The long-rumored expansion of the Bridgerton universe is a reality: Netflix has greenlighted an untitled spinoff chronicling the early life of a young Lady Violet and her romance with Viscount Edmund Bridgerton. The widowed Bridgerton family matriarch is played on the mothership series by Ruth Gemmell.

Like Queen Charlotte: A Bridgerton Story, the Violet prequel will be a limited series from franchise producer Shondaland. It has Shonda Rhimes writing, executive producing and co-showrunning with her Queen Charlotte collaborator Nicholas Nardini. This is the first time the Grey’s Anatomy creator has written a show since she created and executive produce Queen Charlotte.

Rhimes wrote all episodes of the 2023 limited series except one, which was penned by Nardini who also co-wrote another with Rhimes.

While Queen Charlotte was an original creation based on characters from the Bridgerton novels by Julia Quinn, there is a source material for the Young Violet series in the form of Violet In Bloom, a short novella by Quinn which tells the love story of Violet and Edmund.

Queen Charlotte director/executive producer Tom Verica is back in the same capacity for the new limited series. Shondaland’s Betsy Beers also executive produces.

Talk about another Bridgerton prequel limited series started shortly after the successful May 2023 launch of Queen Charlotte, which briefly cracked Netflix’s Most Popular English series list. Queen Charlotte featured the older versions of Charlotte (Golda Rosheuvel), Lady Danbury (Adjoa Andoh) and Violet (Gemmell) from Bridgerton, making the other two prime suspects to headline their own prequel.

Verica told Deadline in January that existing Bridgerton characters are getting the Queen Charlotte treatment with more spinoffs in development.

Since Queen Charlotte followed Lady Danbury’s romances alongside Charlotte’s marriage as the Queen’s confidante proved to be unlucky in love, Violet emerged as the most likely character to get her own spinoff.

After lengthy development, the project started picking up momentum several months ago, with speculation growing that it would be the first series greenlighted under the new long-term overall deal Rhimes signed with Netflix in August.

Expanding the Bridgerton universe is a key part of Netflix’s Shondaland relationship as it has become a lucrative enterprise generating a lot of revenue from areas beyond streaming, including consumer products and live experiences. On Netflix, Seasons 1 and 3 remain on the Most Popular list, ranking #7 and #10, with Season 5, which shifts the spotlight to the introverted Francesca Bridgerton (Hannah Dodd) and Michaela Stirling (Masali Baduza), currently in production in London.

Underscoring Netflix’s commitment to the franchise, the streamer built a special studio for Shondland to film it in the UK.

International Documentary Festival Amsterdam has revealed the 47 projects selected for IDFA Forum 2026, the festival’s prestigious co-production and co-financing market.

The final lineup, culled from almost 900 submissions, “brings together projects in development, production, and near completion, showcased across the Forum Pitches, Roundtable Presentations, Rough Cut Presentations, and IDFA DocLab Forum (new media),” IDFA notes.

Scroll for the full lineup of projects. IDFA Forum runs November 15-18, while the festival itself unfolds from Nov. 12-22.

Some prominent filmmakers will be presenting projects in this year’s Forum: Wang Bing (Jiabiangou); Vitaly Mansky (Odesa.Mama); Rachel Leah Jones (Podium (You Have Three Minutes)); Liang Zhao (Ship of Fools), and Paraguayan director Juanjo Pereira with Examination, his follow up to the highly regarded Under the Flags, the Sun (2025).

Along with Paraguay, projects hail from around the world including Tunisia, Namibia, Myanmar, India, Kyrgyzstan, China, Taiwan, Palestine, the U.S., and Canada among others, “reflecting a broad range of geographies, production contexts, and perspectives,” IDFA observes. “Europe maintains a strong presence in the lineup, comprising major documentary markets (France) and smaller producing nations (Greece, Hungary). Gender balance has been achieved across all the formats, with a commitment to wider diversity beyond parity alone.”

Recognizing how the documentary market has become “increasingly fragmented and harder to navigate,” IDFA is modifying the setup of the Forum “to help projects communicate more clearly the support they need and to foster their meaningful engagement with funders, broadcasters, producers, and other collaborators.”

Under the revised structure, selected projects will be showcased either to a larger audience at the Forum Pitches or in the more intimate setting of the Roundtable Presentations, allowing for more in-depth conversations. “Both formats offer access to the Forum’s one-on-one meetings with industry professionals. Co-production and producer-to-producer meetings also remain central to Forum, with producers now invited to meet with selected projects in search of co-production partners.”

Adriek van Nieuwenhuijzen, Head of IDFA Industry, said in a statement, “Despite the challenges of the market, both in terms of finance and distribution, we strongly believe that IDFA Forum should provide space for filmmakers who approach their craft with courage and curiosity. We champion works that surprise, reveal, and embrace complexity, and we hope to see all of these projects find audiences, whether on screens, big or small, via headsets, or in immersive installations.”

