Guide 2025 Guide 2026 My 2¢: A Splintered U.S. Cultural Identity Is Driving Division Page 3 Major Hollywood Studios’ Executive Sales Teams Page 16 U.S. Broadcast Primetime Series For 2026-2027 Page 20 New Program Guide and Contacts Page 22 INTERNATIONAL www.VideoAge.org THE BUSINESS JOURNAL OF FILM, BROADCASTING, STREAMING, PRODUCTION, DISTRIBUTION May 2026 - VOL. 46 No. 4 - $9.75 © 2024 20TH CENTURY STUDIOS. ALL RIGHTS RESERVED.
3 My 2¢ May 2026 MAIN OFFICES 216 EAST 75TH STREET NEW YORK, NY 10021 TEL: (212) 288-3933 WWW.VIDEOAGEINTERNATIONAL.COM WWW.VIDEOAGE.ORG VIALE ABRUZZI 30 20131 MILAN, ITALY EDITOR-in-CHIEF DOM SERAFINI EDITORIAL TEAM SARA ALESSI (NY) BILL BRIOUX (CANADA) ENZO CHIARULLO (ITALY) LEAH HOCHBAUM ROSNER (NY) SUSAN HORNIK (L.A.) CAROLINE INTERTAGLIA (FRANCE) OMAR MENDEZ (ARGENTINA) LUIS POLANCO (NY) MIKE REYNOLDS (L.A.) MARIA ZUPPELLO (BRAZIL) PUBLISHER MONICA GORGHETTO BUSINESS OFFICE LEN FINKEL LEGAL OFFICE STEVE SCHIFFMAN WEB MANAGER BRUNO MARRACINO DESIGN/LAYOUT CLAUDIO MATTIONI, CARMINE RASPAOLO © TV TRADE MEDIA INC. 2026 American popular culture is no longer monolithic, but rather splintered. The end of America’s monoculturalism is creating division in the U.S. and making the rest of the world see Americans in a different light. In Italy in the 1960s, my father thought of all Americans as one big cohesive group, and, to him, they were better than any other people. They were richer, worldlier, more elegant, more demanding, and all were eccentric. “Even the bananas are better in America [than in Italy],” he was fond of saying. There used to be an American way of life that was clearly identifiable, well defined, and had a distinctive look. In 1954, a popular movie in Italy was called Un Americano a Roma (An American in Rome), and two years later, a famous song came out titled “Tu vuo fá l’Americano” (“You Want to Act like an American”). Both underscored the differences between the American and Italian ways of life. Indeed, in those years, the Americans looked as if they all dressed the same, listened to the same music, watched the same movies, and tuned in to the same TV shows. Even the immigrants wanted to immediately integrate and assimilate as soon as they reached U.S. shores. Someone arriving from Latin America, for example, quickly changed Jorge to “George,” or Juan to “John.” If they were from Europe, like in my case, the change was from Domenico to “Dom,” or Philippe to “Phil.” That was an era where the so-called “monoculture” prevailed. Recently, The Wall Street Journal pointed out that, in 1983, more than 100 million people in the U.S. watched the finale of the TV series M*A*S*H. Previously, in 1939, 200 million Americans bought tickets for the movie Gone With The Wind, when the population in the country was just 130 million (versus today’s 342.4 million). The generation gap always existed, but it affected domestic culture, not what came from America, which was appreciated by all age groups. Even my Italian Communist friends who used to parrot Lenin’s “The U.S. capitalists will sell us the rope we hang them with” knew all the American songs by heart, especially Summertime (the 1935 tune that continued with “and the livin’ is easy”), and they sang that song while walking along the Croisette during MIP-TV in Cannes in the 1990s. In Italy, we grew up with Superman and Disney characters (in 1961 I became a Topolino — a Mickey Mouse club member), as American TV shows were all the rage worldwide. This was because of the fact that, in Europe, monoculturalism was controlled by the state (which owned TV networks and financed films, museums, and in Italy, even publications). Meanwhile, in America, in order to make sure that popular culture kept the country united, there were a variety of gatekeepers, including Madison Ave (advertising), Broadway (theaters), Hollywood (films), and Wall Street (financing). Today, American popular culture is no longer monolithic, but rather splintered. From “predictable,” viewers became “elusive.” YouTube, for example, has become the most popular TV channel because it offers something for everyone. It has been said that even the most popular influencer is not known to the large majority of Americans. And this new splintered pop culture is changing the rest of the world and how the world sees Americans. Dom Serafini “When it’s made into a movie, I can see Jack Nicholson playing you, and Demi Moore playing me.”
4 ing to a growing demand for diversity and authenticity, it is particularly interesting to see how these shifts are also reshaping casting processes. In Latin America, street casting (i.e., searching for talent in everyday environments, outside traditional casting channels) has increasingly become part of traditional casting processes — not as a replacement for conventional casting, but as a complementary tool for discovering new faces, reaching underrepresented communities, and finding more authentic profiles. “In Latin America, flexibility, context, and proximity to talent often requires a more adaptable and handson approach, depending on the country, the scale of the production, and the structure of the local industry. Within this landscape, street casting has become a complementary and growing search tool that brings greater authenticity to projects, particularly in advertising, fashion, music videos, and productions seeking non-traditional talent. “That does not mean, however, that street casting is the right approach for every project. In many cases, traditional channels remain essential, whether because of the demands of the character, the complexity of the performance, or the structure of the production itself. A central part of the casting director’s work lies precisely in knowing which tools to use and what kind of search each story requires. “Another factor reshaping these processes is the rise of international co-productions. There is increasing demand for stories that better reflect the complexity of contemporary societies, and casting plays a central role in that shift. Casting directors do more than select performers; they also help shape how identities, communities, and cultural realities are represented on screen. “In both Hollywood and Using Bruno Rosato’s recent Q&A in VideoAge’s Water Cooler about casting in Hollywood as a starting point, Dani Díaz explores how casting differs between Hollywood and Latin America. Díaz (pictured) is the founder of Dani Díaz Casting, an international casting director firm based in Madrid, Spain and Lima, Peru. The comparison, explained Díaz is “not so much in terms of creative intuition, but in the structure of each industry, the way talent is accessed, the methods used to discover new faces, and how casting directors collaborate with producers and directors within each context. “From my experience working between Spain and Latin America, I see a meaningful contrast between the two systems. At a time when co-productions with Latin America continue to grow, and casts are respondDani Díaz Explores Casting: Hollywood vs. Latin America (Continued on Page 6) VIDEOAGE May 2026 World SEE FULL AGENDA
