The distributor has secured a second-window deal with Rai 2 for the Baywatch reboot, set to premiere in 2027, while Police 24/7 has added new agreements in the United States and the UK following strong ratings performance.

Fremantle has announced new distribution agreements for Baywatch and Police 24/7, further expanding the international reach of both properties. The announcements include a second-window deal for the new Baywatch series in Italy and additional agreements for factual series Police 24/7 in the United States and the UK.

In Italy, Fremantle has secured a deal with Rai 2 for the Baywatch reboot, with rights beginning after the series’ initial exclusive window on Prime Video.

The agreement adds to previously announced first-window deals with Prime Video across Italy, Germany, France, Spain, Portugal, Benelux, Switzerland, Austria, Turkey, Canada, Latin America and India; Sky in the UK and Ireland; and Stan in Australia.

“Securing a major second-window deal with Rai 2 for Baywatch, even before the series has launched, is a real testament to the strength of the brand,” said Al De Azpiazu, SVP Distribution, French & German Speaking Europe, Italy, Spain & Portugal, International at Fremantle.

Originally launched in 1989, Baywatch became one of the most widely distributed television series in the world, airing in more than 200 countries and, according to Fremantle, reaching over one billion viewers per week at the height of its popularity.

Coproduced by Fremantle and FOX Entertainment, the new series will comprise 12 episodes, bringing back the rescues, personal relationships and conflicts of a team of lifeguards patrolling Southern California’s beaches.

Stephen Amell leads the cast as Hobie Buchannon, alongside Jessica Belkin, Shay Mitchell, Hassie Harrison, Thaddeus LaGrone, Noah Beck and Brooks Nader. The cast also features the return of David Chokachi as Cody Madison, while Erika Eleniak, Michael Bergin and Kelly Packard will make guest appearances, reprising their characters from the original series.

Baywatch will premiere on FOX in the United States in January 2027. Matt Nix serves as showrunner and executive producer, while McG directs the premiere episode. FOX Entertainment Global holds domestic distribution rights, with Fremantle handling international sales.

Police 24/7 Expands Its International Footprint

Meanwhile, Fremantle has announced a new round of agreements for Police 24/7, the factual series following law-enforcement agencies across the United States. REELZ has acquired the first two seasons in a new second-window deal for the US market, while Sky has acquired the third season in the UK following strong ratings performance on Sky Crime.

The new season is scheduled to premiere on Sky Witness in October.

Since launching on The CW, Police 24/7 has become the network’s number-one original unscripted series of the 2025/2026 season to date, according to Fremantle, prompting the broadcaster to renew it for a fourth season.

The production has also expanded its international footprint, with agreements covering Australia, New Zealand, Spain, Portugal, the Netherlands, Belgium, Scandinavia, Lithuania, the Middle East and Africa, in addition to the United States and the UK.

“Police 24/7 has quickly established itself as a highly repeatable, high-volume factual franchise with broad audience appeal. Its performance in both the U.S. and UK, combined with growing demand from buyers across multiple territories, demonstrates the strength of the series and its ability to travel,” said Kyle Harris, Vice President of Acquisitions at Fremantle. “We’re excited to continue building the franchise with all partners around the world,” he added.

Police 24/7 provides access to law-enforcement agencies across the United States, following incidents ranging from routine traffic stops and domestic calls to high-speed pursuits, armed standoffs and major police operations.

The series is a CW original produced by SallyAnn Salsano’s Mulholand Media. Fremantle handles international distribution rights outside the United States.

La entrada Fremantle Expands International Sales for Baywatch and Police 24/7 se publicó primero en TTV News.

Reporting directly to Jennifer Mullin, Fremantle Group CEO, Sharon Levy will assume responsibility for the company’s production operations across the United States, Mexico, and Australia and will also join Fremantle’s Global Leadership Team.

Fremantle today announced the appointment of Sharon Levy as Chief Executive Officer, Fremantle Americas & Australia, effective mid-January 2027.

Reporting directly to Jennifer Mullin, Fremantle Group CEO, Sharon Levy will assume responsibility for the company’s production operations across the United States, Mexico, and Australia and will also join Fremantle’s Global Leadership Team.

Based in Fremantle’s Los Angeles offices, Levy will be responsible for driving strategic growth and overseeing all aspects of Fremantle’s operations across the regions, including its production labels, customer relationships, talent partnerships, creative development, production slate, and extensive portfolio of world-class Intellectual Property.

The appointment forms part of Fremantle’s broader global growth strategy and encompasses regional responsibilities previously held by Jennifer Mullin.

