Channel 21 International - Fall 2021 by C21Media

New leadership aims to tackle TV’s inequality

international Everything about content

Fall 2021

Disney+ plots major originals push in Europe

21 fresh shows worth catching at Mipcom

PLUS: C21’s Content Business Trends Report | Alex Okosi on YouTube’s Black Voices Fund | C4’s planned privatisation

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13.09.21 22:55

Channel 21 international | Fall 2021 | Issue #311

CONTENTS

UPFRONT

It’s the real thing once again

ome of you reading this will be doing so on real, tangible paper. In your hands, the first issue of Channel 21 International printed as a physical magazine since February 2020. A lot has happened since, but we’re back, ready to hit the Croisette and toast the return of Mipcom to Cannes after last year’s digital-only market. ‘Streamlined,’ rarely a positive word in TV industry parlance, is how the event organisers describe this year’s edition, which will inevitably welcome far fewer delegates compared with previous outings. But the fact buyers from the likes of Netflix, WarnerMedia and the BBC are set to attend, shopping from major distributors housed in about 150 stands, highlights the overwhelming impulse for many in the industry to do business face-to-face again. Sadly, some iconic parts of the Palais remain off limits, however. As a result, I will be mourning my

usual Wednesday afternoon crawls through ‘The Bunker,’ aka Level -1, pacifying my poor sleepdeprived brain with clips from wild and wonderful Japanese gameshows. But, on the plus side, comparatively fewer execs on the ground means getting on the list to sing karaoke at the unerringly popular l’Entrecôte could once again be a faint possibility. You’ll find many of the big talking points at Mipcom this year covered in these pages. From the industry’s ongoing mission to become more diverse and inclusive to the differing international coproduction ambitions of streamers HBO Max and Disney+. Or the potentially disastrous privatisation of Channel 4 in the UK at the hands of a government apparently hellbent on squeezing the life out the country’s cultural institutions. Read on to learn more about major developments in

factual, formats and drama, be it whether the bubble could burst on sports docuseries (page 57), the rise of Covid-19-proof natural history shoots (page 65) or Indigenous-led production companies’ ongoing battle for storytelling sovereignty in Canada (page 75). Meanwhile, from the look of our top picks of programming on offer at this year’s market (page 29), last year’s trend for dog-themed shows appears to have been usurped by camping, while drag continues its unstoppable strut into the mainstream. And those looking for a follow-up to BBC and ITV Studios hit Vigill may have their interest piqued by another tense submarine-set drama, this time with added cocaine. So for those of you in Cannes for Mipcom, enjoy the late nights, early mornings and serendipity of chance meetings. And for those unable to be there, C21’s flagship event Content London returns to the UK capital from November 29 to December 2. We hope to see you there. Nico Franks

CONTENTS

THE C21 CONTENT BUSINESS TRENDS REPORT: Fall 2021 Our quarterly outline of the biggest content business trends starts with a look at the rise in new executive roles focusing on diversity and inclusion.

The growing number of special-purpose acquisition companies, aka SPACs, targeting media and entertainment.

The impact of blockchain technology and ‘tokenised’ digital content.

DRAMA

COUNTRYFILE: South Korea Top execs discuss the rise of South Korean formats and why they resonate with international primetime audiences.

SVOD PROFILE: Netflix UK unscripted series chiefs Daisy Lilley and Ben Kelly are calling for pitches with warmth, humour and heart.

AHEAD OF THE CURVE: Indigenous drama in Canada Efforts to move Indigenous stories into the industry mainstream.

SVOD PROFILE: HBO Max in Europe What the region can expect from the roll-out of WarnerMedia’s streamer.

NEXT BIG THINGS: French scripted Innovative drama formats from France target the international market.

COUNTRYFILE: Ukraine Joining the international coproduction party, with new projects and partners.

DEVELOPMENT SLATE: Particle6 Raj Kalra on why the UK prodco is exploring comedy and science.

CONTENT ECONOMICS: Classic drama How much longer can classic drama retain its Covid-inspired popularity?

MY BIG BREAK: Rose Marie Vega How a terrifying accident led to the founding of LA distributor RMVISTAR.

THREE-YEAR PLAN: Big Deal Co-founder Dhanny Joshi on support from Channel 4’s Indie Growth Fund.

THREE-YEAR PLAN: Boat Rocker Canuck group eyes partnerships with talent on- and off- screen.

DEVELOPMENT SLATE: Banijay Scripted projects with new perspectives in EMEA are a priority.

Companies offering viewers solutions to the problem of content discovery.

Governments globally are increasingly in favour of regulating US streamers.

