The 23rd edition of TIFFCOM, will feature a strategic panel focused on the international adaptation and commercial scalability of Japanese intellectual property (IP). Scheduled for October 28 the session will bring together production and streaming executives from Amazon MGM Studios, Netflix, and Credeus to discuss the business of transitioning local franchises to global audiences.

Organized by the Motion Picture Association (MPA) and UNIJAPAN, the session titled Unlocking the Global Potential of Japanese IP aims to explore the frameworks necessary for expanding Japanese narratives to Hollywood and beyond. This panel aligns with TIFFCOM’s core agenda for the October 28-30 event, which gathers global film, TV, and animation rights holders, buyers, and producers to foster international co-productions and content business integration.

The discussion will feature operational and strategic perspectives from the US streaming sector. Buddy Marini, appointed Head of Amazon MGM Studios Japan in March 2026, will address the development of local originals across scripted, unscripted, and anime formats. Marini, who leverages 25 years of media leadership experience, oversees the studio’s content pipeline and works with global teams to distribute Japanese stories worldwide.

Complementing the platform strategy, Steven Maeda will provide the showrunner’s perspective on translating complex properties into mainstream international successes. As the Executive Producer of Netflix’s live-action One Piece—a series that generated over 140 million viewing hours and debuted at number one in 46 countries during its opening week—Maeda offers practical insight into adapting established Japanese IP for global scalability.

From the local production standpoint, Shinzo Matsuhashi, CEO of CREDEUS, will outline the mechanics of developing high-profile live-action adaptations within Japan. Matsuhashi has spearheaded major franchise transitions, including Kingdom, Kokuhō, Blue Lock, and Golden Kamuy. By 2026, the cumulative box-office gross of the films he has produced surpassed 100 billion yen, earning him multiple Fujimoto Awards for outstanding film production.

The panel will be moderated by Atsuo Nakayama, CEO of Re Entertainment and an entertainment sociologist. Drawing from a 15-year career in IP business development across gaming, anime, and publishing with companies like Bandai Namco and DeNA, Nakayama will guide the Q&A to focus on the intersection of IP strategy and market trends.

Through this specialized session and its broader schedule of project markets and pitching events, TIFFCOM 2026 continues to structure the dialogue between Asian rights holders and international producers, establishing new operational pathways for cross-border co-productions and IP exploitation.

The Taiwan Creative Content Agency (TAICCA) and South Korean production company B.A. Entertainment have formalized a Memorandum of Understanding (MOU) during the 31st Busan International Film Festival (BIFF) and the Asian Contents & Film Market (ACFM). The agreement establishes a direct framework for cross-border collaboration across the content value chain, targeting co-production, investment matchmaking, and international distribution to expand the footprint of Taiwanese and Korean original stories in the global audiovisual market.

The partnership aims to integrate the production capabilities and financial structures of both territories. B.A. Entertainment brings its established track record in genre-driven storytelling and real-event adaptations, having produced successful franchises like The Roundup and series such as Big Bet and Revenant. To structure these cross-border operations, the initiative also involves Taiwanese partners 1 Production Film Co. and Money Entertainment Investment Co., leveraging their regional IP development expertise and three decades of financing experience to facilitate joint projects from early-stage development to global rollout.

Highlighting the industry’s response to this regional integration, TAICCA hosted the networking reception “Taiwan Night”, drawing over 500 executives, buyers, and programmers. The event served as a business hub for key regional players, attended by representatives from South Korea’s CJ ENM, KOFIC, and Barunson E&A, alongside Japan’s Toei and TBS, and Thailand’s GDH 559. Sue Wang, Chairperson of TAICCA, noted during the event that international partnerships and resource integration remain essential strategies for positioning Taiwanese content within the broader global distribution ecosystem.

Beyond the structural agreements, Taiwan maintained a substantial commercial presence at the ACFM. The Taiwan Pavilion hosted over 100 companies and 235 projects seeking publishing, pitching, and co-production opportunities. This market push translated into specific industry recognitions: the Taiwanese project Uncle secured the CathayPlay Award at the Asian Project Market (APM), while media-tech startup imCore was awarded Most Promising Startup at the InnoAsia tech pitching session. Furthermore, the IP Cat Rental Company was selected for the Busan Story Market and secured an invitation to Indonesia’s JAFF IP Connection to explore adaptation opportunities.

Moving forward, the MOU provides a concrete pipeline for Taiwanese IPs to leverage South Korea’s established global distribution networks, while allowing Korean studios access to Taiwan’s creative talent pool and co-financing structures. TAICCA expects to maintain its role as a central hub for market matchmaking, aiming to consolidate the region’s production capabilities and secure a stronger competitive position for Asian content in the international marketplace.

TIFFCOM, the primary content market affiliated with the Tokyo International Film Festival, has detailed its conference lineup for its 23rd edition, scheduled from October 28 to 30 at the Tokyo Metropolitan Industrial Trade Center Hamamatsucho-Kan. The upcoming event will gather global film, television, and animation rights holders, buyers, and producers to evaluate new opportunities in the content business. This year, the programmatic focus is heavily directed toward international co-productions and the modernization of content financing within the Japanese and broader Asian markets.

A key highlight of the agenda is the evaluation of investment structures in the region. The Japanese audiovisual industry has historically relied on the production committee system to foster collaboration and mitigate financial risks among business partners. However, the requirement to scale production budgets, expand into international markets, and improve financial returns for creators has prompted the sector to explore alternative funding models involving external investors and financial institutions.

To address this structural shift, UNIJAPAN will organize the panel Film Funds in Japan: What Works, What Doesn’t, and What Comes Next on October 30. The session will assess the real-world viability and persistent challenges of these alternative paths. Moderated by Hotaka Sugimoto, Editor-in-Chief of Branc, the panel will feature a multi-disciplinary approach covering production, corporate finance, and law. Confirmed speakers include Muneyuki Kii, CEO and Producer at K2 Pictures; Tomonobu Ibe, CEO of Questry; Keita Nakagawa, Managing Director at MUFG Bank; and Yusuke Motoyanagi, Partner at Nishimura & Asahi. The executives will discuss critical factors such as investor participation, risk distribution, governance transparency, and the utilization of debt.

International collaboration serves as the second major pillar of the conference program. The Japan External Trade Organization (JETRO) will host a dedicated panel on October 29 aimed at building the next wave of global partnerships with Japan. This session will feature strategic insights from Shion Komatsu, Sales Manager at TOHO Global, and Yuna Kamiura, Producer at K2 Pictures. Furthermore, ATMOVIE GLOBAL TRACK and Ties That Bind have scheduled a session on October 30 to outline actionable steps for establishing successful co-production partnerships, delivered by ATMOVIE CEO Takeshi Moriya.

The Tokyo Gap-Financing Market (TGFM) will also host a series of talks designed to connect regional projects with international structures. The first session will analyze how genre content operates within co-production markets, featuring Tania Morissette from the Fantasia International Film Festival, alongside producers Tomomi Furuyama and Yasushi Miyamae. A subsequent TGFM panel will compare co-production support mechanisms across different territories, gathering perspectives from Yana Chang of Brazil’s ABRASIA, Savine Wong of Telefilm Canada, and Kaori Ikeda of UNIJAPAN, under the moderation of AFAN’s Lorna Tee.

Showcasing specific regional pipelines, the event will also feature the Linmon Content Showcase 2026-2027, where executives Roy Lu and Alex Qiao will outline the upcoming international distribution plans for the production company.

Complementing the networking and pitching sessions, the market continues to expand its incentives for developing projects. During the event, TIFFCOM will introduce the newly established Mellow Tunes Sound Design Award, which grants up to US$10,000 in in-kind post-production services provided by the Thailand-based facility. Through these targeted sessions and industry awards, the market aims to structure a viable roadmap for content creators and investors looking to navigate the evolving financial landscape of the global audiovisual sector.

The 39th Tokyo International Film Festival (TIFF), running from October 26 to November 4, will host Academy in Tokyo, a special program featuring senior executives from the Academy of Motion Picture Arts and Sciences, the organization behind the Oscars.

Academy CEO Bill Kramer, President Lynette Howell Taylor and Chief Membership, Impact and Industry Officer Meredith Shea will visit Japan for a series of activities on October 28 and 29, bringing together key figures from the international film industry to discuss the global cinematic landscape, industry development and international collaboration.

The program will open on October 28 with a panel discussion at Tokyo Midtown Hibiya Hall, offering insights into the Oscars, the Academy’s global initiatives and membership programs, as well as its perspective on the current state and future of international cinema. The session, scheduled from 3:00 to 4:30 pm, will feature the three Academy executives, with TIFF Festival Director Takeo Hisamatsu as facilitator. Admission will be free, with advance reservations required.

Following the panel, Kramer will receive the Global Cinema Leadership Special Award, recognizing his contributions to the development of the global film industry and the advancement of film culture. The visit marks his first trip to Asia.

