The executive has vast experience in the field of content production, working for media giants such as TIS Studios, Amazon Studios, Univision, Shine Group, and others.

Ana Toro-Mancilla has been named Disney’s Head of Production for Latin America.

The executive made the announcement on her own social media, stating “Happy to finally announce that I’ve joined The Walt Disney Company as Head of Production, overseeing production operations across the territory. Excited for this new chapter and looking forward to collaborating with talented teams and creative partners to bring compelling stories to life.”

Toro-Mancilla thanked Daniel Burman and Carol Turner, as well as Juan Ponce and Monica Albuquerque, with whom she will be working with at Disney.

The executive has vast experience in the field of content production. Most recently, she was Head of Production at TIS Studios. Prior to that, she was Head of Physical Production, EU & LatAm Scripted Originals, at Amazon Studios; Content Production executive at Univision; and director of Production at Shine Group.

La entrada Ana Toro-Mancilla Named Disney’s Head of Production for Latin America se publicó primero en TTV News.

The longtime executive will lead the Lille-based training and professional development organization, strengthening its role in nurturing talent and fostering international collaboration across the global television industry.

Series Mania Institute has appointed Pierre Ziemniak as its new Director, marking a new chapter for the Lille-based organization dedicated to training and professional development in the television and audiovisual industries.

Ziemniak, who previously served as Director of Programs, has played a central role in shaping the Institute since its inception. He joined Series Mania in 2019 to develop the project, overseeing the creation and expansion of its training initiatives before being appointed Director of Programs in 2023.

Established in 2021 by Series Mania, one of Europe’s leading international television festivals, Series Mania Institute has steadily expanded its reach, offering programs designed to support emerging talent, established professionals and international industry collaboration.

Its initiatives range from early-career development programs such as Tremplin and Premières Arches to screenwriting programs including Eureka Series and Writers Campus.

The Institute also plays an increasingly active role in international cooperation through Apollo Series, which introduces European producers to the development of international co-productions, and Serial Bridges, a series of workshops designed to foster creative and professional partnerships across Asia, South America and West Africa.

Supported by France 2030, a major French government investment initiative, through its La Grande Fabrique de l’image program, Series Mania Institute continues to strengthen its position as a bridge between creative talent and television markets worldwide.

“Series Mania Institute was founded on the belief that the audiovisual industry needs talent capable of shaping the formats, business models and international partnerships of tomorrow,” said Pierre Ziemniak. “As a recipient of support through France 2030’s La Grande Fabrique de l’image initiative, the Institute is based in Lille, at the heart of a region that serves as a crossroads between France, Europe and the wider world. This strong local foundation is what gives us both our strength and our international outlook. I am committed to building on this collective effort, working alongside industry professionals, academic partners and European and international stakeholders to make Series Mania Institute a place for knowledge-sharing, experimentation and meaningful connections in support of creativity.”

La entrada Pierre Ziemniak Named Director Of Series Mania Institute se publicó primero en TTV News.

The hit anthology returns November 6 with eight new stories starring Angélica Rivera, Livia Brito, Paulina Gaitán, Ana Brenda Contreras, Susana Zabaleta, Karena Flores, Iazua Larios y Mayra Batalla.

ViX announces the premiere of the fourth season of Mujeres Asesinas, arriving on the platform November 6, with a new episode every Friday, exclusively on the premium plan. The first episode will also be available on ViX’s free tier.

The new season features eight standalone stories about women facing extreme circumstances and making decisions that will change their lives forever. Angélica Rivera, Livia Brito, Paulina Gaitán, Ana Brenda Contreras, Susana Zabaleta, Karena Flores, Iazua Larios y Mayra Batalla lead this new installment, portraying women from different backgrounds and realities whose stories share the same outcome: murder.

Once again, Mujeres Asesinas goes beyond the crime itself to explore what happens before that moment. Violence, abuse, manipulation, fear and extreme vulnerability are at the heart of these stories, which seek to understand the women behind each case, revealing their struggles, fears and the circumstances that led them to make a life-altering decision.

Episodes in Release Order

1. Livia Brito stars in Leticia a woman trying to build a life away from her abusive husband. When he finds her again and puts her in danger once more, Leticia must defend herself and face the consequences.

