JB Perrette, Co-Chair and Chief Business Officer at Skydance TV and DTC, announced the executives who will be leading the company’s business across TV and DTC.

Skydance continues to shape its executive teams following the merger between Paramount and Warner Bros. Discovery. This Friday, in a memo to the company’s staff, JB Perrette, Co-Chair and Chief Business Officer at Skydance TV and DTC, announced new roles within the group’s regional businesses.

“The industry and consumer behavior continue to evolve at a fast pace, and these two businesses have more cross-over and interconnections than ever. We need to aggressively drive each business forward, while also being attentive to maximize the strategic and financial opportunities between the two, and at the same time be transparent and data-led when there are inevitable trade-offs that need to be decided… make them with speed, and stay clear that our north star is what’s in the best interest of the overall Skydance company (not individual units, countries or other agendas)”, the executive said.

“To do this, we will have some leaders more dedicated to TV and others to DTC, and many leaders wearing both hats (or more). Our structure will leverage strong local/regional expertise and relationships, and global scale and capabilities”, he added.

The new structure will be made up as follows:

GLOBAL

Jeff Cusson, EVP and Head of Communications, Skydance DTC

Shauna Spenley, CMO, Global DTC and International TV

Trey Turner, COO, International

Josh Walker, COO, DTC

Liz Wright, CFO, Skydance TV Segment

Head of Pluto/AVOD (to be determined)

REGIONAL/LOCAL

“Internationally, we will have four regional leaders who will help drive the combined TV and Streaming businesses and will report to me. These regional leaders and their teams will have direct oversight for distribution, ad sales, business and commercial development across both networks and streaming as well as TV programming in their markets”, the executive explained.

Andrew Georgiou, interim President & MD Europe & Africa will lead Europe & Africa

Alessandro Araimo, MD Southern Europe

Qaisar Rafique, EVP Commercial Development

Christina Sulebakk, MD Nordics, Benelux, GSA

James Gibbons, President & MD APAC & MENA

Kasia Kieli, President & MD, will lead Poland

Fernando Medin, President and MD LATAM/US Hispanic

La entrada Skydance Sets Regional TV and DTC Teams, Fernando Medín to Lead Latam and US Hispanic se publicó primero en TTV News.

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.

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.

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.

The executive announced his appointment on LinkedIn after an extensive career at Telemundo Deportes, where he led coverage of major events including the FIFA World Cup and the Olympic Games.

Netflix has appointed Eli Velázquez as Director of Live Sports for Latin America and the US Hispanic market, in another move underscoring the streaming platform’s strategy to expand its presence in live sports.

The executive announced his appointment on LinkedIn, where he expressed his enthusiasm for contributing to the growth of Netflix’s live sports offering. In his post, he also thanked the company’s team for its support during his time as a consultant.

Velázquez brings more than three decades of experience in the audiovisual industry, having spent much of his career at NBCUniversal Telemundo Enterprises, where he worked for 25 years. In September 2024, the company officially announced his departure when it named Joaquín Duro as his successor to lead Telemundo Deportes.

During his tenure at the network, Velázquez rose to the position of Executive Vice President of Sports and oversaw coverage of major sporting events, including the FIFA World Cup, the Olympic Games, the NFL, the Premier League and Liga MX. He also played a central role in the network’s coverage of the 2023 FIFA Women’s World Cup and the Paris 2024 Olympic Games.

Under his leadership, Telemundo became the first U.S. Spanish-language broadcast network to air the Super Bowl in 2022. He also helped drive the partnership with the US Soccer Federation that made Telemundo the exclusive Spanish-language home of the US national teams.

Before joining Telemundo, Velázquez worked at Univision, where he held various production roles. His experience spans team management, major live-event production and the development of sports content for Spanish-speaking audiences.

La entrada Netflix Appoints Eli Velázquez Director of Live Sports for Latin America and US Hispanic Markets se publicó primero en TTV News.

Just days after being appointed CEO of Banijay Latin America, the executive spoke to ttv at Mipcom about the region’s new autonomy following the merger with All3Media, opportunities beyond traditional television production, a co-development agreement with Globo, and why long-running entertainment formats continue to thrive.