Levy joins Fremantle from Banijay, where she served as Chief Executive Officer of Endemol Shine North America (ESNA). Recognized as one of the industry’s premier creative and commercial executives, the Peabody Award recipient and Emmy-nominated producer was named among The Hollywood Reporter’s “Most Powerful Producers in Unscripted TV.” Under her visionary leadership, ESNA solidified its position as a dominant market force, aligning closely with Banijay’s global network of production labels, delivering active series across all four major broadcast networks concurrently.

During her tenure, Levy directed an expansive portfolio of top-rated US franchises, including MasterChef and LEGO Masters, as well as recent high-profile launches such as Deal or No Deal Island, The Summit, and the record-breaking Fear Factor: House of Fear. On the scripted side, she expanded the studio’s prestige slate through series like the four-time Emmy and Peabody Award-winning Ripley and international co-productions like HBO Max’s Like Water for Chocolate. Demonstrating her global creative reach, Levy also spearheaded Banijay Launch – an international accelerator program supporting creators across 30+ territories worldwide.

Prior to Endemol Shine North America, Levy served as Executive Vice President, Original Series at Spike TV, where she led the acquisition, development and production of a range of successful scripted, unscripted and documentary programming, including Ink Master, Bar Rescue, Auction Hunters and Deadliest Warrior.

Jennifer Mullin, Group CEO, Fremantle, said: “Sharon is an exceptional executive with a proven ability to build businesses, develop talent and deliver outstanding content. I am thrilled to welcome her to Fremantle and our Global Leadership Team. Her experience, leadership and entrepreneurial mindset make her the ideal person to lead our businesses across the Americas and Australia as we continue to accelerate our growth ambitions. I look forward to working closely with her during this exciting time for Fremantle.”

La entrada Sharon Levy appointed Fremantle Americas & Australia CEO se publicó primero en TTV News.

The Hulu Original scripted series, Mad Love, is produced by Element Pictures and Sinestra.

Fremantle announced a new romantic comedy-drama, Mad Love (w/t), from Element Pictures (a Fremantle company) and Sinestra.

The Hulu Original scripted series is created and written by acclaimed playwright, Kate Cortesi, and follows Maddy Caruso, a British wedding planner, for an eclectic list of clients in the stunning Italian countryside. Everyone wants Maddy for their events. She makes the impossible possible and can read her demanding clients like a book. If only her personal life was that simple…

Back home in London, Maddy did something unforgivable with the first man she’s ever had feelings for. She bolted to Italy in shame, leaving behind her entire life, including her sister and best friend, Evie. But Maddy can’t run away forever, and her past comes crashing into her new Italian life in the most chaotic way imaginable.

Kate Cortesi, Creator and Writer, said: “What a dream to bring Mad Love (w/t) to life with this team that is truly the best in the business. I can’t believe my good fortune to be working with Element, Sinestra, Fremantle, and Disney+, who have understood and supported the vision from the very beginning. And I can’t wait to introduce the world to Maddy Caruso, our wedding planner extraordinaire who is equal parts witty, wise, and wretched. Watching Maddy hurtle toward self-actualization through a string of self-destructive choices is a ride I hope will be funny, sad, and occasionally worrisome, but ultimately a celebration of how true community catches us when we fall and helps us grow up. This one is for the free spirits, the poor decision-makers, and the unapologetic lovers of life.”

Christopher Aird, Executive Producer and Head of TV, Element Pictures, said: “In Mad Love (w/t), Kate has created a wonderfully warm and attractive world you want to spend time in. Element are thrilled to be working with Sinestra to bring Kate’s authored, comedic and characterful writing to the screen. We fell in love with Kate’s characters instantly and we think the audience will too.”

Michael Parets, Executive Producer, Sinestra, said: “Kate Cortesi has X-Ray vision. She sees characters for who they are, not just who they want to be. It has been so much fun to see her apply her superpowers to the world of Mad Love (w/t), where she has crafted a messy, honest and incredibly fun playground for love and heartbreak alongside our brilliant partners at Element and Disney+.”

Lee Mason, VP, Scripted, Disney+ EMEA, said: “Kate Cortesi’s writing is incisive, authentic and uproariously funny, and we’re thrilled to bring her refreshingly honest take on the romantic comedy-drama to Disney+. Together with the brilliant teams at Element and Sinestra, Mad Love (w/t) is exactly the kind of bold, distinctive storytelling we want to champion as we continue to grow our UK Originals slate.”