2. Angélica Rivera plays Alba, a woman who has lived under her husband’s control until a tragedy shatters any hope of getting her life back. She then decides to stop obeying him and confront him once and for all.

3. In Silvia, Ana Brenda Contreras plays a woman trying to repair her relationship with her son while fighting to get ahead. When a man begins harassing her and puts her family at risk, a desperate situation pushes her to defend herself.

4. Susana Zabaleta portrays Luz, a woman obsessed with staying young who discovers a situation that forces her to stop looking the other way and take action to protect her daughter.

5. In Adela, Mayra Batalla portrays a young woman secretly pursuing her studies while trying to protect her baby from a violent man. When he threatens to hurt her, Adela must find the strength to stand up to him.

6. Graciela, Iazua Larios portrays a woman trying to restore stability to her family after years of dealing with her husband’s addictions and debts. When her daughter’s safety is threatened, Graciela is forced to make an extreme decision.

7. In Celia, Karena Flores plays a young woman trapped under the control of her stepfather while caring for her brother, who has paralysis. When she finally finds an opportunity to escape, she must confront her greatest threat.

8. Finally, Paulina Gaitán stars in Reyna, a woman who learns to defend herself after experiencing violence. When someone close to her becomes a victim once again, Reyna decides to take justice into her own hands.

Produced by The Mall, the fourth season features stories inspired by the world created by Marisa Grinstein, author of the book Mujeres Asesinas, which has inspired more than 100 episodes adapted across different productions. The season is directed by Javier Solar and Lucía Gajá, with Jorge Bermúdez serving as executive producer.

Featuring complex characters and stories that explore the circumstances behind each crime, this new season continues to shine a light on the stories that often remain behind the headlines: who these women were, what they experienced and what led them to the moment that changed their lives forever.

Eight women. Eight stories. Eight decisions that will change their lives forever.

La entrada ViX Announces Premiere of Mujeres Asesinas Season Four se publicó primero en TTV News.

Kike Palacios, Manager, Marketing and Content Acquisition at 2BeNamed, discusses the growth of KidOO in Latin America, the value of safe and curated children’s programming, and the company’s plans to move toward developing its own intellectual property.

In an audiovisual landscape defined by a proliferation of platforms and audience fragmentation, 2BeNamed offers a proposition that combines entertainment, learning, and safety for young children. Through KidOO -its children’s channel- the company brings content and characters already well-known to children in the digital space to television, offering a curated, ad-free viewing experience designed to provide peace of mind to families.

This strategy addresses a specific market need: providing parents and children with a reliable viewing experience that still aligns with the habits and preferences of the new generation. By integrating dynamic formats, international franchises, and educational content, KidOO demonstrates that linear television still has room for growth, provided it can adapt to current demands.

In line with this, the channel continues to expand its reach across Latin America, where it is now available in over 8.5 million households.

The catalog also reflects 2BeNamed’s commitment to blending globally recognized properties -such as CoComelon, Little Baby Bum, and Morphle- with a diverse range of content that promotes values like inclusion, creativity, and environmental stewardship. At the same time, the company views new technologies, including artificial intelligence, as tools to optimize production and distribution, always prioritizing quality and editorial responsibility when it comes to young audiences.

In the following interview with ttvnews, Kike Palacios, Marketing, Management, and Content Acquisition Manager at 2BeNamed, analyzes opportunities within the children’s segment, the evolution of consumption habits, and the role of curation in an increasingly competitive market. He also discusses the keys to KidOO’s regional growth, shares the company’s vision for the future of children’s content, and outlines upcoming initiatives, including the development of original intellectual property and the creation of an inaugural animated series.

What is 2BeNamed’s perspective on the current state of children’s content, and what opportunities do you currently identify within this segment?

Today, there is an enormous amount of children’s content available, which is precisely why we believe curation is more valuable than ever. The opportunity lies not necessarily in offering more content, but in selecting it better. At KidOO, we aim to combine entertainment and learning within a safe, ad-free environment, featuring programming designed to accompany children throughout different times of the day. In an increasingly fragmented ecosystem, we believe there is a significant opportunity to provide families with a simple, reliable space-a place where parents can rest assured that their children are watching appropriate content, without the need for constant supervision.

