Realscreen Fall 2023

FALL 2023

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HOW THE NON-FICTION INDUSTRY IS NAVIGATING NEW REALITIES

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FALL 2023

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HOW THE NON-FICTION INDUSTRY IS NAVIGATING NEW REALITIES

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27

FIRST LOOK

A PUBLICATION OF BRUNICO COMMUNICATIONS LTD.

The CW’s Heather Olander on her unscripted strategy; Nicole Page asks, would an unscripted talent union succeed?

ON THE COVER

In our “Content Climate” report, Realscreen gathers intel from top distributors to take the pulse of the global non-fiction content business. Typographic treatment by Mark Lacoursiere

CONTENTS

FALL 2023

CONTENT CLIMATE International distributors weigh in on what’s selling where and the climate for copros; U.S. producers on the “big chill”

MIPCOM PICKS Our annual picks for “can’t miss” projects heading to Cannes

WALKING THE LINE Gena McCarthy explores the shared DNA between buyer and seller

12 19 27 41

SPONSORED SUPPLEMENT

A glimpse at priority projects heading to the Croisette

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THE FINAL CUT Ugly Brother Studios’ Mike Duffy talks potential for partnership with social media stars

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EDITOR’S NOTE

Next top models

W

ay back in 2020, when a novel pathogen was wreaking havoc on life as we knew it, we at Realscreen ran several “temperature check” stories and video interviews with execs across the non-fiction screen content ecosystem. Those stories were intended to both take the pulse of the industry as it contended with an unprecedented crisis, and to share tips with the wider community about how to persevere through the challenges we were all facing.

As we approach the tail end of 2023, some of those challenges have abated, but others have emerged.

The global media landscape has been overhauled through rather sizable M&A, and by many accounts, more seismic corporate shake-ups could be on the way. As a result, cash flow is taking precedence over creativity with several major buyers for the time being. And the same applies in the brave new world of streaming, where the big players are also focusing on profitability and being far more selective in the “big swings” department.

Economic ups and downs have been a reality in the entertainment industry for eons, and in many cases, unscripted programming was seen as something of a savior, drawing eyeballs and buzz at a significantly lower price point than scripted projects. But, as you’ll see in this issue’s “Content Climate” report, commissioning slowdowns in various territories are prompting many producers, especially in the U.S., to wonder if, this time, the rollercoaster really doesn’t have any brakes.

It seems there could be at least two fundamental truths at work here.

One: everything old is new again, and the model of looking beyond the buyers in your own backyard to fund your projects is making a necessary, if cyclical, comeback. In an increasingly global content business, a myopic outlook won’t cut it anymore, and the time to search out international opportunities for your content is now. Thankfully, as you’ll see in our special report, those opportunities are indeed out there.

The second fundamental truth is one you’ve seen me yammering about on this page several times, but which has an even stronger resonance now: change is constant, and models of doing business evolve. At press time, one of the labor actions that replaced the pandemic as the bugbear du jour for the screen content business was on the verge of ending. In this case, it took some pain, perseverance and, ultimately, partnership at some level for both sides to step back from the precipice.

It appears that the same “walk to the brink” has been well underway for the unscripted business. The only piece of the puzzle that needs to be reapplied is partnership.

Be well, Barry Walsh Content director and editor-in-chief Realscreen

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Fall 2023 Volume 27, Issue 1 Realscreen is published 4 times a year by Brunico Communications Ltd., 100366 Adelaide Street West, Toronto, Ontario, Canada M5V 1R9 Tel. 416-408-2300 Fax 416-408-0870 www.realscreen.com

EVP Realscreen Mary Maddever mmaddever@brunico.com Content Director & Editor-in-Chief Barry Walsh bwalsh@brunico.com Art Director Mark Lacoursiere mlacoursiere@brunico.com Associate Editor Andrew Tracy atracy@brunico.com Editor, Realscreen Daily Andrew Jeffrey ajeffrey@brunico.com Special Reports Editor Justin Anderson janderson@brunico.com Contributors Mike Duffy, Gena McCarthy, Nicole Page Lead Event Producer Tiffany Rushton trushton@brunico.com Associate Publisher Joel Pinto jpinto@brunico.com Senior Account Manager Kristen Skinner kskinner@brunico.com Marketing & Publishing Coordinator Karyna Dovnich kdovnich@brunico.com

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President & CEO Russell Goldstein rgoldstein@brunico.com EVP, Realscreen & Strategy/ Editorial Director, Brunico Mary Maddever mmaddever@brunico.com Director, Finance and Administration Michelle Plaskon mplaskon@brunico.com Creative Services & Distribution Manager Adriana Ortiz aortiz@brunico.com Manager, Customer Experience Christine McNalley cmcnalley@brunico.com All letters sent to Realscreen or its editors are assumed intended for publication. Realscreen invites editorial comment, but accepts no responsibility for its loss or destruction, howsoever arising, while in its office or in transit. All material to be returned must be accompanied by a stamped, self-addressed envelope. Nothing may be reproduced in whole or in part without the written permission of the publisher.

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FALL ‘23

There’s something about Cannes...

I write this, the team is busily putting the final touches on our MIPCOM issue and getting ready to head to Cannes to see what this year’s market has in store.

I’ve explored the Palais wearing many hats, from my first trip to the market while on Canadian TV journal Playback, then as editor of Kidscreen, and in more recent years for the Cannes Lions Festival of Creativity, and last year back to MIPCOM with the Playback and Banff World Media Festival team. In common across the different brands (and industries) has always been a sense of optimism and the buzz of discovery afoot.

It was at MIPCOM (and other global markets) that the original blueprint for Realscreen was developed and workshopped. And while a lot has changed, some needs remain constant.

For example, one of Realscreen’s launch formats — the Programming Profile, which dives into the content goals of a network, channel or streamer — has been revived this issue in its newer iteration, The Brief.

With the pace of change showing no sign of giving anyone a break, it’s never been more important to understand the nuanced needs of buyers as they plot programming strategies that respond to shifting audience allegiance and advertiser investment. It’s also key to look further afield for ideas and collaboration.

To that end, for this issue Realscreen canvassed key players across the global industry to get insights into who’s buying what. In addition to the “Content Climate” cover story, clues on what’s breaking through can be found in the team’s annual curation of stand-out new unscripted fare hitting the market; and you can also check out the MIPList (page 33), a new sponsored report that’s launching this issue.

At this MIPCOM — and in the coming months — I’m looking forward to hearing

how your business is evolving, and how Realscreen can continue to provide the market intel required to navigate industry change.

Realscreen has always been a platform for sharing and exploring important topics through the non-fiction lens, which may not always get the focus it deserves in more generalist milieus.

There are a lot of thorny issues in the space right now. Both big picture and granular conversations are required to move the industry forward, and the solutions need to come from conversations that span borders as well as across sectors of the industry.

That’s why navigating change is the theme of this year’s Realscreen Summit.

Over four days in January, we’ll be diving into what’s working now, and what’s next.

And we’re assembling an international Who’s Who of the global unscripted/ documentary industry to do so.

The goal is to understand how to adapt to the pressures at play from a programming perspective, and to explore the key factors that will help producers and platforms plan for what’s ahead.

So, join us in New Orleans. Listen to buyers deconstruct what they’re looking for now, and gain first-hand context on why and how programming needs are changing. Hear from producers and distributors on the deal models that are making sense for the current marketplace.

And gain insight into future content needs, as experts look at how shifting audience trends will impact investment.

It’s an important conversation to join.

And if you have great “what’s working now” successes — or content suggestions — we’d love to hear from you.

Cheers, mm Mary Maddever EVP, Realscreen mmaddever@brunico.com

FIRST LOOK

THE BRIEF: Heather Olander HEAD OF UNSCRIPTED, THE CW

By Andrew Jeffrey

While U.S. broadcast network The CW has been historically better known for its scripted dramas, its first-ever head of unscripted, Heather Olander, says her team is working to reinvent the brand.

U

nder the oversight of the former NBCU exec, The CW has broadened its unscripted offering to include the dating series FBoy Island and the food series The Great American Bakeover, both from Velvet Hammer Media, as well as the police follow-doc series The Force, exec produced by SallyAnn Salsano.

While there were a few legacy unscripted series on The CW when Olander was hired, such as Penn & Teller: Fool Us and Whose Line Is It Anyway?, her team — which includes former NBCU colleague Betsy Slenzak — was otherwise starting from scratch.

For now, even as a downturn in the TV business hits other U.S. buyers hard, The CW is in a “build mode”, Olander says, and searching for content with ”multiple entry points for a broad audience.”

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FALL ‘23

When you’re looking at a pitch, what makes it a good fit for The CW? When it premieres, we need people in the door. So [we want] concepts that feel hooky enough, grabby enough [so] that even in episode one, someone who is going through a guide is going to stop and watch. In some cases that’s just a really clear title, recognizable talent, something that I know has some big appeal that will drive an audience and capture their attention. There have to be concepts that are simple enough to come in [and] grab you. They can’t be very complex, with a lot of twists and turns — the slow burn that you may or may not stick around past the first half hour and not come back to. I think that’s super-critical from the linear programming standpoint.

And then I think that it’s back to [being] broad. Concepts that are very narrow and specific, and feel sort of more [like] cable, superserving one specific audience, those probably aren’t right for us.

Also, we’re an entertainment network. We’re not looking to be dark and cynical and super-adult in concept.

In programming a broadcast net, how can you assess the “multiple entry points” you need in potential pitches?

An example would be game shows, which we’re in negotiations for a couple [at the moment]. Game shows [have] adult appeal, because adults like games, it’s IP that they may recognize. But then kids can come in the door [too], and game shows are another great example where [men and women] can both be interested. My family actually loved Password on NBC, which was surprising to me because I have pretty young children.