Since becoming Academy CEO in 2022, Kramer has worked to diversify and internationalize the organization’s membership. He oversees its global operations and programs, including the Oscars, the Academy Foundation and services for its approximately 11,000 members worldwide.

October 28 will also include a private gathering for Academy members from around the world, providing an opportunity for professionals across the organization’s international film community to connect and exchange ideas during TIFF.

The following day, October 29, Kramer will join Hiro Matsuoka, President and CEO of Toho Co., Ltd., for a special talk session at Tokyo Midtown Hibiya Hall, scheduled from 2:00 to 3:30 pm.

The conversation will address the evolving global film landscape, the future of theatrical and streaming distribution, and opportunities for greater international collaboration. The meeting brings together two senior executives with perspectives spanning the Academy’s international activities and Toho’s role in the Japanese film industry.

Both public sessions will offer free admission with advance reservations. TIFF will announce reservation details through its official website and other channels.

Reflecting on the week’s major announcements and new partnerships, Lucy Smith, Director of MIPCOM CANNES, emphasized the market’s evolving strategy. ‘Our strategy is clear: to strengthen MIPCOM‘s core international content business while bringing together the companies, investment, technology and new business models driving the transformation of the global entertainment industry,’ said. ‘We are not simply responding to change. We are actively shaping the opportunities it creates’.

The strength of the established content business was evident through significant international announcements. Globo unveiled new international licensing agreements, while BBC Studios expanded its partnership with Samsung TV Plus. ITV Studios reported robust format activity, and FOX Entertainment joined forces with Kevin Hart’s Hartbeat for a new partnership in vertical drama. The market also hosted high-level conversations, including the first joint keynote from Jeff Zucker and Marco Bassetti following the merger of Banijay Entertainment and All3Media, and an interview with David Decker, President of Skydance Content Sales. Additionally, Netflix Chief Content Officer Bela Bajaria was honored with the Variety Vanguard Award.

This year’s market notably highlighted the convergence of traditional media with new digital players. YouTube returned with an expanded presence alongside tech giants like Meta and TikTok, as well as prominent advertising agency dentsu. The introduction of the MIP BrandWorks CXO Summit created fresh avenues to connect brands with producers. ‘We have clearly moved on from why brands should be involved in content, to how they can build it into their planning cycles, driving fandom, brand love and ultimately growth’, noted Cathy Boxall of dentsu.

Creator-led entertainment took center stage, highlighted by Dhar Mann receiving the inaugural The Ankler Future of Entertainment Award and announcing a scripted series for Samsung TV Plus. Billy Parks, Head of FOX Creator Studios, remarked, ‘We’ve had real conversations here about what we can build together, and I expect to see more creators coming next year’. The collaboration between digital and traditional platforms was further explored by Pedro Pina of YouTube EMEA and Stephan Schmitter of RTL Deutschland, as well as Justin Connolly of YouTube and Matt Schnaars of NBCUniversal in the sports sector.

Artificial intelligence also dominated the conversation. Cecilia Shen of UTOPAI Studios and Ken Oh of CJ ENM Studios explored how AI is transforming content production, while creator Anthony E. Zuiker launched his new AI app at the market.

On the traditional screening front, Cannes hosted World Premiere Screenings of highly anticipated series, including Honey from FIFTH SEASON and Queen Silvia from Beta Film. Furthermore, FOX and Fremantle brought the iconic Baywatch to the Croisette. The market also celebrated female leadership with the Women in Global Entertainment Power Lunch, co-hosted by A+E Global Media and The Hollywood Reporter, featuring actress Angie Harmon and author Elizabeth Day.

The industry will reconvene when MIPCOM CANNES returns for its next edition from October 18-21, 2027.

On the session “What the Market Gets Wrong About Microdrama,” Rua Aguete, alongside industry expert Timothy Oh, unveiled exclusive Omdia and Ipsos data proving that the vertical short-form format has evolved into a serious, highly lucrative pillar of the global entertainment economy.

Setting the record straight on the format’s legitimacy, Rua Aguete argued that the rise of microdramas is a direct result of a permanent shift in consumer behavior. ‘There is not a problem with content right now, there is a problem with attention’, she stated, highlighting the industry’s battle for the mobile screen. According to April 2026 data, three out of four US television viewers are simultaneously using their mobile phones in the living room, with 50% of them actively watching vertical videos. This mobile addiction spans all age groups, with platforms like YouTube Shorts currently beating Netflix in the US among audiences aged 18 to 64. Recognizing this shift, major legacy streamers, including Prime Video, Disney+, Max, and Netflix are now aggressively pursuing their own vertical strategies.

Rua Aguete systematically dismantled the industry’s most pervasive myths regarding microdramas, starting with geography. While China currently accounts for 75% of this year’s $14.1 billion microdrama market, the format is exploding globally. The US, Brazil, and Mexico are now leading adopters, followed closely by South Korea. She also highlighted massive growth in Eastern Europe—notably Poland, which boasts double the usage of Spain—as well as robust emerging markets in Latin America and the Middle East. Driven by this international expansion, Omdia officially upgraded its market forecast to a staggering $25 billion.

The session also shattered demographic stereotypes. Often dismissed as a guilty pleasure for female audiences fueled by billionaire-CEO romance tropes, the data paints a vastly different picture. The exec also stressed that nearly half of all microdrama consumers globally are men, a figure that rises to a surprising 54% in the United Kingdom.

Furthermore, the analyst pointed that microdrama is a structural format, not a specific genre. The ecosystem has rapidly diversified beyond soap operas into reality TV, traditional horizontal series being reformatted for vertical screens, and highly popular AI-generated content.

This expansive reach has triggered a gold rush for brand integration and telecom partnerships. Brands are increasingly commissioning microdramas to capture elusive mobile eyeballs, while telecom operators are actively bundling vertical content to drive mobile network usage.

‘Vertical is no longer optional’, Rua Aguete concluded, urging traditional producers and distributors to embrace the format. ‘Microdramas are not a joke, and it’s just getting started’.

Manuel Belmar, Chief Financial Officer and ESG leader at Globo, accepted the award during the international market. ‘At Globo, our impact lies in the content we produce, the conversations we help mobilize, the voices and perspectives we bring to the public, and the way we conduct our business,’ stated Belmar. ‘The ESG Agenda connects this influence to concrete actions in our operations and the audiovisual industry. This recognition reinforces our responsibility to continue using our reach to contribute to a more inclusive society and an increasingly sustainable sector.’

The award is part of an ongoing eight-year partnership between MIPCOM and the UN, tied to the SDG Media Compact, which currently unites over 450 media and entertainment companies across 160 countries. Globo‘s recognition stems from its active promotion of diversity, inequality reduction, education, and democratic institutions. Operationally, the company achieved its goals of operating with 100% renewable energy and sending zero waste to landfills earlier this year—four years ahead of schedule. Furthermore, Globo has expanded its sustainable production practices through its Green Production Guide and ‘Ecovision’, a partnership with Panvision aimed at fostering sustainability across the Latin American audiovisual sector.

Paulo Marinho, CEO of Globo, praised the collective effort behind the milestone. ‘ESG is not a department at Globo, but a cross-cutting approach across the entire business,’ Marinho noted. ‘This recognition is the result of consistent work that mobilizes the entire company and has fundamental leadership in Manuel Belmar. Over the past few years, he has helped consolidate an ESG Agenda that connects purpose and business, transforms commitments into concrete actions, and expands the positive impact we can generate.’

The tangible social impact of Globo‘s content was vividly demonstrated through the telenovela Vale Tudo. Following a scene where the character Lucimar, played by Ingrid Gaigher, utilized a Rio de Janeiro Public Defender’s app to formalize child custody and collect alimony, the public agency reported a 300% surge in app searches and a 70% increase in platform scheduling. Similarly, the storyline of Heleninha Roitman, portrayed by Paolla Oliveira, which addressed alcohol dependency, resulted in a 150% increase in searches for the official channels of Alcoholics Anonymous.

These vanguard moves were central to the discussions at the highly anticipated morning panel PIVOT! Why Every Entertainment Company Needs a Vertical Strategy. The session brought together platforms and studios to unpack how mobile-first content achieved in Asia what streaming took a decade to do in the West. Industry leaders analyzed how content is produced, distributed, and monetized in vertical formats, offering a direct look at what a credible strategy requires in 2026 and where traditional entertainment companies risk getting left behind.

Speaking on the company’s specific market objectives, Sammie Hao, Head of Talent and Business Development at Crazy Maple Studio (the parent company of ReelShort), outlined their aggressive push into telecom partnerships. ‘This MIPCOM, we are heavily targeting telcos to build content aggregation alliances’. explained Hao. ‘We have already established a successful bundling plan with AIS in Thailand to offer our content, and we are looking to replicate and expand that model globally’.

