach by blurring the lines between traditional sports broadcasting and creator-led storytelling. Salmon pointed out that fan engagement starts long before the whistle blows. To capture this, The platform leans into deep shoulder programming, such as Naomi Osaka’s documentary The Second Sex and an exclusive podcast with Nick Kyrgios during the Australian Open.

‘There is probably a bit of a false line drawn between traditional creator output and the way that sports personalities now own a connection direct to consumers’, Salmon noted, urging the industry to stop ‘excruciatingly defining’ content and instead focus on maximizing consumer attention.

The monetization challenge

While reach and engagement are growing across FAST and AVOD, the panel acknowledged that monetizing these audiences to their full potential remains a work in progress.

Jacobs offered a candid critique of the ad-supported space: ‘I think their original dream was that the advertising was going to be new pots of money… and I think it’s been underwhelming’. He stressed that while FAST is excellent at programmatic audience buying at scale, the industry has yet to ‘fully unlock’ the bespoke, highly specific ways that sponsors want to activate around particular sports.

Despite these growing pains, the data proves the sheer power of free streaming. Salmon revealed that when Tubi co-distributed the Super Bowl last year, it reached 24 million unique Americans. Crucially for advertisers, the Tubi stream was 38% more likely to reach the coveted 18-to-34 demographic, with more than 50% of the audience being female.

As the panel concluded, Jollet offered a final, emphatic piece of advice to content owners who might still be hesitant about the AVOD space: ‘It is a premium platform. It is premium content… Do I want to put my content on a free platform? The answer is yes. You should’.

European powerhouse Beta Film arrived at the London TV Screenings with a clear message: stability, diverse sourcing, and highly repeatable formats are the industry’s ultimate ‘bread and butter’.

During a comprehensive presentation, Managing Director Moritz von Kruedener, Chief Distribution Officer Oliver Bachert, and Sales Manager Zuzana Aichova outlined the company’s dual identity. Far beyond a traditional distributor, Beta Film positioned itself as a massive production hub, overseeing more than 30 independent production companies—mostly based across Europe, with a recent expansion into Brazil.

‘We are extremely open for cooperation with others—producers, channels, networks, streamers—when it comes to creating and building alliances for financing, development, and production’, the executive team emphasized, noting that they consistently bring about 500 hours of scripted programming to the market annually. Because they source projects from North America, Spain, Italy, the UK, and beyond, Beta Film is uniquely insulated from the rigid production cycles that typically constrain major US studios.

The economics of procedurals

A major focal point of the presentation was Beta Film‘s commitment to procedural dramas. While highly serialized, big-budget epics often dominate press headlines, the executives argued that procedurals are the true economic drivers for broadcasters.

‘These are the ones that, at the end of the day, deliver the bread and butter for every channel’, the team explained, pointing out that standalone episodes are highly repeatable and therefore more economically viable. ‘You don’t tend to watch Game of Thrones five times, but with a procedural, it’s a little bit more accessible’.

This strategy is anchored by 20 returning shows currently on Beta’s slate, including:

Hudson & Rex: The North American incarnation of the classic 90s German/Italian franchise is now entering its ninth season, proving the enduring global appeal of the «cop-and-dog» procedural.

Patience: Co-produced with Eagle Eye for Channel 4, this fresh take on the procedural format features an autistic lead character. It has been a massive hit, drawing over 4 million linear viewers and breaking into top 10 on-demand charts, rivaling massive prestige dramas like The Night Manager.

Bookish: Another UKTV hit starring Mark Gatiss (Sherlock) and Polly Walker (Bridgerton). The series reportedly boosted the network’s drama ratings by an astonishing 870%. A second season is already in co-production, with a third in development.

Mining a 20,000-hour library

Beta Film also highlighted the massive value of its intellectual property library, which currently holds around 20,000 hours of content ripe for international adaptation.

The executives pointed to successful global reimagining of their IP, such as the UK hit Professor T (starring Ben Miller), the 16 global remakes of the Norwegian teen drama Skam (most recently adapted in South Korea), and the Spanish period drama Velvet, which has recently been remade as Velvet New York for the US market.

