The Perfect Line will be adapted in Brazil with Globo, while Hollywood Squares will be adapted in Mexico and US Hispanic with TelevisaUnivision.

Paramount Global Content Distribution today announced two new format deals in Latin America, with Globo adapting the hit game show The Perfect Line in Brazil, and TelevisaUnivision bringing Hollywood Squares to audiences in Mexico and the U.S. Hispanic market.

The deal marks the first international adaptation of The Perfect Line, which launched in the U.S. in 2025 in syndication and on GSN.

In Brazil, Globo will produce a weekly adaptation of The Perfect Line, titled Na Ordem Certa!

The series will air as a segment of Caldeirão com Mion, Globo’s popular Saturday afternoon entertainment show hosted by Marcos Mion.

The format puts a fresh, fast-paced spin on game night, challenging contestants to place a selection of items, events or facts in the correct order. Each round tests everyday knowledge and instincts, from the number of seasons a sitcom has been on the air to the most-ordered items at fast-food restaurants.

For Mexico and the U.S. Hispanic market, TelevisaUnivision has licensed Hollywood Squares which will air locally as Estrellas al Cubo.

The 50-episode series will air across TelevisaUnivision’s linear channels Las Estrellas in Mexico and UniMás in the U.S., with episodes also available on ViX.

This is the fourth Latin American adaptation of Hollywood Squares, following local versions in Brazil, Peru and Argentina, and its first for the U.S. Hispanic market.

Since originating in the U.S. in the 1960s, the format has traveled to more than 30 countries and inspired numerous local adaptations and revivals.

“Broadcasters across Latin America are investing in proven formats they can make their own, and there are no stronger partners in the region than Globo and TelevisaUnivision. Hollywood Squares pairs a universally recognizable game with a celebrity engine every market can build around local talent, while The Perfect Line’s streamlined production model is built for volume. Landing its first international sale within a year of its U.S. launch tells you how far this format will travel,” said Laura Burrell, Head of International Formats, Paramount Global Content Distribution.

The most recent seasons of Hollywood Squares aired on the CBS Television Network in the U.S. and The Perfect Line from CBS Media Ventures airs in syndication in the U.S.

La entrada Paramount Global Content Distribution Signs Deals with Globo and TelevisaUnivision se publicó primero en TTV News.

During its 2027 Upfront, the Brazilian media group announced an expansion of its scripted content strategy, with vertical content accompanying all its new telenovelas, a new 10:00 PM drama slot, and a sequel to Avenida Brasil. The company also unveiled original productions for Globoplay, new reality shows, and an extensive lineup of entertainment and sports programming.

Globo announced that all its telenovelas in 2027 will feature accompanying vertical microdramas, as part of a strategy to extend its stories beyond traditional television and strengthen its presence across emerging audiovisual consumption formats.

The initiative was unveiled during Globo’s 2027 Upfront, held on Wednesday, October 14, in São Paulo, where the Brazilian media group presented its main programming, production, and commercial initiatives for the coming year.

The announcement marks a new phase in Globo’s strategy to develop content specifically designed for mobile devices, an area the company began exploring in 2025 through both original productions and adaptations of titles from its extensive catalog.

Among its first projects was Tudo Por Uma Segunda Chance, which premiered in November 2025. Created and produced by Estúdios Globo, the series consists of 50 episodes running between two and three minutes each, specifically conceived for vertical viewing and distributed through TV Globo’s social media channels.

The company also began exploring new ways to leverage its intellectual property through re-edited versions of traditional telenovelas adapted into short-form episodes.

In February 2026, Globoplay premiered Odete e Maria de Fátima de Vale Tudo, a vertical adaptation centered on the two villains of the 2025 remake of Vale Tudo. The production repackaged scenes and storylines from the telenovela into a format designed for short-form viewing.

This strategy will continue in October with new adaptations of classic titles. Flora e Donatela de A Favorita and Alexandre de A Viagem, two productions consisting of 50 episodes each, will arrive on Globoplay on October 20 and 27, respectively.

In both cases, the first seven episodes will be available free of charge, while the remaining episodes will require a subscription.

The decision to extend vertical microdramas to all its 2027 telenovelas therefore represents a significant step beyond these initial experiments, integrating short-form content into the company’s broader scripted production strategy.

New Telenovelas and a 10:00 PM Drama Slot

In addition to its vertical microdrama strategy, Globo confirmed a major expansion of its scripted lineup for 2027, including the introduction of a new 10:00 PM telenovela slot.

