The EBU’s AI strategy position connects innovation and media bargaining power
The September submission is an industry policy position, with implications for how companies organise their own evidence.
Follow your curiosity.
IPMX certification gives production buyers a more specific question to ask
AIMS’ 2026 certification programme makes product scope part of an interoperability enquiry.
Content Credentials bring provenance into the media handoff
C2PA’s specification gives production teams a way to discuss asset history without treating it as editorial proof.
BBC Studios’ Nordic pre-sales combine forthcoming titles and returning series
The MIPCOM agreements show how new programmes can sit alongside established catalogue relationships.
Lionsgate’s library presentation draws a useful ownership distinction
Owned or controlled titles and fee-only distribution need separate labels in a catalogue business.
Stacks of Cash uses one Portuguese hub for international versions
Fremantle’s new US and Australian commissions put a shared production model behind the format rollout.
Baywatch’s Rai 2 deal makes the second window part of the launch plan
The Italian rights are set to follow an initial exclusive Prime Video window.
Banijay Rights sets out its combined distribution operation
The October announcement puts catalogue scale, territorial sales and digital monetisation in one structure.
European writer and director research puts repeat work in the talent discussion
A 2015–2024 credits study reveals different continuity patterns across theatrical and TV fiction.
European fiction output looks different when measured in titles and hours
The Observatory’s 2024 figures show why a commissioning market cannot be described with one volume measure.