A Diverse 2026 Roadmap

Looking ahead, Sales Manager Zuzana Aichova teased a sprawling international slate that spans multiple genres and territories. Highlights from the upcoming roadmap include:

Maxima (Netherlands): A highly anticipated royal drama centered around the Dutch monarchy.

The Great Chimera (Greece): A sweeping new regional production.

Origins (Italy): A gritty dive into the fierce Neapolitan underworld.

Autumn Beat (US): A brand new American series rounding out their transatlantic offerings.

The discussion offered a clear snapshot of how format acquisition strategies are evolving in a market shaped by intense competition, faster decision cycles, and increasing pressure for differentiation.

The session opened with a question on creativity and how acquisition decisions are actually made inside large organizations. Helen Greatorex described Banijay’s process as deeply collaborative and structurally international.

Within a group that receives more than 250 new ideas each year, decisions rarely depend on a single buyer. Input flows continuously from multiple territories, allowing the central acquisitions team to identify potential cross-market synergies. However, she stressed that creativity still depends on individual passion: ‘Sometimes you just have that one creative champion who doesn’t stop talking about an idea until we make a decision. That’s when it gets really exciting’

In other words, even in a highly structured global group, intuition and internal advocacy remain decisive drivers of innovation.

At the same time, Greatorex highlighted a key operational reality: needs still vary significantly between territories. Different markets may prioritize entirely different genres or editorial directions. For global groups, the strategic challenge is therefore not uniformity, but portfolio diversity—ensuring there is space for multiple types of ideas to coexist.

Herresthal offered a complementary perspective from the production side. Seefood TV, founded by creators, rarely acquires external formats and instead focuses on developing original concepts driven by creative vision rather than market trends.Their strategy deliberately challenges broadcaster expectations. When networks request a specific genre—crime, reality, or large-scale entertainment—the company may present something entirely different.

Revivals: the return of proven brands

Another topic addressed during the session was the growing interest in format revivals. Greatorex noted that major ‘superbrands’ within Banijay’s catalogue continue to find new life through fresh adaptations, spin-offs, or launches in new territories. The recent reacquisition of Ninja Warrior was cited as an example of a classic property ripe for repositioning.

While archive mining requires significant time and resources, the appeal is clear: familiar IP offers built-in recognition and reduces market risk when paired with a contemporary creative refresh.

Co-development and the reality of paper formats

Traditionally, commissioners looked for proven track records—multiple seasons, strong ratings, and international performance. However, the panel agreed that the current market no longer allows buyers to wait for that level of validation.

La inteligencia artificial ya no es una promesa futura en el entretenimiento infantil: es una herramienta instalada en la sala de guionistas, en el estudio de animación y en la mesa de edición. En el panel “The Art of Intelligence: Using AI without losing the human touch”, ejecutivos y tecnólogos debatieron cómo integrar estos sistemas sin perder la esencia autoral.

Moderado por Evan Baily (Consolidated Baily), el intercambio reunió a Eric Day, Luisa Huang (Toonstar), Kenny Miller (Backlot AI) y Carl Reed (Composition Media). Lejos de una mirada apocalíptica, el foco estuvo en la práctica.

Para Eric Day, la IA funciona como un “colaborador” que acelera el estado de flujo creativo. “Antes podía quedarme días trabado en una página; ahora exploro direcciones en horas”, explicó. No se trata de abaratar costos, sino de ganar eficiencia para probar más animaciones o líneas narrativas sin invertir semanas en caminos que no prosperan.

Desde Toonstar, Luisa Huang subrayó el impacto cultural. Con su herramienta propietaria Ink & Pixel, el estudio diseñó un sistema cerrado, con activos propios y trazabilidad completa, pensado para reforzar la toma de decisiones humanas. “La creación es elección. La IA es capacidad”, resumió. Según la ejecutiva, el proceso puede acelerarse hasta un 75% en etapas específicas, sin perder control artístico ni seguridad legal.

