MIDPOINT Series Launch 2023

Now Running

Make your series idea a marketable project. Learn how to improve your script as well as your skills, and find out possible funding opportunities. Both limited and ongoing series projects are welcome.


Nine promising series projects

Participating projects are divided into three groups of three, and each group's development is overseen by both a group leader and participating development executive. 

Arizona Joe

A fictionalized account of a summer during the late 1970s in Riga Film Studio. The studio is finally making a new blockbuster called “Arizona Joe”. In order to escape conscription in the ruthless ...
MIDPOINT participants: Dace SiatkovskaMatiss Kaza
Project detail

Behind the Wall

Chaos erupts in an old upper-class building in Vinohrady when 35-year-old Triska Nemecova-Rose returns from the United States to inherit her father’s building. In the 6 months following her father’s ...
MIDPOINT participants: Vasco VianaIuliia MamaevaLia Berger
Project detail


Cosmina is a police officer in the Romanian coastal town of Mangalia. When a body is discovered on the shore, Cosmina and her partner, Liviu, are assigned to the case. The identity of the victim is ...
MIDPOINT participants: Ioana LascarAndrei Epure
Project detail

I Seek a Kind Person

On the night of December 10th, 1938, a train with 500 Jewish children leaves Berlin “Anhalter Bahnhof” station. Among them are Ruth, Iris, Jona, Henri and Elisa - five children from the ...
Project detail


MARTA is a first-time Polish Search and Rescue (SAR) captain. During one of the first rescue missions under her command, a Swedish yacht mysteriously goes missing. The case of the sunk ship is ...
MIDPOINT participants: Kaja JalochaMalgorzata Pilacinska
Project detail

Rainbow Gravity

After robbing the dealer Mule, and stealing a stash of illegal hormones stuffed in a panda sex toy, a gay drug dealer Ash, and his best friend, lesbian gambler Lily, decide to sell them fast and ...
MIDPOINT participants: Andjela LazicSara SaricSara Saric
Project detail

Brain Drain

Serbia, 2033. Over the past decade, not much has changed for the struggling country (surprise - still not in the EU) - apart from becoming a hot luxury travel destination. All thanks to flexible ...
Project detail

Love is a Pitch

Group of 30-something women with ‘the fear of missing out’ establish an amateur football club to start a journey of reshaping views on failure through unexpected win, togetherness. The only thing ...
Project detail

The Palace

Standing on the top of banking, booze and hotel industry, the Fassbind family has created its name for some time already in Engelberg, a Swiss mountain town. Fassbind Jr., a man ahead of his time, ...
Project detail


The next generation of Central and Eastern European series-content professionals

Development Executive Participants


Inspirational professionals with passion for sharing their experience

To ensure the most complex approach to training, Series Launch works with established and well-respected industry names coming from Central and Eastern Europe, Western Europe, USA or Australia.


Head of Studies

The Head of Studies oversees the general methodology of the program, ensures the needs of the participants are met in the most effective way, and guarantees the practical value and industry impact of the training delivered.

Gabor is a trailblazing professional: showrunning three seasons of the HBO Europe high end drama Golden Life, he boldly went where no man has gone before!

Gabor Krigler
Gabor’s career began in the writing staff of a daily serial at Grundy UFA in 1999. He became Creative Executive at the Budapest office of HBO Europe in 2010, responsible for all creative aspects of ...
Complete bio

Group Leaders

The Group Leaders oversee the development of projects in their group from the very beginning of the training until they graduate from the program. They also coach the development executive participant assigned to their group.

Gabor Krigler
Gabor’s career began in the writing staff of a daily serial at Grundy UFA in 1999. He became Creative Executive at the ...
Complete bio
Steve Matthews
United Kingdom  
Steve was Consulting Producer on all three series of Neil Jordan’s series The Borgias for Showtime Networks, and ...
Complete bio
Tatjana Samopjan
Tatjana Samopjan is a creative consultant, lecturer and coach specialising in development of TV series, films and ...
Complete bio

Development Executive Mentor

The Development Executive Mentor attends and co-creates the training program for the development-executive participants, ensuring that it's implemented into group work and that the collaborative set-up simulates a real-life industry environment.