Mad Love (w/t) was commissioned by Angela Jain, Head of Content, Disney+ EMEA, and Lee Mason, VP, Scripted, Disney+ EMEA. It will be executive produced by Kate Cortesi; Christopher Aird, Chelsea Morgan, Hoffmann, Ed Guiney and Andrew Lowe for Element Pictures; Michael Parets and Johan Renck for Sinestra; and Hilary Martin for Fremantle.

La entrada Disney+ Greenlights new Romantic Comedy from Fremantle se publicó primero en TTV News.

The executive will lead the newly formed Global Scripted Hub, providing creative, commercial and strategic direction across the company’s scripted labels.

Fremantle announced the appointment of Katie O’Connell Marsh as its new CEO Global Scripted Hub.

She will take up the senior leadership role, based in London, in the Autumn of 2026 reporting to Andrea Scrosati, Group COO and CEO Continental Europe with a dotted line to Jens Richter, CEO Commercial and International, and will sit on the Global Leadership Team.

In her role, O’Connell Marsh will lead the newly formed Global Scripted Hub, providing creative, commercial and strategic direction across the company’s scripted labels. She will work closely with local teams to strengthen collaboration, share best practice and build a fully connected global scripted business across drama and film.

Additionally, she will oversee the annual scripted investment budget, recommending investment in new projects and selected third-party opportunities. She will also work closely with the Commercial & International team on sales forecasts and commercial analysis to support investment decisions.

Katie brings extensive experience in building and scaling premium scripted businesses across the US and International markets, with a proven track record in developing high-value IP, structuring complex global deals and creating talent-led ecosystems that have delivered commercially successful and critically acclaimed series for the world’s leading platforms.

Prior to joining Fremantle, Katie served as CEO of Platform One Media and Gaumont Television, and Vice Chair of Boat Rocker Studios. She has executive produced numerous television series, most recently Apple TV+’s Emmy nominated Palm Royale. Most recently Katie has served as an External Advisor to Bain & Company. Earlier in her career, she held senior leadership roles at DreamWorks Animation, NBCUniversal and Imagine Television.

Andrea Scrosati, Group Chief Operating Officer and CEO Continental Europe, Fremantle, said: “We are delighted to welcome Katie to Fremantle as our new CEO of the Global Scripted Hub. She is a highly accomplished, passionate and commercially astute executive with a deep understanding of global audiences and market trends. She joins us at an incredibly exciting time as we continue to build on the strength of our diverse scripted slate, our award-winning creative labels, and the exceptional talent both on and off screen, that defines our scripted business. Her creative instincts, strategic vision and proven ability to attract and nurture world-class talent will be invaluable as we continue to grow our scripted business and further strengthen Fremantle’s position as a global leader in premium storytelling.”

Katie O’Connell Marsh, added: “I am thrilled to be joining Fremantle at such an exciting time. I have long admired the strength of its creative vision, its exceptional scripted labels and the critical acclaim achieved across its world-class slate. Fremantle has built a truly unique home for storytellers, combining creative excellence, outstanding talent and global ambition. As the industry continues to evolve, the greatest opportunities will come from bringing together exceptional talent, international collaboration and a commercially driven approach. I am especially looking forward to working closely with Jennifer Mullin, Andrea Scrosati and the outstanding teams across the business to build on Fremantle’s success and help shape the next chapter of growth for its scripted business.”

La entrada Katie O’Connell Marsh joins Fremantle as CEO Global Scripted Hub se publicó primero en TTV News.

Commissioned by Mediaset following the success of the first two Italian seasons, the show is being produced by RTI in association with Fremantle, alongside Glassman Media, The SpringHill Company and Universal Television Alternative Studio.

Fremantle has announced it will co-produce a new Italian adaptation of The Wall, the hit game show created by LeBron James, Maverick Carter and Andrew Glassman. The new version premiered on July 13 in Canale 5’s access prime time slot, hosted by Max Giusti.

Commissioned by Mediaset following the success of the first two Italian seasons, the show is being produced by RTI in association with Fremantle, alongside Glassman Media, The SpringHill Company and Universal Television Alternative Studio. Jessica Otazua serves as executive producer.

The format retains its signature 40-foot wall, where balls drop unpredictably to determine contestants’ winnings or losses. Each episode features a pair connected by family ties or friendship, who must combine knowledge, trust and strategy for a chance to win the top prize.

The new Italian edition also introduces a twist in the final round with the addition of the “Lucky Ball,” a decisive drop that can either add up to €100,000 to the contestants’ winnings or wipe out their accumulated prize entirely.