Kenny Miller aportó una mirada comunitaria desde Machine Cinema, donde equipos realizan “Gen Jams” para producir cortos en pocas horas. Para él, la IA reduce el riesgo económico y emocional: permite fallar rápido, aprender y volver a intentar.

Carl Reed, en tanto, planteó la necesidad de “desarmar” los modelos, entender sus patrones y decidir qué adoptar. En un escenario donde la tecnología cambia cada cinco minutos, el desafío (coincidieron) no es usar IA o no, sino cómo hacerlo con criterio y responsabilidad.

Durante Kidscreen Summit 2026, el panel “Creators & Collaborators: Evolving partnerships in the kids space” dejó en claro que la relación entre creadores y compañías infantiles ya no es una apuesta experimental: es el corazón del negocio.

Moderado por Kristen McGregor (Idea Farmer), el debate reunió a Laura Henderson (Spin Master), Stevin John (Kideo) y Chris M. Williams (pocket.watch), tres protagonistas de la profesionalización del ecosistema nacido en YouTube.

Henderson insistió en que todo parte de entender a la audiencia, y que en kids eso significa pensar también en los padres. Al referirse a la alianza de Spin Master con Ms. Rachel, subrayó que el diferencial estuvo en acompañar sin juzgar y ofrecer herramientas concretas para ampliar el juego en casa. “No se trata solo de reconocimiento visual, sino de cumplir la promesa de marca en cada punto de contacto”, afirmó.

Desde el lado creativo, Stevin John explicó cómo construyó la identidad de Blippi con estrategia casi quirúrgica: colores definidos, repetición sonora y un nombre fácil de pronunciar y registrar. Antes de licenciar, apostó por manufactura propia para dar sensación de escala y legitimidad.

Por su parte, Williams detalló cómo en pocket.watch convierten fenómenos digitales en franquicias multiplataforma, llevando marcas nacidas en YouTube a servicios como Disney+ o Hulu para cambiar la percepción parental y potenciar el salto a retail.

Las alianzas exitosas no amplifican solo audiencia, sino propósito. Y en ese equilibrio entre contenido, plataforma y producto, se juega hoy el futuro del negocio infantil.

Durante la segunda jornada de Kidscreen Summit 2026, el panel “Engineering Entertainment Everywhere: Inside Mark Rober’s multi-platform expansion” puso bajo la lupa un fenómeno clave del ecosistema kids: cómo un creador nacido en YouTube puede escalar hacia el streaming y el negocio físico sin diluir su identidad.

Scott Lewers, Chief Content Officer de CrunchLabs, compartió el detrás de escena de su vínculo con Rober, cuando la hoy megaestrella apenas rozaba el millón de suscriptores. “Tenía mi atención de una manera que no veía en la TV tradicional”, recordó sobre aquel primer acercamiento. La intuición era clara: allí estaba la próxima generación de audiencia.

Desde entonces, el crecimiento fue exponencial. Rober pasó de producir ciencia en su patio trasero a liderar un equipo de más de 80 personas y una marca que combina contenido, productos y educación. Su alianza con Netflix, moderada en el panel por Heather Tilert, directora de Preschool Content del streamer, marca un nuevo capítulo en esa expansión multiplataforma.

Para Lewers, la clave está en entender a la audiencia desde adentro. “Tenés que convertirte en ese consumidor”, afirmó, destacando que las reglas del éxito en medios tradicionales ya no alcanzan. Hoy se impone la autenticidad, la velocidad y la conexión directa.

CrunchLabs refleja esa filosofía con tres pilares: entretenimiento, experiencia y educación. A sus videos se suman cajas de suscripción para distintas edades, una línea de juguetes y el desarrollo de contenido curricular gratuito para escuelas, con la meta de inspirar a un millón de chicos en ciencia e ingeniería.

La ambición va más allá de la pantalla: construir una marca con legado propio, capaz de trascender al creador que la originó.

Durante la segunda jornada de Kidscreen Summit, el creador y fotógrafo Jordan Matter ofreció una keynote que fue mucho más que una charla motivacional. Con 33 millones de suscriptores y 275 millones de viewers mensuales, defendió una idea simple en una economía de creadores que avanza hacia los US$500 mil millones: lo que escala es la relación.