Children’s consumption habits have changed significantly in recent years. How does 2BeNamed adapt its development and production strategies to these new ways of viewing content?

Today’s children grew up consuming content on YouTube, digital platforms, and in much shorter, more dynamic formats. KidOO is built precisely on that reality: we bring elements of that digital language and content to the pay-TV screen, but within a curated and safe environment. We aren’t looking to change how children consume content; rather, we aim to understand it. That is why we incorporate short-form content, characters, and franchises that children are already familiar with from the digital world, organizing them into a programming lineup that parents can let run with complete peace of mind.

What elements do you consider essential for a children’s production to connect with today’s audiences without losing its educational or cultural value?

The primary requirement remains entertainment. If a story, character, or song fails to capture a child’s attention, it is unlikely to convey anything else. From there, we strongly believe in the concept of “edutainment” and learning while having fun. The best children’s content integrates learning, creativity, values, or knowledge about the world in a natural way, so that children don’t feel like they are sitting through a lesson. And if the content also creates opportunities for shared moments with parents, its value is even greater. Entertainment and education shouldn’t compete; they should complement each other.

Artificial intelligence and other emerging technologies are transforming the audiovisual industry. What impact do you think they will have on the creation and distribution of content for children?

Every new technology brings challenges, but also tremendous opportunities. Artificial intelligence can help produce, adapt, localize, and distribute content more efficiently-it can even enable the development of ideas that once required massive budgets using far fewer resources. Yet, when it comes to children’s content, one thing remains constant for us: technology cannot replace a good story, compelling characters, or a responsible editorial vision. When creativity, human oversight, and clear quality standards are in place, AI can become an extraordinary tool. The key is ensuring that efficiency never comes at the expense of quality or the care required when catering to a child audience.

KidOO has already reached over 7.5 million households in Latin America. What were the keys to achieving such growth in such a short time, and what lessons were learned from this expansion?

Yes, and now that figure is 8.5 million. I believe the main factor was that operators grasped the value proposition very quickly. KidOO addressed a specific need: bringing content that children already consume and recognize from the digital world into a safe, curated, and ad-free environment within the pay-TV ecosystem. We encountered this same need in virtually every market we engaged with. For us, this confirmed that there is still plenty of room for linear television, provided it offers a clear value proposition and solves a real problem. And we continue to grow: with the recent addition of Mundo and Entel in Chile, KidOO now reaches over 8.5 million households across Latin America.

2BeNamed has maintained that there is a place for safe, curated, and ad-free children’s television. What family needs did 2BeNamed identify that were not being met by major platforms or the broader digital ecosystem?

We primarily identified a need for peace of mind and trust. Parents want to be able to let their children watch content without having to constantly worry about what might appear next, what an algorithm might recommend, or what advertisements might interrupt what they are watching. At KidOO, curation is a core component of the product. There is no advertising, and content is pre-programmed with the audience in mind. For children, this means being able to enjoy their shows without interruption; for parents, it means reclaiming something that has always been vital in children’s television: knowing exactly what their children are watching and having confidence in the viewing environment.

2BeNamed has added content from brands such as Moonbug-including well-known franchises like Little Baby Bum and Morphle to its catalog. What role do global brands play in KidOO’s current programming strategy?

They play a very significant role. We work with globally recognized companies and franchises -such as Moonbug (with CoComelon, Little Baby Bum, and Morphle ) and Iconix (with Pororo and Tayo)-because these are characters that children are already familiar with and actively seek out. Furthermore, starting in October, KidOO will add well-known properties like Pocoyo and Maya the Bee, along with other content from Animaj, bringing in a total of over 40 additional hours of programming. However, we don’t want KidOO to be merely a collection of big-name brands. Our strength lies in the mix: combining established franchises with new content, productions from various parts of the world, and Latin American offerings like Flinko and Canticuénticos. Today, children naturally consume stories from Korea, Europe, Latin America, and the United States, and our programming aims to reflect that very diversity. In addition to entertainment, KidOO has incorporated offerings with an educational focus and a social impact-such as Future Chicken , which centers on environmental awareness.

What role do you believe children’s content should play in shaping values and habits?