FBoy Island

Which projects are indicative of the direction you want to take The CW’s unscripted slate?

FBoy Island, for sure. That’s a show with a big title, big IP, absolutely has potential for co-view, male [and] female skew, it’s got comedy. So I think that one is a great example.

[True crime] is a genre that works in different ways on different types of platforms. The show we are doing [the recently announced Crime Nation] is going to be very similar to a Dateline, a 20/20 or 48 Hours, [what] you would see on a broadcast network.

Has the current slowdown in commissioning affected the CW in any way?

No, it hasn’t. We’re one of the few places that is actually in a build mode. We’re buying new stuff, while a lot of places — and this is from several conversations with producers and agents around town — are in a phase [where] they don’t know what the future holds. So for us, we have the benefit that every producer is bringing us all of their best ideas, and we kind of pick and choose.

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FIRST LOOK

Would an unscripted talent union succeed?

By Nicole Page

As labor actions in Hollywood continue to impact the entertainment industry in the U.S. and beyond, unscripted cast and crew members are adding their voices to the call for better working conditions. Here, entertainment lawyer Nicole Page explores if unionization is really the answer, and how production companies can address the concerns.

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It’s

been a tumultuous and challenging time in the unscripted business.

Budgets continue to shrink, entertainment companies continue to merge, buyers continue to disappear and everyone who works in the nonfiction industry is feeling the strain. In the midst of this, talk of unionization is everywhere. No doubt inspired in part by the WGA and SAGAFTRA strikes, everyone from unscripted talent, to producers, to editors are collectively saying, “We’re not going to take it.”

While erstwhile Real Housewives star Bethenny Frankel is leading the charge for unionization of unscripted talent (with SAG-AFTRA throwing its support behind her campaign), other unscripted workers are also fighting for better compensation and working conditions.

In addition to the push for unionization of unscripted talent, there has been a longstanding effort by the WGA to unionize producers of reality shows, and on shows such as Survivor and Swamp People editors successfully unionized under IATSE and achieved full pension, health and welfare benefits, among other protections.

Recently, editors and producers at prolific production company Story Syndicate succeeded in unionizing with the assistance of the Motion Picture Editors Guild and the WGA East.

It has historically been the case that unscripted TV is the lower-budget alternative to scripted, and it could be argued that unscripted production flourished for that reason, particularly on cable.

Budgets are often so low that paying talent a nominal amount became the norm, apart from such examples as the Housewives franchise, where cast members routinely earn upwards of $25,000 or more an episode.

Also, many of the stars of Housewives have parlayed their reality-show stardom into book and product deals — although after Frankel’s sale of her Skinnygirl alcohol brand for a reported $100 million, network contracts with cast members were retooled to include what’s called the “Bethenny clause,” which grants the network a cut of profits from any cast member’s business that is promoted on the show.

Currently, SAG-AFTRA covers hosts of reality competition shows under the National Code of Fair Practice for Network Television Broadcasting, also known as the Network Code. Contestants

… from award-winning producers

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FIRST LOOK

016

and cast members are not covered, but SAG-AFTRA has expressed support for unionizing those individuals as well.

Certainly, reality television is rife with horror stories of individuals alleging mistreatment, and complaints about exploitation are not new. The conventional wisdom is that networks demand more extreme situations and salacious behavior because that’s how they attract and keep an audience; the more sensational, the better. And unlike actors playing a role, reality cast members are indelibly associated with their “character” because they are portraying themselves.

In addition, unlike professional actors — who likely have representation in the form of agents, managers, attorneys, or all three — most people appearing in reality shows have no representation, and have little to no leverage to With or without a bargain for better pay and conditions.

Page union, all people have The casts of the Housewives series and others who make a living from reality the right to a safe and are outliers. It’s hard to justify spending As our firm represents many production equitable workplace. thousands on legal fees when you might companies in addition to talent, we are earn very little from participating on a naturally interested in how our clients could be show. Cast members of shows where there are hundreds of affected by unionization in the unscripted industry. What we find is applicants are on their own, which seems to make the need that production companies are often caught in the middle between for an unscripted talent union that could demand better buyers, who want more drama and higher ratings but are unwilling compensation and working conditions even stronger. to increase budgets, and talent seeking higher compensation.

But would a non-scripted talent union succeed? A strong union Of course, I believe that everyone who works in our industry relies on a large, committed membership that can effectively is entitled to be fairly compensated, but I am concerned that implement the two key tools available to it — namely, collective if production costs increase due to unionization of casts, those bargaining and strikes. Unlike actors, directors and writers, who costs may be taken out of prodco fees. That, in turn, may make devote their entire careers to their craft, unscripted talent may it harder for some companies to thrive, which could then lead to appear on a series for a few weeks or months and then go back layoffs in an already tight market. to their regular jobs. While some individuals earn their livelihoods Whether or not unionization of unscripted workers occurs, from appearing on reality series, most people are not relying on prodcos and buyers should ensure that policies and practices reality-show participation as their sole source of employment. are in place to prevent and report unsafe and exploitative There is also the question of leverage. Whereas skilled, workplace conduct. Most already do so, especially following experienced and bankable actors are comparably limited, state-mandated anti–sexual harassment training and other laws there is potentially an endless supply of individuals willing to that came into effect with the #MeToo movement. participate in reality shows, where all it may take to get the job is The problem — one which is not unique to non-fiction television — a big personality and a willingness to expose yourself. is that many people fear speaking up. Production companies can Separately, unlike actors, who are united in their demands work to combat this fear by clearly explaining to cast members the from the studios, there are myriad motivations for the type of behavior that will not be tolerated on set, and the process individuals who want to appear on unscripted TV. A Top for cast members to report such behavior. When misconduct Chef contestant may simply value the opportunity to appear is reported, prodcos should take complaints seriously, conduct on the series in order to promote her restaurant, while a cast investigations, and implement necessary action. member on a docusoap might care more about residuals or It was recently reported that two cast members on Below Deck an episodic fee.

Down Under were recently terminated for sexual misconduct.

It is worth thinking about the level of cohesion that would Cast member Captain Jason Chambers made it clear that exist between the disparate members of the unscripted talent he had a zero tolerance policy for such behavior. Production community. Those people who will devote comparatively little of companies need to do the same. their career to reality television may feel that being on TV is its own reward. Others who appear on dozens of episodes that are Nicole Page is a partner at Reavis Page Jump LLP in New York, endlessly repeated may feel differently. where she leads the Media + Entertainment group. Page regularly Either way, what cannot be disputed is that reality-show serves as production and clearance counsel for unscripted series and participants should not be subject to unfair or dangerous docs. In addition, she acts as outside general counsel for numerous conditions. With or without a union, all people have the right to production companies, assisting with employment, corporate and a safe and equitable workplace. litigation matters.

FALL ‘23

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FIRST LOOK

FEEDING BACK ON FEEDBACK From notes to casual asides in the edit bay, feedback from the buyer is an integral part of the production process. Here, several producers offer up their most memorable network notes and nuggets of wisdom received.

LUCILLA D’AGOSTINO Head of Big Fish Entertainment & Evolution Media Someone said my cut was “a pumpkin that would never turn into a coach.” It made me a better storyteller, and I still use that line.

REBECCA QUINN Co-founder, Velvet Hammer Media The best feedback is quick feedback! Don’t care if it’s a pass or not, just want it to be fast!

ALISON DAMMANN SVP development, Good Caper Content (an ITV America Company) “I can totally see myself joining that cult.” (Note on a true-crime project)

ROSS DINERSTEIN CEO, Campfire Studios “This will only work if they find the body.”

(Naturally, a note on a true-crime project)

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BIGQUESTION

THE

We’ve recently seen a lot of change within executive DEIA ranks at major media companies. How does this reflect on the industry’s commitment to diversity and inclusion in 2023?

If you want to be set up for success when it comes to DEIA, do you put the same effort into your DEIA department that you do to other parts of your business that you deem essential? I think that’s the problem when companies are filling these roles: it’s not a decision of your heart, it’s a decision for your business.

Everyone knows you do better when you invest in marginalized communities. And in the same way that you don’t make a decision with your heart about how you structure your P&L team or your finance team, when it comes to DEIA you [need to] go with people who understand that side of the business, you invest in them, and you give them the proper support so they can thrive.

So there have to be true accountability measures that organizations are willing to hold themselves to in order to show that they mean it. If they’re not going to commit to truly doing the work, it will lead directly to these conversations about this all being performative.

Bree Frank is a strategic advisor at Staff Me Up and the founder of Hue You Know, a production resource group for media professionals of color.

A lot of the perception of DEIA work is that it’s all about education, and it is that, but it’s not therapy — it’s a problem, and a solution. And there’s a big difference between being an activist, and operationalizing a solution for a problem.

One of the big skills that we’ve focused on [at the Handy Foundation] is [finding] Spanish speakers, because they’ve had shows on television recently that were half in Spanish, and the teams working on them in post had no Spanish speakers at all. That’s a problem! That’s not pie in the sky, that’s not emotional, it’s, “Hey, is what this person saying in Spanish being translated properly on the screen?”

And if you don’t have anyone in your department that can answer that question, mistakes can get made, cultural stories can get told wrong, and then you lose your Spanish audience because they don’t trust you.

Ri-Karlo Handy is the founder and CEO of Sunwise Media and the founder of The Handy Foundation, which connects belowthe-line production workers to job opportunities in Hollywood while helping studios and networks meet diversity and inclusion goals.