Bajo el título “Making it Matter: Building trust & scale in the creator economy by being real”, Matter repasó cómo convirtió el vínculo con su hija Salish en el corazón de uno de los canales familiares más vistos de YouTube. “Es, ante todo, un canal de relación”, afirmó. Para él, la plataforma no debería obsesionarse con replicar fórmulas espectaculares al estilo MrBeast, sino en construir conexiones duraderas.

Matter compartió su “regla 80/20”: el 80% del éxito de un video depende del concepto y el empaque (título y miniatura), pero el 80% del éxito de un canal está en la ejecución sostenida. La clave es la retención: dar en los primeros 30 segundos una razón para quedarse hasta el final. En su caso, eso se traduce en episodios de 25 a 30 minutos que estrena cada sábado a las 7 am, con consistencia casi televisiva y un 70% de consumo en pantalla grande.

También abordó los límites saludables al trabajar con su hija: seis días a la semana no hablan del canal. “No quiero que nuestra relación sea un proceso directorial”, explicó. Esa separación, sumada a cinco atributos claros que definieron desde el inicio, le permitió evolucionar sin perder autenticidad.

El próximo paso es un acuerdo 360° con Netflix, que incluirá nuevos proyectos y parte de su biblioteca en la plataforma. Para Matter, no se trata de abandonar YouTube, sino de expandir una comunidad que —según insiste— no se construye con golpes virales, sino con confianza.

During the «MicroDrama 2026: The Global Breakout» session at MIP London, some players gathered to dissect the explosive rise of vertical, short-form storytelling. Moderated by Maria Rua Aguete, Head of M&E at OMDIA, the panel revealed that micro-dramas are already generating a staggering $11 billion globally—double the revenue of all FAST channels worldwide combined.

Rua Aguete opened the session with a stark reminder of the format’s undeniable commercial power: ‘There’s nothing to believe but not believe. The numbers speak for themselves’.

To unpack this phenomenon, she was joined by three heavyweights of the micro-drama space: Alex Montalvo, Co-Founder & CCO of GammaTime (the first Hollywood-backed entrant into the space); Tim Oh, General Manager for COL Group International (the pioneers of micro-dramas in China and a dominant force in the US market); and Anatolii Kasianov, Co-Founder and Co-CEO of HOLYWATER (a rapidly expanding distribution giant backed by Fox and $22 million in recent venture capital funding).

Content: from «Billionaire Tropes» to True Crime

A recurring debate surrounding micro-dramas is the perceived quality of the content. Rua Aguete challenged the panelists on the common criticism that the format relies heavily on low-cost, sensationalist tropes—such as billionaire revenge plots, erotica, and exaggerated romance.

Oh acknowledged the prevalence of these themes but offered a compelling justification rooted in accessibility and relatability. Drawing a parallel to the gaming industry’s evolution from high-budget console titles to mass-market mobile games like Candy Crush, Oh explained that micro-dramas serve a similar purpose for narrative content. ‘A simple story about this person becoming a billionaire that has a revenge plot is relatable’, he said. ‘The content is built for the masses’.

However, Montalvo was quick to defend the format’s potential for premium storytelling. Pointing out that micro-dramas are validating the core thesis of Jeffrey Katzenberg‘s ill-fated Quibi—premium narrative content designed for phones—Executive stressed that the industry is merely in its infancy. ‘This is a brand new medium, a brand new opportunity for storytellers to tell hyper-engaging, really innovative stories’, he argued. GammaTime is actively expanding beyond romance, venturing into true crime and thrillers, and recently announced a partnership with CSI creator Anthony Zuiker to develop high-end original IP for the vertical format.

The Strategy: original incubation vs. A.I. conversion

As the demand for vertical content surges, platforms are exploring different avenues for supply. While Kasianov’s HOLYWATER has built its success on an IP incubation model—adapting top-performing books into vertical series for its massive base of over 100 million users—other players are looking backward to monetize existing libraries.