It plays a very important role. We are engaging with children at a critical stage of their development; therefore, we believe that content can both entertain and reinforce values ​​such as respect, friendship, inclusion, curiosity, and environmental stewardship. Future Chicken is an excellent example, as it addresses topics related to sustainability and caring for the planet through humor, adventure, and an optimistic perspective. We do not aim to replace the role of parents or formal education, but we do believe that KidOO can support them and contribute positively to that process.

Looking ahead, what is the next step for 2BeNamed in the children’s market: increasing distribution, developing original productions, or expanding into new platforms and formats?

These are complementary paths. On one hand, we want to continue expanding KidOO’s distribution across Latin America, reaching new markets and platforms. At the same time, we are embarking on an exciting new phase: the development of our own intellectual property. We are already working on our first animated series, and we look forward to sharing more news about it later on. For us, this is a natural evolution-having gotten to know our audience closely and gained an understanding of what kind of content resonates with them, we now want to begin creating our own stories and characters.

La entrada 2BeNamed: An Entertaining and Reliable Ecosystem for Children se publicó primero en TTV News.

Marco Bassetti, CEO of Banijay Group, announced the leadership team who will take on key roles at the company, reporting directly to him.

Media and Entertainment Giant Banijay Entertainment continues to shape its executive team, following the merger with All3Media.

In an internal memo to the staff, Marco Bassetti, CEO of Banijay Group, announced the leadership team who will take on key roles at the company.

“Now we are a few months on from the merger, I wanted to update you on how we are tracking with the integration. You will have no doubt seen several announcements of late confirming major leadership roles across the affected areas of the business, and at the time of signing, we outlined the roles Jeff Zucker (Chairman), Jane Turton (Deputy CEO) and I (CEO) would fulfil,” he began.

“Today, I am pleased to unveil Banijay Entertainment’s senior leadership team, reporting to me. Each will set, and with their dedicated teams, execute the global strategies for their respective areas,” he added.

The team will be made up as follows:

Fred Balmary, Chief Business Officer
Nicolas Chazarain, Chief Legal Officer
Thomas Gousset, Chief Finance Officer
Lucas Green, Chief Content Officer, Operations
Kate Humphreys, Chief Communications Officer
James Townley, Chief Content Officer, Development
Anne Van Sprang, Chief Human Resources Officer

“Since their appointments, this group has made a significant contribution to the business, with many playing an integral role in delivering the merger and advancing the current integration,” the CEO explained. “Jane, Fred, Nicolas, Thomas, Anne, and Cathy Payne (CEO, Banijay Rights) also join me on the executive team.”

Last week, Banijay revealed the team who will lead the distribution division, Banijay Rights, led by Cathy Payne.

La entrada Banijay Entertainment Sets Senior Leadership Team se publicó primero en TTV News.

Mediawan Kids & Family strengthens its licensing capabilities by appointing Toon2Tango as exclusive global agent for its catalogue.

Mediawan Kids & Family, Europe’s leading independent studio for the production and distribution of children’s and family content, and Toon2Tango, the German kids and family entertainment powerhouse, have entered into an exclusive worldwide licensing and merchandising agreement. Under the deal, the Mediawan Kids & Family label Toon2Tango, a Leonine Animation Studios company – part of the Mediawan Group, will identify, negotiate and manage licensing and merchandising partnerships for Mediawan Kids & Family’s extensive portfolio of children’s and family IP.

The agreement marks the next step in the collaboration between the two labels within the Mediawan Group. Toon2Tango will combine the Mediawan Kids & Family portfolio with its own productions and selected IP from Leonine Studios to develop licensing opportunities and consumer products partnerships worldwide. The agreement covers all major product categories, including toys and games, apparel, home and living, publishing, digital games and promotional activities.

The combined high-profile licensing & merchandising portfolio now includes upcoming projects and established IPs from across the Group’s slate, such as Method Animation’s Astro Boy reboot, alongside digital first-series Wadoo and Mediawan Kids & Family Distribution hit preschool series Maddie + Triggs. These will be complemented by Toon2Tango’s own productions including the highly anticipated animated feature Paluten Freedom based on the popular YouTube series, Niko – the series based on the international family film franchise, Agent 203, comprising both the animated hit series and a feature film, and Showtime, Toon2Tango’s latest production, commissioned by Kika, as well as projects in development such as action-adventure series Eldrador from German toy company Schleich.