CONTENT CLIMATE

Japanese pubcaster NHK is looking for international partners for its project on the MMX Mars Probe. (photo: JAXA, NHK)

CLIMATE

By Barry Walsh

While commissioning slowdowns in various territories are having significant impact on the global non-fiction screen content industry, the good news is that audiences — and broadcasters — still want and need fresh programming. Realscreen checks in with top international factual and unscripted distributors for their takes on current market realities, and the increasing opportunities for international coproduction.

WHAT’S SELLING AND WHERE When it comes to the global appetite for the myriad forms of factual content, the usual suspects remain high in demand, while a few genres are experiencing an uptick internationally.

According to several of the distributors that we polled, true crime is as hot as ever, but at the moment, audiences seem to prefer smaller, more digestible doses of their crime fix.

“We saw over COVID and just beyond a real thirst for long-running crime series, and that has now switched a little bit,” says Karen Young, founder and CEO of Brightonbased UK distributor Orange Smarty. “What’s really in demand is those in-depth, two- or three-parters that really track a particular crime, maybe from lots of different angles or from start to conclusion.

“I think that falls on the back of [how] we’ve had ‘bingeable boredom,’ if you like,” she adds. “We’re not prepared to stay up until 2:00 in the morning binging, because our lives are back to full pace. I think people want that conclusive [series] in a much smaller package.”

Holly Cowdery, head of sales for London-headquartered distributor

BossaNova Media, concurs. “Longrunning crime series have saturated the international market, and now so much is made locally in European territories.”

The “less is more” approach to series volume is carrying across genres as well, according to Will Shapley, head of acquisitions at Abacus Media Rights. Part of the reason for that, he contends, is the current “fewer, bigger, better” mandate being employed by broadcasters in various territories.

“With opportunity in premium and economical programming, it is the ‘niceto-have’ and niche, mid-budget shows that are being squeezed the most,” says Shapley. “While returnable series are what everybody wants — producers, broadcasters, distributors alike — we have also been having real success with single docs, features and limited series.

“In the one-off doc space, the story needs to have direct territory relevance and impact and have a reason for being told at this moment in time, whether it be a global news story, a major anniversary, a groundbreaking discovery, or a stranger-than-fiction event piece,” he adds.

“In general, buyers remain competitive and focused on securing headline 019

CONTENT CLIMATE

020

documentary titles to freshen their program offering,” says Stephen Driscoll, EVP, EMEA and European coproductions for All3Media International.

He points to such limited series and one-offs as the two-part The Kardashians: Billion Dollar Dynasty from Optomen TV and the Rise of the Billionaires four-parter from 72 Films as examples, adding that these and other titles, such as the multi-part The Real Crown: Inside the House of Windsor (also from 72 Films), “enjoyed very strong and competitive bidding across EMEA and Australia/New Zealand.”

Driscoll adds that when it comes to such limited doc series, buyer and audience tastes in APAC and the U.S. gravitate towards celebrity profiles and major global issues. Drilling down into APAC, “Japan, China and the pan-Asian channels offer the most interest for pure docs, while India prefers celebrity-led docs,” he says.

Matt Creasey, EVP of sales, coproductions and acquisitions for Banijay Rights, says the distribution arm of the Parisheadquartered superindie is also enjoying “tremendous growth” in the documentary space, pointing to The Other Mrs. Jordan from Circle Circle Films and October Films, The Rise and Fall of Boris Johnson from 72 Films, and Picasso from Minnow Films as examples of third-party titles that are gaining traction internationally. He notes that the sports documentary subgenre is especially vibrant at the moment, with both one-offs and series in demand.

Creasey also refers to followdoc series such as Ambulance from Dragonfly and 24 Hours in A&E from The Garden as being sought after by

FALL ‘23

Matt Creasey Banijay Rights

international buyers, while Nick Tanner, director of acquisitions and coproductions for Londonbased Passion Distribution, says the UK is mirroring the U.S. appetite for cop content.

“Precinct-based observational documentaries, during the week particularly, are huge,” he says, adding that “ride-along, highly adrenalized cop or pursuit series” are also rating well in the UK and showing promise internationally.

On the unscripted and formats front, familiarity is not breeding contempt among buyers, with many turning to tried-and-true successes and bringing back IP to territories where it might have been dormant for a spell.

Creasey cites the UK return of the Banijay Rights formats Survivor and Big Brother as examples.

But more recent formats are also scoring significant business internationally. All3Media’s Driscoll points to the strong performance of Dutch format The Traitors, which has currently racked up 25 international editions, many of which are on their second seasons.

Vasha Wallace, London-based EVP of global acquisitions and development for Fremantle, agrees that established format franchises are still picking up speed with new audiences, not only via linear broadcasting but also through original seasons commissioned for streamers.

“Got Talent continues to be the world’s most well-traveled talent format — and not only

Jennifer Askin All3Media International

Holly Cowdery BossaNova Media

Stefanie Fischer Off the Fence

that, we’re also seeing talent shows launch in the streaming space,” she says. “We’re really excited about Italia’s Got Talent launching on Disney+, as this is the first time Got Talent will be on a streamer in Europe.”

Wallace also attests to a “strong desire across many markets” for talent-search formats in general, pointing to the performance of Love Productions’ The Piano for Channel 4, which, according to Wallace, was the UK pubcaster’s highest-rated new format launch in six years.

“You’ll be seeing new versions launching in 2024 around the world,” she asserts.

“The other area that has a very strong sales story is game shows,” she adds. “They are attractive to advertisers and are very cost-effective in these challenging financial times, as you can film multiple episodes in one day.” She singles out the U.S. reboot of Password on NBC as a particularly strong performer, with the UK, Spain, Israel, Slovakia, Mexico and Greece also producing local versions of the show.

Will Shapley Abacus Media Rights

Vasha Wallace Fremantle

Yuko Fukuyama NHK

In specialist factual, while natural history production can be a costly affair, the genre also generates consistent demand internationally.

“If I wanted to give some kind of hit list from a sales perspective, you might be surprised that I’m calling up blue-chip wildlife first,” says Patrick Hoerl, managing director for German producerdistributor Autentic Films.

Hoerl states that Eastern Europe is a particularly strong territory

for specialist factual sales, as well as the Middle East, where he notes significant interest in “readymades” for regional and pan-regional channels.

By contrast, Hoerl says the U.S. market seems “super-weak still.”

“We have not seen such a low number of sales into the U.S. as we see now, due to the situation with some of the big players like Discovery and Nat Geo, who are concerned with a lot themselves right now, due to all the mergers that happened over the last couple of years.”

Hoerl says Autenic has moved to offset the downturn in buying from the U.S. by putting a renewed focus on the growing number of pan-regional and global buyers, ranging from Viasat and Sky to factual streamer CuriosityStream. “We are selling a lot to pan-regional players — our sales business has been shifting away from solely being driven by a territory-byterritory view to a multi-layered view that is also looking to buyers who are either panterritory in certain parts of the world, or even global buyers.”

“Nature and wildlife continue to be hugely popular in the rapidly expanding digital and FAST channel market, particularly in the U.S., so we’re able to curate from a strong pipeline of content where oneoffs work, but series are always crucial to include in the mix,” offers Stefanie Fischer, MD of distribution for Amsterdambased Off the Fence (OTF).

“Especially in the U.S. and elsewhere, new global players in the FAST market are popping up everywhere, and they are actively seeking content to build brands and market share. Since nature and wildlife is, if you’ll excuse the pun, evergreen, it lends itself perfectly to these kinds of

opportunities,” she adds.

Regarding other genres in the specialist factual mix, Fischer says history is also performing well, particularly in the UK. Sandra Piha, Cineflix Rights’ SVP of sales for pan-regional, UK, Eire and Scandinavia, says history content “wrapped in a ‘mystery’ is doing well in Germany, the U.S. and the UK, where we’ve seen unprecedented bidding wars over this sort of content.”

More recent history stories, especially those steeped in pop culture, are also appealing to cable nets in the U.S. and streamers alike, she adds, while projects marking noteworthy historical anniversaries also have considerable appeal.

“We have seen a large global demand recently for content related to anniversaries and special events,” concurs David Hooper, managing director for Brighton-based Espresso Media International. “For example, our latest release, JFK: 24 Hours That Changed

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the World, is being very well received by buyers worldwide ahead of the [60th] anniversary of JFK’s assassination.”

Science content is also enjoying a resurgence internationally, with Autentic’s Hoerl referring to “relatable science” as particularly popular with buyers. “Science [content] related to your own existence, your health, the way you choose your food, rare illnesses — stuff like that sells very well, and our clients are asking us for more product along these lines.”

“Climate-focused programming with sustainability at its heart is of course increasing in importance for many clients,” says OTF’s Fischer. “We’ve seen this in a recent volume deal with TF1’s climate-focused channel Ushuaia in France.

“We’re also seeing an upswing in demand for this content in Latin America, Portugal, China and Japan.”

G L A N C E

TERRITORIES TO TARGET UK (true crime, specialist factual, celebrity docs)

U.S. (celebrity profiles, current affairs)

MIDDLE EAST (specialist factual in general)

EASTERN EUROPE (natural history)

APAC (natural history, science, celeb docs)

CONTENT SPEND: FROM COPROS TO ‘ACQUIMISSIONS’ Of course, specialist factual is an area that benefits frequently from international coproduction, and especially during a time when broadcasters around the world are engaging in some form of belt-tightening, having another territory sharing the load — financially and otherwise — can make the difference between a greenlight and a pass.

Japanese public broadcaster NHK is both a major supplier of specialist factual content and a frequent coproduction partner with international broadcasters for event series.

“NHK aims to be a partner on high-impact projects involving major discoveries and new theories that can potentially rewrite the textbooks,” says Yuko Fukuyama, a producer for the pubcaster.