One of the main productions scheduled for this slot is Romance em SP, starring Marina Ruy Barbosa. Written by Thelma Guedes and artistically directed by Natália Grimberg, the story follows Clarice, a young woman from the outskirts of São Paulo whose life becomes intertwined with that of an heir to a powerful family connected to the fashion industry.

Another major announcement was Avenida Brasil 2, the sequel to the internationally successful 2012 telenovela, which is scheduled to premiere in January 2027.

The new production will bring back much of the original cast, including Adriana Esteves, Débora Falabella, Murilo Benício, Cauã Reymond, and Eliane Giardini. Thomas Aquino and Jessica Ellen will also join the cast, while Mel Maia will return to the franchise in a new role.

The company also presented Tempos de Glória, starring Maisa and scheduled for June 2027 in the 6:00 PM slot. Set in the 1940s, the production follows a young woman who dreams of becoming a football player at a time when women faced significant restrictions in the sport.

The telenovela will be written by Carla Faour and Julia Spadaccini, with artistic direction by Patrícia Pedrosa. Its premiere will coincide with the year Brazil hosts the FIFA Women’s World Cup.

For its 7:00 PM slot, Globo announced Elas Que Lutem!, a romantic adventure comedy starring Heslaine Vieira, Dani Calabresa, and Vitória Strada. The story follows three women who, after falling victim to a financial scam, embark on a journey to recover their money that turns into a survival adventure in the Amazon. The series is scheduled to premiere in March.

New footage was also presented from Lá na Minha Terra, starring Dira Paes and Daniel de Oliveira. The telenovela is scheduled to premiere in November 2026 and will continue airing during the first half of 2027.

On the streaming side, Globoplay announced Paraíso Perdido, a new telenovela inspired by the works of playwright Nelson Rodrigues, created and written by George Moura and Sergio Goldenberg, with artistic direction by Joana Jabace.

Globoplay and Reality Shows Expand Their Offerings

Globo’s 2027 entertainment lineup will also feature new original productions and additional seasons of established formats.

Among the main announcements is Academia dos Nepo Babies, a Globoplay original reality show hosted by Ticiane Pinheiro and produced by Estúdios Globo, in which the children of Brazilian celebrities will put their skills to the test across different professions.

Globo also unveiled Casei com a Família, a reality show focused on romantic relationships and the family challenges that arise around marriage.

Meanwhile, Big Brother Brasil 27 will introduce changes to some of its established dynamics, including post-eviction interviews, which will now air on TV Globo. The production will also incorporate new audience engagement initiatives.

The company also confirmed another season of Chef de Alto Nível for 2027, while Em Família com Eliana will introduce Chefinho de Alto Nível, a cooking competition featuring children.

In entertainment, Globo announced that Márcio Garcia will host a new game show developed by Estúdios Globo in partnership with Endemol Shine Brasil, featuring challenges created in collaboration with brands.

The 2027 Women’s World Cup: A Major Sports Priority

Sports will play a prominent role in Globo’s programming next year, particularly with Brazil hosting the FIFA Women’s World Cup 2027.

Globo announced extensive coverage of the tournament across its channels and platforms, accompanied by special productions designed to expand the viewing experience.

These include Abrindo o Jogo, a new GNT program hosted by Sabrina Sato, which will offer audiences a closer look at Brazilian football players beyond their sporting careers.

Multishow will also develop special content featuring Blogueirinha, focusing on behind-the-scenes stories surrounding the tournament.

Globo’s programming will also maintain a strong presence in live music and festivals, including Lollapalooza and Circuito Sertanejo, alongside productions such as Globo Sessions, Partiu São João, and musical initiatives connected to its telenovelas.

New Commercial and Advertising Opportunities

The content strategy unveiled during the Upfront was accompanied by new commercial solutions for advertisers and agencies, focusing on the integration of broadcast television, streaming, and digital platforms.

Among Globoplay’s new offerings is Welcome Ads, an advertising format that displays advertisements on the platform’s entry screen, before users select their profile or choose what to watch.

This tool joins other digital advertising formats, including Pause Ads, Binge Ads, and dynamic ad insertion in simultaneous streams of linear channels.

According to Globo Ads, the 2027 Upfront features more than 70 products and commercial solutions spanning scripted content, entertainment, sports, news, and digital programming.