Christopher Haug
Christopher Haug is a Norwegian screenwriter, consultant and executive producer. Haug began his career in television ...
Complete bio

Financing Tutor

Marike Muselaers
MARIKE MUSELAERS started her career at Fortissimo Films and RTL Netherlands before joining the Lumière team. After a ...
Complete bio

Producer Tutor

Nebojsa Taraba
Nebojša Taraba, producer & partner, production company DRUGI PLAN, ZAGREB (CROATIA). Drugi plan is a leading ...
Complete bio

Pitching Tutor

Agathe Berman
Agathe Berman a.k.a The Pitchologist, is a slash figure: pitch expert/producer/writer/teacher/artistic consultant. She ...
Complete bio

Guest Tutors

These established professionals attend one of the workshops to share their particular professional expertise.

Benjamin Harris
Complete bio
Ben Morris
United Kingdom  
Complete bio
Maggie Murphy
United States  
Complete bio
Cyril Tysz
Complete bio
Tim Wagendorp
Complete bio


A year long intensive program combining various formats

The 9 creative teams, split into 3 groups, work under the guidance of internationally renowned and experienced tutors and in close collaboration with development executive participants who are involved in all parts of the program.

  • All Participants
    Project Pre-training
    March 14 - 17, 2023 | Online

    Project team members are introduced to serial storytelling with lectures and dramaturgical consultations addressing the structural differences between features and series, and tackling the subject of the series concept and a pilot.

    Formats and Genres in Drama Series
    Benjamin Harris
    Tuesday, March 14, 11:30 - 13:00 CET | Online

    How do anthology, continuing and limited series work? What are common TV drama genres? Examining the formal structures and common story elements that compose the “DNA” of a series, we will look for the ‘engine’ that powers the storytelling in each series format and genre: the careful interplay of character, theme, arena and plot.

    So, What Makes It a Series?
    Cyril Tysz
    Tuesday, March 14, 14:30 – 16:00 CET | Online

    At the core of each series lies an engine, a central question, a central conflict that, unlike in a movie, must not be solved. Stretching a movie for 8 hours might not be the solution either, for a series is NOT a long film chopped into small pieces. So how do you provide the fuel to go beyond the pilot? What sustains the conflict and makes the audience want to watch the next episode?

    While in film, the legendary chicken and egg question of which comes first: the plot or the character remains unanswered, in TV series, CHARACTERS are the way to go: they are the reason we come back to watch the show.

    In this lecture, Cyril will study the specifics of series characters. How they have to be approached, how they must be combined and confronted with one another in order to sustain conflict and generate situations and scenes for a long time. He will also discuss how they affect the narrative specifics that are at the core of any series, whether procedurals or serialized, all that good stuff that makes a series – a series.

    The Alpha and the Omega
    Maggie Murphy
    Tuesday, March 14, 16:30 – 18:00 CET | Online

    Ms. Murphy will discuss the highlights of the most powerful and critical parts of your script… The beginning and the end. In this market of television where there are hundreds of shows to watch - how can you break out of the clutter. It is critical to hook the audience in the first 10 or 15 pages. This is the heart of your show… the make it or break it. Maggie will screen an assortment of iconic pilot openings and analyze why they keep the audience mesmerized. There will also be discussion on the ending of your pilot and how it must also be equally strong to bring the audience back for more.

    Tim Wagendorp
    Wednesday, March 15, 10:00–11:30 CET | Online

    What is sustainability and how can it be applied within the AV industry? Are the environmental challenges limited to production only, or do writers also play a role? We will jointly dig deeper into these topics using hands on examples from Flanders.

  • Development executive participants
    Pre-Training for DE Participants
    March 13 - 17, 2023 | Online

    Development Executive participants, guided by their mentor, are briefed and pre-trained in their basic script-editing skills.