For its 100th anniversary in 2025, NHK is working on assorted big-ticket projects that Fukuyama says “show viewers the value of broadcasting [and] content and look ahead to the future of content creation.” One of these is a science/ adventure project that marks another collaboration between NHK, NASA and the JAXA space agency, which will see JAXA’s upcoming Mars probe (dubbed the Martian Moons Expedition, or MMX) outfitted with 4K and 8K cameras to collect never-before-seen footage of 021

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the Red Planet and its moons, Phobos and Deimos.

“As the project is a mustsee world event, we will be coproducing with partners around the globe from an early stage of development,” says Fukuyama. “MIPCOM will be the perfect place to meet new partners, exchange ideas, and add value to the content we are currently creating.”

The producer also refers interested international producers to two of NHK’s main strands for factual acquisitions: sat channel NHK World’s documentary strand, which slates one-offs and 45- to 60-minute TV cuts in genres ranging from current affairs to technology and more; and the ‘Dramatic Planet’ strand, which runs on NHK’s terrestrial educational channel and is geared towards sub-genres that

lend themselves to family co-viewing, such as natural history, ancient history and engineering content.

Interest in coproduction across non-fiction and unscripted genres is ramping up internationally, according to the distributors and producers we polled. As Mark Bishop, co-founder of Toronto-headquartered Marblemedia, puts it, “What’s old is new again.”

“These are models that we used years ago — how many coproduction partners can you get on board for co-financing projects,” he adds. “But I think we’re seeing this now even with streamers in different territories coming together to co-finance content. There’s still a desire for premium content, but at the same time there’s a desire to find a different economic model.”

“In many cases the only way

to greenlight a show is to find coproduction partners and a healthy pre-sale,” offers Cineflix Rights’ Piha.

“We are seeing the rise of the hybrid commissionand-acquisition model, with broadcasters coming on board as financiers at a lower level than they would pay for straight commissions,” she says.

“Elevated acquisitions, or ‘acquimissions,’ have played an increasingly important part in our financing strategy over the last 12 months, especially within history, crime and factual entertainment genres,” attests Abacus Media Rights’ Shapley.

“We have also been helping British and Irish indie producers set up all rights deals with major U.S.-based networks, who recognize that we can create high-quality content on a lower budget this side of the pond.”

“We’re seeing a consistent

demand across all territories apart from in the U.S.,” contends BossaNova’s Cowdery regarding copros.

“That might be subject to change with the market in a state of such uncertainty.”

“With co-financing, we are focusing on the contemporary history and science genres that complement our catalog, and we are financing many of these projects from France, Germany, the UK and the U.S.,” says Tracy Beckett, commissioning editor of content acquisitions for PBS Distribution & International.

But although production budgets are “clearly rising” and buyers are increasingly under pressure to tighten budgets and keep license fees flat year-on-year, Beckett maintains that “we’re seeing increased interest in locking in rights as early as possible,

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but not necessarily at a coproduction level. Having said that, we continue to see strong interest from buyers who want just coproductions, so that they can shape and tailor the story for their audiences.”

“Buyers are generally being conservative currently across North America, but working to make smart buys even with limited budgets,” says Jennnifer Askin, SVP for North America at All3Media International.

As for copros, Askin says that in North America, “the bar has gotten even higher for buyers to come in at this level — the projects, ideally, will have some sort of subject matter that is universal in appeal but with a new twist or element, be it access or new revelatory information, that takes a

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story farther than it has gone before.”

Tim Gerhartz, MD at Red Arrow Studios International, points to the format Stranded on Honeymoon Island as an example of a recent production model gaining more steam. Format creators Snowman Productions have set up a hub through which they facilitate localized versions for assorted territories.

“Cross-border production, sharing costs, also creative collaboration between channels, [these are things] which increasingly happen these days,” he offers.

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G L A N C E

HOT GENRES TRUE CRIME CELEBRITY DOCS NATURAL HISTORY “RELATABLE SCIENCE” GAME SHOWS FAMILY-FRIENDLY FORMATS

(With files from Justin Anderson, Andrew Jeffrey and Andrew Tracy)

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Even though we are entering the fall, for North American unscripted producers, the past 18 to 24 months have seemed like a long, unforgiving winter, with the harsh chill in commissioning only now showing signs of thawing. Here, several veteran execs share their take on the current state of the American unscripted nation.

“It’s great out there,” said one U.S. producer, who, like the bulk of those interviewed for this story, wished to remain anonymous. “I’ve applied to medical school, and I’m just waiting to get the results back.”

Quips aside, for many in the North American unscripted content industry, the past two years have hardly been a laughing matter. The restructuring of the business itself through mergers and acquisitions — with the Warner Bros. Discovery tie-up being a huge catalyst — saw several companies shed executives and prune budgets, while major streamers that had been given credit for galvanizing the business moved into cautious mode, as shareholders began putting more emphasis on profit. And although there was a

THE BIG CHILL

period of bouncing back in the time we now optimistically refer to as “post-COVID,” that dried up once the corporate focus shifted from a robust content pipeline to free cash flow.

Even with dual strikes that had the staples of scripted content — writers and actors — on picket lines until the end of the WGA strike in September, the unscripted boom that came out of the 2007-08 writers strike didn’t appear. In conversations with U.S.-based producers and agents about the current climate, several words recurred — “unprecedented,” “malaise” and “desperation” among them.

“The industry has been shaken to its core,” opined one senior exec.

“There isn’t any boom as a result of the strikes. I don’t think there ever will be, to be honest. This is the new normal.”

While not many that we polled expect a massive turnaround, at this juncture any glimmers of hope or spates of activity are seen as a welcome change. But while a few execs said they’re noticing more action, the process is substantially different than it was pre-pandemic. The current party line at many networks is that slates are full and greenlight meetings won’t begin again in earnest until January, with some nets apparently claiming they are stocked solid until 2025.

“So how do you float a development team when you’re

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sitting on your hands, waiting for the network to get to the part in their cycle where they can greenlight again?” asked one exec. “No one has the luxury of time in this business, so you just have to go and prep and hope that something cuts through as timely and urgent, and you’ll get a development exec to run it up the chain quickly.”

And even if development is being encouraged, the ratio of new content being developed versus slots available is heavily weighted on the side of the former. “I think people are realizing that if a network has three slots open for next year and has 70 projects in development, it’s not a place that any of us wants to be in,” offered one EP. Still, despite the extremely challenging environment, some producers we talked

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to are choosing to focus on the positive. One veteran unscripted executive said their company has been pitching relentlessly, and even if not every project is landing, keeping lines of communication open and remaining optimistic is key: “The only way you’re going to sell is to have as many ‘at bats’ as possible. We’re kind of ignoring the negative stories we hear every day.”

When quizzed about what networks are somewhat active, our execs pointed to the NBCU/Peacock portfolio, ABC, and even some cable nets — A&E, BET, and, from the WBD stable, Discovery Channel. When it comes to streamers, Netflix is said to still be buying, though “less aggressively than before,” while Roku is “hot and cold.” Some see opportunity with Amazon Freevee, and while the FAST

THE BEST OF THE JOY OF PAINTING WITH BOB ROSS

model is still largely librarybased, some who have legacy series and franchise IP in their catalogs see it as a significantly bright spot on the landscape.

Of the pitches that are generating interest, producers polled pointed to true crime and “stranger than fiction” stories as still in vogue, while on the lighter side, social experiments and “comfort food”-type lifestyle fare is also in demand. Branded content is also being explored more readily, according to some producers, as networks and platforms look for more ways to share the load in funding programming. Opportunities for Canadian producers with some networks have opened up as well, thanks to tax credits, location incentives and other forms of soft-money financing that can help take a chunk out of the production budget.

pati’s mexican table

And, in another sign that the unscripted production business is moving towards greater international collaboration, American producers who built their businesses on the work-forhire model established by the networks are now exploring partnerships with like-minded prodcos in other territories to launch content that can then be brought back to the U.S., and even producing their own fully funded content inhouse with the aim of finding international distribution.

Several producers we talked to said they would be making the trip to MIPCOM for the first time this year.

“I’d rather gamble on our ability to make something that looks good than gamble on someone out there figuring all this out in the next couple of years,” said one. Barry Walsh

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MIPCOM PICKS

MIPCOM PICKS

2023

It’s comforting to know that the current bumpy conditions impacting the global screen content business haven’t curtailed the production and distribution of great programming from around the world.

This year’s selection of picks, made by our editorial team from scores of submissions, runs the gamut from spine-tingling true crime to breathtaking natural history, with a few fun formats thrown in for good measure. Look for more of our MIPCOM Picks online at realscreen.com, and kudos to our Best in Show, which rated the highest in our trademark WOE Index used for judging (that’s watchability, originality and execution).