6 It was an improved mouse trap, but not an ideal one. Then streaming entered the TV screen with a big moneymaking improvement. At first, it experimented with binge viewing, but that proved to be too expensive to sustain, and forced streaming providers to compensate by first adding commercial time (or an increase of subscription fees for viewers who were willing to pay more for zero commercial interruptions), and later, by returning to the traditional (and more economical) appointment television model, which still included commercials and, naturally, kept subscription fees. So there you have it. Now the U.S. has a perfect TV money-making system with subscription fees and advertising revenue by mixing the best of the traditional and the modern business models. The metamorphosis of the television industry is now complete. It may have taken 85 years, but the U.S. television industry finally managed to get what it wanted from the start — getting paid for showing paid commercials. The traditional TV business model was flawed from the get-go. At the cinema, patrons had to pay an entry fee to watch a film, but television was free. Business was generated by selling airtime to prickly, demanding companies. It was not an ideal situation. Remedies included the creation of the home video industry and later, the development of a cable TV system with a three-tier business model: subscription, advertising, and carriage or retransmission fees. The Perfectly Improved Old TV Model Latin America, the work of the casting director involves balancing the director’s vision, the needs of the script, production demands, and authenticity in representation — a craft that combines creative sensitivity, human judgment, and a precise understanding of what each project needs. “Beyond the differences between both systems, the core of the profession remains remarkably similar. Casting directors are the bridge between the written story and the people who will ultimately give it body, voice, and presence. What usually changes is the path taken to arrive at that final choice. In Hollywood, the process tends to rely more on formalized channels and established structures; in Latin America, by contrast, it is often more open, more flexible, and more closely tied to the social and cultural realities from which stories emerge.” Dani Díaz Explores Casting (Continued from Page 4) VIDEOAGE May 2026 World
8 The late Hollywood producer gives readers behind-the-scenes glimpses into some of the highest-grossing movies in history with life lessons along the way. A Masterclass In Life And Hollywood From Blockbuster Producer Jon Landau By Luis Polanco The American movie producer Jon Landau (1963-2024) had the diligence and luck to produce three of the four highest-grossing films of all time: Titanic (1997), Avatar (2009), and Avatar: Way of Water (2022), all three of which he worked on with longtime collaborator, the filmmaker James Cameron. In his career as a producer, Landau also produced Honey, I Shrunk The Kids (1989) and Solaris (2002), among others. In the last 16 months of his life, he faced esophageal cancer, co-produced the latest Avatar: Fire and Ash, and wrote a memoir, The Bigger Picture: My Blockbuster Life & Lessons Learned Along The Way (272 pgs., Hyperion Avenue, 2025, $28.99). Kicked off with a foreword by Cameron, The Bigger Picture begins with Landau’s ambition to take stock of his life when faced with a life-threatening condition. His memoir begins in the spirit of gratitude, compassion, and enjoyment at having lived a life full of family, friendship, and entertainment. In this spirit, The Bigger Picture is both a memoir and a how-to guide, in which Landau shares his lessons from Hollywood, as well as career dos and don’ts. As a kid, Landau was dubbed “Jonny the Jock,” but he also had a passion for movies that sprung from his parents Ely and Edie’s careers in producing films. The Landaus produced The Madwoman of Chaillot starring Katherine Hepburn and the Oscar-nominated King: A Filmed Record… Montgomery to Memphis, a documentary directed by Sidney Lumet and Joseph L. Mankiewicz about the civil rights leader Martin Luther King Jr., whose children would join Landau and his siblings on family outings. Every summer, his parents would host a private film festival that they called the Annual Landau Movie Orgy, where they screened movies like The Grapes of Wrath and Mary Poppins. From Riverdale in the Bronx, the Landaus moved to Brentwood in Los Angeles. After arriving, Jon Landau would apply to the film program at the University of Southern California. Landau ultimately didn’t end up graduating due to his father suffering a stroke. From there on, he would propel his own career in Hollywood. After leaving his role as an executive vice president in feature film production at Fox in 1995, Landau was offered three different producing jobs — Warren Beatty’s Bulworth, Michael Mann’s Flight of the Phoenix, or James Cameron’s Titanic. He took the third option. With Titanic, Landau recounts the challenge of finding a location where they could build a ship and where they could create an accompanying ocean. He found the space in Rosarito, Mexico. From this section of the memoir, he also shares casting gossip (the studio had wanted Matthew McConaughey, but his stubborn cockiness ultimately made the young Leonardo DiCaprio the right choice). He also helps readers understand the sometimes fraught dance between director and producer. Recalling how he built a rapport with Cameron, he says, “I was able to win Jim’s trust and convince him that it was to his advantage to have me close. I was another set of eyes and ears for him, not someone with an agenda of my own.” For Landau, the team was central. Landau walks readers through the process of getting Avatar made: getting the right motion capture technology (Landau prefers the term “performance capture”), getting the financing in order, and finding the right cast that in the end would include Sam Worthington, Zoe Saldaña, and Sigourney Weaver, among others. At various times in the memoir, Landau self-identifies as a problem-solver and teambuilder, and readers can see these qualities play out in behind-the-scenes anecdotes from the movie. For example, Landau recounts one heated argument between him and director Cameron, who had wanted to fire the cinematographer. Landau’s levelheaded and diplomatic poise managed to retain the cinematographer while accomplishing Cameron’s goals for the movie. While Avatar did less well critically than Titanic, which received 11 Academy Awards, the critical reception leads Landau to muse as to what’s more important, awards or box office? He writes, “[I]f forced to choose, I’d choose the box office. It means millions of moviegoers are connecting to the work. That is the real prize—reaching people looking to be transported, to escape, to find hope in the embrace of a darkened theater.” The Bigger Picture concludes with the last years of Landau’s life. He chronicles the surgeries and hospital visits. Here, he reflects on the trajectory of his life and career, and up until the last pages, he continues to give advice to aspiring filmmakers. In his foreword, Cameron touches on the overall message of the book while commemorating Landau himself. He writes, “To make films that touch people around the world, they must have heart. And to do that, you must have heart yourself, and live not only with single-minded purpose, but with respect and love for those around you.” “To make films that touch people around the world, they must have heart. And to do that, you must have heart yourself.” VIDEOAGE May 2026 Book Review