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

Banijay Entertainment’s newly appointed Latin America CEO, Laurens Drillich, arrived at Mipcom 2026 with an expanded mandate and a new corporate structure behind him. Announced on October 5, his appointment followed the completion of the merger between Banijay Entertainment and All3Media in July, creating a combined international group headquartered in London.

Previously President of Endemol Shine Latino since 2016, Drillich now leads a dedicated regional division encompassing production operations in Mexico, Brazil, Colombia and the US Hispanic market. He reports directly to Banijay Entertainment CEO Marco Bassetti.

Speaking with ttv in Cannes, Drillich discussed what the new structure means for Latin America, the opportunities emerging from an expanded portfolio of companies and formats, and the changing appetite for original entertainment IP.

What changes for Banijay Latin America under your new role and the group’s new structure?

I’m now the CEO of Banijay Latin America. It’s not really a job I wasn’t doing before, but it is a new function. We have a new structure in place because of the merger with All3Media, and new priorities within the company. I’m now solely responsible for the region, within a company that is headquartered in London rather than Los Angeles.

We’re doing this because business in Latin America is doing really well. It has been growing, and this was the moment to say, “We are truly independent and as important as any European region or the US.” That’s essentially what happened with this promotion.

I was already focused on the region, so in that sense my work hasn’t changed completely. But I think we have more possibilities now. We have the All3Media formats, we have Little Dot Studios, which is a digital company, and there is real interest and enthusiasm within Banijay Group to see how we can grow further.

Where do you see the main opportunities for expanding the business?

If you look at where we are today, we produce in the US Hispanic market, Mexico, Brazil and Colombia. All the other countries, including Uruguay, where Gran Hermano is currently running, operate through licenses. Those are sold by Banijay Rights, which deals directly with local broadcasters or producers. My focus is production.

We’re essentially looking at where we can produce more. Endemol Shine Boomdog, which operates in the US Hispanic market, Mexico and Colombia, is already the biggest unscripted production company in that territory, and Endemol Shine Brasil is a really big unscripted company in Brazil.

That’s our starting point, but there are more possibilities. There’s YouTube, there’s digital content, there are films we’re making with A Fábrica in Rio de Janeiro, and there might be sports or live entertainment.

So we’re really looking, in the broadest possible sense, at what additional entertainment we can bring to the region.

With such an extensive catalogue across Banijay and All3Media, how much of the growth will come from adapting existing formats, and how much from developing original IP?

I think traditionally Latin America hasn’t been a region where there was a lot of original entertainment programming. There have been telenovelas, of course, lots of those, films, and sometimes locally developed entertainment within bigger shows. But there hasn’t been a locally created The Voice, Deal or No Deal or MasterChef, because clients haven’t really been looking for that. But that’s changing.

If you look at our business, of course, the biggest part is the catalogue. That’s why Gran Hermano is in Uruguay, why MasterChef is all over Latin America, and why The Traitors is going to be all over Latin America. That’s still the main part of our business. But you’re starting to see different things.

One is that we signed a co-development deal with Globo to create new content. They have that interest as well. They want to create things, to co-own IP that can travel around the world, and they’re giving us the opportunity to do that. So it is possible, and we’re working on it now.

And then you have the streamers. On the one hand, they do exactly the same thing: they adapt Physical: 100 or Love Is Blind, which we produce in Mexico and Brazil. But they also ask for original content. Suddenly, that’s a huge opportunity for local teams, because those are good budgets, these are platforms with a lot of marketing power, and sometimes they’re willing to take risks.

So I think original programming is going to grow a lot, but formats are still a bigger business.

Why do you think Banijay’s entertainment formats resonate so strongly across Latin America?

That’s a difficult question to answer, because they resonate around the world, of course. There’s something to the fact that this company has managed, through mergers, acquisitions and creation, to bring some of the biggest formats into its catalogue.

And I think we’re really good at adapting them. We’re very good at taking a show from one country and finding opportunities in other countries, making those small changes that make it feel local. A MasterChef needs to feel local in the Dominican Republic, but also in Brazil, Mexico or the UK. You keep the format, but make those changes so that the audience recognizes its own culture.

How do you keep long-running franchises such as Big Brother, Survivor and MasterChef relevant after so many years?