THE GENTLE ART OF SWEDISH DEATH CLEANING For those who thought the decluttering movement reached its apex with Marie Kondo, let us introduce you to the concept of “döstädning,” or “death cleaning.” The idea, which gained international notoriety in 2017 via a book from Swedish author Margareta Magnusson, is to remove the excess clutter from your life so that your loved ones won’t have to contend with it once you shuffle off this mortal coil — after all, you can’t take it with you. This heartwarming and humorous series, exec produced and narrated by Amy Poehler, brings a trio of Scandinavian experts — an organizer, a designer and a psychologist — to folks who need to clear out their living spaces, and receive the clarity of mind the process also provides. Barry Walsh

BEST IN SHOW

Partners: Paper Kite Productions, Scout Productions, Universal Television Alternative Studio for Peacock; distributed

by NBCUniversal Formats Length: 8 x 60 minutes Premiered: April 2023 (Peacock) Rights available: Worldwide excluding UK, Australia, Netherlands, Nordics (Sweden, Denmark, Finland, Norway)

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MIPCOM PICKS

20 DAYS IN MARIUPOL This feature documentary follows an Associated Press team of Ukrainian journalists trapped in the besieged city of Mariupol as they struggle to document the atrocities of the Russian invasion, trying to transmit their footage to the outside world. The debut feature from veteran war journalist Mstyslav Chernov draws on his daily dispatches and personal footage of his country at war, offering a vivid and harrowing account of civilians caught in the siege and a testimony about the impact of conflict journalism. Justin Anderson

SHAKESPEARE UNFILTERED Partners: AP, PBS ‘Frontline’; distributed by Dogwoof Length: 1 x 95 minutes Premiered: August 2023 Rights available: World excluding North America, Ukraine, France, Germany, Austria, Sweden, Norway, Denmark, Belgium, former Yugoslavia, Czech Republic, Latvia, Poland, Hong Kong, Macau

EARTH British naturalist and presenter Chris Packham is the charismatic guide for this five-part exploration of our planet. With the help of cutting-edge CGI, Packham covers the Earth’s defining moments, from land masses crashing into each other to form continents, to the evolution of humanity, and myriad points in between. The series also illustrates how close our home has come to annihilation over millennia and how it has repeatedly rebounded, with an eye towards our impact on the planet’s future. It’s an ambitious addition to the BBC’s trove of landmark specialist factual series, with The Guardian proclaiming, “[Packham’s] status as a great nature presenter is starting to be set in stone.” BW 028

FALL ‘23

Marking the 400-year anniversary of the publication of Shakespeare’s First Folio, this premium three-parter from 72 Films (9/11: One Day in America, The Real Crown: Inside the House of Windsor) hinges on exceedingly handsome dramatic depictions of the boisterous, decidedly un-genteel milieu in which the Bard of Avon lived, played and wrote. Interspersing its impressively mounted cinematic setpieces with interviews with Shakespeare scholars and historians, the series aims to give a broader portrait of the world that fueled the great dramatist’s imagination, returning what is so often thought of as musty Great Art to the rowdy, populist context in which it was originally created and received. Andrew Tracy

Partners: 72 Films for BBC Two, in association with All3Media International Length: 3 x 60 minutes Premiering: Q4 ‘23 (BBC Two) Rights available: Worldwide excluding UK

CONCORDE: THE TRUE STORY (W/T) Partners: BBC Studios Science Unit, NOVA and GBH Boston, for the BBC and PBS; distributed by BBC Studios Length: 5 x 60 minutes Premiered: July 2023 Rights available: Worldwide

This briskly paced two-parter promises a multi-faceted approach to the history of the world’s first supersonic commercial airliner: as a milestone accomplishment in aviation; a cultural artifact that fused space-age technology with luxury consumption; and, most intriguingly, as a new front in the Cold War. That latter element is strongly foregrounded in the doc, as the jointly developed British-French aircraft became an object of rivalry for the American aviation industry and a target of espionage for the Soviets, which the series highlights with new revelations from recently declassified documents from the KGB archives. AT

Partners: Blink Films for PBS; distributed

by PBS International Length: 2 x 47 minutes Premiering: November 2023 (PBS) Rights available: Worldwide

MIPCOM PICKS

BOOKED: FIRST DAY IN From the team behind A&E’s acclaimed 60 Days In comes another series exploring the reality of the U.S. prison system. Every day in America, around 25,000 people are arrested and booked into jail. Each episode of Booked tells the tale of one of these arrestees, with their permission, as they move through the system and recount what led them to their time behind bars.

From petty offenses to serious crimes, viewers will be taken on a sometimes disturbing adventure as they follow the show’s subjects through the process. JA

SATANIC PANIC: THE PETER ELLIS STORY Partners: Lucky 8 TV; distributed by A+E Networks Length: 16 x 60 minutes Premiered: June 2023 (A&E) Rights available: Worldwide

THE MYSTERIOUS MR. LAGERFELD Billed as the definitive story of the legendary German-born Chanel designer who held sway over the fashion world for more than 40 years, this feature doc from director Michael Waldman and Finestripe Productions traces Karl Lagerfeld’s career as he transformed high fashion from a niche interest into blockbuster entertainment.

Lagerfeld earned millions, spent millions, and often attracted controversy with his provocative statements. The doc seeks out the people who knew Lagerfeld best to examine his legacy and provide a clearer picture of who the man behind the sunglasses really was. JA

Made for the New Zealand digital journalism site Newsroom, this docuseries vividly attests to how the homophobic hysteria that fueled the North American “satanic panic” of the 1980s was constrained by neither geography nor time.

The series recounts the ordeal of Peter Ellis, a gay childcare worker in 1990s Christchurch who became the target of outrageous accusations of child sex abuse and occult practices, leading to a wrongful conviction, a seven-year prison sentence, and an ensuing 30-year campaign to clear his name. Extensive use of contemporary archive propels the story, including the long-lost tapes of Ellis’ police interviews that journalist Melanie Reid literally rescued from a dumpster. AT

Partners: Newsroom; distributed by TVF International Length: 8 x 25 minutes or 4 x 60 minutes Premiered: October 2022 (Newsroom) Rights available: Worldwide excluding New Zealand

DESTINATION MOON Partners: Finestripe Productions; distributed by Cineflix Rights Length: 1 x 90 minutes Premiered: April 2023 (BBC Two) Rights available: Worldwide excluding UK & Eire, Australia, New Zealand, Canada

In 2022, NASA announced a program that would send human beings to our moon for the first time since the Apollo program of the 1960s. With an aim to “establish a sustainable presence on the moon to prepare for missions to Mars,” the program is also notable for its plan to send the first woman and the first person of color to our lunar satellite.

Using archive content, expert interviews and stunning CGI, this documentary explores the history of our missions to the moon, with an eye towards what looks like a fascinating future. BW

Partners: Zed & One Way Films, in coproduction with NHK, for France Télévisions & ZDF Terra X; distributed by Zed Length: 1 x 52 minutes or 1 x 90 Premiering: Fall 2024 Rights available: All rights excl. France, Japan and Germanspeaking territories

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MIPCOM PICKS

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THE GREAT WALL WITH ASH DYKES

MIGHTY AFRIN: IN THE TIME OF FLOODS

Welsh adventurer Ash Dykes returns to China for the follow-up to the record-setting exploit chronicled in his previous docuseries, Walking the Yangtze. Following Dykes as he marches the 13,000-mile length of the Great Wall, the series echoes its predecessor with its potent mix of protagonist-centered drama, in Dykes’ extreme, endurance-testing trek; spectacular scenery, in the remarkably varied landscapes that the Wall traverses (not to mention the mighty structure itself); and fascinating cultural exploration, in the presenter’s meetings and interactions with the people who live alongside the awe-inspiring monument. AT

Breathtakingly filmed, this hybrid documentary follows 12-year-old orphan Afrin on both a geographical and personal journey as she traverses the floodplains of the Brahmaputra River to Bangladesh’s capital city, Dhaka, in search of her father. Greek director Angelos Rallis, who followed Afrin for five years, brings a languid approach to her story, combining verité technique with shades of narrative structure (the “hybrid” part of the equation, akin to Alma Har’el’s mix of documentary and dreamlike performances in Bombay Beach). The result is a unique window into Afrin’s inner and outer worlds. BW

Partners: Zig Zag Productions for Insight TV, China Intercontinental Communication Centre (CICC); distributed by Bomanbridge Media Length: 6 x 60 minutes Premiering: November 2023 (CCTV9, China), March 2024 (Insight TV) Rights available: Worldwide

MR. DRESSUP: THE MAGIC OF MAKE-BELIEVE

SCOTLAND: THE NEW WILD

Produced in association with the CBC, this Amazon Original doc covers the life and career of iconic Canadian children’s entertainer Ernie Coombs, better known to several generations by the moniker Mr. Dressup. A friend of Fred “Mister” Rogers, Coombs built a legacy of kindness, inclusivity and creativity across 4,000 episodes and 29 years on the CBC. The doc, which premiered at this year’s TIFF, combines rare archive with interviews with series puppeteers, the Coombs family and other notable Canadians, including Michael J. Fox, Eric McCormack, Graham Greene and more, who all share the impact that Mr. Dressup and Coombs had on them. JA

Crafted by several of the top prodcos working in wildlife programming, this series explores the evolving Scottish landscape and its wild inhabitants through three episodes covering the Highlands, the islands of the region and the Lowlands. From rugged coastlines to bustling cities, the series utilizes slow motion, time lapse, aerial and underwater photography to illustrate the surprising range of wildlife that calls Scotland home. BW

FALL ‘23

Partners: Marblemedia in association with CBC, Hawkeye Pictures, Pyre Pictures; distributed by Distribution360 Length: 1 x 90 minutes Premiering: October 2023 (Prime Video) Rights available: Worldwide excluding SVOD

Partners: AR Productions, Manny Films for ZDF-Arte, ERT, coproduced by Greek Film Fund; distributed by Cargo Film & Releasing Length: 1 x 91 minutes Premiered: March 2023 (Thessaloniki International Documentary Festival) Rights available: All rights excluding free TV Greece, free TV France, free TV Germany

Partners: Terra Mater Studios, Maramedia, Skyland Productions, Doclight/NDR Naturfilm & BBC Scotland; distributed by Autentic Distribution Length: 3 x 50 minutes Premiered: July 2023 (Servus TV, Austria) Rights available: Worldwide excluding Austria/ Germany, UK/Ireland

MIPCOM PICKS

JFK: 24 HOURS THAT CHANGED THE WORLD

THE UNKNOWN MASTER OF RESTORATION

While the upcoming 60th anniversary of the JFK assassination will surely yield a number of TV specials speculating on the ever-elusive truth behind the killing, this brisk one-hour affair opts to take an immersive dive into the immediacy of the epochal event and its bizarre aftermath.