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10 Six TV Trade Shows in Five Countries Replace the Old MIPTV in Cannes Content Europe, a new TV market that took place April 21-23, 2026, in Lisbon, Portugal, was announced on August 22, 2025, by British trade publisher and TV market organizer C21. A few months later, on November 5, 2025, New York City market organizer Questex announced its first Stream TV Europe, which took place April 13-15, 2026, at the Epic Sana Hotel in the Amoreiras district of Lisbon, Portugal. Stream TV Europe attracted 1,000 participants from 30 countries. Next year’s event is set for April 20-22, 2027, at the Estoril Congress Centre, a new venue outside Lisbon. Content Europe will return next year on April 18-20, 2027, at the same venue. Around the same time that these events happened in Lisbon, Rai Com staged a screening of its own content between April 14 and 17 in Assisi, Italy, for some 100 buyers, while Canneseries, in Cannes, France, took place April 23-28. Moving to North America, Toronto’s Hot Docs was held from April 23 to May 3, 2026, and the NAB Show was held April 18-22, 2026, at the Las Vegas Convention Center. There was also the Festival of Animation Films (FFAA), which began on April 28 in Abidjan, Ivory Coast. The month of April has obviously become a hotly contested period for TV markets, and Lisbon is now a hot destination after the closing of MIPTV in Cannes, France. However, the various April TV markets and events are not expected to affect the anticipated success of this year’s L.A. Screenings, set for May 14-20 in Los Angeles, with an extended schedule at all the U.S. studios, and confirmed participation by many independent exhibitors at the SLS Hotel (see full story on page 18). Content Europe was held at the Marriott Hotel in Lisbon, some 5.4 kilometers from the Baixa city center. The three-day event consisted of a Marketplace, Screenings, and a three-track conference program: The Future Formats Forum, The Content Acquisitions Summit, and The Kids Content Summit; plus a Format Pitch. In total, there were 53 speakers for 25 conference sessions. The whole event took place across two floors of the Marriot Hotel, and the marketplace offered booths and meeting tables to content distribution companies. The event accommodated 800 participants, including 271 international content acquisition executives who visited the 71 exhibiting companies. “All the major international TV companies are here,” reported Maria Chiara Duranti, who’s a format expert and publisher of FormatBiz. Among the big distributors were Warner Bros. Discovery, ITV Studios, All3Media, Fremantle, Banijay, and Dori Media, plus Turkish content distributors such as ATV, Kanal D, and Global Agency. “The [Content Europe TV] market has potential,” said Sangerim Zhakhina of Turkey’s Kanal D International. “It’s better than expected for the first edition. Good panels and time to network.” In total, Content Europe drew over 800 participants, and organizer C21 explained that “buyers from platforms and channels registered for free.” As David Jenkinson of C21 Media explained, the goal was to fill the spring market gap left by the disappearance of MIPTV in Cannes: “We knew there was a gap in the market... We wanted to create something positive, inclusive, affordable, cost-effective, and creative.” (Continued on Page 12) Rai Com Screenings in Assisi At Content Europe (l. to r.): Sony Pictures Entertainment’s Laura St. Clair, consultant Lisette van Diepen, Paramount International’s Laura Burrell, NBCUniversal’s Hannah Mabruk, FormatBiz’s Maria Chiara Duranti The registration area at Stream TV Kanal D’s Mesut Ozkececi at Content Europe VIDEOAGE May 2026 April TV Markets Review
UGLY
12 (Continued from Page 10) NBCUniversal’s Hannah Mabruk said: “We don’t have MIPTV in the spring anymore, and I think it’s great to have a spring market in Europe.” That sentiment was widely shared. Reps for several companies indicated that they came specifically because the industry still needs a European market between MIPCOM in October and the L.A. Screenings in May. Indeed, a number of distributors confirmed that they would also be attending the upcoming L.A. Screenings, though many emphasized that the two events serve different purposes. Lisbon was viewed as relationshipdriven and pan-European, while the Los Angeles Screenings remain focused on major studio pipelines, U.S. content supply, and high-level acquisition meetings. The market recorded a strong opening, with backing from the Portuguese government in the form of a statement from Margarida Balseiro Lopes, Portugal’s Minister of Culture, Youth and Sport, who presented a €350 million (U.S. $410 million) funding program called SCRI.PT, designed to strengthen the country’s audiovisual sector and increase international competitiveness. The hotel’s largest room, the Mediterraneo, hosted a strong Turkish presence. Another space, the Casablanca, was strongly anchored by French companies, including Unifrance, which hosted an exclusive invitation-only cocktail reception at the Embassy of France in Lisbon on April 22. Asian firms were also out in full force, with a large presence from Japan and Korea, in particular. The latter one included Korean distribution company, Something Special. Many exhibitors praised Lisbon as a venue. While the hotel is outside the historic city center, many participants felt the location was strategically smart. It kept delegates inside the property, while still maximizing spontaneous encounters. Claudia Marra of Mediaset Italy confirmed that she arrived without any scheduled meetings, but was still able to meet with many buyers. Rocio Cachero of Mediaset Espana was happy with her 12 meetings, but she regrets that the market was more focused on formats than dramas. Simona Frau, head of Formats at Banijay Italy, said that she decided to come at the last minute, but that she had still had almost 20 productive meetings with independent producers and studios. While no official territory breakdown was released, exhibitors repeatedly cited strong attendance from Southern Europe, Iberia, Italy, Turkey, and Latin markets, with visible executives from Portugal, Spain, and Italy. Many sellers also reported meaningful conversations with buyers from Central Europe and the Nordics. Maria Chiara Duranti contributed to this story. Dori Media's Nadav Palti and Carolina Sabbag at Content Europe VIDEOAGE May 2026 April TV Markets Review CONNECTING LATAM & US HISPANIC CONTENT WITH THE WORLD 17 → 20 Nov. 2026 Moon Palace, Cancun, Mexico Save the date