SVOD PROFILE: Disney+ EMEA The Walt Disney Company’s massive pivot to streaming is ushering in a new era for the US media giant in Europe.

THOUGHT LEADERSHIP: Alex Okosi YouTube has prioritised black creators as it tries to make the platform a safer place for marginalised voices.

NEWS ANALYSIS: Channel 4 The UK government’s plans to sell off the pubcaster has left the country’s indie sector up in arms.

CONTENT ECONOMICS: Natural history Is natural history programming the perfect genre for a pandemic or a logistical nightmare?

NEXT BIG THINGS: 21 on 21 Drag formats, eco-friendly travel and social justice stories are among the trends as Mipcom returns.

THREE-YEAR PLAN: HiddenLight CEO Johnny Webb on Hillary and Chelsea Clinton’s multi-genre prodco.

DEVELOPMENT SLATE: YACF Producers use the UK fund to make teen dramas about social issues.

THREE-YEAR PLAN: Woodcut Int’l True crime content and a move into factual entertainment formats.

THREE-YEAR PLAN: Vertigo London indie looks for more British crime thrillers and explores different genres.

DEVELOPMENT SLATE: Big Little Fish Mark Procter discusses his UK indie’s post-pandemic strategy.

100

FORMATS

AHEAD OF THE CURVE: Reality TV & streaming A look at how the genre is changing as streamers’ appetite for it increases.

FACTUAL AHEAD OF THE CURVE: Sports content Sports docs have proved to be big business for streamers, with linear channels now in hot pursuit of the genre. SVOD PROFILE: Shelter The streaming start-up targeting viewers passionate about architecture and home design.

PRESENT IMPERFECT FUTURE TENSE Alexandra Lebret of the European Producers Club on global rights.

THE C2 C21 21 C CO CONTENT ONT NTEN ENT NT B BU BUSINESS USINESS TRENDS REPORT: Fall 2021

Channel 21 International | Fall Fa Fal a l 2021

Bridgerton

Inclusion riders The C21 Content Business Trends Report, a quarterly outline of some of the biggest trends in the business, continues in this issue with a look at accelerating change across the TV industry, with diversity and inclusion top of the agenda. While much work remains to be done, a string of recent ap appointments signal ho hope of lasting tra transformation. B By Jonathan Webdale

ess than 48 hours after His Dark Materials and This is England scribe Jack Thorne called out the TV industry for failing to give disabled people fair opportunities, the BBC and Netflix announced a partnership to fund dramas featuring disabled creatives in front of and behind the camera. Those who have been campaigning about the issue for years welcomed the move, which came in response to Thorne’s speech at the Edinburgh Television Festival, but could be forgiven for wondering why such swift action has not been more forthcoming more broadly across the business. As the writer, who is a long-term collaborator with deaf actress Genevieve Barr, pointed out, disability is “the forgotten diversity, the one everyone leaves out of speeches,” and yet his own, delivered via pre-recorded video during another coronavirus-induced virtual conference, seemed to have immediate impact. Indeed, events of the past 18 months, while exposing and arguably exacerbating inequalities across many aspects of society, have also leant momentum within some sectors to efforts in tackling these – the brutal killing of George Floyd at the hands of Minneapolis police captured on video and viewed by a global population in lockdown proving the most poignant catalyst. TV, it seems, has been quick to respond, with ViacomCBS, for example, unveiling its “no diversity, no commission” mantra shortly after Floyd’s death and similar initiatives gaining traction across the industry. In June this year, Amazon Studios unveiled an inclusion policy to bolster its commitment to diversity, as well as accompanying guidelines for content creators. It laid out targets for the ethnic and gender mix of each production and set out aims for casting actors aligned with the characters they play – whether in terms of race, sexual orientation, or ability. When Bridgerton creator Shonda Rhimes extended her pact with Netflix in July it was with the caveat that the streamer also supported her company’s mission to increase workplace representation both in the US and UK. And within the last six months, this newfound determination to tackle institutional inequality has