Employing recently digitized film, photo and audio archive from around the world, the doc aims to offer an hour-by-hour account of the fateful car ride through Dealey Plaza, the hunt for the apparent shooter Lee Harvey Oswald, and Oswald’s televised murder by allegedly wiseguyadjacent club owner Jack Ruby. AT

Beautiful works of art may indeed be timeless, but that doesn’t mean they’re immune to the ravages of time. This two-part documentary from Japanese pubcaster NHK provides a rare glimpse into the work of one of Japan’s most esteemed art restorers, Mayuyama Koji, who has earned the nickname “God Hand” from his many satisfied customers. The artisan allows cameras to capture his process as, with the help of his son Yu, he restores prized pieces that include an early Edo period porcelain horse. BW

Partners: Coleman Television; distributed by Espresso Media International Length: 1 x 45 minutes Premiering: Nov. 2023: Channel 4 (UK), TV2 (Denmark), SVT (Sweden), Viasat (Nordics) Rights available: Territories still available for licensing include U.S., France, Australia, New Zealand, Africa, LatAm, some parts of Asia

THE WORLD’S MOST EXPENSIVE SNEAKERS

COOK AT ALL COSTS

Fronted by ex–Premier League football star and confessed “sneakerhead” Jermaine Jenas, this one-off doc special focuses on the world of sneaker collecting. The global sneaker resale market is expected to be worth more than US$26 billion by the end of the decade, and Jenas takes viewers through what’s driving the craze and where it’s heading. The charismatic presenter ventures across the UK and all the way to New York City to track down some of the world’s priciest kicks, including Michael Jordan’s game-worn sneakers (worth more than a million dollars), and visits a secure vault where he lays eyes on perhaps the most valuable pair of sneakers ever. JA

The mark of an industrious and clever chef is the ability to create something incredible with the ingredients at their disposal. This Canadian culinary competition, hosted by Toronto-based chef Jordan Andino, sees a roster of home cooks battling it out with a budget of $25,000 to spend on creating a gourmet meal. With the winner able to pocket what’s left over in their budget, the contestants can splurge on luxury ingredients or try to create a top-notch dish while going “cheap and cheerful.” BW

Partners: BriteSpark Films; distributed by BossaNova Media Length: 1 x 60 minutes Premiering: TBC (Channel 4) Rights available: Worldwide excluding UK & Eire, Belgium

Partners: Produced by NHK in association with NHK Educational Corporation and Ten-Ten Film & Media (part 2); distributed by NHK Enterprises Length: 2 x 49 minutes Premiered: March/June 2023 (NHK) Rights available: Worldwide excluding Japan

Partners: Insight Productions and Boat Rocker Studios; distributed by Boat Rocker Media Length: 8 x 30 minutes Premiered: December 2022 (Netflix) Rights available: Worldwide, excl.

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JAMES BROWN: SAY IT LOUD Nobody reflected the Black experience in 20th century America better than music legend James Brown. There’s never been a documentary big enough to convey the complex man, his genius, or his vast influence as he both shaped and reflected the changing times – and his story has never been told by a Black director until now. James Brown is executive produced by Mick Jagger and Questlove for Polygram Entertainment. (4 x 60 minutes)

A+E reveals the mysterious, the famous and the controversial A+E arrives at MIPCOM with a slate of new titles that build on the strength of its existing factual and TV movies, as well as the growing success it’s having in the international market with format adaptations.

On the factual side, look for more of the true crime that A+E has built so much momentum on. It has multiple new offerings in the groundbreaking Secrets of franchise — including, Secrets of

Penthouse and Secrets of Miss America — as well as a premium documentary titled Five Families. Narrated and EP’d

by Sopranos star Michael Imperioi, Five Families uncovers the true story of the rise and fall of the heads of the American Mafia in New York during its golden age.

A+E has also found success partnering with A-list talent. The UnBelievable with Dan Aykroyd digs up the weirdest people, places, objects and events in

human history – and it fits perfectly in the mystery series line-up alongside The UnXplained with William Shatner. The docuseries James Brown: Say It Out Loud, meanwhile, is EP’d by Mick Jagger and Questlove.

SECRETS OF PENTHOUSE Discover the unbelievable rise and fall of Bob Guccione, the founder of Penthouse magazine who took on Playboy and pushed the boundaries of adult entertainment. With access to Guccione family members and to those who knew him best, learn the truth about the man and the impact of his legacy. The series is produced by London’s Curious Films. (4 x 60 minutes)

FIVE FAMILIES WITH MICHAEL IMPERIOLI For decades, the five families that comprised the American Mafia — Genovese, Gambino, Bonnano, Colombo and Lucchese — ruled New York City. This documentary special covers the Mob’s explosive and violent growth in the 1920s, up through its golden age of domination in the 1970s and 1980s, and its ultimate downfall. Based on the New York Times bestseller Five Families, the series is produced by LA’s Propagate Content. (3 x 120 minutes)

THE UNBELIEVABLE WITH DAN AYKROYD Dig up the weirdest people, places, objects and events in human history. Take cover from Boston’s Great Molasses Flood of 1919, where 2.3 million gallons of syrup demolished a neighborhood. Try not to squirm with the tonsil guillotine, an 1800’s medical instrument used to selfadminister tonsillectomies. And marvel at FDR’s WW2 plan to use bats to bomb Japan. The series is produced by A+E Factual Studios in New York. (10 x 60 minutes)

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A+E NETWORKS

Website: https://catalogue.aenetworks.com/ MIP Stand Number: C15.A 6.

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OCEAN INVADERS Lionfish are now one of the ocean’s most invasive species, wreaking havoc in waters across the globe.

Ocean explorer Danni Washington and a team of field scientists study how these fascinating creatures – and others, like the invasive murder hornet – open a window into how human activity is impacting evolution in our globalized world. (60 minutes)

APT Worldwide rolls out new slate of compelling factual and docs Boston-based APT Worldwide is a leading supplier of factual content to the global media market. Its slate includes an extensive collection of lifestyle programs (such as Tastemakers, Yoga in Practice and Welcome to My Farm), science and nature (Changing Seas, Doug’s Geology Journal), history (The U-Boat and the Rocket, Code Name: Ayalon, Kasturba Gandhi: Accidental Activist), travel (Rick Steves Best of the Alps, High

Pointers with the Bargo Brothers), documentaries (Modern Ninja: The Last Grandmaster, Anahita: A Mother’s Journey), business (Start-Up, Triumph of the Nerds), as well as art and culture (Black Ballerina, the classic series The Joy of Painting with Bob Ross).

APT Worldwide works with media companies in every territory to license content across all distribution platforms, including broadcast, streaming, VOD, educational, non-theatrical, in-flight,

footage and transportation (excluding theatrical). The licensing team is a division of American Public Television, a leading distributor of content to public television stations in the United States.

GOLDEN EAGLES This hour-long doc follows researchers as they discover how golden eagles adapt to the many challenges they’re facing. Rappel into eagle nests, witness adorable eaglets, go behind the scenes at wildlife rehabilitation centers and see gorgeous aerials of dramatic landscapes that reveal the diversity of this majestic bird’s habitat. (60 minutes)

CURIOUS TRAVELER Curious Traveler takes you to the most intriguing places in the world to dig deep into the mysteries of each destination’s art, architecture and hidden histories. In this latest season, award-winning host and travel writer Christine van Blokland explores the most curious places in locations like France, Switzerland and Poland.

(64 x 30 minutes)

BEHIND THE WINGS Behind the Wings takes you behind the scenes to explore iconic modern and historical aerospace treasures. Experience the discoveries of the James Webb Space Telescope, look back at revelations from the Apollo Space Program, see how electric vertical take-off and landing aircrafts are changing the future of how we move and learn about the technological breakthroughs of the F-35 combat aircraft. (20 x 30 minutes)

APT WORLDWIDE

Kevin McKenna Director, International Sales 1-617-338-4455 Kevin_McKenna@aptonline.org APTWW.org MIP Stand Number: P-1.K68

SPONSORED REPORT

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SILVERBACK Silverback is an epic feature documentary that follows award-winning cinematographer Vianet Djenguet as he fulfils his lifelong dream to embed himself within a gorilla habitat.

With unique and rare access to KahuziBiega National Park, home to the critically endangered Eastern Lowland gorilla, Djenguet takes us into this magical world, bringing the stories of these amazing creatures to life as never seen before. (90 minutes)

OTF tells tales of yesterday, today and tomorrow Off the Fence believes narrative diversity is vital to the future of storytelling. Natural history, the environment and human impact have been at the heart of OTF’s content strategy since the company launched in the early ’90s, long before these issues became fashionable or urgent. The company now articulates its content lineup, when it comes to development, finance, coproduction and distribution, under the themes of ‘Yesterday, Today and Tomorrow’ – its way of clearly categorizing its output.

The genre for which OTF – with offices in Amsterdam, Bristol, London and Toronto – is perhaps best known and awarded is programming focused on climate change and its impact on society, the natural world and the future of our planet. But, as a content-investment company, OTF also looks for its IP to find international homes, so projects tend to have a wider representation and point of view than the average commercial narrative. The company actively seeks out projects it

believes has the power to change hearts and minds – programs that have been hand-picked to demonstrate spellbinding history, brilliant talent and a promise of a brighter tomorrow.