“This agreement is a natural extension of the way we work as a Group. It allows us to develop a cohesive licensing strategy with a partner that already knows our properties and shares our creative culture,” said Julien Borde, President of Mediawan Kids & Family. “Toon2Tango’s 25 years of experience and expertise gives our labels across France, Italy, the UK, Germany, the Netherlands and Belgium a dedicated, agile partner to build lasting brand value for our audiences, our partners and our licensees worldwide.”

“We are proud to take on this expanded role for Mediawan Kids & Family’s catalogue,” said Hans Ulrich Stoef, CEO of Toon2Tango. “This agreement enables us to bring our licensing expertise to the Group’s brands, supporting them from development through to market, wherever in Europe they are produced. We want to build the market with a new approach via licensing partnerships and also a clear B2C focus with own fan merchandise platforms. Further steps are underway and we aim to create a profitable business for ourselves and all our partners.”

The agreement builds on Mediawan Kids & Family’s pan-European production network, with labels based in France, Italy, the UK, the Netherlands, Belgium and Germany. It reinforces the Group’s strategy of activating synergies across its labels to extend the value of its IPs beyond the screen. It follows the distribution agreement signed by the two labels in March 2025, under which Mediawan Kids & Family integrated Toon2Tango’s content portfolio into its content catalogue.

La entrada Toon2Tango to Lead Global Licensing and Merchandising for Mediawan Kids & Family se publicó primero en TTV News.

The Austrian distributor announced scripted and factual content deals across Europe, North America and Asia, including new partnerships with Disney in Portugal and Canal+ in Austria.

ORF-Enterprise has unveiled a series of international distribution agreements secured at Mipcom 2026, covering scripted series, documentaries and catalog titles for broadcasters, streaming platforms and FAST services.

Among the key deals is a first-time agreement with The Walt Disney Company in Portugal, which acquired ten movies from the Austrian crime franchise Tatort Vienna. The sale establishes a new customer relationship between the two companies in the territory.

Tatort Vienna.

ORF-Enterprise also signed a major fiction licensing agreement with Canal+ in Austria, comprising a selection of contemporary productions, established series and Austrian television classics.

The package includes Kafka, Weber & Breitfuß, all nine seasons of Four Women and a Funeral, The Curious Case of Gerti B., Backwoods Crimes, the three installments of In the Shadow of Fear, Lights Out, Kottan’s Investigations and Kaisermühlen Blues.

Meanwhile, GSN acquired seasons 18 to 20 of long-running crime series Soko Kitzbuehel for the United States and Canada, while Austrian-Portuguese drama JONES was licensed for the United Kingdom and Ireland.

In the FAST segment, Samsung TV Plus picked up a package for Germany, Austria and Switzerland featuring The Nosy Brothers, Old Money, The Kebab Incident, Polt and Dave.

“International distribution extends the value of outstanding content far beyond its original market. These agreements demonstrate how distinctive Austrian programming can succeed across very different territories, genres and forms of distribution when compelling storytelling is matched with the right commercial strategy,” said Matthias Seiringer, CEO of ORF-Enterprise.

Factual Content Expands International Reach

ORF-Enterprise also reported new international sales for its factual programming portfolio.

In Portugal, public broadcaster RTP acquired a substantial package led by the first season of Glambitious and a selection of nature and history documentaries, including Superfish – Wild Salmon, Mission Sea Otter – Saving California’s Kelp Forests, Croatia’s Coast – Endless and Wild, Zealandia – The Hidden Continent and Wild Abruzzo – Nature’s Jewel in the Heart of Italy.

In Italy, Rai renewed the rights to Beauty and Despair – Austria’s Empress Sisi, while Canal+ Polska acquired Connemara – Ireland’s Savage Beauty and Mission Sea Otter – Saving California’s Kelp Forests.

Canal+ France picked up both installments of Vanishing Kings – Lions of the Namib and Russia’s Revenant – The Return of the Siberian Tiger. Belgian broadcaster RTBF also acquired Mission Sea Otter.