  • All participants
    Workshop 1: Series Concept
    March 27 - April 2, 2023 | Prague, Czech Republic

    The creative teams are led to defining their series concept and theme, and outlining their pilot scripts. The workshop consists of group work, individual consultations, lectures and series analysis.


    Each Development Executive is assigned to the group of projects and observes the group work led by the group leader. The participants get acquainted with the dynamics within the creative team. Their learning process is debriefed within meetings with the development executive tutor, as well as the project teams themselves.

    The Narrative Foundations of a Series Project
    Gabor Krigler
    Tuesday, March 28 | Prague, Czech Republic

    Gabor Krigler, the founder of Joyrider TV and former Creative Executive and Producer at HBO Hungary, will explain how the pilot episode of a drama series must serve many different needs. It has to be a great story itself but it also must set up a long, ongoing narrative. He will be looking at the various elements that need to be introduced in a pilot to hook the audience and create an emotional experience they want to return to. The second part of the discussion focuses on the creative processes behind the show bible and what it needs to contain to help sell your project first, and then serve as a springboard for further development.

    TV Series with No Expiration Date
    Tatjana Samopjan
    Tuesday, March 28 | Prague, Czech Republic

    Understanding deep structure in serial storytelling

    What makes some TV series last and get better with each season, while others start dying after just a few episodes? Why do some affect us deeply, while others are temporary entertainment? What are the necessary ingredients in a high-quality series – the kind that does not have an expiration date?

    As it turns out, the answers can be found in patterns bursting out of a fiery volcano…

    This lecture is an exploration of deep structure in serialised stories of lasting quality.

  • All participants
    Online Consultations
    April - June, 2023 | Online
  • All participants
    Workshop 2: Season Arc and Mini-Bible
    June 12 - 19, 2023 | Czech Republic

    Creative teams work on completing their pilots, and creating their season arc and season outlines. They focus also on the role of a director, the project pitching documents, production aspects as well as the financing strategy.


    Development Executive participants continue the involvement in the group, serving as script editors, observing the work on the pilot episode, and getting trained in the financing strategies and production issues together with the creative teams.

  • All participants
    Online Consultations
    July-November, 2023 | Online
  • All participants
    Workshop 3: Pitching and Acquiring Partners
    November 9 - 15, 2023 | Tallinn, Estonia

    Each project arrives with a revised pilot script and a completed pitch book/mini-bible. Workshop focuses on creating marketing strategies, refining pitching skills and familiarizes participants with the specifics of different segments of the series market. It concludes at the Industry@Tallinn & Baltic Event and its TV Beats market, offering debates, panels, lectures, case studies, master classes and the pitching presentation of all projects and participants within.


    The Development Executive participants are present at the pitching training and rehearsals of the projects and also prepare for their own presentations, to pitch themselves as industry professionals. They will also use the networking opportunities at the event for their future careers.



A pushing experience that gives you confidence

Successful series

Selection of our successful alumni


  • I have an idea of a series but it's still early development. Can I apply anyway?

    Absolutely! The sooner in the development process you apply, the better. Series Launch is designed as a "bottom-up" training program, and will help you create your show from scratch.

  • What the fudge is a development executive?

    In our region, you might know the profession under the term "television dramaturg" or "commissioning editor". It basically is the script consultant and person who oversees the creative development of series. He/she stands on the broadcaster's side mostly, but could also easily be a development producer at a production company. Read more by clicking on the links stated in the "Overview" folder of this page, or simply ask us.

  • I'd like to apply with a limited series. Am I eligible?

    Sure! But before you apply, take a moment and first think about why is a series format the one you're thinking of as opposed to a feature film. Is there an engine moving your story? Are you working with a more complex world? (...) Took that moment? Okay, so now apply.

  • Once selected, how much time should I allocate to the training?

    Quite honestly - a lot. Series Launch is an intensive training, and apart from the assignments and work done during the residential workshops themselves, it operates with a system of tasks and deadlines in between the three workshops. So clear that calendar out a bit.

  • Can I apply with a short form series (web series/digital series)?

    Not for this particular program. But brace yourself! We are also offering a special training for the short form series (under 20 mins per episode) creators! Check it out here.