Alongside telecom distribution, ReelShort is breaking new ground in advertising with its branded content microdramas. The company has already produced six branded titles, structured with a maximum of 10 episodes that run no longer than two minutes each. This format has attracted major international brands, with the studio already working alongside Crocs, Monopoly Go, and Anker, while preparing to announce a major upcoming partnership with a French cosmetics brand.

The metrics behind this branded push are highly compelling for the advertising sector. Hao revealed that their recent campaign for Crocs achieved a massive 10 million views, generating significant social impact. To further entice corporate partners, ReelShort now offers a commercial guarantee of at least 3 million views for the brands they collaborate with.

By seamlessly blending highly engaging, bite-sized narratives with guaranteed audience reach and strategic telecom distribution, ReelShort is proving at MIPCOM that the vertical format is no longer just the future of mobile entertainment—it is a highly profitable reality today.

Leading the international catalog is Vitória, a production that premiered a year ago and is now being pitched to global buyers in a shorter, more dynamic international cut. According to Gonçalves, this modernized version has already secured sales in Canada and Dubai. The broadcaster is also finding significant international traction with Broken Promise (A Promessa), an adaptation of a Turkish drama that has successfully closed distribution deals in Hungary, Canada, Israel, and Macau.

SIC’s collaborative production model was heavily highlighted during the market. The company presented Chapters of Life (Páginas da Vida), an adaptation of a Globo format launched in partnership with Prime Video, as well as the original ecological miniseries Azul. The six-part drama, featuring 45-minute episodes, follows a young woman with Down syndrome who joins a group of activists determined to prove that whales still exist in a world where they were thought to be extinct. The premium series has already been acquired in Macau and Mongolia. Another major standout is A Greater Destiny (Destino Maior), a Turkish drama adaptation that is currently performing exceptionally well across both domestic free-to-air television and Disney+.

Looking ahead to the 2027 pipeline, SIC is preparing a new adaptation of a Brazilian production, with filming scheduled to begin this November. Additionally, the network is readying a new series inspired by the true story of a Portuguese actress, which is set to premiere in the coming months.

Beyond traditional content sales, SIC is pioneering new digital distribution models. Its streaming platform, OPTO, combines free, ad-supported access with a premium subscription priced at €3.99 per month in Portugal. A key driver for the platform’s growth is offering subscribers early access to the five telenovela episodes scheduled to air on linear television the following week.

‘This complementary distribution model, together with partnerships with Disney+ and Prime Video, is helping SIC reach audiences who would not traditionally watch telenovelas on linear television,’ explained Gonçalves.

The broadcaster is also embracing the fast-growing microdrama trend. OPTO recently premiered a vertical production based on a character from a Brazilian telenovela, and the company is actively exploring opportunities to adapt its own intellectual properties into the vertical format, testing short-form episodes running between 60 to 90 seconds.

As SIC continues to broaden its general presence across Europe, Asia, and North America, Gonçalves noted that Latin America, Spain, and the U.S. Hispanic market will remain top-priority territories for the company’s ongoing global expansion strategy.

In its initial launch phase, the channel will be available through the company’s digital platforms, HITN-Go and VidaySalud.com. A few weeks later, Vida y Salud will make its television debut in Puerto Rico on WIPR‘s channel 6.3, a signal that is also carried by Liberty Cable. With this major step, WIPR formally becomes the new network’s first local affiliate, granting it a potential reach of more than 1.3 million households on the island. The company noted that it will subsequently announce additional affiliate stations in other U.S. markets.

The new network’s programming will focus exclusively on trusted Spanish-language content centered on preventive health, nutrition, physical activity, emotional well-being, and healthy lifestyles, offering practical and relevant information for Hispanic communities.

‘Hispanic families deserve health information and services in their own language that are reliable and practical for their daily lives’, expressed Michael D. Nieves, President and CEO of HITN MEDIA, during the event. ‘For several years, we have advanced Vida y Salud‘s mission through digital platforms, and now, with this new television network, we will be able to bring this guidance to more people. Launching first in Puerto Rico is a vital step in the brand’s broader expansion—from providing information to our audience to connecting them with more resources and services that support their well-being.’

The creation of this linear and digital ecosystem not only broadens the reach of the content but also opens up attractive commercial opportunities for advertisers and sponsors in the health and wellness categories, ranging from pharmaceutical and insurance companies to personal care and nutrition brands. Looking ahead, the brand will integrate new digital health tools, such as a personal health management portal, live consultations with specialists, and the eventual inclusion of telehealth services and medical prescriptions.

Originally founded by Aliza Lifshitz, Vida y Salud was created to strengthen the relationship between Hispanic patients and healthcare professionals. After managing the brand since 2018, HITN MEDIA completed the full acquisition of Vida y Salud in 2026, assuming absolute control of its assets to drive this new era of multiplatform growth and expansion.

Nadav Palti, President and CEO of Dori Media, explained that the massive international success of the reality format Power Couple was the primary catalyst that moved the company to dedicate itself more fully to the unscripted genre. The global hit cultivated a loyal client base that continually returns to the company seeking new entertainment products. This momentum was further bolstered by the strong performance of formats like The Auction, cementing the company’s reputation for delivering top-tier reality and game shows.

Analyzing the current demands of the international market in Cannes, Palti highlighted a clear trend in what broadcasters and platforms are actively seeking. ‘Today, buyers usually ask for two products in entertainment formats: big prime time formats, and then street game shows that are made with lower budgets’, he explained.

In response to this demand, Dori Media is strategically positioning itself to fulfill both ends of the spectrum, offering high-end, glossy studio productions alongside cost-effective, highly engaging street formats that provide flexibility for programmers.

Beyond its aggressive push into unscripted entertainment, the company is also diversifying its slate with premium factual content. At this year’s market, Dori Media is offering compelling documentaries such as Recipe for Murder and My Hottest Year. With this balanced and expansive portfolio, the company has successfully positioned itself as a specialized boutique, capable of catering to the highly varied tastes and budget requirements of international buyers.

Levrino: ‘This is a very good moment for Telefe, where the new owners of the broadcaster have confirmed their support to Telefe Studios, to the linear TV and streaming areas. We will move forward and deeper with our strong bet on sports and the big entertainment formats we usually handle and made us the leading channel of the Argentinean TV for decades’.

‘We expect a very good 2027, with particular focus on expanding our international business with Telefe Studios. We have a unique expertise both in fictions and entertainment, to provide prime time programming to other broadcasters and global streaming platforms. They require more and more local content, so their demand will continue growing. Our contents, especially fictions, has got top international successes for the last 40 years in the US Hispanic and Latin America, in Europe and Asia’.

Bisson opened the session by highlighting how the core drivers of platform growth have evolved dramatically over the last half-decade. ‘A decent TV show would do it five years ago, four years ago. Now pretty much the only thing that moves the needle is live events and sports and really big shows’, he explained, citing the massive anticipation for properties like season five of Stranger Things and season three of Squid Game. However, as platforms increasingly rely on advertising to drive business revenue growth, they face a unique behavioral hurdle.

According to Ampere Analysis data, consumers on ad-supported tiers are significantly harder to retain and monetize than premium, ad-free subscribers. ‘They don’t watch as much as premium viewers’, Bisson noted. ‘They actually watch far fewer days, typically in a month, than an ad-free viewer. And they binge less’.

To combat this lower engagement and satisfy advertisers’ need for broad reach, global streamers are radically shifting their acquisition strategies toward massive catalogs and a heavy reliance on unscripted television. Bisson revealed that unscripted content now accounts for one in every two new commissions from major streamers, soaring from a historical 10% to 20% share up to 50% on some platforms. The economic rationale behind this programming shift is entirely ad-driven: unscripted formats are highly repeatable, suit staggered weekly drops that keep audiences coming back, and are structurally built for commercial breaks. ‘If you’re a programmer, you can squeeze a few more ads in an hour around a short unscripted show than you can around a premium drama’, the executive stated, adding that there are currently about 25% more ads in unscripted content on streamers than in scripted programming.

Meanwhile, the platforms are actively engineering their subscriber bases to favor these lucrative ad tiers through deliberate pricing strategies. Bisson pointed out that streaming giants like Netflix, Amazon, and Disney are aggressively widening the price gap between their offerings to push consumers toward commercials. In many wealthy Western markets, a premium ad-free subscription on Netflix now costs more than double its ad-supported counterpart. As these ad tiers swell with new users, the viewer experience is also shifting. While streaming ad loads remain lower than traditional US network television, they are escalating. «Don’t expect that to last forever. The ad loads are increasing rapidly on streaming,» warned Bisson, noting that Netflix has increased its ad load by up to 100% since January, albeit from a very low starting point.

To survive and secure funding in this new ad-driven ecosystem, Bisson advised producers to completely rethink their pitches. Moving forward, creators must evaluate their projects through an advertising lens, asking themselves if their content creates regular engagement, suits staggered drops, and offers obvious brand alignments. «We’ve moved beyond simply dropping a decent TV show,» he concluded, signaling that the future of streaming economics relies entirely on building sustainable, ad-friendly ecosystems that prioritize frequency and volume over traditional binge-watching.

