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Philips and Disney partner to transform children's MRI scans. 23 June 2026 AXREM Welcomes Innovative Philips and Disney Collaboration to Enhance Paediatric MRI Experience AXREM is pleased to see member company Philips launch a new initiative in collaboration with The Walt Disney Company, designed to help make MRI examinations less daunting for children. The collaboration integrates Disney characters and storytelling into Philips' Ambient Experience for MRI platform, creating a more engaging and reassuring environment for young patients undergoing imaging procedures. Available in healthcare facilities across 87 countries, the immersive experience combines visual, audio and lighting elements to help reduce anxiety and improve comfort during scans. MRI examinations can be particularly challenging for children, who may find the unfamiliar environment, loud noises and requirement to remain still intimidating. Philips reports that evidence from a multi-centre European study found that child-friendly immersive content reduced stress levels among children aged 6-10 and helped decrease interruptions during scans, supporting a smoother imaging experience for patients, families and healthcare professionals. The initiative builds on Philips' long-standing commitment to paediatric imaging innovation and demonstrates how technology, design and patient-centred thinking can work together to improve healthcare experiences. Disney-themed content will feature a range of familiar characters, including favourites from Disney, Marvel, Star Wars and Pixar franchises. Sally Edgington, CEO of AXREM, said: "It is fantastic to see Philips continuing to explore innovative ways to improve the patient experience. Diagnostic imaging can be an intimidating process, particularly for children and initiatives such as this demonstrate how technology can be used not only to support clinical outcomes but also to create a more positive and reassuring healthcare journey for patients and their families. As the trade association representing suppliers of diagnostic imaging technologies in the UK, AXREM welcomes innovations that place patient experience alongside clinical excellence and operational efficiency."

Send your pre-loved toys on a new adventure at Reading Cinemas. The Walt Disney Company Australia has teamed up with Save the Children and Reading Cinemas to support a Toy Rehoming initiative where Australians can donate their quality, pre-loved toys to help children in need. Disney and Pixar's Toy Story 5 themed donation booths will be in place in the foyer of Reading Cinemas around Australia, ready to accept gently used toys, books, puzzles and games in good working condition. Donated toys will set out on a new adventure to help Save the Children create a world where every child has a safe and happy childhood. Save the Children op shops save countless toys from landfill each year, helping to create a more sustainable future while raising funds to support their life-changing programs. Save the Children Australia's CEO, Mat Tinker, said: "Save the Children is proud to team up with The Walt Disney Company Australia and Reading Cinemas to help children in need across the country. "When toys are donated, they begin new adventures through its retail stores all over Australia, helping to raise vital funds for Save the Children's life-changing work in the process. "In particular, this initiative will support its Play2Learn program, which uses guided play to build early literacy and numeracy, strengthen social and emotional skills, and nurture the confidence, curiosity and resilience children need to thrive at school and in life. "By investing in play, we are helping create brighter futures for children, families and communities." The Walt Disney Company Australia and New Zealand CSR Senior Manager, Kate Brent, said: "We're proud to support this toy donation drive with Save the Children and Reading Cinemas. Disney and Pixar's Toy Story films are beloved with characters who hold a special place in the hearts of generations. This initiative gives kids in need the opportunity to experience the wonder of toys and to enrich their lives through imaginative play." Reading Cinemas Australia & New Zealand's Managing Director, Mark Douglas, said: "Reading Cinemas Australia is proud to join with The Walt Disney Company Australia and Save the Children on the Toy Rehoming project to help make a meaningful and positive impact in its community. "Our cinema teams look forward to collecting toy donations on their behalf to help make play possible for every child regardless of their circumstances." Recommended toy donations at Reading Cinemas. * Educational toys * Building blocks and puzzles * Children's books * Plush toys in good condition * Games and creative play items To learn more about the Toy Rehoming project, contact your local Reading Cinema or you can find out more here. About Disney and Pixar's Toy Story 5. The toys are back in Disney and Pixar's "Toy Story 5," and this time it's Toy meets Tech. Woody (voice of Tom Hanks), Buzz Lightyear (voice of Tim Allen), Jessie (voice of Joan Cusack) and the rest of the gang's jobs are challenged when they come face-to-face with Lilypad (voice of Greta Lee), a brand-new tablet device that arrives with her own disruptive ideas about what is best for their kid, Bonnie. Will playtime ever be the same? "Toy Story 5" is directed by Academy Award(R) winner Andrew Stanton, co-directed by Kenna Harris, produced by Lindsey Collins, p.g.a., and written by Stanton and Harris from a story by Stanton. The film features the original song "I Knew It, I Knew You" - performed by Taylor Swift and written and produced by Swift and Jack Antonoff - along with an original score by Oscar(R) winner Randy Newman, who returns to score his fifth "Toy Story" feature. "Toy Story 5" is rated PG and releases exclusively in Australian cinemas on June 18, 2026. By Angela Sutherland After spending many years hustling stories on busy editorial desks around the world, Angela is now mum of two little ones and owner/editor at Kids on the Coast / Kids in the City. She is an atrocious cook and loves cutting shapes to 90s dance music.