In Asia, PTS Taiwan secured a factual package featuring Wild Transylvania – Dracula’s Hidden Kingdom, Java and Bali – The Element of Surprise and Hidden Islands of the South Seas.

“New customers are discovering our fiction, established partners are expanding their commitment with blue-chip factual, and proven library titles are gaining fresh relevance on thematic and FAST services,” said Armin Luttenberger, Head of Content Sales International at ORF-Enterprise.

The distributor also announced additional licensing agreements for onboard entertainment services operated by Deutsche Bahn, Air China, Oman Air and Hainan Airlines, expanding the distribution windows available for its catalog.

In the formats business, ORF-Enterprise confirmed that the South African adaptation of Lonely Hearts Club, acquired by Indigenius in 2025, will continue with third and fourth seasons.

The agreements reflect ORF-Enterprise’s strategy of expanding the international reach of Austrian programming while generating additional value from its catalog across linear television, streaming, FAST and other distribution platforms.

La entrada ORF-Enterprise Closes Mipcom with Sales to Disney, Canal+, RTP and Samsung TV Plus se publicó primero en TTV News.

The former Disney and Fox executive will take over as global content chief on October 26, overseeing Netflix’s global scripted and unscripted programming, films, live events and other content operations. Bajaria is leaving the company after nearly a decade.

Netflix has announced the appointment of Peter Rice as its new Chief Content Officer, effective October 26. He succeeds Bela Bajaria, who is leaving the streaming company after nearly ten years.

In his new role, Rice will lead Netflix’s global content organization, overseeing scripted and unscripted series, films, live events and other programming across all regions.

Rice brings extensive experience in the entertainment industry, having held senior leadership positions at Disney and Fox across television, film and content operations.

“I want to thank Bela for a decade of dedication, innovation, creativity and leadership,” said Ted Sarandos, co-CEO of Netflix.

“She led enormous changes at Netflix. She helped broaden our content offering to include the large-scale expansion of unscripted programming and the launches of live events and sports, in addition to crafting and running a world-class, global slate of films and series. I’m incredibly grateful for everything she’s done to help Netflix entertain the world.”

Sarandos also highlighted Rice’s experience managing large-scale entertainment operations and his longstanding relationships with creative talent.

“Peter is one of the most effective at-scale operators in the entertainment industry. His business acumen is sharp, his talent relationships are exceptionally strong, and his experience across TV and film is deep and broad,” he said.

“He understands what makes stories resonate, and he’s spent his career helping talent do the best work of their lives. I’m excited to welcome him to Netflix as Chief Content Officer as we continue to scale and deliver members more of the stories they love.”

Rice welcomed the appointment and acknowledged Netflix’s impact on the global entertainment business.

“Netflix has fundamentally changed the way stories are made, shared and experienced around the world,” he said.

“They’ve shown again and again that they’re willing to take chances on distinctive voices and fresh ideas, and I’m excited to work with the team to help bring even more great stories to members everywhere. I’m grateful to Bela for building such a remarkable global team, and I look forward to building on everything she and the team have created.”

Extensive Experience Across Disney and Fox

Rice most recently served as Chairman of Walt Disney Television and Chairman of General Entertainment at The Walt Disney Company.

In those positions, he oversaw a broad portfolio of businesses and brands, including ABC, Fox Broadcasting, Fox Sports, ABC News, ABC Studios, Disney Channel, Freeform, FX Networks, Hulu, National Geographic, Onyx Collective and Twentieth Century Fox Television.

His responsibilities included more than 300 programs and approximately 4,000 hours of television annually.

Titles produced or broadcast under his leadership included The Simpsons, American Idol, Modern Family, This Is Us, The Bear, Abbott Elementary, Shōgun and Only Murders in the Building.

Earlier in his career, Rice served as President of 21st Century Fox and CEO of Fox Networks Group, as well as Fox’s lead executive on Hulu’s board of directors.

He was also President of Fox Searchlight Pictures, overseeing releases including Slumdog Millionaire, Juno, Little Miss Sunshine and Sideways.

Rice will now take responsibility for Netflix’s global content strategy and operations as the streaming company continues to develop and distribute programming across international markets.

La entrada Netflix Names Peter Rice Chief Content Officer, Replacing Bela Bajaria se publicó primero en TTV News.