Forum Pitch and Roundtable Presentations

Twenty-nine projects have been selected for the Forum Pitches and Roundtable Presentations. Mehran Tamadon’s One Step Closer grapples with the consequences of polarization in a French rural community, while Andrew H. Brown’s Wild Goose Days lenses the Indigenous KYUK radio station in Alaska, threatened by government policies. War takes center stage in Roman Bondarchuk and Vadym Ilkov’s mosaic-style Recovery, which reframes Ukraine’s reconstruction as resistance.

Archival filmmaking is present in the selection, with Juanjo Pereira’s Examination, which draws on declassified materials and their reinterpretations to reveal power systems taming a land and jaguars. Meanwhile, Christina D. Bartson’s The Contract of the Century reckons with the legacies of colonialism, zeroing in on the energy megaproject, the Baku-Tbilisi-Ceyhan pipeline.

Rough Cut Presentations

Six projects have been selected for this year’s Rough Cut Presentations. Featuring 20-minute excerpts, the presentations offer the buyers, festival representatives, and funders attending both IDFA Forum and Docs for Sale an early look at projects nearing completion. Vikram Singh’s Camels of the Sea offers a distinct take on climate change and endangered ways of living as illegal salt pans threaten India’s rare swimming camels. Facts join fantasy in Josefina Buschmann Mardones’ Artificial Clouds, an AI’s absorbing travelogue through Chile, tracing its ecological footprint. Nikos Pilos and Arsinoi Pilou’s Resisting Residents embeds us in an Athens squatted community, capturing solidarity as a lived practice.

IDFA DocLab Forum (new media)

The market’s new media strand, IDFA DocLab Forum, presents 12 projects, boasting diverse formats, from an immersive installation to VR, XR, mixed reality, a participatory performance, and an interactive documentary. The projects engage with such resonant themes as digital labor, bodily memory, virtual violence, and collective participation in democracies. Katja Verheul’s Mine Land looks at the remnants of war still unearthed in a Bosnian forest 31 years on. Hyeunjoo Woo and Jiyun Park’s How to Make a Chiffon Cake proposes an intriguing scenario, turning a woman’s invisible domestic work into AI training data. Mark Mushiva and Daniel Chein’s Time Hunter XR: Colonial Protocols also appropriates tech tools for resistance, conjuring a speculative decolonial mission in 1912 Namibia.

Forum Pitch and Roundtable Presentations

• Being North Korean, dir. Roxy Rezvany, prod. Aya Kaido / Besheh Meesheh Films Ltd, Roxy Rezvany (United Kingdom)

• Dr. Hedgehog, dir. Peter Alsted, prod. Birgitte Keseler / Elk Film, Katrine Dolmer / Elk Film (Denmark)

• Examination, dir. Juanjo Pereira, prod. Ivana Urízar / Cine Mío (Paraguay)

• Fur, dir. Joakim Demmer, prod. Thomas Kufus / zero one film GmbH (Germany)

• Game of Replacing Gods, dir. An Chu, prod. Kei Yiu Kathy Wong / In-sight Practice Ltd. (Taiwan)

• How Love Moves, dir. Pallavi Paul, prod. Aman Mann, Shaunak Sen / Kiterabbit Films (India)

• Jiabiangou, dir. Wang Bing, prod. Mao Hui / CS Productions, Sonia Buchman / Gladys Glover Films, Nicolas R. De La Mothe / Gladys Glover Films, Serge Lalou / Les Films d’ici (France, Hong Kong)

• La Linda, dir. Francina Carbonell, prod. Gema Juárez Allen / Gema Films (Argentina, Chile)

• My Father Killed Bourguiba, dir. Fatma Riahi, prod. Dorra Bouchoucha / Nomadis Images, Lina Chaabane / Nomadis Images, Fatma Riahi (Tunisia)

• My Rebel Heart, dir. Ida Kat Balslev, prod. Sidsel Lønvig Siersted (Denmark)

• Near Life, dir. Marta Miskaryan, prod. Alice Hughes / Beehive Films Ltd (United Kingdom)

• Odesa.Mama, dir. Vitaly Mansky, prod. Filip Remunda (Czech Republic, Latvia)

• One Step Closer, dir. Mehran Tamadon, prod. Rebecca Houzel / Petit à petit production, Marianne Romeo / Petit à petit production (France)

• Podium (You Have Three Minutes), dir. Rachel Leah Jones, prod. Rachel Leah Jones / Home Made Docs, Philippe Bellaiche / Home Made Docs (France, Switzerland, Canada)