THE ASSYRIAN EMPIRE: THE UNTOLD STORY It was the world’s first superpower. The Assyrians are one of the earliest and greatest empires of the ancient world; an unstoppable, advanced military force, ruling for hundreds of years. With exclusive access to some of the most exciting archaeological expeditions in decades, this film embarks on an epic journey, charting the rise and fall of this mighty empire. (1 x 60 minutes or 1 x 90 minutes)

BILLY AND DOM EAT THE WORLD Actors Billy Boyd and Dominic Monaghan, who portrayed the Hobbits Merry and Pippin in the Lord of the Rings film series, have taken their on-screen “bromance” from Middle Earth into the real world. Billy and Dom Eat the World travels with the duo to six different locations around the world as they explore the unique culinary flavors on offer. (6 x 60 minutes)

PROTEUS With exclusive documentary access to one of the most exciting scientific projects in decades – one led by Fabien Cousteau, the visionary grandson of legendary aquanaut Jacques Cousteau – this one-hour film will follow the design, construction and launch of ‘PROTEUS,’ the planet’s biggest and most advanced underwater research station. It’s a milestone that promises world-changing research into the mysteries of the oceans. (60 minutes)

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OFF THE FENCE

+31 205 200222 info@offthefence.com offthefence.com MIP Stand Number: R7.C30

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INTO THE CONGO WITH BEN FOGLE In this epic series, renowned adventurer Ben Fogle embarks on his most extreme journey to date: exploring the Republic of the Congo to better understand a wildlife, people and land still steeped in great myth and misconception. Fogel encounters incredible, elusive animals, lives with ancient tribes people and takes on challenging journeys through the jungle terrain. (3 x 60 minutes)

Passion celebrates impossible journeys and incredible footage London-based Passion Distribution describes itself as “dedicated to captivating, thought-provoking content,” and its latest slate of premium unscripted documentaries reflects that. The curated line-up of singles and series upholds the company mission: to provide content that cuts through the noise and resonates deeply with global audiences.

The Impossible Journey celebrates the relentless human spirit through Mexican explorer David Liano’s audacious quest: an awe-inspiring 7,000-meter ascent that begins with a daring 40-meter underwater free-dive. Into the Congo with Ben

Fogle, meanwhile, exemplifies Passion’s commitment to immersive storytelling.

From the worlds of CryptoPunks, The Bored Ape Yacht Club and celebrity collectors, to current industry leaders and a community of collectors, NFT:WTF? explores how NFTs have changed the course of the art market.

Damien Hirst and key architects of the NFT movement are captured together on film for the first time, in an absorbing exploration of the NFT space.

Passion’s collaboration with filmmaker Steven Anderson, Merseyside’s

Shearwater Media and a UK broadcaster soon to be announced, brings JFK: The Home Movie That Changed The World. This unique doc uncovers the obscure history of the 8mm film that captured JFK’s tragic assassination. Abraham Zapruder’s footage and narration provide an unprecedented perspective on this pivotal moment.

THE IMPOSSIBLE JOURNEY The Impossible Journey tells the story of one of the most accomplished explorers alive today, David Liano, and his quest to summit 7,000 meters in the southern hemisphere under his own power. In the world of climbing, 7,000 meters is the benchmark for extreme mountaineering. But, as there are no mountains that large outside of the Himalayas, Liano must get creative in order to achieve his quest. (90 minutes)

NFT: WTF? NFT: WTF? is the new feature documentary from BAFTA-winning director David Shulman. The film offers a wild ride into the crypto world of digital art and NFTs or ‘Non-fungible tokens’. NFT: WTF? explores the way artists are responding to the new frontiers of the art market. The film features artist Damien Hirst telling the story of his unique project, The Currency. (120 minutes)

JFK: THE HOME MOVIE THAT CHANGED THE WORLD Only one person filmed the assassination of President John F. Kennedy in Dallas, Texas on November 22, 1963: Abraham Zapruder. Marking the 60th anniversary of the death of JFK, this documentary hears the actual voices of those who were there: witnesses, police outriders, bodyguards and surgeons. And for the first time, bringing together his exclusive words and pictures, Abraham Zapruder reveals what really happened. (60 minutes)

PASSION DISTRIBUTION

+44 (0) 207-981-9801 sales@passiondistribution.com passiondistribution.com MIPCOM Stand Number: P4.C18

SPONSORED REPORT

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WILD ASSASSINS The world’s most deadly animals have their own weapons to help them survive in the wild, from camouflaging cuttlefish and hidden hippos to ferocious great white sharks and venomous spiders and snakes. Wild Assassins takes you on a journey through land, sea and sky to showcase the cunning killers who live there, and how they get their next meal… or avoid becoming one. (8 x 45 minutes)

The streamer’s choice, Syndicado expands its unscripted offering Established as a VOD distributor in 2009, Toronto’s Syndicado has since released more than 1,500 feature docs and unscripted series internationally across the major streamers – from AppleTV and Amazon to Peacock and PlutoTV, and any number in between. The company began theatrical distribution across North America in 2014, and today has a catalog of more than 2,500 hours of broadcast series, docs and award-winning features.

Syndicado works with sales agents and

RAIDERS OF THE LOST SCROLL Award-winning journalist and archaeologist Simcha Jacobovici embarks on a mission to find an ancient scroll from the time of Moses that is said to contain the original Ten Commandments. In this epic adventure, Jacobovici makes discoveries about enigmatic biblical figures such as Mary Magdalene and Saint Paul, all leading him to his most profound discovery to date. (1 x 90 minutes)

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distributors, releasing new and library titles to major streaming partners. It also works directly with independent producers from Canada, the U.S., UK and Australia, helping to finance, pre-sell and distribute projects to major partners in their respective markets, as well as internationally.

In 2022, Syndicado expanded to financing, pre-sales and all-rights distribution to focus on English-language unscripted entertainment for international broadcasters and streamers. The company is offering

a line-up of new true crime and history series, plus a slate of development projects in the true crime, history and paranormal genre for broadcast and VOD sales at MIPCOM 2023.

FINALLY CAUGHT While homicide cold cases leave loved ones with unanswered questions, killers run free thinking they’ve gotten away with murder. Whether it’s due to botched investigations, lack of evidence or science not evolving fast enough, these unfinished tales leave us all demanding justice. Finally Caught investigates these cold cases to ensure the killers are apprehended. (26 x 42 minutes)

FAMILY IN THE WILD Filmmaker Kim Wolhuter, wife Saskia and two-year-old daughter Kiki are a family like no other. They live in the middle of the Sango Wildlife Conservancy in Zimbabwe, home to a vast number of amazing animals, including lion, buffalo, leopard, rhino and elephant. In Family in the Wild, Wolhuter documents his family’s relationships with these incredible animals. (3 x 8 x 24 minutes)

SYNDICADO

Contact: Greg Rubidge Title: President & Founder email: Greg@syndicado.com syndicado.com MIP Stand Number: Telefilm Canada - R8.E1 – Table Booth #25

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ANCIENT APOCALYPSE: SEASON 2 Every continent has its share of ruins; places where crumbling stones tell the stories of fallen civilizations, whether they are buried under the earth or hidden in the shade of the jungle. They all raise the same questions: why do civilizations collapse and vanish? New episodes provide insights into the downfall of some of history’s greatest empires.

(6 x 50 minutes)

ZDF Studios dials in on documentaries This fall, Mainz-based ZDF Studios’ Unscripted team says it is putting a special focus on the documentary segment, where it plans to offer several highlights (both as finished programs and as upcoming projects) focusing on the wildlife, science and history genres.

Besides classic distribution, ZDF Studios is looking for coproduction partners for several new projects, including Lost Women Spies (6 x 52 minutes). Produced

by World Media Rights in London, the series uncovers the harrowing story of

the British women who fought for freedom in Nazi-occupied France.

History of Love (5 x 50 minutes) from Taglicht Media of Köln, meanwhile, will be a new addition to the ZDF science catalog. As long as people have existed, they have had sex. But what about love?

The series focuses on the major turning points in the life of love.

Produced by Guyana-based Blue Paw Artists, Spectre of the Jungle (2 x 52 minutes) focuses on a never-before-filmed monster bat: the vampyrum spectrum.

This elusive creature – with a massive onemeter wingspan – is being studied by a group of young female researchers in the most remote jungle.

MEGA BUILDING COLLECTION What drives scientists, inventors and engineers to push the limits of what’s possible? Innovators continually strive to design and develop technology, machines and buildings that help us defy the challenges of space and time. The latest series of this captivating collection offers incredible buildings, vehicles and projects, providing viewers with fascinating insights into ground-breaking achievements in technology and engineering. (5 x 50 minutes)

NAMIBIA’S NATURAL WONDERS Namibia is a country of contrasts, from the arid savannahs to flowing rivers and rugged coastlines.

This documentary explores the natural wonders of this unique south African country – from the Kalahari Desert in the east, home to a range of rare and fascinating creatures, to the Atlantic coast and its vast beaches. (2 x 50 minutes)

BISON: AN AMERICAN ICON Few things say ‘Wild West’ like the intimidating profile of a bison, an enduring icon of North American wilderness.

In this one-off documentary, filmmakers follow the life of a bison from the day of his birth to his development into a strong bull. It’s a chance to witness the indomitable spirit of a true survivor, recognized as a symbol of the American identity. (50 minutes)

ZDF STUDIOS

Ralf Rückauer Vice President, Unscripted +49 6131 991-1610 unscripted@zdf-studios.com zdf-studios.com MIP Stand Number: R7.D5

SPONSORED REPORT

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list WILD ZAMBEZI Overcoming its historical and daily struggles against the encroachment of man, the journey of the lesserknown Lower Zambezi National Park in Zambia has become a microcosm that reflects the ongoing epic and existential crisis that nature faces globally.

It’s a big tale told by one of the world’s most vulnerable ecosystems.

The series is shot in 4K UHD and is produced by Greater Good Productions.