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16 L.A. Screenings 2026 May 2026 VIDEOAGE Studios’ Global Sales Teams May 17 Prentiss Fraser President, FOX Entertainment Global David Smyth, EVP, Content Sales & Partnerships Simona Argenti, SVP, Content Sales, EMNA Matt Hanna, SVP, Sales, Americas Brook Peters, SVP, Sales & Business Development FOX Entertainment Global FOX Studio Lot Tel: (310) 369-5500 www.foxentglobal.com SLS HOTEL EHIBITORS Alfred Haber Dist. Table 7 Allen Media/Entert. Studios 515 Amazon MGM Studios 397 Atresmedia 402 ATV 611 Betafilms 302 Bighouse Entertainment 494 Bigstone Studio 439 Blue Ant Media 294 Calinos Entertainment Table 4 Caracol 511 CDC United 238 Cisneros Media 213 CJ ENM 394 Comarex 229 Disney 628 Dori Media 489 Electric Entertainment Table 8 Encripta Table 9 EO Content 329 EO Media 413 Fox Entertainment 497 Fremantle 275 Globo 527 Hong Pictures 438 InterMedya 389 Just Ipicked 338 Kanal D Table 2 KBS Media 331 KOCCA 429 Ledafilms 313 Lionsgate 530 Madd TV 475 MBC America 341 MediaHub 231 Mipcom/MipCancun Table 5 NBCUniversal 415 Onza Distribution 239 Paramount 373 Polar Star 502 Record TV 202 RTVE Table 1 SBS International 339 Screenbright Table 6 Seriella 241 Studio CR 431 Studio Glowgrim 315 Studio Target 441 Telefilms 627 Televisa 702 TV Azteca 375 VIP 2000 TV Table 3 May 18-20 SPECIAL SCREENING & RECEPTION May 16 Jimmy Zasowski President, Platform Distribution Disney Content Sales and Distribution Regional Leads: Chris Oldre, Global Strategy Lead and U.S. & Canada Paolo Agostinelli, Europe, Middle East & Africa Fernando Barbosa, Latin America & U.S. Hispanic Market Mark Chan, Asia Pacific Disney Entertainment 500 S. Buena Vista St. Burbank, CA 91521 www.disney.com May 17 Keith Le Goy Chairman, SPT Mike Wald, Co-President, Distribution & Networks Jason Spivak, Co-President, Distribution & Networks Flory Bramnick, EVP, Distribution Paul Littmann, EVP, Distribution John Rossiter, EVP, Distribution, Networks & Production, LATAM Mark Young, EVP, Distribution & Networks, SPE, EMEA Monica Veiga, EVP, US Distribution Ian Durndell, EVP, Global Deal Strategy Adam Herr, SVP, Distribution, APAC Ramon Garcia, SVP & MD, TV Distribution, LATAM Selina Nederhand, SVP & Co-Networks Head, Content Strategy and Acquisitions, LATAM Holly Comiskey, SVP, Distribution & Networks, UK and GSA Jorge Lezaun Valverde, SVP, Distribution & Networks, Spain Louise Emblem, SVP, Distribution & Networks, Scandi, Benelux, Baltics, Israel, Greece, Africa & CEE Zelda Stewart, SVP, Sales & Country Manager, TV Distribution, France & Italy Ziad Yaghi, SVP, MENAT, Ukraine & CIS Sony Pictures Television 10202 West Washington Blvd. Culver City, CA 90232 Tel: (310) 344-4000 www.sonypictures.com/tv May 16-18 Michael Bonner President, NBCUniversal Global TV Distribution Carolyn Stalins, EVP, Sales Liaison, International Bruce Casino, EVP, Sales & Distribution, U.S. Ron Suter, EVP & GM, Sales & Distribution, Canada Jay McNamara, EVP & Global Head, Distribution Strategy & Operations Rob Bell, EVP, Global Content Strategy & Digital Sales Chris Taylor, Managing Director, APAC, TV Distribution and International Networks & DTC Rajiv Dhawn, SVP, Sales Liaison, Asia Pierre Weisbein, SVP, Sales Liaison, Latin America Chloe Packman, SVP, Sales Liaison, UK & Ireland Sven Noth, SVP, Liaison, German-speaking Territories Anne-Lorraine Villeroy, SVP, Liaison, France, French-speaking Europe, Africa, Poland, CEE, Greece Tamara Misert, SVP, Sales Liaison, Iberia, Italy, Israel, Middle East & Turkey Atsushi Miyasaka, SVP, Sales Liaison, Japan & Korea Juliette Charreyron, SVP, Sales Liaison & Global Sales Solutions NBCUniversal Global TV Distribution Universal Studios Lot Universal City, CA 91608 Tel: (818) 777-1300 www.nbcuniversal.com May 18-19 David Decker President, Global Content Sales Alison Morris, SVP, Content Sales, UK & Ireland, France, Benelux & Africa Roni Patel, SVP, Content Sales, Nordics, Middle East, CEE, Turkey & Greece Phil Goodhew, SVP, Commercial Strategy Matthias Heinze, SVP, Commercial, Germany, Austria & Switzerland Angel Yllera, GVP, Content & Affiliate Sales, Spain, Portugal & Italy Toby Etheridge, Executive Director, Content Licensing, UK & Ireland Alessandra Ghoneim, VP, Content Licensing, France, Benelux & Africa Martyn Holmyard, VP, Content Licensing & Commercial Strategy Kai Rowley, Director, Content Licensing, CEE Klaas Woebken, VP, Content Sales, Germany, Austria & Switzerland Luis Garcia de Figueroa, Sales Director, TV & Affiliate Sales, Spain Manuel Garcia Del Rosso, VP, Content Sales, Italy Nathalie Sawyer, SVP Content Sales, Canada Patricia Jasin, SVP, Content Licensing, Latin America Michael Brooks, Managing Director, Australia & New Zealand Jae Chang, SVP, Content Sales, Asia & MD Korea Jito Rai, Director, Content Sales, Japan Sunday Lu, VP, Content Licensing, China Warner Bros. Discovery Global Content Sales Warner Bros. Studios, Steven J. Ross Theater 4000 Warner Blvd. Burbank, CA 91522 Tel: (818) 954-6000 www.warnerbros.com Kevin MacLellan President, Global Content Distribution & International, Paramount Don McGregor, President, Paramount Content Licensing Jonathan Bingaman, EVP, Domestic Content Licensing Matthew Downer, SVP, Regional TV Licensing, Europe / UK Philippe Renouard, SVP, Regional TV Licensing, Nordics / Africa / French-speaking Europe Bernhard Schwab, SVP, Regional TV Licensing, German-speaking Europe / Central & Eastern Europe Jonathan Greenberg, EVP, Regional Sales, North Asia Nicole Sinclair, SVP, Client Relations, South Asia Rekha Shah, VP Client Relations, Canada Laura Burrell, VP, International Formats Paramount Global Content Distribution Paramount Studios Lot 5555 Melrose Avenue Los Angeles, CA 90038 www.paramount.com May 16-17
18 It’s that time of year again. L.A. Screenings time. And as usual, the U.S. studios will welcome buyers on their lots, while the independents will operate out of a new hotel home base — the SLS hotel — this time in Beverly Hills, strategically located between last year’s Hollywood venue and 2024’s Century City locale. Let’s start with the studios. Paramount is set for Saturday, May 16, and Sunday, May 17 (with the 16th also including Latin America). NBCUniversal will screen May 16, 17, and 18, with the Latin American contingent at NBCU on May 17. Sony Pictures TV will have a presentation and an event on May 17 and its LatAm screenings on May 19. Warner Bros. Discovery will screen May 18 and 19. And Disney is screening on May 18, 19, and 20, with Wednesday, as usual, reserved for LatAm buyers. Distributor Fifth Season is inviting buyers to screen on May 17. Lionsgate is having its event on May 18. Amazon MGM is screening in the morning on May 15 and in the afternoon on May 18. Fox Entertainment will have its traditional party on the Fox studio lot on Sunday, May 17, and Argentina’s Telefilms has scheduled its traditional screenings and cocktail party for the evening of Saturday, May 16 at the SLS Hotel. That same evening, however, Disney will host a screening of Star Wars: The Mandalorian and Grogu, followed by a reception on its lot, starting at 5 p.m. and ending past 9 p.m. The Indie portion of the L.A. Screenings will start on