
‘Time Machine Maidan’ film still, courtesy of Babylon ‘13
Thailand’s Creative Economy Agency (CEA) is launching a fully-fledged contents market and pitching event this summer – Bangkok International Content Market (BICM) – with dates set for July 20-22.
Focusing on film, series and animation, the new event will include content pitching sessions and awards, an industry conference and networking platform, along with an exhibition space for around 500 studios, creators and creative businesses. It will take place at Queen Sirikit National Convention Center (QSNCC) in the centre of Bangkok.
Organisers said the event “aims to create new business opportunities and expand Thai content networks into global markets”.
It will take place alongside Thailand Content Market 2026, organised by Thailand’s Department of International Trade Promotion (DITP), which spans 12 creative industry sectors, including film, television, animation, games, characters, books, toys and production services.
BICM replaces the pitching and projects market, Content Project Market, that CEA has held in Bangkok for the past two years.
The pitching platform will feature more than 55 selected film, series and production-ready projects from Thailand, the wider Asia Pacific region and BICM’s partner networks.
The BICM Pitching Awards – including Asian Project Pitching, Thai Project Pitching, and Thai Story Pitching – will offer total prizes worth around $20,000 to support selected projects in advancing toward production.
CEA Executive Director Dr. Chakrit Pichyangkul said: “Bangkok International Content Market 2026 marks a significant step in systematically elevating Thailand’s content marketplace to the international level.
“More than simply a showcase platform, BICM2026 is designed to strengthen networking and build a sustainable ecosystem for Thailand’s content industry by connecting creators, investors, and international partners to generate tangible business opportunities and long-term collaborations. Through this platform, CEA aims to transform Thai content and storytelling into sustainable economic value for the country.”
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EXCLUSIVE: Maya Jama and Roman Kemp’s agency Insanity Talent Management has hired agents from Independent Talent and Curtis Brown.
Grace O’Leary has joined as Senior Talent Manager after a 12-year stint at Independent where she worked with the likes of Sian Welby, Dolly Alderton and Lauren Laverne. She has already signed the likes of Dolly Alderton’s former High Low podcast host Pandora Sykes, Hasan Semay (Big Has), Freddie Garland and Justin Tsang (JustinTheDustbin).
Zach Brown has joined in the same role from Independent, having focused on games. He has signed Frankie Ward, Leah Alexandra, Koji and Emma Nicole.
Lucy Chesterman comes in from MPW and has signed Farrel Heggarty, Lee Peart, Adam Kelly (2BigLugs) and Daisy Doris May to Insanity, while Hannah Thomas Davies joins from Curtis Brown with clients including Chris Lloyd, Finn Tonry, Shani Dhanda and Rhys Doing Things.
Insanity had been doubling down in the Gen-Z space and signed a number of content creators late last year.
Insanity founder Andy Varley said: “Grace, Lucy, Zach and Hannah join Insanity with significant experience gained at some of the UK’s leading talent agencies, and we are delighted to welcome them to the business. They each bring strong industry knowledge, excellent relationships and a clear understanding of what it takes to build impactful and long-term careers.”
The agency reps Jama, Kemp, Mollie King and Zara McDermott.
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Is it an alternative and visceral new documentary about Ukraine? Is it a time travel film of sorts, as its title suggests? Is it “a portrait of resistance and collective memory in which personal loss and political history become inseparable,” as one description reads? Well, Time Machine Maidan is all of that – and more.
The film, which takes a first-person, POV-type approach and is created with the goal of immersing audiences, comes from directors Roman Liubyi (War Note, Iron Butterfly) and Volodymyr Tykhyy (One Day in Ukraine, The Green Jacket) and world premieres in the international competition lineup of the Sheffield DocFest on June 11.
It builds a narrative bridge between the Maidan Revolution, also known as the Revolution of Dignity, that started in Ukraine in late 2013 and continued until February 2014, to today’s war started by Russia’s invasion of Ukraine. Sparked by then-president Viktor Yanukovych’s decision to abandon European Union membership in favor of closer ties with Russia, the Maidan uprising ultimately led to his ouster.
The doc is “reinterpreting the Maidan Revolution through the lens of the present and [the] experience of the Russian invasion of Ukraine,” highlight the press notes. “The film creates a haunting bridge between the bloody confrontations of 2013 and today’s battlefields, with Maidan standing as a pivotal moment in recent Ukrainian history.”