  • I'm developing a 90-minute 3-part mini-series. Am I eligible?

    Sadly, no. Based on our experience, the series rules do not quite apply to formats running over an hour and tend to behave more like feature films. It certainly is a format finding its place on television, we've however opted to focus our training to projects that are series in their core.

  • Can I apply with a reality show, documentary or animation series project?

    Sadly, this program does not work with reality show, animation or documentary projects, its focus are fiction series projects (drama, comedy, etc.).

  • I’m a writer. Can I apply myself?

    Apply yes. But please note that to be able to enter the training, you'll have to partner up with an independent producer. This is important as the creative collaboration between the writers and producers represents the core of MIDPOINT Institute in general and moreover, it is an essential part of the development process. 

  • What is the ideal number of project team members?

    Taking into account the methodology of collective group work, we strongly recommend applying as a project team consisting of 2-3 creators, ideally consisting of writer, (co-writer), and producer.

  • I have difficulty finding a producer: Can I still apply with my project?

    The way how Series Launch is designed, a producer is really needed to be on board. You can consider coming as a writer-producer yourself and taking on another co-writer. It would only mean that you'd have to take over the position of the producer at a certain point of the training and focus more on production planning.

  • I'd like to apply as a writer and a producer at the same time.

    This is of course possible, but as series writing, in general, is team-based, we really really really suggest bringing another writer with you. During the workshop, you'll be asked to brainstorm and come up with new, and then some new, and then other new ideas, and this is difficult to do in a one-man-show set-up. It might come in handy to have somebody to bounce off your ideas along the way.

  • Can we replace the members of our project team in the course of the training?

    The continuity of work of specific persons during the entire program is essential. Therefore, it is not possible to add (or replace) the team members during the program.

  • The creator is a novelist/playwright.

    We embrace all kinds of talent coming from different types of backgrounds. But because we actively and intensely work during the run of the program (both during and outside the residential workshops), it might be a good idea to bring an actual screenwriter – somebody who's familiar with screenwriting structure and formatting and used to day-to-day deliveries, as the tempo and demands during the workshop might seem a bit overwhelming for a first-time writer. This person can be added to the team alongside the creator.

  • I have this great idea for a show based on a historical figure...

    Great! We love those. But don't forget that you're not writing a Wikipedia profile for a specific person or event in history, you're telling a story. Don't describe it; narrate it. Pitch it to us as if we were the viewers already watching the show on the screen.

  • Do I have to pay the whole amount of the participation fee at once?

    It is possible to pay the participation fee in three instalments corresponding to the three parts of the training program (i.e., 3 * 600 EUR per participant).

  • Does MIDPOINT Institute offer scholarships?

    It does. However, these are only partial, cannot be allocated to all participants, and their granting therefore considers various criteria. We HIGHLY recommend applying to a local supporting organization (national or local funds, ministries of culture or education, professional associations, etc.) at the same time you're applying to MIDPOINT Series Launch. You can always withdraw your application if not selected, but as the processing time of this support can be rather long, it might be quite late to do this once we confirm you're in.

  • Am I eligible to apply for a scholarship?

    We don't have a particular list of eligible countries, as basically the entire region we work with is eligible. We do give out scholarships; their allocation and value depend on the selected projects and teams - based on how many of them come from countries with no system of support.

  • How do I write my biography/resume?

    Be clear about which of the projects you're mentioning were actually produced/released and which are being developed, and with the ones already made, name a few specific results (festivals, awards, number of viewers, etc.).

    Also be clear what specifically your role was in these projects. Mention relevant international training programs you've participated in the past, interesting collaborations you've been

    a part of and in what role, industry events / presentations you've taken part in and in which capacity.

  • What exactly is a “series pitch” and “statement of purpose”?

    You can find a detailed description on all the requested submission materials on the first page of your submission form. You can access the form once you've created a profile at the MIDPOINT Visitor Page (see instructions in the "Application" segment of the program’s web profile).

    No worries! You can save the form anytime you like and come back to it later, and you can also save or submit any number of applications you like!

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