Thursday, May 14, and run for two full days at the five-star SLS Hotel in Beverly Hills. This new venue was suggested to Isabella Marquez, the L.A. Screenings’ indies organizer, by Ramona Burns, a hotel expert who once served as a Sales director at the now closed InterContinental Hotel in Century City, which was a favorite of L.A. Screenings participants. According to reports, many participants found last year’s L.A. Screenings hotel (The Roosevelt in Hollywood) to be insufficiently accommodating, while the previous venue, the Fairmont Century Plaza hotel in Century City, was considered too expensive. The response for the new hotel has been described as phenomenal. Less than a week after the announcement of the new venue, all 45 hotel suites had been sold out to international content distribution companies, and the initial 15 tables on offer were expanded to 20. By mid-April, the SLS was sold out, and Marquez added two additional nearby properties — the Sofitel and the AC (Marriott) Hotel — so that more sleeping rooms would be available. “Based on our pre-scheduled meetings for the L.A. Screenings,” said Muge Akar, head of Sales and Distribution at Turkey’s ATV Group, “we are receiving notably more positive feedback compared to last year.” In addition to ATV, other exhibitors at the SLS Hotel include Disney Entertainment, NBCUniversal, Caracol Television, Inter Medya, Madd Entertainment, TV Azteca, Fremantle, Telefilms, and Record TV, reported Marquez, who added, “This year, the L.A. Screenings independents is also counting on the participation of 13 Korean companies brought by KOCCA, the South Korea Creative Content government agency.” It is expected that, ultimately, the indie portion of the L.A. Screenings will have 60 exhibitors (versus 57 in 2025). It should also be noted that some content distributors don’t officially register with Marquez, which tends to be a security problem for hotels, but they still actively attend the independent L.A. Screenings, spending their time lounging at the indies’ hotel bar, in the lobby, or at the restaurant, and hold meetings with buyers, producers, distributors, and the press. When asked how many of the expected 1,000 total buyers attending the L.A. Screenings will visit the SLS Hotel, Marquez answered: “From a minimum of 100 to a maximum of 200.” In terms of this year’s network upfront expectations, early predictions for the U.S. TV networks’ content output see ABC’s lineup emphasizing dramas, reality franchises, and medical procedurals. CBS is predicted to maintain its strength in procedural dramas and sitcoms. Meanwhile, NBC will lean toward sports and reality competitions, and FOX will blend sports, reality shows, and scripted content. Finally, The CW is expected to continue its shift toward reality, sports programming, and an overall reduction in scripted content. All in all, the U.S. studios are expected to screen a good amount of new content, mixing broadcast, cable, and streaming output that might not bring new revelations on the road to Damascus, but will surely serve as indications to international content buyers of paths to follow to reach more broadcast TV audiences in their domestic markets. Don McGregor, president, Paramount Global Content Licensing, said that he’d be “welcoming over 700 international clients across the two days.” He also added that Paramount will be “bringing both drama and comedy from CBS Studios this year, including The F Ward, a six-part medical drama from Australia, and Eternally Yours, a new half-hour family comedy.” And, he added, “We still have more titles to announce ahead of L.A. Screenings.” McGregor also explained, “following the L.A. Screenings, we’ll take our titles directly to clients with local screenings across Europe this summer, before joining the industry at MIPCOM in October.” The Indies Portion Oversold, The Studio Edition’s Resurging Buyers on the Disney lot at last year’s Screenings RSI’s Elena Trugli and Gea Montorfani at the 2025 NBCU Screenings Argentina’s Telefilms will host its traditional cocktail and screening on May 16. VIDEOAGE May 2026 L.A. Screenings Preview
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20 Broadcast TV Pilots for 2026-2027 (as per April 30, 2026) ABC (Drama) The Rookie: North Created by: Alexi Hawley Executive Producer: Alexi Hawley, Nathan Fillion, Mark Gordon, Bill Norcross, Michelle Chapman Writer: Alexi Hawley Cast: Janet Montgomery, Karen Fukuhara, Mya Lowe, Froy Gutierrez, Jay Ellis, Chris Sullivan, Malik Watson Premise: The second spinoff from The Rookie sees a middle-aged man join the Pierce County Police Department as its oldest rookie after a traumatic home invasion. Production Company: 20th TV, ABC TV, Lionsgate TV, Perfectman Pictures ABC (Comedy) Do You Want Kids? Executive Producer: Steven Levitan, Danielle Stokdyk, Jeff Morton, Rachel Bloom, Jeff Levitan, Dan Gregor, Trent O’Donnell Writer: Rachel Bloom, Dan Gregor Cast: Rachel Bloom, Dan Gregor, Jorge Diaz, Ayden Mayeri, Steve Levitan, Jeff Morton, Trent O’Donnell, Danielle Stokdyk, Joshua Rodriguez, Rory Scorvil Premise: Two different lives for the same married couple. In one life they have a child, but they are child-free in the other. Production Company: Levitan Prods, 20th TV The Dogwood Created by: Gemma Baker Premise: A workaholic mom leaves her marriage and quickly discovers she’s the most stereotypical divorced dad anyone has ever met. Production Company: Fox Entertainment Studios CBS (Drama) Cupertino Writer: Michael King, Michelle King Co-Executive Producer: Dewayne Darian Jones, Joey Hartstone, Keith Eisner Executive Producer: Liz Glotzer, Sam Hoffman Cast: Ella Stiller, Stephen Kunken, Debra Monk, Busy Philipps, Joe Morton Premise: An attorney opens up a law office in Silicon Valley dedicated to taking on the Goliaths of the tech industry. Production Company: CBS Studios, King Size Prods. Flint (In development, possibly 2027-28) Writer: Evan Katz Executive Producer: Matt Le Blanc, Evan Katz, Jerry Bruckheimer, KristieAnne Reed Cast: Matt Le Blanc Premise: A burnt-out LAPD detective is on the verge of retirement, but the city extends his service. Rather than accepting, he decides to get himself fired — breaking rules, ignoring orders, and generally becoming a pain for everyone. Production Company: CBS Studios, Jerry Bruckheimer TV NCIS: New York Created by: R. Scott Gemmill Executive Producer: L.L. Cool J, Byron Balasco, Jason Barrett, R. Scott Gemmill Cast: L.L. Cool J, Scott Caan Premise: NCIS Agent Sam Hanna returns to his hometown of New York City. He partners with a roguish agent to lead a new team tasked with high-stakes missions to defend the city and port. Production Company: CBS Studios CBS (Comedy) Eternally Yours Director/Executive Producer: Trent O’Donnell Executive Producer: Joe Port, Joe Wiseman, Eric Tannenbaum, Kim Tannenbaum, Jason Wong Cast: Ed Weeks, Allegra Edwards, Parker Young, Rose Abdoo, Tristan Michael Brown, Shylo Molina, Helen J. Shen, Jaren Lewison Premise: About a vampire couple whose once passionate romance has devolved into a pulseless marriage after 500 years together. They’ve settled into an eternal