Montalvo revealed that GammaTime is actively experimenting with converting legacy horizontal content into vertical micro-dramas using A.I. technology through a partnership with the Israeli company Spikes. Conversely, Oh expressed skepticism about directly porting complex IPs into the micro-drama space, suggesting instead that major brands should create simplified, ‘extension’ stories within their existing universes, tailored specifically for the vertical format.

Monetization: valuing time over subscriptions

The financial engine driving the micro-drama boom is its unique monetization structure. Moving away from the rigid subscription models of traditional SVODs, micro-drama platforms rely heavily on in-app currencies and micro-transactions to unlock individual episodes.

The panel agreed that this model ultimately gives consumers unprecedented choice. Users can opt to watch for free with ad interruptions, pay small increments to continue a specific storyline, or purchase subscriptions for unrestricted access. As Oh noted, the decision to pay often boils down to how a user values their time in a fast-paced world, choosing to spend money to bypass the friction of advertising.

Currently, the core demographic driving these revenues is female, a trend Kasianov attributes to the genre’s origins in adapting romance novels. However, with the rapid diversification of genres and the impending entry of major Hollywood players and traditional broadcasters, the micro-drama space is aggressively expanding its footprint, proving that the future of television might just be vertical.

Held amidst the bustling business week of MIP London, the highly selective guest list was packed with the Heads of Formats from London’s top content creation companies, underscoring the massive local appetite for South Korean IP. The evening featured presentations from the core companies making up KOCCA‘s MIP London delegation—Something Special, ELTV, J Wonder, and BoxMedia—alongside their respective partners. The night culminated in a special award ceremony for the attendees.

Building bridges between Seoul and Europe

The event served to highlight the key executives driving the Korean wave across Europe. Rosa Park, Regional Director of the KOCCA UK Centre, acted as one of the primary spokespersons, establishing her office as a vital communication bridge between KOCCA and the UK industry. She shared the stage with So Hyun Cheon, Regional Director of the KOCCA Sweden Centre, highlighting the agency’s pan-European strategy. Also in attendance was Soomin Im, Manager at KOCCA Korea.

A major focal point of the evening was the presence of Diane Min, Head of Europe Sales at CJ ENM. Min has become a pivotal figure in the expansion of Korean content—and specifically CJ ENM’s catalog—within the UK. This strategic localization push has already yielded significant results, most notably the ongoing collaboration with powerhouse producer Fifth Season, with whom they are currently developing a local UK adaptation of the hit Korean series Eve.

With this high-profile event, the South Korean delegation made it clear that their strategy in London goes far beyond simply exhibiting content; it is about forging top-tier relationships and deeply integrating into the British television ecosystem.

This was the central takeaway from the morning session titled «The New Distribution Playbook: What’s the Deal Now?» Moderated by Jack Davison, EVP of 3Vision, the panel featured key distribution executives who outlined how their companies are completely re-engineering their strategies to survive and thrive in an ecosystem where audiences are scattered across SVOD, AVOD, FAST channels, and social video platforms.

The post-peak TV reality

Davison set the stage with compelling data, illustrating how the distribution market has fundamentally morphed. While the volume of premium scripted content locked behind paywalls has remained relatively stable since 2018 (around 80%), the mechanics underneath have changed drastically. The industry has witnessed the rise and stabilization of studio-owned direct-to-consumer services, followed by a recent aggressive pivot back toward licensing content to third parties and free TV platforms to generate much-needed revenue.

Notably, Davison also highlighted the explosion of ‘box sets’ on free TV platforms. In 2018, only 39% of free TV premieres eventually became available as full box sets; by 2025, that figure skyrocketed to 92%. The traditional linear broadcast is no longer the primary engine—it is merely one layer in a complex distribution stack.

Karla Berry, Head of Distribution & Partnerships at Channel 4, detailed how the UK public service broadcaster is aggressively leaning into this new reality through its ‘Fast Forward Strategy’.

‘More than half of our audience is on Channel 4 via streaming, and so we’re really re-engineering the business leaning into digital first’, Berry explained. This includes heavy investments in their own streaming app, the joint PSV launch of Freely (the fastest-growing TV platform in the UK last year), and groundbreaking experiments with platforms like Spotify, where they are testing video content beyond traditional podcasts.