I think Banijay is very good at making formats feel current, even when they’re among the longest-running ones, like Survivor, MasterChef or Big Brother. The brands are constantly being renewed. What helps is that we produce in so many different countries.

Take Big Brother, for instance. Every year there’s a Big Brother exchange, usually in Holland, although it can take place anywhere in the world. Experienced Big Brother producers from all over the world come together in one place and spend two or three days talking about Big Brother. They show each other what they’ve been doing over the previous year: new twists they’ve introduced, how they’re using digital, what else they can do with live elements. Basically, anything they’ve done to adapt the show and keep it fresh.

We’re lucky because we can all benefit from that exchange. If the Mexican team attends and sees something that Israel has done, they can immediately go back and try it. It’s not one company or one team doing the work. It’s the whole world contributing. And I think that really helps keep the formats relevant.

Is the continued appeal of established IP also a commercial advantage?

There’s another thing, which has nothing to do with being creative: older IP works. Look around the world. Even in the US, brands that aren’t ours, like The Amazing Race or The Bachelor, are still around. We happen to have a lot of those established brands in our catalogue, and that helps.

What I’ve also noticed is that something like Deal or No Deal can disappear for a while and then come back again. Which is really funny, because then you don’t necessarily need a new one. It’s going to be very difficult to create a show as big as Deal or No Deal. So even if it goes away for a while, it can come back. You keep the essence of the brand, the core of the show, and then you add digital elements or social media.

How important is digital interactivity to that process of renewal?

We’re lucky that Big Brother, for instance, was an interactive show from the beginning. It was created in 1999 and first aired that same year, when everyone was talking about the internet. Obviously, it wasn’t the internet we know now, but the show already had that element of interactivity built into it.

So that makes it easier to keep evolving.

La entrada Laurens Drillich, Banijay Latin America: “Original Programming Is Going to Grow a Lot, but Formats Are Still a Bigger Business” se publicó primero en TTV News.

Agustín Marco del Pont, currently the Mexican operation’s Sales Director, will take over on January 1, 2027. Alexander will conclude his tenure on December 31, following a career spanning more than four decades in film distribution.

Philip Alexander will retire from his position as Vice President and General Manager of Sony Pictures Releasing Mexico on December 31, bringing to a close a 41-year career with the company and its film distribution operations. He will be succeeded by Agustín Marco del Pont, who will assume leadership of the Mexican operation on January 1, 2027.

Under Alexander’s leadership, Sony’s Mexican operation established itself as one of the company’s strongest contributors worldwide. His tenure also spanned significant changes in the distribution business and the evolution of the local theatrical market.

Before taking on responsibilities in Mexico, Alexander built his career at United International Pictures (UIP), holding positions across several European markets before joining Columbia Pictures. He subsequently led the Fox Columbia Pictures operation in Colombia, based in Bogotá, before taking the helm of Columbia Pictures Mexico.

Among the milestones of his career was the establishment and leadership of Buena Vista Columbia TriStar, a joint venture between Walt Disney Studios and Sony Pictures Releasing in Mexico that operated for 26 years. Throughout his career, Alexander was involved in the release of more than 2,000 international and Mexican films.

In reflecting on his departure, Alexander highlighted the collective effort behind the operation’s achievements and expressed his gratitude to the Sony and Disney teams, as well as the exhibitors and producers with whom he worked over the decades. He also voiced confidence in his successor’s ability to continue developing the business in Mexico.

Agustín Marco del Pont to take over in January

Marco del Pont steps into the role from his current position as Sales Director at Sony Pictures Releasing Mexico, where he has been involved in commercial strategy and relationships with exhibition partners. He joined the Mexican team nearly six years ago, having begun his professional career at UIP Argentina in 2009, with experience in sales and marketing.

The transition has been coordinated with Alexander to ensure operational continuity and maintain the company’s commercial relationships in one of Latin America’s key theatrical distribution markets.

The leadership change comes amid an ongoing transformation of the theatrical business, with release strategies, exhibitor partnerships and title positioning remaining central to the performance of major studios across the region.

La entrada Philip Alexander To Step Down as Head of Sony Pictures Releasing Mexico se publicó primero en TTV News.