The announcement was made earlier today at MIPCOM CANNES 2026, the 42nd International Co-Production and Entertainment Content Market.

The partnership builds on the existing relationship between CJ ENM and MBC GROUP and expands the collaboration across streaming and linear television, while creating further opportunities for long-term cooperation between the two groups.

At the center of the partnership is the launch of a dedicated TVING space on MBC SHAHID. The branded space will provide audiences across MENA with a curated destination for premium K-content from CJ ENM, TVING and leading South Korean production studios.

Audiences will gain access to a broad selection of Korean content, including TVING original productions. More than 13 new titles are scheduled for release during 2026, alongside more than 20 titles from CJ ENM’s existing content library, with the volume of available titles set to increase over the course of the partnership.

The lineup will include the recently premiered romantic comedy “My Bias, My Boss”, as well as titles including “The Legend of Kitchen Soldier”, “Filing for Love”, “The Judge Returns” and “Our Universe”. Arabic dubbing and subtitles will be available for selected content, while all new titles will be available for simulcast on the MBC SHAHID app, allowing audiences across MENA to watch the latest Korean series alongside their release in Korea.

The agreement also extends the reach of K-content across MBC’s linear television channels. As part of the partnership, CJ ENM titles will also be introduced on MBC4 exclusively, for a specific period, with schedule to be announced in due course. This will further expand the reach of Korean content across MBC’s broadcast and streaming ecosystem.The partnership also lays the foundation for broader long-term collaboration between the two groups across media, entertainment and production.

Sebastian Kim, Vice President and Head of Content Distribution Business Unit of CJ ENM, said: ‘Expanding our collaboration this year to launch a dedicated TVING brandedspace, following our content supply agreement last year, is a meaningful achievement that once again underscores the competitiveness and growth potential of Korean content in the Middle East. Through the dedicated TVING brand hub on MBC SHAHID, we are making it easier and more convenient for viewers across the Middle East to access and enjoy premium K-content’.

Tareq Alibrahim, Director of MBC1, MBC DRAMA, and MBC SHAHID Content said: ‘This partnership brings together two companies with a shared ambition: to take great local storytelling to audiences far beyond its home market. CJ ENM has played a defining role in taking Korean entertainment global, while MBC GROUP has built an unparalleled connection with audiences across MENA. Together, we see significant long-term opportunities across content, streaming and entertainment’.

Alibrahim added: ‘The launch of a dedicated TVING space on MBC SHAHID, together with Korean content across our television channels, strengthens the breadth and quality of entertainment we can offer Arab audiences. It also reflects our broader strategy of building partnerships with leading international media companies and strengthening MBC GROUP’s position as a gateway between global content and audiences across the region’.

The report outlined a period of explosive, sustained growth for the Spanish audiovisual sector. Between 2021 and 2025, annual Spanish fiction releases surged by 83%, jumping from 40 to 73 titles. This momentum successfully carried into the first half of 2026, which saw the premiere of 30 new series and nine returning seasons. A notable takeaway from this period is the fierce competitiveness of local Spanish platforms. During the first six months of the year, domestic streamers Atresplayer and Movistar Plus+ operated on par with global giants Netflix and Prime Video, with each of the four platforms recording four major premieres. Concurrently, linear daily dramas—such as Sueños de libertad, La Promesa, Valle Salvaje, and Com si fos ahir—continue to demonstrate remarkable audience traction and daily engagement.

Analyzing the current creative landscape, GECA noted a healthy balance between original intellectual properties and established adaptations. Of the 30 new premieres in the first half of 2026, 16 were original concepts, including titles like Barrio Esperanza, Millennial mal, Argi Gorriak, and Oasis. The remaining slate relied on proven source material, featuring seven literary adaptations (such as Carmen Mola‘s La nena, Manuel Rivas‘ Ella maldita alma, and Eva García Sáenz de Urturi‘s El libro negro de las horas), three series based on true events, and three franchise spin-offs. Across all genres, the industry is increasingly consolidating around a premium structural standard of six to eight episodes, with runtimes ranging from 30 to 50 minutes.

Thematically, Spanish fiction is actively engaging with the major trends driving global conversations. While thrillers and romantic stories remain the dominant foundational genres, producers are expanding their narratives to explore highly relevant social topics. This includes LGBTQ+ diversity (Una novia por vacaciones), soccer-centric plots (Por cien millones, Salvador), youth and identity (Yo siempre a veces, Tamara Ta Mata), and fresh approaches to education (Barrio Esperanza). Furthermore, international co-productions, particularly within Europe, are acting as a key tool for expansion and risk mitigation, evidenced by recent Spanish collaborations with Portugal and Belgium on projects like Millennial mal and Ravalear.

Looking ahead, the Spanish production pipeline remains exceptionally robust. GECA forecasts an additional 24 premieres between July and December 2026, comprising 20 original series, three returning seasons, and one franchise production. With 30 more titles currently in production or awaiting a release date, and 16 series already renewed for the 2026–2027 cycle, the Spanish fiction industry is poised to sustain its aggressive global expansion by seamlessly blending fresh original narratives with the reliability of established formats.

Alberto Buitron

During the presentation, Calinos CEO Firat Gulgen took the stage to unveil the company’s latest premium offerings. He proudly introduced three outstanding Turkish limited series: Between the World and Us (produced by MF Yapım), Runaway (Same Film and O3 Medya), and The Choice (OGM Pictures). These premium titles were joined by Violet, a new daily drama from Limon Yapım scheduled to premiere on Show TV in November.

Gulgen also took a moment to celebrate the exceptional trajectory of the hit franchise Deeply. Highlighting its transformation from a distinctive series into a multi-season phenomenon, he confirmed that following a successful sequel, a third season arrived last year, with a fourth already in production. ‘We are particularly excited that next year we will be presenting both the third and fourth season together, with the series set to reach audiences on HBO Max Turkey’, he noted, praising the property as a prime example of a story continuing to evolve and build lasting viewer connections.

However, the most significant announcement of the night was the company’s aggressive international expansion. Acknowledging that Calinos has spent the past several years steadily broadening its catalog with productions from Canada, Poland, Serbia, Romania, and the Middle East, Gulgen announced major new acquisitions that solidify this global vision. This year, the distributor added 12 series from Latin America’s TIS Production, the Argentine project Tafí Viejo from Corazon Films, and a slate of compelling Romanian series from Antena, including Ana: You are in my DNA and Love with Lavender Scent (from Dream Film Production).

‘These partnerships represent much more than an expansion of our catalogue; they represent an expansion of our vision’, Gulgen passionately told the audience. ‘Today, our ambition is no longer simply to take Turkish stories to the world. Our ambition is to bring the world’s best story to the world. Wherever a great story is created, whatever language it is told in, and whatever culture it comes from, we want to help it find the audience it deserves’.

He emphasized that Calinos aims to serve as a bridge between creative talent and global opportunities, asserting that the future of the industry is defined not by where a story originates, but by how far it can travel and connect with people.

Before closing the presentation, the CEO reflected on the company’s 27-year history, dedicating a heartfelt tribute to the producers, partners, and friends who have supported their journey. ‘At Calinos, we have always believed that business is built on trust, but lasting success is built on relationships. And those relationships are what make everything we do possible’, he concluded, assuring attendees that the most exciting chapters of the Calinos story have yet to be written.

The exclusive gala wrapped up with a dynamic sizzle reel teasing even more upcoming titles from their strongest slate yet, including Love and Ashes, Salted Love, Hidden Truth, and I Am Mother, leaving international buyers with a clear vision of the company’s expansive future.

Prensario talked with Beatriz Cea Okan, VP and Head of Sales and Acquisitions, who outlined the company’s robust slate of long-running series, miniseries, and original productions designed for global free-to-air television. ‘We are super happy to be in this wonderful place for another year’. ‘Today is the first day of the market, and we are hosting a cocktail event to present our entire catalog of dramas and micro-dramas’.

For the FTA segment, the distributor is heavily spotlighting Black Sea My Love, noting that it hails from the same production team behind some of their previous hits. Alongside this new drama, the company officially introduced the highly anticipated second season of Halef, as well as a slate of three brand-new miniseries. Cea Okan also made a point to highlight one of the company’s most significant priorities at the market: Stolen Love (Amor Robado), which is an Inter Medya original production.

Despite the widespread industry buzz surrounding new narrative trends and vertical short-form series, Inter Medya remains confident in the enduring global appetite for traditional Turkish storytelling. When asked if the market’s interest was shifting toward these new formats, Cea Okan was clear about where the true volume of business lies for the company.

‘What buyers are asking for right now continues to be the same: classic drama’, she affirmed. ‘And that is exactly what we are producing and distributing’.