rut — until their daughter’s earnest human boyfriend unexpectedly enters their lives. Production Company: CBS Studios, The Tannenbaum Company CBS (Dramedy) Einstein Writer: Andy Breckman, Lauren Gussis Co-Producer: Dantonio Alvares, Corinne Brinkerhoff Executive Producer/Showrunner: Andy Breckman Executive Producer: Lucas Carter, Joel Denton, Tiffany Grant, Matthew Gray Gubler, Laura Beetz, Shirley Bowers, Lauren Gusis, Rodrigo Herrera Ibarguengoytia, Roe Hughes, Tariq Jalil, Michael Rauch, Joe Wiggins, Randy Zisk Cast: Matthew Gray Gubler, Melissa Fumero, Gopal Divan Premise: The illegitimate great-grandson of Albert Einstein is paired with a detective to consult on cases as a way to stay out of jail. Production Company: CBS Studios, Green Ribbon Entertainment, Intrigue Entertainment, Red Arrow Studios International, SevenOne Entertainment Group. Hilda! In Lights Executive Producer: Abbey Caldwell, Will Graham, Max Linsky, Tonia Davis Writer: Abbey Caldwell Premise: A spunky, small-town upstart moves to the big city to make it on her own. There’s just one teeny, tiny, totally inconsequential difference… she is a 70-year-old woman named Hilda. Production Company: CBS Studios Fox (Drama) Baywatch Created by: Gregory J. Bonann, Lara Olsen Director/Executive Producer: McG Writer: Gregory J. Bonann, Matt Nix, Lara Olsen, Danti Di Loreto, Matt Nix Executive Producer/Showrunner: Matt Nix Showrunner: Lara Olsen EPs: Douglas Schwartz, Chad McQuay, Michael Berk, Douglas I Schwartz Cast: Stephen Amell, Shay Mitchell, Noah Beck, Jessica Belkin, Hassie Harrison, Thaddeus LaGrone, Brooks Nader, David Chokachi, Ashley Moore, Kylar Miranda, Luke Eisner, Nadia Gray, Livvy Dunne, Charlie McElveen Premise: A return to the beach and lives of the Californian lifeguards. A reboot of the ’90s lifeguard drama. Production Company: Fox Entertainment, Fremantle The Interrogator Executive Producer: Stephen Fry, Bill Harper, Matt Pyken, Neil Burger, Paul McGuigan, Anthony Bregman, Miriam Mintz, Jay Beattie, Dan Dworkin Writer: (Pilot) Stephen Fry, Bill Harper, Matt Pyken Cast: Stephen Fry, Luke Kleintank Premise: Henry, a former MI6 agent, leads an elite team into cases where conventional methods have already failed. Production Company: Lionsgate TV, Fox Entertainment Studios, Likely Stories, Anonymous Content NBC (Drama) Key Witness Writer/Executive Producer: Dean Georgaris, John Fox Director/Executive Producer: Jennifer Morrison Executive Producer: John Davis Cast: Emily Deschanel, An-Li Bogan, Jon Beavers. Premise: Professor Georgia Ryan is a trailblazing psychologist who challenges the field of criminology by shifting the investigative focus to the victim rather than just the perpetrator in order to uncover the crucial clues that more traditional methods leave behind. Production Company: Universal Television, Davis Entertainment Line of Fire Writer/Executive Producer: Josh Safran Director/Executive Producer: Rebecca Thomas Executive Producer: Jenna Bush Hager, Ben Spector Cast: Peter Krause, Hope Davis, Kat Cunning, Tommy O’Brien, Taylor Bloom, Charlie Barnett Premise: When a U.S. Marshal falls in the line of duty, a seemingly cut-and-dried case turns into a deadly conspiracy, as a family of law enforcement agents become the target of a mysterious assassin. Production Company: Universal Television Puzzled Writer/Executive Producer: Joey Falco Executive Producer: Jordan Cerf Cast: Damon Wayans Jr., Christina Elmore, Molly Griggs Premise: After barely escaping a tragic fire, once VIDEOAGE May 2026 New U.S. TV Season
21 promising college athlete Mike Brink is transformed by a traumatic brain injury that gives him the unique ability to see the world in an unexpected way, and helps him solve crimes with local police. Based on the Puzzle Master books by Danielle Trussoni. Production Company: Universal Television, Linden Entertainment The Rockford Files Writer/Executive Prpducer: Mike Daniels Director/Executive Producer: Greg Mottola Executive Producer: Carl Beverly, Sarah Timberman, Chris Leanza Cast: David Boreanaz, Michaela McManus, Jacki Weaver, Felix Solis Premise: A contemporary update on the classic series of the same name. Newly paroled after doing time for a crime he didn’t commit, James Rockford returns to his life as a private investigator using his charm and wit to solve cases around Los Angeles. It doesn’t take long for his quest for legitimacy to land him squarely in the crosshairs of both local police and organized crime. Production Company: Universal Television What the Dead Know Director/Executive Producer: Fred Berner Writer/Executive Producer: Beth Rinehart Executive Producer: Dick Wolf, Tom Thayer, Peter Jankowski, Anastasia Puglisi, Kevin Plunkett, Rebecca McGill, Barbara Butcher Cast: Taylor Schilling, Lorenza Izzo, Amanda Warren Premise: Death Investigator Ava Ledger is really good with dead bodies. It’s the living that give her trouble. Based on the memoir by Barbara Butcher, former New York City Death Investigator, the series follows Ava as she teams up with the NYPD to solve their toughest cases. Production Company: Universal Television, Wolf Entertainment NBC (Comedy) Dan Goor/Luke Del Tredici Pilot Director/Executive Producer: Akiva Schaffer Writer/Executive Producer: Dan Goor, Luke Del Tredici Premise: Continues the proud tradition of Los Angeles private eyes that began with Philip Marlowe and will end with this show. Cast: Jake Johnson, Keith David, Jane Levy, Mary Shalaby, Langston Kerman Production Company: Universal Television Kari Lizer Comedy Pilot Writer/Executive Producer: Kari Lizer Director/Executive Producer: Pam Fryman Executive Producer: Katey Sagal, Jane Lynch, Krista Vernoff, Andrew Stearn, Alexandre Schmitt, Shelley Zimmerman, Blair Bigelow Consulting Producer: Pepper Schwartz, Janet Lever Cast: Katey Sagal, Jane Lynch, Sadie Calvano, Gabe Gibbs. Premise: Ginger and Jill have always been a team — from college to their best-selling sex and relationship books — they’re opposites who work best together. However, they’ve been estranged these past few years, and when they run into each other at the funeral of a mutual ex, their bad blood goes public. As they sort through their past and look toward their future, they’ll discover that in spite of it all, they’re still better together. Inspired by real-life best friends and sex experts. Production Company: Universal Television, Trip the Light Productions Newlyweds Director/Executive Producer: Pam Fryman Executive Producer: Gail Lerner, Eric Tannenbaum, Kim Tannenbaum, Scott Schwartz, Jamie Lee Curtis Cast: Tea Leoni, Tim Daly, Natalie Palamides, Bill O’Neill, Dominique Morton Premise: A later-in-life love story about a buttoned-up professor and a free-spirited woman who marry impetuously after a whirlwind courtship. Production Company: Universal Television, Lionsgate Television (Pilot list compiled by Mike Reynolds in Los Angeles) VIDEOAGE May 2026 New U.S. TV Season 12th-15th October Palais des Festivals, Cannes. More information www.mipcom.com STORIES SHAPED GLOBALLY. OPPORTUNITIES BUILT TOGETHER. WHERE DEALS ARE DONE, PARTNERSHIPS ARE BORN AND STORIES FIND THEIR STAGE.