Through these announcements, Globo aims to expand the distribution and monetization opportunities for its content, combining its traditional large-scale productions with new storytelling formats and commercial models.

The decision to incorporate vertical microdramas into all its telenovelas represents one of the most significant elements of this strategy, systematically integrating short-form storytelling into one of the historical pillars of the company’s programming and audiovisual business.

La entrada Globo to Extend Vertical Microdramas to All Its Telenovelas in 2027 se publicó primero en TTV News.

The Israeli production and distribution company and the Indian media group will co-produce a feature film inspired by the September 30 incident, when the pilot, crew and passengers helped prevent a tragedy.

Dori Media Group and India-based Sphereorigins have announced the development and co-production of a feature film inspired by the attempted hijacking of a Flydubai flight bound for Tel Aviv on September 30. The project will dramatize the events and pay tribute to the pilot and passengers whose actions helped avert a tragedy.

The announcement was made by Dori Media Group CEO Nadav Palti and Sphereorigins Chairman and Managing Director Sunjoy Waddhwa. According to the companies, the project also follows interest from Indian streaming platforms and broadcasters in bringing the story to the screen. The deal was brokered by Subhadarshi Tripathy.

“What happened on that flight was nothing short of a miracle,” said Palti. “We will approach this film by looking to tell the heroic story of the pilot and those brave passengers who helped save the lives of many aboard that historic flight.”

Waddhwa highlighted the collaboration between the two companies on the international project. “We are privileged to collaborate with Dori Media on this premium project. We have known and worked with them for a long time and, together with Subh (Subhadarshi Tripathy), felt they would be the ideal partner to produce a film of this caliber, ” he said.

According to the announcement, the incident occurred when the flight’s co-pilot allegedly stabbed the pilot and attempted to crash the aircraft after takeoff from Dubai International Airport. The plane, which was carrying 174 passengers and eight crew members, plunged nearly 14,000 feet in less than 30 seconds during the struggle in the cockpit.

Passengers and crew members managed to overpower the co-pilot, while two other Flydubai pilots traveling aboard the aircraft took control and safely landed the plane in Tabuk, Saudi Arabia.

Captain Smit Machchhar, an Indian pilot who was allegedly stabbed by his co-pilot, managed to open the cockpit door from the inside despite his injuries, allowing others to intervene. During a video call with Indian Prime Minister Narendra Modi, Machchhar recalled: “I was lying on the floor injured, but I told myself to make one last push to open the door from inside. I was, of course, fighting for my own life, but at the same time I knew I was not going to let others die.”

The film adds to Dori Media Group’s ongoing activity in the international market. The company, which has offices in Zurich, Buenos Aires and Tel Aviv, has produced and distributed titles including Emmy Award-winning In Treatment, Rebelde Way, Lalola and AMIA, inspired by the attacks on the Israeli Embassy and the Jewish community in Argentina.

Sphereorigins, meanwhile, has more than two decades of experience in the Indian media and entertainment industry, with over 15,000 hours of programming across its portfolio.

Dori Media recently unveiled its largest-ever slate of unscripted programming ahead of the international television market Mipcom. The lineup includes new game shows, dating formats and docuseries for the global market, such as The Hive, You Should Know, My Hottest Years and New Love.

La entrada Dori Media Group and Sphereorigins Develop Film About the Flydubai Hijacking Attempt se publicó primero en TTV News.

The Portuguese and Brazilian associations extended their partnership for another two years, aiming to strengthen coproduction, professional training, international content promotion and cooperation on audiovisual public policies.

The Portuguese Association of Independent Television Producers (APIT) and Brazil Audiovisual Independente (BRAVI) have renewed and expanded their cooperation agreement, strengthening collaboration between the audiovisual industries of Portugal and Brazil.

The agreement, which has linked the two organizations since 2017, was renewed in Cannes during Mipcom 2026, where APIT and BRAVI are participating as part of the Portuguese and Brazilian pavilions, respectively.

The partnership seeks to foster cooperation between the organizations and their members through initiatives related to social development, promotion, education, economic growth and culture.

Its priorities include the development of public policies for the audiovisual sector, professional training and capacity-building, the international promotion of Portuguese and Brazilian content, and the creation of favorable conditions for coproductions between the two countries.

The renewed agreement covers a two-year period and builds on an established relationship focused on knowledge sharing, business opportunities and support for independent producers.