Alberto Buitron

This new venture focuses on managing and operating the connection between commercial brands and content across new consumption formats, particularly vertical and short-form series. By utilizing advanced digital insertion tools, the company allows advertisers to organically integrate their products into shows long after the cameras have stopped rolling. Raúl Mendoza Cassasus, detailing this major addition to their digital services portfolio, highlighted how this creates crucial new monetization avenues. ‘Our clients consult us on how they can insert commercial brands into already completed productions’, explained Mendoza Cassasus. ‘Through the use of technology, we manage to place these brands that want to have a presence in these productions, allowing us to offer an extra revenue stream for our commercial clients’.

This product placement innovation perfectly complements Orasi Media’s ongoing «FLIP» verticalization strategy. This initiative focuses on converting traditional horizontal content into micro-dramas optimized for monetization across third-party apps and social media platforms. By pairing vertical micro-dramas with seamless, post-production brand integration, the company offers partners a highly lucrative and adaptable digital pipeline.

Beyond brand integration, the structural growth of the company is heavily backed by its AI-driven initiatives. Orasi Media has already paid out more than $3 million to content owners through its AI licensing business and is currently in active discussions with over 50 artificial intelligence companies looking to source large-scale training data. ‘We are actively transforming how content is valued, monetized, and localized in the digital age’, explained Asit Shah, CEO of Orasi Media. ‘Our AI licensing initiatives are opening entirely new revenue streams for rights holders, while our newly launched live dubbing service—which is available in over 30 languages and was recently adopted by a premium US news channel—addresses a critical, long-underserved gap in traditional localization for live news and sports broadcasts’.

On the traditional content distribution front, Orasi Media has successfully licensed the global Bollywood blockbuster RRR into the Mexican market, extending the international reach of premium Indian cinema, and is currently in active talks with major distribution players to bring a new animated feature to Latin America. Alongside these content deals, the company continues to drive global adoption for The Production Circle (TPC), its end-to-end production management platform. During MIPCOM, the executive team is actively showcasing TPC to international producers and production houses, demonstrating its efficiency as a live, fully adopted management tool.

TBS Holdings, Inc. and ATS have announced a strategic partnership to launch a new Europe-focused format sales team based in London. This initiative marks a new phase in TBS’s global expansion strategy, following the establishment of its offices in Los Angeles and Seoul. The core objective of the new team is to drive sales and business development for TBS’s catalog of unscripted formats across the European region.

The new operational structure involves ATS expanding its existing development and sales team to support the partnership. ATS brings a specialized background in international television production, having delivered projects in over 30 countries across regions including Southeast Asia, Latin America, and Europe. The company’s experience encompasses end-to-end line production and creative support, managing complex shoots in diverse environments, which provides a practical foundation for adapting ambitious formats globally.

The leadership team for this joint effort integrates executives from both organizations. It includes Shun Fukaya, Head of New Format Sales, Europe at TBS; Danny Sanz, CEO of ATS; Michael Kelpie, Content & Strategy Consultant for ATS and former Managing Director of Potato; Ines Serrano, Head of Development at ATS; and Samantha Ferguson, Sales Consultant for ATS and former VP of International Sales at Rabbit Films.

The operational dynamic will center on ATS supporting day-to-day sales activities and follow-up across Europe, working in tandem with the TBS team based in Tokyo. This structure is designed to expand the reach of selected TBS titles to more European markets, while simultaneously fostering deeper collaborations with local broadcasters and production companies.

TBS representatives outlined the strategic rationale behind the alliance: “By combining TBS’ long-standing IP and creative expertise with ATS’ industry knowledge and extensive network, we hope to further strengthen our relationships with broadcasters and production companies across Europe and create new business opportunities for TBS formats”.

ATS’s global track record includes the production of over 85 seasons of Ninja Warrior, a key TBS format. The company’s portfolio also features major international productions such as Ultimate Beastmaster and Floor Is Lava for Netflix, The Bridge, Celebrity SAS: Who Dares Wins, Top Dog, and Moneyball. With offices in London, Manchester, Los Angeles, and Lisbon, ATS positions itself as a production engine for large-scale television formats.

During the first day of MIPCOM 2026 in Cannes, the Broadcast Program Export Association of Japan (BEAJ) hosted the highly anticipated «Treasure Box Japan» showcase. The event gathered international buyers and industry leaders to witness the debut of ten brand-new television formats presented by ten of Japan’s leading commercial broadcasters.

The session provided deep insights into the global format landscape, starting with an analytical overview by Virginia Mouseler, CEO of The WIT. Mouseler presented a sobering but pragmatic view of the international market, revealing that the number of new formats had drastically declined by 60% over the past decade, returning to 2008 levels. She noted that traditional format powerhouses had felt this depression, pointing out that the UK had taken a hit and Israel had not exported a new format since 2018.

However, Mouseler emphasized that there was a bright side: while there were fewer new formats overall, there was a noticeable surge in returning seasons. She advised the audience to embrace a «new religion» in format creation. «You take a content creator hit and you make it bigger for another platform,» she explained. 

Following Mouseler’s market analysis, Makito Sugiyama, Executive Director of Business Management at BEAJ, took the stage to highlight the enduring power and future ambition of Japanese IP. Sugiyama reminded the audience that five of the world’s top ten entertainment IPs originated in Japan, with giants like Pokémon and Hello Kitty outperforming massive Western franchises like Star Wars. Furthermore, he noted that classic, genre-defining global TV formats such as Dragons’ Den (Shark Tank), Ninja Warrior, and America’s Funniest Home Videos all traced their roots back to Japan.

Sugiyama stressed that while creativity had always been a core strength, something crucial was changing: momentum and institutional backing. «Japan’s overseas content revenue has already surpassed the country’s semiconductor and steel exports,» he revealed. To capitalize on this, the Japanese government officially positioned content as a core industry. Sugiyama announced that the government backed this commitment with real investment, allocating roughly $370 million to content-related initiatives in its latest supplementary budget—a 44% increase in just one year.

The ultimate goal, Sugiyama explained, was ambitious: Japan aimed to reach $130 billion (20 trillion yen) in overseas content revenue by 2033. «Japan has always had the creativity. What’s new is the momentum behind it—greater investment, stronger government support, and a much bigger ambition to take Japanese ideas to the global market,» Sugiyama stated.

The showcase presented ten brand-new, highly adaptable formats ready to travel internationally:

 * Nippon TV introduced ULTRA MISSION, an action-packed, high-stakes game show format.

 * Fuji Television presented Tri Tag, an intense competitive chase-and-tag physical format.

 * TV Tokyo showcased Charge Me Up!, an inventive reality challenge centered on energy and power dynamics.

 * Kansai Television pitched Panic Wheel, a high-pressure studio game show format packed with suspense.

 * Chukyo TV Broadcasting brought SAVE MONEY, a timely competition format focused on strategic budgeting and survival economics.

 * TBS Television unveiled Fort Frenzy (working title), an ambitious studio-based battle of endurance and strategy.

 * TV Asahi detailed Trade Room, a psychological negotiation and trading game.

 * Asahi Television Broadcasting Corporation introduced BET ON WHAT’S NEXT, an unpredictable studio betting format centered on real-time challenges.

 * MBS showcased Tested and Ranked, an unscripted consumer-testing competition format.

 * Yomiuri TV closed the presentations with Cash Stash, a dramatic hidden-cash hunt and guessing game.

Mouseler highlighted that the industry has suffered a staggering 62% drop in new formats since the peak of its golden age between 2013 and 2014. During that period, 84 new formats were registered, whereas in the 2024-2025 season there were only 32, effectively returning the market volume to where it stood in 2008. For this analysis, the consultancy defines a format as a show that has secured at least one option within 12 months after its premiere. This recession has significantly impacted traditional powerhouses; the UK has been heavily hurt despite being the historical leader in format creation, while Israel, once considered an indispensable major actor in this market, has not exported a new format since 2018.

Despite the sharp drop in new intellectual property creation, the executive emphasized that there is a bright side to the current ecosystem. While fewer entirely new formats are emerging, the industry is witnessing a higher renewal rate, resulting in more new seasons of established shows being produced.

Regarding the most adapted formats worldwide over the past 12 months, Can’t Stop Media‘s The A Talks led the ranking with eight new adaptations. It was closely followed by All3Media International‘s The Traitors with seven, and Talpa Studios‘ The Floor with six adaptations. BBC Studios‘ The Nation’s Dumbest secured five new versions, while Avalon Distribution‘s Taskmaster and Seefood TV‘s The Box tied on the list with four adaptations each.

To navigate this recessive era, Mouseler introduced the concept of a «new religion» among creators and buyers: taking successful properties driven by digital content creators or YouTubers and scaling them up for traditional platforms and international markets. Streaming services are heavily dominating this adaptation trend. As presented, Prime Video is currently the number one platform airing format adaptations over the last season, well ahead of traditional European broadcasters, while Netflix holds a respectable eighth place.