‘Time Machine Maidan’ film still, courtesy of Babylon ‘13
As such, the film can be viewed as a story of memory, courage, loss, and “the enduring human need for peace, freedom and the preservation of dignity in the face of oppression in all its forms,” notes the creative team. “With no steady camera to offer distance or comfort, it confronts the viewer directly, placing them in the midst of both the physical and emotional turmoil.”
The doc does so via a wounded soldier, “suspended in a liminal state of consciousness,” who time-travels into the cold Kyiv of December 2013. There, he begins a search for Maksym, a young poet and future warrior, also known as Dali, who he knows will die in the Russia war. The time traveler hopes to warn him and save his life, but is confronted with a painful truth. “Freedom is not the power to rewrite fate, but the courage to choose it,” explain the press notes.
“In this haunting and visually inventive documentary, a spectral voice drifts through time and memory to trace the Maidan Revolution and the roots of resistance in Ukraine,” reads the synopsis on the Sheffield festival website. “The voice is searching for Maksym, a friend and mentor killed in the war with Russia, and the grief of that loss propels it backwards and forwards through time. Time Machine Maidan weaves together archival footage and on-location images in a dreamlike, surrealist flow, intercutting between the Maidan uprising, a summer camp, and the shadow of the present war.”

‘Time Machine Maidan’ film still, courtesy of Babylon ‘13
With cinematography by Yuriy Gruzinov and editing by the directors, Time Machine Maidan was executive produced by Bohdanna Semen of Babylon ’13 and produced by Andrii Kotliar, who is also handling sales. Time Machine Maidan is a Babylon ‘13 production in collaboration with Suspilne Ukraine and co-produced by Germany’s Trimafilm.
“The film is a reflection of who we are right now, who we were 10 years ago and where we are going as individuals and as a nation,” highlights Liubyi In a director’s statement. “Maidan had many angles, and for my generation, Maidan was like a club. All the people I was interested in were there. We spent nights there. I had a date at Maidan. I met my wife during Maidan. It was our youth. It’s not just a boring page from a history textbook.”
And he explains: “I felt the need to make a film dedicated to the 10th anniversary of Revolution of Dignity. The whole course of our history – and world history, too – was defined by the Maidan Revolution. There is still no proper film I can show my daughter about Maidan.”

‘Time Machine Maidan’ film still, courtesy of Babylon ‘13
Shares Tykhyy: “What we witnessed during the first months of Ukraine’s defense particularly in the battles for the outskirts of Kyiv was, in many ways, a direct continuation of the ‘Maidan initiative’: horizontal networks, self-organization, and the construction of fortifications by ordinary citizens with their own hands. This was an effective form of resistance that helped stop the enemy. In the first months of the full-scale war, this ‘spirit of Maidan’ became a decisive factor in Ukraine’s defense.”
And he emphasizes: “Our film is addressed primarily to young people. During the Maidan, they were children or teenagers. Today, there is a profound socio-cultural need for self-understanding. Young Ukrainians need access to an authentic history, rather than censored narratives or concepts shaped decades ago under the influence of Russian mythmaking. The film seeks to answer a fundamental question: ‘Who are we, as Ukrainians?’”
Can’t wait to get a first peek at the sights and sounds of Time Machine Maidan? THR can exclusively premiere the trailer for the doc below. Get ready to time travel through chaos and get a first taste of the spirit of resistance! Get ready for Time Machine Maidan!
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Two Netflix series that had launched atop Netflix’s weekly Top 10 for English series with their first seasons, The Four Seasons and A Good Girl’s Guide To Murder, returned with their second installments last week. Neither could repeat their debut performances, ranking as No. 3 (The Four Seasons, 4.4M views) and No. 9 (A Good Girl’s Guide To Murder, 1.8M) in their first week (5/25/26 – 5/31/26).
The Four Seasons was down 63% from its Season 1 opening week; A Good Girl’s Guide To Murder was down more than 76% (Season 2 launched on a Wednesday, Season 1 on Thursday, so the 76% decline does not account for the extra day of S2 viewing which would make the drop even steeper.)
This is not an isolated event. As Deadline noted, a number of sophomore (and older) Netflix series have retuned below their previous seasons recently. Limited the trend to second-year shows, examples include Running Point (down 43%), Beef (down 58%), A Man On the Inside (more than 66%, the comedy did not make Netflix’s Top 10 in Season 2 so the exact size of the decline is unclear.) The Netflix show that has been most successful in avoiding the sophomore slump over the past few months is Nobody Wants This, down a modest 17% in its Season 2 opening week vs. Season 1.
All series listed above are well received by critics, something Netflix clearly takes into account as it renewed A Man On the Inside despite Season 2 never cracking the Top 10.
Running Point also has been renewed, and it shares something with The Four Seasons and A Good Girl’s Guide — all improved on their strong Season 1 Rotten Tomatoes scores with their second seasons. That should be encouraging for The Four Seasons and A Good Girl’s Guide To Murder which both spent their first two weeks as No. 1 on Netflix’s Top 10.
A Good Girl’s Guide To Murder and Beef may have been hut by the long gap between seasons; almost two years and three years, respectively.
One sophomore series that has been getting so-so reviews, Tom Segura’s Bad Thoughts, made a quiet return last week. Dropping its second season on Sunday, May 24, it did not make the Top 10 for its first full week of release with fewer than 1.8M views vs. the 3.8M views its first season logged for its first six days out. That is off by more than 53%.
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