“The renewal of this agreement with BRAVI reinforces our ambition to bring independent producers from Portugal and Brazil even closer together, creating new opportunities for collaboration, coproduction and the international promotion of content. We are confident that the partnership between APIT and BRAVI will continue to benefit our members and contribute to the growth of the audiovisual sector in both countries,” said Susana Gato, Executive President of APIT.

Mauro Garcia, Executive President of BRAVI, highlighted the agreement’s broader ambitions.

“We speak of expanding the scope of this agreement because we share the ambition of engaging public policymakers in our countries to broaden its reach to encompass the audiovisual industry as a whole, including television series and programs for both broadcast and streaming platforms. The globalization of audiovisual content distribution presents significant challenges, but through our cooperation we can reach new markets for our productions,” he said.

Founded in 1996, APIT currently represents 59 members and works to support independent television producers in Portugal through knowledge sharing, professional exchanges and participation in national and international events.

BRAVI, founded in 1999, represents more than 670 independent audiovisual production companies across 21 Brazilian states. The association promotes industry development through institutional partnerships, regulatory engagement, training and support for the internationalization of Brazilian audiovisual production.

La entrada APIT and BRAVI Renew Cooperation Agreement at Mipcom se publicó primero en TTV News.

The partnership includes an initial slate of 25 live-action series for My Drama and gives Fox Entertainment Studios first-look rights to develop films and television series based on stories launched under the Codeblack, Essence and Revolt brands.

Fox Entertainment and Hartbeat, the company founded by Kevin Hart, have announced a strategic partnership to turn short-form vertical content into new intellectual properties for film and television. Under the agreement, Fox Entertainment Studios will have first-look rights to evaluate film and television projects based on microseries launched under the Codeblack, Essence and Revolt brands.

The initiative will kick off with an initial slate of 25 live-action vertical series available on My Drama, the vertical video platform developed by Holywater Tech, a strategic partner of Fox. The offering will include a dedicated Codeblack section, which will become the platform’s first branded channel.

Following their initial distribution on the platform, Fox Entertainment Global will handle the international distribution of the vertical series. Meanwhile, Fox Entertainment Studios will be able to identify stories with the potential to evolve into longer-form productions, expanding their opportunities for exploitation across television and film.

“Hartbeat has a powerful creative voice and an exceptional instinct for stories that resonate with audiences,” said Hannah Pillemer, head of scripted content at Fox Entertainment Studios. According to the executive, the agreement will enable the company to identify new ideas emerging from the vertical content ecosystem, assess audience reception and provide the best-performing stories with a pathway to film and television.

“My vision has always been to bring the leading cultural brands serving our audience together in one destination, and the partnership with Essence and Revolt makes that vision a reality,” said Jeff Clanagan, founder of Codeblack and president and head of distribution at Hartbeat.

The executive emphasized that these brands have built relationships of trust with their audiences over decades, while the vertical format offers a new avenue for developing stories aimed at those communities. “The vertical format is where these stories begin, not where they end,” he said.

For their part, Anatolii Kasianov and Bogdan Nesvit, co-founders and co-CEOs of Holywater Tech, said the initiative will expand My Drama’s offering and create new opportunities for brands, creators and audiences to connect.

La entrada Fox Entertainment Expands Microdrama Strategy Through Hartbeat Partnership se publicó primero en TTV News.

The two-part production, produced by Rogan Scotland, will examine the author’s rise, the cultural and commercial reach of the franchise, and the controversies that have shaped her public profile. BBC Studios will handle international distribution.

BBC Factual and BBC Scotland have commissioned a two-part documentary series about J.K. Rowling, the creator of Harry Potter, exploring her literary career, the expansion of her work across the entertainment industry, and the impact of her political positions on her public legacy.

Provisionally titled J.K. Rowling, the series will be produced by Rogan Scotland, the company behind titles such as Becoming Frida Kahlo. It will air on BBC Two and BBC Scotland and be available on BBC iPlayer, with BBC Studios handling global distribution.

The project will use Rowling’s story as a starting point to explore three decades of social, political and technological change in the UK, with a particular focus on the publishing and audiovisual phenomenon sparked by the Harry Potterbooks.

The first episode will trace the author’s journey from her early years and the period when she worked on her novels in Edinburgh cafés to the international success of the series, which became one of the world’s most recognizable entertainment franchises. Its expansion spans film adaptations, theatrical productions, video games, theme parks and consumer products.