A clear example of this approach prioritizing digital popularity is the French show Terminal. Initially launched as a massive hit on YouTube (under Dreamspark) but lacking an international distributor, the property managed to capture the industry’s undivided attention. After being showcased precisely in a previous Fresh TV session, producer Bric Park contacted the original content creator, Mishu. As a result, the format is back for 2027 with a larger, updated version specifically designed for an international platform.

In addition to the Terminal phenomenon, the Cannes presentation highlighted a curated selection of upcoming formats poised to make an impact on the global market. Among the titles set to lead sales are Sofa Productions’ Bankzitters survival in the wild (The Netherlands, 2027), Raab Entertainment‘s Jet ski Star world championship (Germany, 2027), and Can’t Stop Media‘s emotional Facing the nursing home (France, 2027). Similarly, The Wit presented Peggy Power Productions‘ My grandfluencer (Belgium South, September 2026), alongside innovative French proposals like Satisfaction‘s The convoy: make it through and Dreamspark‘s 100 doors. Rounding out the creative concepts was the Danish format The prison from Selch Media, illustrating the dynamism with which production companies are seeking to win back audiences in this new stage of the industry.

Jenn Levy, Head of Unscripted Development at Amazon Studios, outlined the platform’s current strategy for unscripted entertainment, emphasizing a strong demand for formats featuring solid narratives, compelling characters, and a structure capable of generating continuous, bingeable consumption. Showcasing the streamer’s ongoing investments, Levy pointed to the global expansion of the comedy hit LOL, the adaptation of a beloved video game universe into the reality format Fallout Shelter, and the continued development of massive projects with digital native creators, building on the high-profile experience of partnering with MrBeast for Beast Games.

The panel also explored the massive international potential of formats initially launched on social platforms. Helen Greatorex, Head of Third-Party Format Acquisitions at Banijay, presented the global rollout possibilities for Stop the Train, a highly successful format originally created by French YouTube star Squeezie that has sparked significant interest across various markets and platforms. The ensuing debate underscored the evolving role of traditional production companies, which are increasingly acting as essential partners for digital creators by bringing crucial expertise in high-end production, international distribution, and local format adaptation.

However, this digital convergence brings significant risks alongside the rewards. Axel Kuhn, Managing Director of Tresor Productions, shared his experience adapting the hit internet interview series Hot Ones for the German market. During his intervention, Kuhn issued a stark warning regarding the proliferation of unauthorized copycats on YouTube. He argued that these rampant rip-offs directly threaten territorial exclusivity and undermine the foundation of the traditional format licensing business, highlighting a blind spot in online copyright enforcement.

Offering a solution to the notoriously slow and expensive television development cycle, Wouter Van Der Pauw, Founder of Signal.Stream, championed an agile development model rooted in rapid experimentation, low costs, and real-time audience analytics. He explained that his company tested 24 different ideas over the course of a single year, a fast-paced strategy that successfully yielded six hit formats. Pushing this collaborative model further, Van Der Pauw announced that Signal.Stream will open its established YouTube channel to test third-party proposals, allowing external creators to gather audience data and share the resulting metrics.

Ultimately, the panelists reached a strong consensus on the new rules of engagement for the modern format industry: developers must actively accelerate their creation cycles, utilize digital data and online platforms to validate new intellectual properties before committing to full-scale production, and work collectively to strengthen the legal protection of formats against unauthorized imitations on open video networks.

Setting the stage for the summit’s high-level discussions, Maria Rua Aguete, Senior Research Director at Omdia, delivered a compelling opening presentation. Armed with fresh data, Rua Aguete analyzed the specific nuances of the Latin American market before diving into the global behavioral shifts that are upending traditional television and premium streaming.

Contrasting North and South America, Rua Aguete pointed out that while the US is experiencing massive cord-cutting due to high broadband penetration and expensive Pay TV subscriptions, Latin America presents a different reality. Broadband penetration remains lower, and SVOD subscriptions currently sit at just 35% of households. However, she emphasized that this represents a massive opportunity. ‘That means it’s a focus for many companies to go to LatAm’, she explained. ‘The opportunities there are more than in North America where almost everyone already has a streaming video service’.

Despite global economic challenges, Omdia data shows that the Latin American media and entertainment market is exceptionally healthy, boasting a 15.4% growth rate this year—significantly higher than the 10% growth seen in the US. The primary driver of this regional expansion is online video, which has now overtaken Pay TV in total revenue. Within this streaming ecosystem, Netflix remains the undisputed leader, commanding the majority of subscriptions and over 50% of all streaming revenues in Latin America. Additionally, Rua Aguete highlighted that Latin American content, particularly from Colombia, is surging in global popularity across a wide variety of genres, from thrillers and realities to book adaptations.

However, the most provocative segment of analist’s presentation focused on what she termed the ‘battle for attention’. She argued that the sheer volume of content is no longer the primary issue for the industry; rather, the challenge is capturing the undivided attention of multitasking viewers. According to an Omdia consumer survey, three out of four US TV viewers are not actually watching the screen when they are on the sofa. ‘50% of the times people are watching video content [on TV, they are also on] Instagram Reels, Facebook video’, she revealed.

This behavioral shift toward mobile and vertical scrolling is not limited to teenagers. Rua Aguete presented data showing heavy consumption of YouTube Shorts, Instagram Reels, and TikTok among demographics aged 45 to 64. Shockingly, she revealed new data showing that in the US, the YouTube Shorts category alone is now more popular than Netflix.

‘So who is the competitor of Netflix today?’ she asked the audience. ‘The competitor of Netflix is not really Disney. It’s not even Paramount or Warner. Netflix‘s competitor is TikTok, YouTube, Instagram, and even these microdramas on the mobile phone’.

Consequently, microdramas—short, vertically shot episodic series curated on apps like ReelShort and DramaBox—are gaining immense power. Rua Aguete commented that these apps often generate more engagement on mobile phones than major streamers, successfully monetizing the audience’s addiction to scrolling. Notably, Latin American countries, specifically Brazil and Mexico, rank alongside the US as the top consumers of this format, drawing parallels to the region’s traditional love for telenovelas.

Alberto Buitron

The showcase was spearheaded by the CEO and key executive members of ATV, who presented exclusive trailers for both productions. Amplifying the event’s profile, lead actors from both series were in attendance to address the international buyers directly, sharing insights into their roles and the creative processes behind the new properties.

The first focal point of the night was Land of the Sun (Güneşin Doğduğu Yer). Produced by TIMS&B Productions—with Timur Savcı and Burak Sağyaşar serving as producers—and penned by Yıldız Tunç, the series is headlined by Burak Özçivit and Beyza Gümülcine. Set against the backdrop of 1989 Berlin and Adana, the drama follows Leyla, a warm-hearted young woman who falls in love with Kenan, the charismatic heir to the powerful Kozan dynasty. As she navigates this new world, Leyla uncovers dangerous secrets that threaten to tear apart both the Kozan and Atahanlı families.

The second major presentation was Different Lives (Altı Üstü İstanbul), a contemporary drama that recently delivered a strong summer premiere performance in Turkey. The story centers on Emir, a talented young footballer from a working-class Istanbul neighborhood desperate to lift his family out of poverty. When dark secrets surrounding his brother Bahtiyar’s death emerge, Emir discovers that the people he now works for are his greatest enemies, forcing a high-stakes choice between his professional ambitions and a perilous quest for justice.

By investing in a premium, talent-led experiential event, ATV reinforced its commitment to the global market, positioning its newest titles as top-tier acquisitions for international broadcasters and platforms.

A major highlight of the morning was the enduring global dominance of The Voice. ITV Studios confirmed that the singing competition has officially reached its 80th territory, following a new commission for The Voice Estonia produced by Elitaz for TV3 (set to air in 2027), alongside a recent deal with Macedonian Radio Television (MRT). With 164 unique adaptations globally, the format continues to evolve through innovative commissioning models, such as simultaneous streamer-broadcaster broadcasts in Brazil and a 30th-season TikTok integration in the US that drove a 57% year-on-year premiere increase.

Bolstering its unscripted catalogue, ITV Studios announced the acquisition of international distribution rights to Incognito, a mischievous new social experiment created by Derren Brown and produced by Vaudeville Productions for Channel 4. The six-part reality format places ten strangers with heavily stereotyped backgrounds (e.g., a spy, a priest, a porn star) into a mysterious institution, challenging deeply held prejudices as they attempt to uncover each other’s hidden identities.

Factual entertainment is also seeing a digital-first revival. Nearly a decade after the original airing of River Monsters, Zoo 55 and Oxford Scientific Films are bringing explorer Jeremy Wade back to screens with Fish On! With Jeremy Wade. The 20-episode vodcast, co-hosted with Scott Tankard, will feature off-camera moments, unreleased stories, and interviews with the original crew. Leveraging a massive digital resurgence—driven by TikTok fans who dubbed Wade the Pokémon Master—the series will launch on Patreon on October 20 before a general release on YouTube and Spotify on October 27.