Channel 4 has also found massive success by embracing YouTube. ‘Our full episodes were up 55% last year, and we reached 175 million views’, Berry noted. By utilizing a specialized digital studio team in Leeds, the broadcaster is learning how to optimize windowing, metadata, and packaging for platforms like Instagram and TikTok, while ensuring their owned-and-operated app remains the primary destination for data collection and brand control.

For Graham Haigh, COO of Zoo 55 at ITV Studios, the mandate is clear: hit a £120 million revenue target next year. To achieve this, ITV Studios is looking past traditional licensing and heavily mining its deep library of content.

‘We built the Zoo business purely on the archive and the library’, Haigh stated, citing shows that are 10 to 25 years old, like The Voice or River Monsters. By applying a strict, data-led lens to distribution, ITV is able to identify highly ‘clickable’ moments within older shows and repackage them for YouTube and other social video platforms, effectively creating ‘net new content’ for massive global audiences.

Davison echoed this sentiment, noting that during the height of Peak TV, the ultimate financial value of a show was extracted almost entirely in its first window. Today, distributors must work tirelessly to extract value over time, placing content in different environments at different stages of its lifecycle.

Navigating this complex web of social video and AVOD platforms requires specialized expertise, leading to the rise of companies like Merzigo. Ceyda Sıla Çetinkaya, CCO at Merzigo, explained that their agency steps in to handle everything from launching a company’s initial YouTube and Facebook strategies to optimizing existing, underperforming channels for major distributors.

Ultimately, the new distribution playbook discussed at MIP London 2026 demands a dual approach: broadcasters must aggressively protect and grow their owned-and-operated digital destinations while simultaneously exploiting every available third-party platform—from FAST channels to YouTube—using deep data analytics to squeeze every last drop of value out of their content libraries.

Addressing a packed room of industry executives, Jon Rutherford, President Global Content Rights, and Mellany Welsh, SVP and Head of Global Distribution & Brands, outlined the strategic vision driving the company forward.

«Boat Rocker Studios is now operating as a newly private company,» Rutherford announced to the crowd. «That shift has allowed us to sharpen our focus, lean into our strengths, and double down on the premium content that you are used to seeing from us to really define our business.»

Delivering on the promise of a «short, concise, but meaningful» presentation, the executive team showcased a curated selection of upcoming scripted, factual, and kids’ programming designed for the international market.

Scripted: high-stakes international co-pros

A major focus of the evening was Boat Rocker’s push into ambitious, cross-border scripted co-productions that bridge distinct cultures and landscapes. The studio offered an exclusive first look at two standout dramas:

• Blood and Sweat: Billed as a distinctive, first-of-its-kind co-production, this international crime thriller spans two entirely different worlds. The series forces two detectives from vastly different cultures into a joint investigation of a mysterious serial murder case stretching from Finland to Japan. The project features a heavy-hitting roster of international partners, produced alongside Axon, Nippon TV, and WOWOW in Japan, as well as ICS and its Finnish broadcast partner.
• The Ridge: Commissioned by Sky New Zealand and BBC Scotland, this suspenseful, emotionally charged drama follows a Scottish doctor who travels to New Zealand for her estranged sister’s wedding—only to discover her sister has vanished. The series promises a tense, atmospheric mystery set against a breathtaking yet isolating landscape.

The presentation also featured updates on two of Boat Rocker‘s previously launched scripted series, signaling ongoing momentum for their returning properties.

Unscripted & Factual: expanding the scope

Company also unveiled a robust unscripted strategy, highlighting a range of premium factual series spanning sports, history, science, true crime, and lifestyle. These projects are produced in collaboration with major global partners, including Channel 4, Bell Media, Paramount, Dash Pictures, and Forte Entertainment.