The second installment will focus on Rowling’s evolution as a public figure and the controversies surrounding her views on Scottish independence, feminism, freedom of expression and gender identity. The series will also examine how these positions have created tensions with sections of the public and with actors associated with adaptations of her work.

The production will draw on archival footage, statements by Rowling herself and interviews with people who have worked with her. Rowling will not participate directly in the documentary.

“Thirty years after the publication of the first Harry Potter book, it feels like there is no better time for the BBC to explore one of the great figures of British literature,” said Simon Young, the BBC’s Commissioning Editor for History.

David Harron, Commissioning Editor at BBC Scotland, highlighted the author’s influence on both literature and the media, noting that her career offers an opportunity to examine the changes that have shaped British culture in recent years.

The commission comes as the franchise enters a new phase, with HBO preparing a television adaptation of Harry Potterthat will bring Rowling’s fictional universe back to the screen in series format.

La entrada BBC Commissions J.K. Rowling Docuseries Exploring the Global Impact of Harry Potter se publicó primero en TTV News.

Acunmedya’s CEO highlighted the continued success of the format, which recently premiered its tenth season in Mexico, and showcased the capabilities of its production hub in the Dominican Republic. The company is also looking to expand its European presence through Sport1 and develop new original formats for 2027.

*with reporting by Carolina Mussio and Ana Paula Carreira from Cannes, France.

Acunmedya arrived at Mipcom 2026 with Exatlon as the main highlight of its catalog and an international production offering supported by ACM Production Hub, its production complex in the Dominican Republic. Speaking with ttv, Ebru Atasav Tahrancı, CEO of the company, highlighted the format’s success, following the recent premiere of its tenth season in Mexico on Azteca Uno, and opportunities for expansion into new markets.

“For us, Exatlon is a reality show that has a lot of sports in it. And people never get tired of watching sports, just like football,” the executive explained. “The show turns ordinary people into heroes. Viewers feel they could be there too, that they could become one of those heroes. That connection with the contestants is what keeps them watching.”

The format also recently returned to Serbia, where its second season premiered in September on Informer TV, while Acunmedya continues producing local adaptations for different territories.

“A format is like a container, and every season you put different elements into it. It’s the contestants’ real stories that keep it fresh and create new situations for audiences,” Tahrancı said.

The company currently works with partners in 15 countries and also produces local adaptations of international formats such as Survivor, I’m a Celebrity… Get Me Out of Here! and The Voice.

Much of this activity is centered around ACM Production Hub, a three-million-square-meter complex in the Dominican Republic, featuring facilities capable of hosting multiple simultaneous productions and providing comprehensive services for international broadcasters and production companies.

“We have one of the biggest open-air production hubs in the world. We don’t just produce our own formats. We also host productions for other companies, even when they’re not our formats or intended for our channels,” she highlighted.

According to Acunmedya, the complex employs more than 1,500 professionals and produces over 5,000 hours of primetime content annually.

Beyond its productions for TV Azteca in Mexico and Telemundo in the US Hispanic market, Tahrancı identified new opportunities for regional expansion.

“Exatlon has a huge following in Latin America. We’re already present in major markets such as Mexico and the US Hispanic market, but we’d also like to be on air in Chile, Uruguay, Paraguay and Argentina. Hopefully, we’ll make that happen,” she said.

The executive also emphasized the importance of the company’s Dominican Republic infrastructure in meeting the needs of international partners, whether producing its own formats or providing production services for third-party franchises.

Sport1’s Strategy in Germany

Another key pillar of Acunmedya’s expansion is Germany, where the group acquired a 50% stake in Sport1 in 2024 as part of a strategic partnership to introduce entertainment content to the sports channel’s programming.

“We acquired Sport1 because we wanted to gain experience operating a channel in Europe, and Germany is one of the biggest markets. We’re not changing its sports DNA, but we’re gradually introducing entertainment to that audience,” Tahrancı explained.

The channel’s programming includes Acunmedya productions such as Exatlon, My Style Rocks and Darts Party, combining athletic competitions with other entertainment formats.

“If you ask me what our company’s DNA is, I’d say it’s sports and entertainment. That’s why having a sports channel fits perfectly with our strategy,” she added.

Looking ahead to 2027, Tahrancı said the company plans to strengthen the creative development of its catalog.

“It’s been a good year, with strong ratings across the territories where we produce and on our channels. Next year, we want to introduce new ideas and formats. We’ve developed a few this year, but we want to focus even more on the creative side, in addition to production,” she concluded.