To maximize the reach of its flagship properties, ITV Studios announced a strategic partnership with Different Productions, the producers behind Netflix‘s Dubai Bling. Different Productions will now officially represent a portfolio of ITV Studios‘ leading formats across India and the Middle East and North Africa (MENA).

• In India: The Hindi-language adaptation portfolio includes eight formats such as The Voice, Love Island, Apocalypse, and I’m A Celebrity… Get Me Out Of Here!

• In MENA: The agreement covers nine formats, bringing localized versions of I Love My Country, Come Dine with Me, The Heat, and I’m A Celebrity… Get Me Out Of Here! to the region.

Simultaneously, ITV Studios is aggressively expanding its scripted footprint in the Asia-Pacific region. The company has tapped leading Australian creative Sara Richardson (formerly Director of Scripted Television at Endemol Shine Australia) to launch and serve as Managing Director of a new drama label. Operating in close collaboration with premium drama producer Lingo Pictures, the yet-to-be-named label will focus on developing high-end Australian dramas tailored for global audiences, backed by ITV Studios’ infrastructure and international reach.

On the scripted front, ITV Studios showcased massive international demand for its top-tier dramas, securing sweeping pre-sales and acquisitions across its portfolio:

• Number 10: Steven Moffat’s witty workplace drama set in 10 Downing Street, starring Rafe Spall and Jenna Coleman, has brought Arte on board as a co-producer for France and Germany. Pre-sales include HBO Max (Australia), TVNZ (New Zealand), and DR (Denmark).

• Adultery: The provocative love story starring Dominic Cooper and Romala Garai has secured pre-sales in 18 countries, including HBO Max in Australia and TV4 in Sweden.

• The Killings at Parrish Station: The Mia Wasikowska-led outback thriller has been acquired in over 70 countries, adding Canal+ (Czech Republic/Slovakia) and MTV3 (Finland) to previous major deals with Warner Bros. Discovery and NBCUniversal.

• The Dark & Tip Toe: Scottish serial killer thriller The Dark has been picked up in 23 countries, while Russell T Davies’ squatter-community drama Tip Toe has secured a 32-country deal with HBO Max for Latin America.

• Sherlock: The iconic 2010-2017 Benedict Cumberbatch series has been added to ITV’s catalogue and immediately acquired by 62 countries, including a massive 50-territory EMEA deal with Disney+.

Rounding out the scripted announcements, ITV confirmed the highly anticipated recommission of Karen Pirie for a third series. Produced by World Productions, the Scottish cold-case crime drama will adapt Val McDermid’s novel The Skeleton Road. Lauren Lyle will reprise her BAFTA Scotland-winning role as the fiercely intelligent detective, taking on an Executive Producer credit this season. Acclaimed screenwriter Gillian Roger Park takes the reins for the six-part series, which begins filming next year following a stellar second season that averaged 5.3 million viewers.

Vaulpré highlighted that the streaming industry has reached its maturity phase, leading to a blurring of lines between linear broadcasters and digital platforms. The supply of new content is shrinking across the board; new series on linear TV dropped by 12% across 48 territories between January and September 2026 compared to the same period in 2025. SVOD platforms are experiencing a similar slowdown, with new global catalogue content dropping by 12% on Netflix and 41% on Disney+.

To compensate for this slowdown, SVOD catalogues are expanding through strategic broadcaster partnerships, effectively moving streaming closer to a traditional TV model. In France, Netflix‘s catalogue grew by 61% in content hours in June 2026 due to contributions from TF1+, while Prime Video saw a 49% increase with content from M6+ and france.tv. As streaming matures, viewership is increasingly driven by returning seasons of established shows rather than new launches.

While linear TV faces overall declines in daily viewing times across all analyzed international markets in the first half of 2026, live sports remain a critical battleground capable of uniting massive audiences. The 2026 FIFA World Cup drew a cumulative 2.6 billion viewers in China, and England’s semi-final match reached 19.9 million UK viewers, marking the country’s highest audience since the Euro 2020 final. Recognizing this enduring power, streaming platforms are aggressively pursuing sports partnerships, such as Prime Video‘s deal with the NHL in the United States and Disney+‘s global Formula E coverage.

On the content side, Alessandra detailed the latest global trends using Glance‘s NoTa platform, which tracks over 10,000 new TV show launches annually. The US and UK remain the top scripted series exporters, while France has tied with Turkey for third place. Scripted trends are currently dominated by ecological dramas, series featuring ‘ordinary heroes’ fighting powerful systems, and crime stories centered around food and kitchens. In the unscripted sector, traditional leaders like the UK, US, and Netherlands are losing market share to other territories, with Nordic countries emerging as strong providers of format adaptations. Current unscripted trends include comedic courtroom formats, ‘militarized’ survival shows, and creator-led video podcasts that bridge the gap between digital and traditional platforms.

Welcoming international buyers and industry delegates, Haein Lee, France Business Center Marketing Manager at KOCCA, outlined the agency’s strategic goals for the market. ‘Our goal today is to introduce you to five Korean animation IPs that are ready for your next step with international partners’, she stated. Emphasizing the breadth of the showcase, added, ‘Over the next hour, you will see a wide range of stories: a body swap comedy, a young adult fantasy feature, a short-form black comedy, a preschool musical, and a toy-driven action franchise’.

The showcase allocated dedicated slots for the creators and producers behind each work to pitch directly to the global market:

• Studio Animal Co., Ltd. opened the presentations with Princess Hurricane, pitched by Creative Producer Jung-Jin Hong. Currently in development, this 26-episode (11 minutes each) fantasy comedy targets teens and young adults, revolving around a chaotic body swap between a royal princess and a notorious troublemaker.

• Pivoting to the theatrical space, Sungwhe Hur, Producer and Director at STORYFARM, presented Dead Sorcerer’s City. This 100-minute action-adventure feature film targets the 15-18 young adult demographic, offering a darker, immersive cinematic fantasy experience.

• Tapping into the growing demand for bite-sized digital content, Yim Do Young, CEO of Pixtrend Inc., unveiled Virus N. Currently in development, this slapstick black comedy features 108 micro-episodes running just 1 minute and 40 seconds each. It is designed primarily for audiences aged 12 and up, though it holds broad, all-ages appeal.

• Focusing on early childhood entertainment, Jee-soo Han, International Sales & Partnership Manager at Sunwoo & Company Inc., introduced the preschool musical DoReMi Dalimi. Aimed at children aged 0 to 4, the property consists of 39 11-minute episodes spanning two seasons, utilizing music and relatable themes to engage the youngest viewers.

• Rounding out the presentation was Cabeon Evolution from Dream Factory Studio, Inc. Director Jinny Lee showcased the action-adventure series, which targets older kids (aged 8-11) and spans 26 11-minute episodes across three seasons. The project is strategically positioned as a toy-driven franchise with expansive IP licensing opportunities.

To facilitate ongoing deal-making, Lee invited delegates to continue negotiations and discover additional projects at the Korean Pavilion, located across stands R7 and E1, reinforcing South Korea’s robust footprint and commitment to global animation exports at this year’s market.

Julia Schulte, Senior Vice President of International Sales at France TV Distribution, described the current era as one defined by ‘hyperdistribution’. She noted that traditional linear broadcasters have not only launched their own OTT services but are also partnering with various other platforms, streamlining the market so that content can be found practically everywhere. For distributors, this fragmentation significantly complicates long-term financial planning. ‘One of our big jobs is, of course, to keep the financing possible for our series, documentaries, animation shows’, she explained. At the same time, Schulte emphasized the difficulty of projecting returns in such a volatile environment, adding that ‘in a world where things change every three months, it’s kind of difficult to do your PLL evaluations of what sort of MG you can requeue possibly in the next three years for content’.

Mark Young, Executive Vice President of International Distribution and Networks at Sony Pictures Television, echoed these sentiments, pointing out the sheer difficulty of operating in such a rapidly shifting market. He stressed the importance of relying on top-tier producers, securing the best IP, and having an expert distribution team to manage the friction. ‘That complexity is just difficult to navigate’, Young admitted. ‘Everything’s changing, changing very quickly’. To adapt, Sony is constantly testing new financial strategies rather than relying on a single traditional approach. ‘We’re still trying to find value, modeling loads, different models’. Exec stated, confirming that ‘there isn’t really any one set model for anything’ in the current marketplace.

The conversation then shifted to the booming South Korean market, where the global streaming appetite has created unique strategic dilemmas for local powerhouses. Sebastian Kim, Vice President of Content Distribution at CJ ENM, acknowledged the massive international success of Korean content over the past several years, specifically thanking global OTT partners for taking their shows to a worldwide audience. However, this global demand presents a distinct conflict of interest for a vertically integrated company like CJ ENM, which operates its own domestic linear channels and streaming platforms. ‘I have to find sort of a balance where if I sell most of my contents to the global streamers, that will damage my own operation as well’, revealed. He also noted that while he might wish for the privilege to simply sell everything globally, he must carefully manage rights to protect CJ ENM‘s local footprint. When asked by Middleton about how these deals are currently structured with international streamers, Kim detailed their collaborative approach. ‘So usually we call it as a pre-buy system’, Kim explained. ‘When they pre-buy those contents, we share in Korea together. But outside Korea it’s exclusive on their platform’. This delicate balancing act underscores the broader theme of the session: in today’s fragmented global market, maximizing value requires bespoke, constantly evolving strategies rather than a one-size-fits-all playbook.