22 L.A. Screenings 2026 May 2026 VIDEOAGE Programming Highlights AMERICAN CINEMA INSPIRES Sugarcreek Amish Mysteries: The Series (mystery) Cheryl finds herself drawn into one mystery after another, and with the help of the unlikely friendships she forges with her Amish neighbors, she begins to piece together a new sense of home, belonging, and the fragile possibility of love. Sugarcreek Amish Mysteries: Blessings in Disguise (mystery, pictured) After Cheryl’s three-year engagement ends in a crushing breakup, her life is turned upside down when her aunt offers her an escape from the city to the Amish town of Sugarcreek. Cobra 11 (action) Two police inspectors and their team from a Bonn-Koeln precinct fight all kinds of criminals encountered daily on major highways in Germany. Vencer o Morir (action, drama) 1793. French Revolution. Charette, a young man retired from the Royal Navy, becomes a charismatic leader and a cunning strategist as he forms a formidable army. Hasta la Muerte (drama) Fed up with his mysterious and inexplicable wife, Hadi’s life is turned upside down when he meets a spontaneous and special woman on a business trip. Tel: +1 (818) 805-1015 Contacts: carlos@americancinemainspires.com; chevonne@americancinemainspires.com CALINOS ENTERTAINMENT Ugly (drama) Meryem is raised by her mother’s friend, who has a son, Kadir, and two daughters of her own. As a child, Meryem is called “ugly” because she has short hair and worn-out clothes, but she grows up to be a beautiful woman. When her path crosses with Kadir again as an adult, what unfolds is more than just a love story. Gilded Lies (drama) Aydan is a hairdresser from a rough neighborhood in Istanbul who unexpectedly becomes the owner of a high-end beauty center, thanks to Emir, a mysterious businessman. Farah (drama, pictured) Farah is an Iranian woman who escapes her country and struggles to forge a life in Istanbul working as a cleaning lady to save her son, who suffers from a rare, life-threatening disease. One night, she witnesses a murder and is forced to clean the crime scene to survive. Chains of Fate (drama) Mustafa and his wife live in the slums of Istanbul with their young daughter. When his wife desperately needs surgery in order to survive a serious illness, Mustafa confronts his boss, demanding his long overdue wages be paid. Flames of Love (drama) This is the impossible love story of Zümrüt, the beautiful daughter of a poor family, and Serhat, the son of a very powerful dynasty. SLS Hotel, Albert Ballroom, Table 4 Contacts: goryana.vasileva@calinos.com; cristina.duffy@calinos.com DISNEY ENTERTAINMENT LATIN AMERICA Haunted Mansion (action, adventure, comedy) Inspired by the classic theme park attraction, this title features an all-star cast and tells the story of a woman (Rosario Dawson) and her son, who enlist a motley crew of “spiritual experts” to help rid their house of supernatural squatters. Indiana Jones and the Dial of Destiny (action, adventure, pictured) Harrison Ford returns as Indiana Jones for the final installment of the iconic franchise. This highly anticipated movie is a big, globe-trotting, rip-roaring adventure! Kingdom of the Planet of the Apes (action, adventure, science-fiction) Generations after Caesar’s reign, apes are living harmoniously as the dominant species, with humans in the shadows. As a new tyrannical ape leader begins to build his empire, one young ape sets out on a harrowing journey that will lead him to question the past. O Diario de Pilar na Amazonia (action, adventure) Pilar is a young explorer who travels to the Amazon through her magic net. She meets Maiara, a riverside dweller whose community was destroyed. Pilar and her friends set out to reunite her friend’s family and prevent deforestation. SLS Hotel, Suite 628 Tel: +1 (305) 239-8148 INSURGENCE Founded in 2019 by technology executive Niccolo Messina, Insurgence is breaking new ground in the production and distribution of independent films and documentary content. Since its inception, the independent entertainment studio has premiered over 100 original movies and 60 documentaries on its own YouTube channel, amassing more than 9 billion streams worldwide. Insurgence has also licensed select titles from its library of independent features to digital streaming platforms worldwide, further demonstrating the company’s successful production and distribution formula aimed at empowering emerging filmmakers and reshaping the traditional movie distribution landscape. The company features Night Frights, a collection of 10 horror titles, and Lights…Camera…ACTION!, a package of 10 action movies. Contacts: Mario Niccolo Messina, nick@insurgence.co Francesca Romana Rendenelli, francescaromana@insurgence.co INTER MEDYA Halef (drama, pictured) After secretly marrying Melek, the woman he loves, Serhat returns to his hometown only to be forced by a blood feud into a second, religious marriage with Yıldız. Once a surgeon, now the heir and Agha, Serhat must step into his new role while living under the same roof with both women. Eshref Ruya (drama) Eşref, a high-ranking member of a mafia syndicate, spent years searching for a girl he once loved as a child. Musician Nisan becomes entangled in his world. He falls for her, unaware that she’s not only his long-lost love, but also a police informant. Heartstrings (family drama) The lives of Mahinur Aydın and Aras Yılmazer become intertwined when their daughters are accidentally switched at birth at the hospital. The Trusted (drama) Marashli is an ex-soldier who left the special forces to open up a secondhand bookstore and spend more time with his sick daughter. His life changes when the precious daughter of one of the most powerful businessmen in Turkey walks into his bookstore. Portuguese Love (drama, romance) On the night of her lavish engagement party, Yasemin, a high-achieving corporate manager, discovers that her longtime partner, Yaman, has been unfaithful. Suddenly, she is forced to make a life-altering decision. SLS Hotel, Suite 389 Contact: info@intermedya.tv KANAL D INTERNATIONAL Sins & Roses (drama, pictured) Betrayed by his past, Serhat built an empire on family and honor. But when the woman he loves hides a devastating secret, fate intervenes and he meets Zeynep—unlike anyone he’s ever known. The Family Burden (drama) Melike was wrongfully imprisoned for 20 years. She dreams of being reunited with her daughter, Hazal, but when she is released, she encounters a new prison of lies and betrayal. Secret of Pearls (drama) Azem’s life is ruined when he takes responsibility for his wife’s death in order to protect his daughter. When he is released from prison, Azem sets out to be with his adopted children and must navigate complex relationships. Daylight (drama) In this story of love, maturity, and unexpected challenges, Gece’s dreams of university and music in Istanbul are shattered when her family moves away due to her sister’s special needs. Farewell Letter (drama) Alanur’s life has been dependent on Ziya. But after 30 years, Alanur’s life takes an unexpected turn as their children, Aslı and Mehmet, navigate love and family opposition, and hidden connections from the past resurface. SLS Hotel, Table 2 Contact: kdisales@kanald.com.tr MEDIAHUB Bitter Justice (drama, pictured) Only weeks away from becoming a kindergarten teacher, Dünya is sentenced to pay for her father’s negligence after her father’s ruthless boss, Noyan, loses his unborn son in a workplace accident. Dünya is trapped in Noyan’s mansion but (Continued on Page 24)