From Novel to vertical series: ai-powered IP adaptation. MinionArts AI & Technology June 16, 2026 Adapting a novel or existing IP into a vertical series is the dominant content strategy for the $11 billion microdrama industry in 2026, and AI production has made it viable at budgets that independent producers can access without studio backing. China's duanju industry runs almost entirely on web novel IP: ByteDance, Tencent, and Kuaishou platforms leverage IP pipelines from COL Group, China Literature, and Tomato Novel to convert proven reader bases into paying vertical drama audiences. Deadline's September 2025 reporting confirmed that nearly 60 percent of China's 830 million microdrama viewers pay or transact, a conversion rate that the industry attributes in large part to the audience pre-qualification that proven IP provides. In the US, Disney selected DramaBox for its 2025 accelerator class and announced in-development projects adapting Disney Publishing YA novels and Disney Music albums. In India, Sameer Sippy Productions executed a cross-border IP licensing deal to adapt 1970s Bollywood films into vertical microdramas for ReelShort, retitling the 1983 film Kissi Se Na Kehna as The Billionaire's Fake Wife. The IP-to-vertical pipeline is not a niche strategy. It is the industry's primary content engine. Why IP works better than original in vertical drama. Adapted IP enters vertical drama with three structural advantages over original content. First, an existing reader or viewer base that already knows the characters and wants more story, lowering the acquisition cost of the first free episode. Second, a validated emotional structure: a novel that held readers' attention across 300 pages has proven its hook-tension-escalation mechanics work in the target market, which transfers to the vertical format after adaptation. Third, recognizable search terms: a novel title or franchise name generates organic search traffic to the platform listing in a way that original titles do not. Filmustage's 2026 analysis of the ReelShort vs DramaBox competitive landscape noted that local dramas adapting popular online novels achieve higher long-term engagement than translated Chinese content, confirming that the IP advantage is real and market-specific rather than generic. The creative conversion process. Adapting a novel to vertical drama is not compression. It is decomposition and reconstruction around the format's Beat Engine. A 300-page novel that takes a reader 6 to 8 hours contains roughly the same narrative content as a 90-episode vertical series totaling 135 minutes of viewing, but the distribution of that content is completely different. Novels pace across chapters that can span pages without a tension event. Vertical episodes require a hook, friction beat, spike, and Zeigarnik cut every 90 seconds. The adaptation process extracts the novel's core emotional events, its betrayals, revelations, romantic escalations, and power reversals, identifies the ones with highest tension-to-page-count efficiency, sequences them for maximum cliffhanger density, and reconstructs scene-by-scene around the Beat Engine rather than the novel's chapter structure. Vitrina's December 2025 analysis of the Sippy-Service Street IP deal described this process as "Narrative Decoupling": extracting the plot structure while stripping away the original language and cultural context, then rebuilding for the target market and format. For AI production specifically, the extraction phase produces a season beat sheet directly usable as pipeline input, which means the adaptation work and the production preparation are the same work rather than sequential steps. Genre selection for vertical adaptation. Not all IP genres adapt equally well. The format's best-performing genres in 2026 are romance (specifically CEO and billionaire arcs), revenge and betrayal, supernatural and werewolf, and mythology and fantasy. The common thread is emotional extremity and social hierarchy, which map naturally to the close-up face-forward grammar of 9:16 and to the format's dopamine architecture. IP in these genres with proven audiences on novel platforms (Wattpad, Webnovel, Tapas, Royal Road, Pratilipi) is the highest-probability conversion target. IP in genres with less emotional extremity, literary fiction, quiet character studies, procedural mysteries without relationship stakes, requires significant creative transformation to work in vertical and is less efficient than adapting genre-native material. The Shanghai International Film Festival's 2026 Multiverse Micro-Drama Project announced a global open call for microdrama adaptations of Fanqie Novel IPs, the first major festival-adjacent IP licensing structure for vertical drama, signaling the institutionalization of the IP pipeline at the international level. Legal structure for IP adaptation. IP adaptation for vertical drama requires explicit rights. The most common structures in 2026 are: direct option agreements for novel IP, typically 12 to 24 month exclusive development windows with renewal options; co-production agreements where the IP holder takes a back-end share in exchange for development rights; and platform commissioning agreements where the distribution platform funds adaptation in exchange for exclusive platform rights for a specified window. The Sippy-Service Street deal structure used a non-exclusive licensing agreement to the adaptation company with ReelShort as the named distribution destination. For AI-produced vertical drama specifically, the agreement should explicitly address synthetic performers, AI-generated character likenesses, and the use of AI tools in the production process, as these are increasingly specified in 2026 contract templates following the SAG-AFTRA 2026 provisions. Using AI in the adaptation pipeline. AI's role in IP adaptation extends beyond the production pipeline into the creative phase. LLM-assisted beat sheet generation from novel source material significantly compresses the adaptation timeline: a 300-page novel can be processed into a 90-episode beat sheet structure in hours rather than weeks when the extraction and sequencing logic is LLM-assisted and human-reviewed. Character reference generation from novel descriptions produces visual casting that the IP holder can review and approve before production begins. This creates a pre-production approval workflow that did not exist in live-action adaptation, where visual casting requires physical casting and hair and makeup tests before any stakeholder review. On MinionArts Vertex, the approved character references load directly into the character lock nodes and the approved beat sheet loads into the season input, meaning the adaptation approval process and the production start are separated by days rather than months.