(8 x 60 minutes)

GRB Media Ranch launches with slate of premium factual and formats In the fall of 2023, two of the industry’s leading indies – Sherman Oaks-based GRB Studios and Montreal’s Media Ranch – joined distribution arms, creating what they describe as “the ultimate programming distribution force for finished programs and formats.”

Based in Los Angeles, principals Gary R. Benz and Sophie Ferron both bring extensive 040

THE NEW

ROUND TABLE Developed by Giza-based DiTurn and headed

by The Masked Singer creator Wonwoo Park, Round Table is a singing competition format that offers both celebrity and non-celebrity versions.

The series was a hit in Korea on KSB2 and was named by industry trend watcher K7 Media as one of the “Seven to Watch” best formats of 2023. (3 x 60 minutes)

expertise to the company, along with an experienced international sales team.

With a portfolio of more than 5,000 hours of premium entertainment, from factual to fiction, GRB Media Ranch offers a 360-degree approach to marketing impactful programming, like break-out format Round Table and the epic Wild Zambezi series.

COLLABORATORS

GRB MEDIA RANCH

Gary Benz and Sophie Ferron Co-Principals 1-818-728-7600 info@grbmediaranch.com grbmediaranch.com MIP Stand Number: R7.A16

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I’m

not an artificially generated android, but apparently, I could play one on TV when I get excited by an idea.

I’ve been told, occasionally by my patient husband and often by tolerant colleagues, that when I hear something that sparks an internal creative reaction, they can see the binary code processing in front of my eyes and hear the actuators and gears whirring as if I was an automaton. (My husband sometimes adds cartoon SFX for emphasis.) They collectively call it my “Terminator Mode” — not in an aggro way, but because they know that the multiple paths of content creation, monetization, and IP exploitation are popping and exploding with potential in my brain.

When I ran unscripted divisions for networks, that thought process was always helpful. Now, as the head of my own production label, I have to sometimes turn that internal voice down, depending on the situation. But to be honest, I’d never want to turn it off — it’s part of who I am. And I’m very happy to say that the skill set required to launch a start-up label is very similar to what’s needed when you build a content platform: you just have to select which strand of your genetic code to deploy.

Let me explain. It’s exciting to see how fluid the lines between buyer and seller can be, with talented people migrating from one side to the other seamlessly. Ideally, when executives share that genetic code — the collective experience of making decisions as both an unscripted producer and as a platform executive — there is greater empathy to brainstorm new business solutions that benefit everyone. Success on one side doesn’t mean the annihilation of the other. If we tap into the right parts of our shared DNA, good things happen.

For me, I have to sometimes pull hard on my programming background reins (“Whoa Nellie, slow down!”) when pitching. Who cares about all the spin-off potentials when the thing doesn’t exist yet?

Just make the sale, dude.

WALKING THE LINE

CRACKING THE CODE

You never want to be that smug jerk who pitches a network exec and then lectures that exec about what you did when you sat in the buyer’s chair. If you’re listening to buyers when they articulate their needs and have done your research, then hopefully the concepts you’re sharing are at least in their target zone — even if they’re passes. Sometimes it’s best to simply listen and learn. The biggest thing I wrestle with now as a seller is based on my ex-programmer DNA: I probably worry too much about whether the concepts we pitch will perform at a high level for buyers. I admit it’s really hard to mute that part of my brain and experience, but I don’t want to pitch people crap.

Our goal at Unconventional is to create franchises that will run a long time for our partners, and for us, I do tap into my network DNA to be really honest and thoughtful when we bring our ideas to market. We want long-term success for everyone, so trying to balance a quick sale with a content pitch built to last is part of our process. We want to build trust.

As a seller, once we get a greenlight, the key motivation is to make the first season as amazing as possible. So while it is really hard to mute that inner franchise voice — please, buyers, do forgive me for possibly sharing a spin-off idea or monetization thought prematurely — I’m now concentrating on growing the genetic strand that marks this side of the line now, and focusing on that first season order to make it stellar.

Gena McCarthy is the president and founder of Unconventional Entertainment, a part of Sony Pictures Television.

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THE FINAL CUT

WHY SOCIAL CONTENT IS

THAT ATE

TELEVISION

Jimmy Donaldson, aka MrBeast (photo: Getty Images)

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FALL ‘23

Social media stars are attracting audiences and dollars with their authentic approach to content. According to Mike Duffy, cofounder of Ugly Brother Studios and food content plattform YumCrunch, that makes them the perfect partners for unscripted producers.

J

ust like reality TV was 25 years ago, social video is a burgeoning category of entertainment media.

And if this sounds like old news, you’re right.

The actual, of-the-moment news is that social video has grown up and brought 63% of the world’s viewing population with it. As former TV exec– turned–media cartographer Evan Shapiro has noted, the majority of viewers are under 40 years old, and average daily use of social media, at 2.5 hours, easily rivals watch time on TV and streaming.

Free streaming is now used more on a daily basis than what we call traditional paid media, and that has paved the way for creators such as the massively popular YouTuber MrBeast to compete in viewing time with a “top-10 Netflix show,” according to independent analyst Ben Evans.

If you’ve been hiding under a rock, MrBeast (born Jimmy Donaldson) has built an audience of over 150 million YouTube subscribers. Up until 2017, Donaldson was a middling content creator with about one million subscribers. Once he started producing videos with reality-style hooks, challenges and stunts, his audience grew exponentially.

The next wave of social content will follow that same trajectory.

Fans, hungry for a more dynamic viewing experience, will — via clicks, comments

and shares — inspire differentiated and bolder content development from their favorite influencers. And the content creators who are able to respond to this demand will graduate from being influencers to becoming brands of their own.

In order to understand where the social content industry is heading, we can look back to the journey of reality TV from a new content category in the late 1990s to an umbrella of subgenres that today includes competition, wish-fulfillment, constructed documentary, dating, performance, instructional and the wildly popular guilty pleasure called docusoap. Similarly, social content as a category will subdivide into multiple specialized viewing experiences.

While MrBeast is generally credited with creating the first real evolution in social content, the shoulders he stands on belong to the creators of decadesold reality competition shows such as Survivor, The Amazing Race and many others. At the time, those shows were truly groundbreaking: they featured real people doing extraordinary things with big money on the line. It’s the same formula that Donaldson and his MrBeast team have channeled to generate billions of views for their content, and to spin it all off into a giant business with its own line of products and brand partners who benefit from unprecedented conversion.

That newfound, tech-enabled ability to sway consumers is the most powerful difference between legacy media content and social content. Imagine if reality shows like Top Chef or Shark Tank were able to elevate the viewing experience with frictionless shopping straight from the show — not as an afterthought, but as an intrinsic element of the show itself.

Take, for instance, MrBeast’s YouTube video, I Opened a Restaurant That Pays You to Eat at It. Dropped in December of 2020, this YouTube special has 168 million views as of this writing, and launched a global chain of MrBeast Burger restaurants that grew so fast it collapsed under its own weight. Because Donaldson couldn’t guarantee quality control, he has now decided to shut the whole thing down in favor of focusing on his snack line, Feastables, which is a growing part of his $1.5 billion empire.

What’s the secret to this success in audience and commercial growth? A reality-style hook, and the trust that Jimmy Donaldson has created with his audience.

At a time when mistrust of institutions, industries and corporations is at an all-time high, social influencers are seen as real people who care about their audiences and carefully curate on their behalf. In short, they can be trusted.

For brands, this provides an invaluable halo effect that can’t be manufactured. But without trust, the bond breaks.

At the dawn of reality TV, viewers felt that they could see versions of themselves, their friends and their families on screen — it was familiar, almost transparent. But it soon began to feel exploitative.

As the genre began to grow, it produced so-called “hoax” shows such as Joe Millionaire and $25 Million Hoax that incorporated wish-fulfillment tropes only to have a “gotcha” moment in their gameplay, and “guided reality” sitcoms such as Duck Dynasty,, in which Middle America’s favorite bearded family “played themselves” in constructed scenarios.

By 2016, viewers had had enough Easter Bunny–isn’t–real moments to regard reality TV as fraudulent. Today, fans are aware of this “constructed reality,” and uphold their own suspension of disbelief willingly. But for some who came to the genre at its inception, the current constructed crop doesn’t cut it.

And now, along come the influencers, with no middleman standing between them and their fans. No corporations, no executives, no obvious sales-driven interlopers. For today’s stars of social content, trust forges the most important bond between them and their audience.

And paradoxically, this is why, when scandal hits, some of them are able to expand their audiences even further. People can forgive other people, but they have a much harder time forgiving an institution.

Assuming influencers can hold onto the trust they’ve cultivated with their audiences, there’s a creative renaissance coming that mirrors the boom of reality TV. The growing ecosystem of managers and agents representing influencers is a key indicator of where things are headed.

This, too, mirrors the rise of the representation economy around reality show stars.

Duffy

Without all the trappings of corporate entertainment, social content creators can be more nimble. For decades, it has taken many months or longer for television to offer more of what the audience loved. In social content, that same turnaround happens in days.

But creators are human, and can only do so much on their own. Collaborations with idea generators and unscripted producers who came up in the reality boom are a natural solution to over-extension and the all-too-real risk of burnout.

A mix of experienced producers who are skilled at creating unscripted content plus fresh talent who have built their own fiercely loyal audiences could generate a wave of “real” programming that will not only dwarf the success of reality TV, but also has the potential to last much longer.

An Emmy-winning and James Beardnominated producer, Mike Duffy is known for food series like Eat the World with Emeril Lagasse on Prime Video and Fresh, Fried and Crispy on Netflix, which he produced with his brother Tim at Ugly Brother Studios.

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