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24 L.A. Screenings 2026 May 2026 VIDEOAGE she finds an ally in the man who is tasked with keeping her trapped. Roses (drama) Pars is a charismatic young man who must confront love, family, and wounds from the past when he discovers that his biological father is still alive. Close to You (drama) Following her daughter’s tragic death, Deniz donates her child’s heart to save another little girl, Ada. As she struggles with her grief, Deniz becomes Ada’s nanny without revealing that Ada received her daughter’s heart. Hold My Hand (drama) Following a tragic accident that links them, Aslan—the heir to a powerful dynasty—and Elvan—a young woman whose family betrayed her—enter a marriage of convenience. Alaca (drama) Young and innocent Alaca did not know she was the product of an affair between the cruel Baki and ambitious Emel. Alaca’s life takes a dramatic turn when her wealthy biological father needs a kidney for his dying daughter. SLS Hotel, Suite 231 Contact: elif.turna@themediahub.tv MULTICOM ENTERTAINMENT GROUP The Cowboy Killer (New Release) (thriller, pictured) A quiet town erupts into terror when a delusional cowboy starts targeting residents in the belief that he is protecting the woman he loves. This title features Chuck “The Iceman” Liddell and Robert Carradine in one of his final film roles. Legend of Destruction (New Release) (drama, animation) Rendered through more than 1,500 stunning still paintings, this visually striking epic chronicles the Jewish revolt against Rome. Ben Batiach is a kind-hearted yeshiva student who is transformed into a fierce zealot leading a violent rebellion. Fake (2010) (drama) When his own work fails to garner recognition, an overlooked gifted painter turns to forging masterpieces. He partners with a volatile gallery owner and a ruthless crime boss. The Hijacking of the Achille Lauro (1989) (drama) Now restored in 4K for a global digital premiere, this political thriller recounts the 1985 hijacking of the Italian ocean liner Achille Lauro by militants of the Palestine Liberation Front. Big Dogs (2020) (action, crime, thriller) Set in a near-future New York City that is plagued by economic collapse, an elite NYPD unit goes undercover as taxi drivers to take justice into their own hands. Tel: +1 (310) 693-8818 Contact: sales@multicom.tv NBCUNIVERSAL GLOBAL TV DISTRIBUTION Dig (comedy series) From Emmy Award-winning executive producer Mike Schur (A Man on the Inside, The Good Place, Parks and Recreation) and Emmy Award-winning actor and executive producer Amy Poehler (Parks and Recreation, Inside Out 2), Dig centers on four women working at an archeological dig in Greece who are at wildly different crossroads in their lives. When the team uncovers a longburied secret with the potential to rewrite history, they find themselves at the center of a high-stakes international conspiracy. Produced by Universal Television, a division of Universal Studio Group, the series is an adaptation of Kate Myers' bestseller Excavations. J.J. Philbin (Only Murders in the Building, Single Parents) also serves as a writer and executive producer on the series. Ted: The Animated Series (WT) (comedy series) The animated series picks up after the Ted films. Seth MacFarlane (Family Guy, American Dad!, The Orville) is set to reprise the voice of the iconic and loveable foul-mouthed teddy bear “Ted,” and will also executive produce all episodes alongside executive producers Paul Corrigan and Brad Walsh (Modern Family), who also executive produced the live-action series TED. The series comes from UCP (a division of Universal Studio Group), Fuzzy Door and MRC. Possession (drama series) The series follows Claudia (Gugu Mbatha-Raw), an ambitious young bi-racial lawyer, who embarks on a journey to Jamaica to challenge an inheritance claim filed by an unknown local resident, Cudjoe East (Sheldon Shepherd), against Oliver Connaught (Jonny Lee-Miller), a wealthy white aristocrat. Her quest takes an unexpected turn when the contested estate reveals the ominous house that has haunted her nightmares: the Connaught family’s Jamaican plantation, Hope Hill. As Claudia and Oliver investigate, they uncover a chilling connection between historical horrors and present-day injustices. The Siege (drama series) April 30, 1980. Six armed Arab Iranian separatists burst into the Iranian embassy in London, taking hostage the 26 people inside, demanding autonomy for their people. Over the next six days, the gunmen, the hostages, and the police struggled with each other for control of the situation while the soldiers of the SAS mounted plans for a daring mission to break the siege that would be witnessed by the watching world. Coupling thriller tension with poignancy, insight and humor, The Siege brings audiences the definitive account of a pivotal moment in history, when Britain and the world held its breath. Universal Studios Lot, Universal City Phone: +1 (818) 777-1300 OGM UNIVERSE The Gentleman (drama) Yusuf is a young man from the streets of Istanbul whose simple dreams are shattered when he is sucked into a world of crime and power. Deep in Love (drama, pictured) Long ago, a sea maiden and a mountain boy defied their clans and fell in love. Their forbidden union ended in betrayal and death, and the enraged gods turned their people to stone. Centuries later, another love story unfolds and reignites the feud between the villages. Reborn (drama) Aslı has only ever known illness until a donor heart gives her a second chance at life. But the heart she receives belonged to the daughter of Istanbul’s wealthiest family, and she is pulled into a world of grief, power, and forbidden love. Aslı becomes the link between two families that have been divided by class and tragedy. With each beat of her new heart, she steps deeper into a dangerous web of secrets, betrayal, and passion. The Fall of the King (drama) Kenan Baran appears to have it all—wealth, power, and the perfect wife. But under the surface, betrayal, desire, and old wounds threaten to shatter his empire. Six of Us (drama) Six siblings flee Istanbul following the brutal murder of their parents. They are pursued by Azize’s estranged father, and struggle to survive until they find refuge with their uncle. Shahrazad: Tears of Istanbul (drama) In this story of impossible love, sacrifice, and the price of power, a young woman’s love becomes her greatest test when she makes a deadly pact to save her beloved. Contacts: ekinkoyuncu@ogmuniverse.com; mikaelaperez@ogmuniverse.com TELEFE STUDIOS Verdades sumergidas/Jellyfish (thriller, drama, pictured) A group of friends head to a seaside resort for a weekend getaway, but hours after their arrival, the youngest member of the group is found dead on the beach. Their weekend escape becomes a nightmare, and all of the remaining friends become suspects. Inadaptada/Misfit (drama, young adult) Just before her 18th birthday, Lisa is sent to a mental health clinic after she is found walking on a railroad track. As Lisa’s therapy sessions continue, she discovers more about herself and learns that sometimes the line between “sanity” and “insanity” isn’t as definitive as it seems. El primero de nosotros/The First of Us (drama) After Santiago is diagnosed with an incurable brain tumor, he is forced to think of all the things he wants to do before it is too late. The sentiment spreads to his group of friends, and they all begin to think about what they would hope to do with their lives if they were to die tomorrow. Contact: mercedes.feu@telefe.com; gonzalo.defago@telefe.com TELEFILMS Marty Supreme (drama) Set in the underground world of 1950s table tennis, this is the story of Marty Mauser (Timothée Chalamet), a dreamer who is determined to earn respect in a sport that no one takes seriously. Greenland: Migration (action) The Garrity family survives a disaster that wiped out most of Earth. They leave their bunker in Greenland to face a new reality and embark on a dangerous adventure across a destroyed world. Shelter (action, pictured) A reclusive man living on a remote coastal island rescues a young girl from a deadly storm. He is thrust into danger when he is forced out of isolation and has to confront his turbulent past while protecting the young girl. The Drama (drama) Starring Zendaya and Robert Pattinson, this is the story of an engaged couple who are put to the ultimate test when an unexpected revelation sends their wedding week off the rails. Nuremberg (drama) U.S. Army psychiatrist Lt. Col. Douglas Kelley is tasked with evaluating Hermann Göring and other top Nazi officials as the Allies prepare for the historic Nuremberg Trials following World War II. SLS Hotel, Suite 627 Contact: telefilms@telefilms.com.ar (Continued from Page 22)
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