Key highlights from the factual slate include:

• All Heart: A powerful portrait of elite sport and national pride that follows the Canadian women’s rugby team as they prepare to compete in the 2025 Rugby World Cup (in partnership with Rugby Canada and World Rugby).
• Why We Fight: An intimate and highly emotional documentary diving into the world of Mixed Martial Arts (MMA).
• Hidden Beneath the City and Abandoned Inventions: Two distinct series exploring extraordinary subterranean worlds and history’s forgotten, lost innovations.
• Great Estates from Above: A visually stunning showcase of Britain’s most magnificent homes and historic castles.
• My Nightmare Stalker: A gripping, tension-filled true crime investigation into a terrorized family.

Kids & Family franchises grow

Rounding out the showcase, Welsh and Rutherford treated buyers to an exclusive international sneak peek at the expansion of their Kids & Family division. The studio is set to launch two brand-new spin-off series later this year, building upon two of its most successful, globally recognized children’s franchises.

Prensario conversó con Víctor M. López, CEO de Krakatoa, y Cindy Fernández, Licensing & Consumer Products Manager de Plim Plim, en el Kidscreen Summit 2026 de San Diego. “Fue el mejor año de nuestra historia, por lejos”, resumió López. El crecimiento de Plim Plim en YouTube marcó un nuevo récord (el mejor enero histórico en views, watch time e ingresos) y su desembarco en Netflix superó las expectativas. Aunque la plataforma no comparte cifras detalladas, el ranking en distintos territorios confirma la tracción del personaje.

En licensing, México se consolidó como mercado estrella. La alianza con Bandai agotó el stock de peluches musicales en el último semestre. “Este año venimos con una planificación más robusta”, adelantó Fernández, con nuevos lanzamientos como Abejita Chiquitita y una estrategia que apunta a reforzar la marca en juguetes, publishing y experiencias.

Pero el salto es más ambicioso: transformar a Plim Plim en una marca de entretenimiento integral. Ya está en producción una serie narrativa de 26 episodios de siete minutos, financiada con recursos propios, con guionistas estadounidenses y producción en Argentina, Perú y Chile. “Cambiar sin que deje de ser lo que es”, definió López sobre el desafío creativo.

En paralelo, presentaron Bumpy, nueva IP musical en coproducción con Televisión Española, que estrenará a mediados de septiembre y tendrá 52 videoclips en su primera temporada, con estrategia digital first en YouTube.

El próximo hito será en vivo: el nuevo show de Plim Plim debutará en mayo de 2026 en Buenos Aires. La meta es clara: trascender plataformas y convertir el fenómeno digital en una marca global 360.

Durante el Kidscreen Summit 2026, la conferencia “What You Need to Know: Kids & AI” puso el foco en cómo niñas y niños están incorporando la inteligencia artificial a su vida cotidiana, no como novedad tecnológica, sino como una extensión natural de su creatividad.

El consultor estratégico Ryan Scofield explicó que el vínculo infantil con la AI mezcla curiosidad y cierta aprensión, un reflejo del debate adulto. Sin embargo, para los chicos la tecnología ya está integrada: el acceso a computadoras, tablets y smartphones —principales puertas de entrada a la AI— es prácticamente universal. Según los datos presentados, cerca de ocho de cada diez niños ya utilizan herramientas basadas en AI, muchas veces sin identificarlo como tal.

Scofield subrayó que la adopción suele nacer de la “fricción”, especialmente en tareas escolares, pero eso no implica pereza sino ingenio. Los chicos experimentan, buscan atajos y transforman la herramienta en un espacio de exploración creativa. Aplicaciones como Photomath ilustran cómo la AI se volvió parte del aprendizaje cotidiano incluso antes de que el concepto ganara popularidad.

El rol de los padres también emerge como un factor clave. La supervisión evoluciona con la edad, en un equilibrio similar al de otros hábitos digitales. Para Scofield, el desafío no es frenar la tecnología, sino guiar su uso.

La presentación concluyó con un marco de desarrollo por edades: descubrimiento guiado en los más chicos, construcción de habilidades en la niñez media y expresión identitaria en la adolescencia. El mensaje fue claro: la AI, más que reemplazar procesos, actúa como asistencia creativa. Y en manos infantiles, ese potencial recién empieza a desplegarse.