A Note from the Editor (And Celebrating a Return to Cannes)

Flight and hotel booked. Dinner plans made. Meetings set. For the first time since the end of 2019, I’m finally preparing to attend a physical market again, and this is hands down the most excited I have been since, well, before the world changed.

It’s not just the prospect of face-to-face interviews—and rosé on the beach!—that I’m looking forward to. I think I’m most excited about the chance to reconnect with old friends. Yes, we’ve spoken and Zoomed and WhatsApped in these long, long months of not seeing each other, but as we all know, it’s not the same. And with almost two years of missed meetings in Cannes (or Miami, Cancún, Singapore…), I’ve come to realize just how valuable industry events like MIPCOM are to me, professionally and personally.

Now I know the various online offshoots of markets over the last 18 months have been valuable for maintaining relationships and doing deals. Digital marketplaces like Vuulr and others have helped distributors sell shows even as they couldn’t see clients in person. But again, it’s not the same. How do you replace that chance encounter that becomes your biggest-ever deal? That unexpected conversation that leads to a new business, a new show, a new model for doing something? The art of making television is all about collaboration—intelligent people, working together to deliver the best scripts, the best sets, the best outfits and, of course, the best way to put something together that makes financial sense for all of those involved. How many clever formulas and collaborations started at a MIPCOM or a Series Mania or any of the other events that have come to mark the annual schedule for most of us working in the international media business today? I’d venture to say quite a lot. An idea seeded at the Majestic or a pitching session in the Palais eventually goes on to delight and amaze millions of viewers across the globe. It’s pretty awe-inspiring, isn’t it?

Next year marks my whopping 20th year at World Screen and my 25th anniversary of covering the television beat in general. The markets have shaped those years for me, giving me valuable insights that I would never have gleaned just typing away at a computer screen. And the friendships formed! Really, how lucky are we, as an industry? Television has never been better, and the pent-up frustration of a community just anxious to get back together to celebrate the medium, and make it better, is palpable. I know I felt it as I was pulling together our fabulous MIPCOM edition. I hope you feel it as you’re reading it.

Here’s a full rundown of everything you’ll find in our October editions, which, if you’re in Cannes, you’ll be able to pick up inside the Palais. Follow the links to access our digital editions online or get the Issuu app for iOS and Android.

World Screen

  • Award-winning actress and performer Audra McDonald on The Bite, the fifth season of The Good Fight and the differences between acting on stage and in episodic television.
  • Dick Wolf talks about crime procedural trends amid news that NBC is resurrecting the flagship Law & Order.
  • The State of Scripted: This special report on how high volume, access to financing, availability of talent and crews, and viewer demand for unique storytelling are influencing scripted programming includes Q&As with Banijay Rights’ Cathy Payne, Lionsgate’s Kevin Beggs, ZDF Enterprises’ Fred Burcksen, All3Media International’s Louise Pedersen, Red Arrow Studios International’s Tim Gerhartz and MarVista Entertainment’s Fernando Szew.
  • Gilles Pélisson, the chairman and CEO of TF1, talks about boosting production, establishing a one-on-one relationship with viewers and offering content on multiple platforms.
  • A wide-ranging conversation with David Nevins, the chairman and CEO of Showtime Networks and chief content officer of scripted originals for Paramount+.

Read the digital edition here.

TV Kids

  • A range of distributors and platforms discuss the booming kids’ AVOD opportunity.
  • We hear from producers and distributors about making great kids’ comedies, the demand for which has never been higher.
  • Leading content owners discuss the increasingly important role of digital platforms in establishing and building brands today in our special report for Brand Licensing Europe.
  • Chairman and CEO Ynon Kreiz talks about Mattel’s transformation into an “IP-driven, high-performing” toy company that is extending its storied brands into numerous consumer touchpoints.
  • As president of Warner Bros. Global Kids, Young Adults and Classics, Tom Ascheim has overseen a reorganization and expansion of WarnerMedia’s suite of businesses targeting young ones and their caregivers.
  • Sean Clarke, managing director of Aardman, outlines the creativity-driven ethos at the heart of the studio.
  • Eric Berger discusses Common Sense Networks’ approach to AVOD streaming.
  • A behind-the-scenes look at the new series Big Blue with creator Gyimah Gariba and Guru Studio’s Frank Falcone.
  • Watch clips and get detailed info on some of the best new preschool and kids’ comedy series on the market with our In-Demand recap.
  • Linda Simensky on PBS KIDS’ programming remit.
  • Sarah Muller discusses her commissioning and acquisitions approach at the BBC.
  • Niels Lindberg shares DR’s commissioning strategy for young ones.

Read the digital edition here.

TV Drama

  • Interest in scripted remakes is picking up pace as producers and distributors look for much-needed shortcuts to get fresh, compelling content onto screens.
  • Jimmy George discusses how developments in streaming services have created more demand and, consequently, a good time to be GoQuest Media.
  • Amid a renaissance in European drama production, several distributors discuss new opportunities at home and abroad.

Read the digital edition here.

TV Real

  • Leading distributors discuss how early-stage investments, smart windowing strategies and a keen focus on market intel are crucial to succeeding in the factual distribution business today.
  • Mega-formats continue to dominate prime-time grids, and many are being renewed and refreshed to keep audiences engaged.
  • Undercover Boss‘s executive producer Mike Cotton and All3Media International’s Caroline Stephenson introduce ITV’s new version of the hit format brand.
  • Clint Stinchcomb on what’s new at Curiosity, including gains at its flagship SVOD service Curiosity Stream.

Read the digital edition here.

TV Listings

  • Comprehensive information for more than 100 companies, plus links to screen trailers on WorldScreenings.com.

Read the digital edition here.

We have also published new editions of the TV Kids Guide and the TV Drama Guide. Plus, we had two September editions: World Screen featured interviews with Banijay’s Lars Blomgren, Topic’s Ryan Chanatry and more; while TV Kids included a report with executives from leading kids’ pubcasters and our inaugural TV Kids Screenings Festival.

Mansha Daswani

Editor & Associate Publisher

World Screen