Alberto Buitron

TIFFCOM is reinforcing its position as a platform for international partnerships, bringing Japanese intellectual property together with global buyers, producers and distributors while expanding opportunities for co-productions across markets. For CEO Yasushi Shiina and Managing Director Kaori Ikeda, the priority for the 2026 edition is to help international players establish meaningful connections with Japanese companies and turn them into concrete business results.

Expanding the reach of Japanese IP

The Tokyo IP Market continues to broaden its scope as international demand for Japanese properties grows. Ikeda highlighted the impact of the initiative co-organized by TIFFCOM and the Marché du Film at the Cannes Film Festival in May, which helped introduce the market to professionals across Europe and Hollywood.

“Through this initiative, awareness of TIFFCOM and the Tokyo IP Market was significantly raised among industry professionals across Europe and Hollywood, paving the way to welcome leading buyers to Tokyo in October,” she explained.

Participation is also expanding beyond manga, novels and traditional adaptation and remake rights. The market now encompasses a broader range of IP holders, including a toy company, while open pitching sessions give participants the opportunity to present their properties to potential partners.

These presentations are supported by advance preparation and training, helping participants strengthen their pitching skills and improve the way they communicate the potential of their IP to the international industry.

Co-productions that lead to concrete results

International co-production remains a key area of development for TIFFCOM. Ikeda cited the TV anime series Pino & Shinoby, co-produced by Yomiuri TV and Italy’s Studio Bozzetto, as an example of how relationships initiated at the market can lead to actual projects.

“The TV anime series ‘Pino & Shinoby’, a co-production between Yomiuri TV and Italy’s Studio Bozzetto, was born from an initial connection made at TIFFCOM,” she said. “International co-production is no simple task, and the swift initiative taken by both companies to bring this project to fruition is truly commendable.”

To facilitate further collaborations, TIFFCOM continues to develop specialized programs such as the Tokyo Gap-Financing Market (TGFM) and Tokyo IP Market: Adaptation & Remake (TIPM). These initiatives connect buyers and sellers with producers and investors, while conferences and case studies provide insights into production and financing.

Ikeda also pointed to results emerging from TGFM, established to support creator-driven projects and international co-productions. Two projects from the market have already been completed and selected for this year’s film festival.

Another success story isThe Violinist, which participated in TGFM in 2023 and won the Cristal Award (Grand Prix) at the 2026 Annecy International Animation Festival. Its Italian co-production was made possible through an initial connection at TGFM.

This year, TIFFCOM is collaborating with Frontières, the international co-production market of Canada’s Fantasia International Film Festival, to reinforce its focus on genre projects. “We are strengthening our focus on genre projects, a particular strength of Asia, and we warmly encourage everyone to take notice of these exciting titles,” Ikeda added.

Technology, storytelling and changing buyer needs

Technology is another important focus for TIFFCOM 2026. Shiina noted that AI and other digital tools are influencing multiple areas of the content business.

“Technologies including AI are impacting not only production efficiency, but also localization, rights management, and the speed of global expansion, making them a paramount focus across the global industry today,” he said.

The market will address these developments through the keynote session “Technology and Storytelling,” featuring Chris Brearton, Partner, and Dominic Hughes, Chief Scientific Officer, from AGBO, the Hollywood studio behind the Avengers films. The session will explore how AI, machine learning and other tools can serve creators while respecting their work.

Meanwhile, Ikeda sees further changes in the distribution landscape as platforms and content offerings become increasingly segmented.

“Both the fragmentation of distribution platforms and the segmentation of content are accelerating, and we expect more short-form dramas to be traded and increasing participation from companies offering AI and data analytics solutions,” she said.

She believes Japanese content is well positioned to meet these evolving needs. “Japanese content has traditionally been highly diversified and offers a vast volume of properties, making it well-positioned to supply content tailored to these segmented markets. Going forward, the key will lie in how accurately we can convey comprehensive content information.”

Beyond anime and scripted drama

TIFFCOM is also encouraging international buyers to explore Japanese unscripted programming and entertainment formats beyond the country’s established animation and drama exports.

Japan has internationally recognized properties such as SASUKE, known globally as Ninja Warrior, but Ikeda emphasized the opportunities available through regional broadcasters as well.

“While building connections between regional stations and overseas partners is not always easy, nine broadcasters with distinctive content are gathering at the BEAJ booth this year,” she said. “We encourage international buyers and producers to discover their content and book meetings with them.”

A platform for international partnerships

Held alongside the 39th Tokyo International Film Festival (TIFF), TIFFCOM brings together companies from film, television and streaming, offering a broad range of content, formats and intellectual property.

Shiina sees this cross-sector environment as a major advantage for the market. “Amid the global expansion of production and business that crosses the lines between these industries, TIFFCOM’s ability to facilitate broad networking and business negotiations across both film and television presents a major advantage for buyers, distributors, IP holders, and producers,” he explained.

The market also aims to strengthen connections across Asia while maintaining its role as Japan’s comprehensive B2B audiovisual content marketplace. “Showcasing Japan’s outstanding content to the world and advancing collaboration with Asia serves as our twin pillars, and we will continue to deepen our ties with organizations and markets across various countries,” Shiina said.

Taking place after MIPCOM, TIFFCOM also offers international executives an opportunity to continue discussions initiated in Cannes. “Content deals are rarely finalized in a single meeting; building relationships and maintaining ongoing discussions are essential,” Shiina noted. “A stop in Tokyo provides the opportunity to meet in person with Japanese executives, taking the negotiations started in Cannes a step further and building even stronger partnerships.”

For the 2026 edition, the objective is to make these connections translate into tangible outcomes. “One of our primary goals this year is to make TIFFCOM a platform where international partners can team up with Japanese players to achieve tangible results,” Shiina concluded.

Alongside participation figures and the number of overseas attendees, TIFFCOM will continue to measure its success through the diversity of countries and regions represented and the satisfaction of international professionals visiting Tokyo.

The panel gathered the division’s core leadership: Ayo Davis, President of Disney Kids & Family; Alyssa Sapire, Head of Disney Jr. Original Programming and Strategy; Charlie Andrews, Executive Vice President of Live Action; Zack Olin, Senior Vice President of Development and Current Series for Animation; and Gino Guzzardo, Vice President of Multiplatform Content.

Acknowledging the massive disruption in children’s viewing habits, Ayo Davis addressed the reality of modern households, noting that today’s youth consume everything from Bluey to Squid Games. «Change is the new normal,» Davis stated. «We had to step outside of ourselves and actually take a look at how we were approaching our strategy. What did that mean? Looking at how we told stories with our beloved franchises, how we were connecting with our audience around originals, how we were connecting through new formats, and taking a look at how our content actually showed up across our platforms.»

A crucial pillar of this revamped strategy relies on capturing audiences early. Davis highlighted that Alyssa Sapire‘s preschool division often serves as the very first gateway to the Walt Disney Company for young viewers, laying the groundwork for lifelong fandom long before they ever step foot in a theme park.

While legacy properties like Spidey and his Amazing Friends and Mickey Mouse Clubhouse remain foundational, Sapire emphasized the division’s heavy investment in original intellectual property tailored to the developmental needs of preschoolers. She pointed to the breakout success of SuperKitties as a prime example of a modern, scalable franchise. ‘The fandom is real’, Sapire explained, revealing that the company is actively building an entire ecosystem around the IP, including 60-minute specials, shorts, long-form content, and consumer products.

As viewers outgrow preschool animation, the strategic baton is passed to executives like Charlie Andrews and Zack Olin. Andrews explained how live-action development relies heavily on the data and trends spotted by Disney Jr. For instance, knowing that preschoolers resonated deeply with supernatural themes in shows like Vampirina, the live-action team recently launched Coven Academy, a fresh series centering on vampires and witches that has already seen a strong global debut. ‘My job is to take [the preschool] demo’s hand and bring them into live action for the first time’, Andrews noted, explaining that these transitions allow kids to explore familiar themes but with the added emotional complexity and authentic relationships relevant to their age.

This interconnected pipeline—bolstered by Olin‘s animation slate featuring hits like Kiff and upcoming projects like Dragon Striker and Kingdom Hearts, alongside Guzzardo‘s multiplatform and vertical storytelling—demonstrates Disney’s commitment to surrounding its audience with diverse, accessible touchpoints.

As Davis concluded, the ultimate goal across all formats and age groups remains unchanged: treating the audience with a deep sense of care and respect while delivering the wonderment, adventure, and joy that has always defined the brand.