“The Wall continues to resonate with audiences around the world, and we are delighted to once again partner with Mediaset and Fremantle for its return to Italy. Its unique combination of knowledge, trust and high-stakes drama has made it a global success, and we look forward to audiences discovering this exciting new edition,” said Hannah Mabruk, Senior Vice President of Format Sales & Production at NBCUniversal Formats.

The Wall remains one of the most successful entertainment formats in the international market. To date, it has been adapted in 33 countries across Europe, Asia, South America and the Middle East, with a total of 56 local versions commissioned worldwide.

La entrada Fremantle To Co-Produce a New Version of The Wall for Mediaset Italia se publicó primero en TTV News.

New local commissions have been confirmed in Germany and France, joining the previously announced UK adaptation. All three productions are produced through Fremantle’s dedicated international Holey Moley production hub in Portugal.

Fremantle today announces the continued global expansion of its supersized comedy entertainment format Holey Moley, with new local commissions confirmed in Germany and France, joining the previously announced UK adaptation. All three productions are produced through Fremantle’s dedicated international Holey Moley production hub in Portugal, providing a scalable model for the format’s worldwide rollout.

In Germany, Prime Video has commissioned Holey Moley – Minigolf Extreme, produced by UFA Show & Factual. The German series will bring together an eclectic cast of Olympic champions, mini-golf world champions, reality TV stars and self-proclaimed armchair pros, all competing on epic courses designed to test their skill, courage and sense of humour.

In France, TF1 has ordered Crazy Mini Golf, produced by Fremantle France and hosted by content creator superstars Mcfly and Carlito, providing commentary as keen amateurs tackle the show’s iconic larger-than-life courses.

In the UK, ITV has commissioned Holey Moley, co-produced by Talkback Thames and Mitre Studios, with presenting duo Ant & Dec at the helm. The series will see top-class professionals, fearless everyday thrill-seekers and a host of famous faces take to the courses.

Ben Crompton, Global Head of Entertainment at Fremantle, said: “I was recently out at our production hub and got to witness just how much fun this show is. Holey Moley is pure entertainment – a brilliantly funny mix of outrageous physical competition, supersized crazy golf, big character players, hilarious hosts and surprises, all wrapped up in a format with a hugely broad appeal. We’re thrilled to be working with such fantastic partners in France, Germany and the UK – the quality of these broadcasters speaks volumes about the strength of the format. Through our production hub in Portugal, we’re able to bring all the scale, spectacle and production value that makes Holey Moley special to a much wider range of markets, while ensuring every local version has its own distinct personality. That’s a really exciting combination.”

Originally created for ABC by Eureka Productions, a Fremantle label, Holey Moley has already proven to be a breakout success internationally. In the US, the series became a summer ratings hit for ABC, regularly ranking as the number one show of the night. In Australia, the format delivered a consolidated audience that more than doubled Channel 7’s primetime average.

The latest commissions further cement the international appeal of this comedic and turbo-charged physical gameshow, whilst also marking a significant milestone for Fremantle’s international production strategy. Filmed at the dedicated Holey Moley production hub in Portimão, Portugal, the format benefits from a centralised production model that provides efficiencies in today’s market, enabling multiple territories to leverage the same world-class courses, infrastructure and expertise while creating distinctly local versions for their audiences.

Fremantle holds the global production and distribution rights for the format outside of the US, originally from ABC and Eureka Productions. Holey Moley is a registered trademark of Funlab IP Co Pty Ltd, used pursuant to a license.

La entrada Fremantle Announces Local Versions of Holey Moley Across Europe se publicó primero en TTV News.

Presented by Jens Richter, Chief Executive Officer, Commercial and International, Fremantle hosted a special session during NEM Dubrovnik, to analyze what’s next in the content landscape, where stronger IP, evolving platform dynamics, and new technologies are redefining how value is created.

Produced by Luis Cabrera, from Croatia

During the second day at NEM Dubrovnik in Croatia, Fremantle took center stage with the panel “Then, Now and Next: How Content Platforms and Value Have Transformed”, aimed at tracing the market’s journey from the era of peak TV and high-volume commissioning to today’s more disciplined, profit-driven market.

Presented by Jens Richter, Chief Executive Officer, Commercial and International at Fremantle, the session traced that journey and looked ahead to what’s next, where stronger IP, evolving platform dynamics, and new technologies are redefining how value is created.