La entrada Ebru Atasav Tahrancı, Acunmedya: “We Want to Bring Exatlon to More Latin American Countries” se publicó primero en TTV News.

On the second day of MIPJunior, the Disney Kids & Family team explained how the company is adapting its strategy to changing viewing habits among children, combining beloved characters, multiple formats, digital creators, and franchises designed to accompany young audiences from preschool through adolescence.

*with reporting by Carolina Mussio and Ana Paula Carreira from Cannes, France

In a kids’ entertainment landscape marked by increasingly fragmented audiences and evolving viewing habits, Disney Kids & Family is adapting its strategy to meet children wherever they are, with content designed for different ages, formats, and platforms.

That was one of the main messages of From First Favorites to Lasting Fandom: Disney’s Approach to Kids & Family, a session held on Sunday, during the second day of MIPJunior, at the Verrière Grand Auditorium Lounge. The session featured Emily Horgan alongside Ayo Davis, Alyssa Sapire, Charlie Andrews, Zack Olin, and Gino Guzzardo from Disney Kids & Family. Following the panel, Disney hosted a cocktail lunch for attendees at the same venue.

“There has been a lot of disruption in the kids’ space. Children watch everything and anything,” said Ayo Davis, president of Disney Kids & Family. “We had to change our strategy, take another look at how we tell stories and connect with audiences through new formats, and consider how our content appears across screens and platforms.”

For Davis, the ability to evolve will remain essential. “We had to change and evolve to ensure our stories connect with our audiences. Change is the new normal,” she summarized.

One of the pillars of this strategy is building relationships with audiences from an early age and developing properties that can grow alongside them. In the preschool segment, Alyssa Sapire highlighted SuperKitties as an example of a franchise Disney is developing with a long-term vision.

“We are always looking for new stories and storytellers based on what we know about preschoolers and where they are developmentally,” she explained. “SuperKitties is a great example. It is growing into a franchise, and we are in it for the long game, with specials, shorts, long-form series, toys, and other extensions.”

That journey continues as children grow older. Charlie Andrews explained that the goal is to accompany the same generation from its earliest viewing experiences into more sophisticated live-action programming, drawing on both new stories and familiar IP.

“We are obsessed with generations,” he said. “My job is to bring them into live action five years later, with familiar IP they already love, but adapted to their new age. It starts when they are little and grows with them.”

For the 6-to-12 demographic, Zack Olin emphasized the importance of listening to audiences rather than trying to anticipate their interests from an adult perspective. “That is when kids begin defining their own interests,” he explained. “We cannot simply deliver what we think they want. It is about listening to them. With compelling stories, we can reach the hearts of kids and their families.”

The strategy also has a strong multigenerational dimension. Andrews particularly highlighted the value of DCOMs (Disney Channel Original Movies), a brand that allows Disney to reach new audiences while tapping into the nostalgia of viewers who grew up with those productions.

“DCOMs are one of our favorite things. They have music, fantasy, friendship, everything you want as a kid and also as an adult,” Andrews said. “Kids see the characters they love, while teenagers and adults experience that nostalgia for the characters they grew up with.”

Short-form content is another key element of the strategy. Gino Guzzardo recalled that shorts have been part of Disney’s DNA since the days of Walt Disney and Mickey Mouse, while noting that they now serve a specific role in today’s multiplatform ecosystem.

As an example, he pointed to Locker Diaries, approximately three-minute installments produced in runs of six to 12 episodes. The format offers audiences a quick entry point into the worlds of Disney franchises, bringing them closer to familiar characters through short stories, comedy, and musical numbers.

Disney is also incorporating digital creators into its strategy. Davis emphasized the importance of partnering with talent who bring an authentic connection with their communities while remaining aligned with the company’s values and storytelling.

She cited Dhar Mann and Nastya as examples, while Sapire revealed that Disney is developing a new project with Nastya, whose emphasis on creative play is particularly relevant to preschool audiences.

Despite all these changes in formats, platforms, and consumption habits, Davis concluded the session by emphasizing that the heart of Disney’s strategy remains unchanged.

“We are building for the next generation. Our core audience is kids,” she said. “Change is constant, but great characters are constant, too. We will continue bringing great characters to life.”

La entrada Disney Focuses on Building Fandoms That Grow With Its Audiences se publicó primero en TTV News.