• Re:collection, dir. Dane Dodds, prod. Antoinette Engel (South Africa, Denmark)

• Recovery, dir. Roman Bondarchuk, Vadym Ilkov, prod. Darya Bassel / Moon Man (Ukraine)

• Ship of Fools, dir. Liang Zhao, prod. Jia Zhao / Muyi Film (Netherlands)

• Shooting Stars, dir. Parsa Ansari, prod. Milad Khosravi / Seven Springs Pictures (Iran)

• Silence Diaries, dir. Daniela Muñoz Barroso, prod. Daniela Muñoz Barroso / Estudio ST, Leila Montero / Estudio ST (Spain, Cuba)

• Sisters in War, dir. Lay Thida, prod. Lay Thida / Lavender Productions, Maya Newell / Closer Productions (Myanmar)

• Sonia – Searching for Balance, dir. Rita Balogh, Peter Akar, prod. Sára László / Campfilm, Marcell Gerő / Campfilm (Hungary)

• Stitch by Stitch, dir. Alina Baitokova, prod. Adilet Karzhoev / Karzhoev Films (Kyrgyzstan)

• Super Sila, dir. Mohammed Alshareef, prod. Ala’ Abu Ghoush (Palestine)

• The Contract of the Century, dir. Christina D. Bartson, prod. Elijah Stevens / Space Time Films (United Kingdom, United States)

• The Earth Beneath Our Feet, dir. Jack Wolf, Janvier Murairi, prod. Arne Buettner / Kino Adagio, Quentin Laurent / Les Films de l’oeil sauvage, Quentin Noirfalisse / Dancing Dog Productions SPRL (Germany, France, Belgium)

• The Night I Return, dir. Ehsan Fardjadniya, prod. Pieter van Huystee / Pieter van Huystee Film (Netherlands)

• This Body Is My Final Address, dir. August Joensalo, prod. Emilia Haukka / Aamu Film Company (Finland)

• This Version of Me, dir. Gabrielle Zilkha, prod. Ina Fichman (Canada)

• Wild Goose Days, dir. Andrew H. Brown, prod. Andrew H. Brown, Katie Basile (United States)

Rough Cut Presentations

• Artificial Clouds, dir. Josefina Buschmann Mardones, prod. Daniela Camino / Mimbre Films, Boris Garavini / Les Films Invisibles (Chile, France)

• Camels of the Sea, dir. Vikram Singh, prod. Mandakini Gahlot / Elefant Films (India)

• Moon Is Watching You, dir. Chi Hang MA, prod. Chi Hang MA, Catherine CHAN (Hong Kong)

• My Mother & I, dir. Dilpak Mjaeed, prod. Marwa Tammam / Patchwork Productions (Egypt)

• Oh Heart, Don’t be Afraid, dir. Ana Kvichidze, prod. Avtandil Khorava / Moonbow Productions, Mariam Bitsadze / 17/07 Productions, Ana Kvichidze (Georgia)

• Resisting Residents, dir. Nikos Pilos, Arsinoi Pilou, prod. Dafni Kalafati / Filmiki (Greece)

IDFA DocLab Forum

• Artificial (Body) Intuition, dir. Amit Palgi, prod. Amit Palgi (Netherlands)

• The Atlas of Sound, dir. Siobhan Silén, prod. Annika Hagemann (United Kingdom)

• The Bridge, dir. Brandon Powers, prod. Brandon Powers / Our Time Projects (United States)

• How to Make a Chiffon Cake, dir. Hyeunjoo Woo, Jiyun Park, prod. Ubac Studio (South Korea)

• Just a game?, dir. Jo Sol, prod. Georgina Oliva / Shaktimetta Produccions (Spain)

• Lidscape XR, dir. Sebastian Carrasco, prod. Andrés Piñeros / Scrmbld Studio (Colombia)

• Mine Land, dir. Katja Verheul (Netherlands)

• The Passage, dir. Nicole-Christine Strasser, prod. Sebastian Herbst / Arkanum Pictures (Germany)

• This Pleasant Lady, dir. Victoria Mapplebeck, prod. Victoria Mapplebeck (United Kingdom)

• Time Hunter XR: Colonial Protocols, dir. Mark Mushiva, Daniel Chein, prod. Laura Kloeckner / Seera Films (Germany, Namibia, United States)

• TKHAFSH / تخفش (working title), dir. Noor Abed, Haig Aivazian, prod. AFAC Arab Fund for Art and Culture (Lebanon), with Time Based Editions (Belgium)

• We Walk the Bridge of Worlds, dir. Sara de Gouveia, Inka Kendzia, Zinhle Purity Mkhize, prod. Sara de Gouveia / Lionfish Productions (South Africa)