Leading analysts discuss the current trends affecting the global content business and outline the key drivers for change in 2024. This panel features a set of presentations from the leading players which put the international market in perspective and provides a road map for development in the year ahead.

This session highlights some of the key trends impacting the scripted business, drawing on content from across C21’s range of products and Drama Quarterly’s ongoing coverage of the creative side of the international scripted business.

As the Writers Guild of America strike puts renewed focus on the long-standing tradition of writers rooms behind the majority of US scripted series, we discuss to what extent this method of storytelling has crossed the Atlantic and how it has been adopted, successfully or otherwise.

The AI revolution is coming – but in one sector of the industry, is it already here? As visual effects (VFX) play an increasingly important role in television, we lift the curtain on this part of the business to examine the pressures and demands facing VFX creatives and how they are utilising advancing AI capabilities, virtual production and video game technology to create a seamless viewing experience for viewers at home, as well as exploring the challenges posed by both time and budget as VFX artists become increasingly integral to the creative process from development to post production.

In recent years we’ve seen hits like Call My Agent, The Bureau and HIP adapted into local markets around the world, including major markets like the US and the UK. Call My Agent, with local versions in the UK, Poland, India, South Korea, Turkey and elsewhere, has also driven growth in comedy adaptations, traditionally a genre that doesn’t travel well. This panel will explore why local adaptations of French scripted content are suddenly in demand. What does it reflect about the state of the global market; which platforms are buying/selling the formats; how are those adaptations performing; how is this changing the distribution plans for the original series, and the international strategies from their distributors; and what new shows launching in RendezVous, Mipcom or CL23 are being primed for local adaptations? Also, what lessons can international producers/distributors learn from this French success story?
Further speakers to be announced.