“Ten years ago, we were very much an entertainment company. Big entertainment shows, very much driven by talent shows,” Richter recalled. “Because when, when we launched talent shows around the year, beginning of the 2000s, they went ballistic. They were the biggest thing that happened to the TV market. “We had The Price is Right, Family Feud, Match Game… all of those, some of which are still very strong.”

“What happened since then is that we went into drama,” he explained. “So Fremantle was a drama company in the 80s and 90s. The early 2000s completely focused on entertainment. And then, around 2015, we went heavily into drama, starting with very premium drama.”

“And now, we still do premium, but we also love mainstream,” he noted, highlighting the new season of Sullivan’s Crossing, with Bell Media, a “super mainstream” show which turned into the first Canadian number one show on Netflix.

“We worked our way into mainstream on the drama side as well. And then also over the last 10 years, we went into factual, where we have a similar strategy,” he said. “And what you’ve probably also seen is over the last two years, we went into movies.”

All in all, the executive explained Fremantle tries to “cover all genres”, something that’s “not easy” to do. “It’s 2026 and you have different types of audiences, different age groups and different platforms, and you need to make everyone happy.”

So what’s the strategy to cover all bases? “Some shows work better than others, of course,” he said, mentioning the appeal of titles that are remakes or reinventions of known franchises.

“Shows from the 80s, 90s, early 2000s, they keep coming back. Because they make us feel good. For instance, when we think about Baywatch, and we think about that title song and we hear it, it makes us feel good. So is it our nostalgia or does the audience want more?”

“Baywatch was at its time the most successful TV drama. More than a billion people reach every week. So those are massive numbers. And so when you go back and revisit a show like that, you obviously build upon that brand name and the brand recognition, which is still very strong in the market. And so that’s one thing,” he explained.

“The other thing is what we love about it. It’s familiar and it’s past, it’s history. Like when we look back in time, you know, our childhood was always easy. School was always great. Homework was always simple. The grades were always fantastic. You look back in time and life was so easy. That’s how we think about the past in general. So it gives us this warm and fuzzy feeling, and we like it. It’s safety.”

“And in, in 2026, we have a couple of topics that might make us nervous. There’s wars going on in some parts of the world, there’s this and that. It’s the economy, it’s inflation, it’s AI and our future jobs… There is a world where a little bit of cocoon, a little bit of warm and fuzzy, is great. And the audience loves to escape, but ultimately the audience loves to be entertained.”

“It’s also easier when you have built on a big brand,” he added. “If you build something around big talent that helps. Or when you have a drama that’s based on a novel, or when you have something that is based on true events… Something we think very much in the inception is, ‘is this something that has the marketing built in’ and ‘what can we do to bring more of these ingredients to the table?'”

“But, there’s changes, constant changes, and how we reach our audience and how we build out our social media reach, how we build out our own video demand platforms, how we share rights with other people, that is always evolving pretty rapidly”, he said. “Our ambition always is to create that next story that can resonate with an audience. And ultimately, we are all storytellers or we are all communicators of stories. And that won’t change. And the recipients, our audience, they want to be entertained and they want to enjoy those stories.”

La entrada Fremantle Analyses the Past, Present and Future of TV se publicó primero en TTV News.

The documentary series, produced by Mediaset España in collaboration with En Cero Coma —a Fremantle label— and La Colectiva.

Fremantle Spain is continuing its push into the true crime genre with the premiere of the third season of En Guardia on Cuatro.

The documentary series, produced by Mediaset España in collaboration with En Cero Coma —a Fremantle label— and La Colectiva, will explore eight homicide cases that shocked Spanish society, further strengthening the channel’s factual crime offering.

The new season’s main additions include previously unseen footage provided by the Civil Guard and cinematic recreations of the investigations. Among the featured cases are the murder of Elisa Abruñedo, the serial killings committed by Joaquín Ferrándiz, and the homicide of Consuelo Roy.

Each episode is structured around first-person accounts from Civil Guard investigators, who reconstruct the inquiries that led to solving the crimes. The production also features testimonies from forensic experts, prosecutors, lawyers, and relatives of the victims, alongside extensive archive material from television, press, and social media.

The series will also include the participation of Marisol Burón, mother of Marta Calvo, together with people connected to other cases featured throughout the season.

With the return of En Guardia, Fremantle Spain and Mediaset España continue to capitalize on the sustained market demand for true crime content, one of the fastest-growing documentary genres across both broadcast television and global streaming platforms.

La entrada Fremantle Spain Brings New Season of En Guardia to Cuatro se publicó primero en TTV News.