manifested itself in a string of appointments designed to drive meaningful and lasting change. UK broadcaster Channel 4 has added three execs to its creative diversity team in this period – among them disability lead Ally Castle, reporting into group chief Babita Bahal – as, alongside compatriots the BBC, ITV, Channel 5 and Sky, it attempts to redress shortcomings highlighted by non-profit body The Creative Diversity Network. Having appointed group director of diversity and inclusion Ade Rawcliffe to its board in August last year, ITV recently set up an external ‘Cultural Advisory Council’ to challenge its own internal efforts, with members including TikTok’s head of diversity and inclusion in EMEA, Priscilla Baffour. Elsewhere, in May, Banijay-owned Endemol Shine North America (ESNA) appointed the chief development officer at the US Television Academy as its first executive VP of enterprise inclusion and social responsibility. Karla Pita Loor’s newly created role sees her lead all social responsibility efforts for ESNA and its studio labels, including Bunim/Murray Productions, Truly Original, 51 Minds Entertainment and more, as well as leading all diversity and inclusion efforts across these ventures. In the same month, Sesame Workshop, the US non-profit educational organisation behind Sesame Street, appointed NBCUniversal manager of global talent development and inclusion Rosemary Palacios as director of talent outreach, inclusion and creative development. Meanwhile, Sony-owned UK and US kids’ producer Silvergate Media recently promoted executive VP of business and legal affairs Shelli Rottman to chief diversity officer, putting diversity and inclusion further up the Peter Rabbit and Octonauts maker’s agenda. In June, Screen Australia hired former SBS executive Jackie Leewai into the newly created role of inclusion strategy and engagement manager as it gears up for a new report into representation across the industry. National pubcaster ABC is among those in the territory to have significantly stepped up efforts in this area, mirroring moves in other countries like Canada, where counterpart CBC has mandated a minimum of 30% of all key creative roles on indie productions to be held by those who selfidentify as Indigenous, black, of colour, or with disabilities.

THE C21 CONTENT BUSINESS TRENDS REPORT: Fall 2021

Channel 21 International | Fall 2021

Anne Mensah, VP of series, Netflix UK Deaf, disabled and neuro-divergent creators are some of the least wellrepresented groups on television in the UK. Put simply, we want to change that fact. Together with the BBC, we hope to help these creators to tell the biggest and boldest stories and speak to the broadest possible British and global audience. Jennifer Salke, head of Amazon Studios Amazon Studios has committed itself to being a thought and action leader in the transformation of our industry. We know how much work there is to be done to improve representation both on camera and behind the scenes, and it starts at home, with us. With clear directives and a commitment to accountability, these guides provide a path toward a more equitable future, both on- and off-camera. Ade Rawcliffe, director of inclusion and diversity, ITV We continue work to build an inclusive, creative culture where we authentically represent the lives of our diverse viewers on screen and we attract the best people from the widest range of backgrounds. We want ITV to be a place where everyone can do their very best work and progress and thrive based on merit, regardless of their background. Ally Castle, creative diversity disability lead, Channel 4 Channel 4 wants to engage and enable the industry to achieve genuine, lasting disability inclusion. To do this, we know we need to be a part of driving and facilitating big-scale change, working with a range of partners with disability expertise and collaborating with stakeholders across our industry and beyond.

Cris Abrego, chairman of the Americas, Banijay, president and CEO, Endemol Shine Holdings At Endemol Shine North America, we have embraced diversity, inclusion and social responsibility as core business and moral imperatives and committed to content and a workforce that is reflective of the rich diversity of our audiences. Karla [Pita Loor] will be a key partner in creating a culture of inclusivity and innovation across our company, while leading strategic partnerships with like-minded organisations. Dr Jeanette Betancourt, senior VP, Sesame Workshop At Sesame Workshop, we look at every issue through the lens of a child. Children are not colour blind – not only do they first notice differences in race in infancy, but they also start forming their own sense of identity at a very young age. By encouraging these much-needed conversations, we can help children build a positive sense of identity and value the identities of others. Shelli Rottman, chief diversity officer and exec VP of business and legal affairs, Silvergate Media I am thrilled to be able to make a meaningful impact in an area that is important to me. The overwhelming support for embracing new and emerging talent from different communities is clearly evident in the company’s philosophy and its substantial investment in new and exciting g productions. This is an amazing opportunity to help promote mote and guide the next ne ext generation of diverse storytellers and their work.

Sally Riley, head of drama, entertainment and Indigenous, ABC (Australia) The biggest opportunity at the moment is for diverse film and TV makers, actors, writers and crew to get a break into this industry. It will transform the stories that we tell and what audiences watch. For us at the ABC, it’s all about Australians seeing themselves on screen, taking risks, finding stories we haven’t seen before and new ways of talking about life and our communities. Sally Catto, general manager for entertainment, factual and sports, CBC We know we have work to do to better represent the voices and lived experiences of creative talent from Indigenous, black and all racially diverse communities, as well as those with disabilities, all underrepresented groups that are significantly underemployed in the Canadian industry. This new commitment formalises our ongoing efforts to increase equity and representation across all areas.

Genevieve Barr in Jack Thorne’s Channel 4 drama The Accident

THE C21 CONTENT BUSINESS TRENDS REPORT: Fall 2021

Channel 21 International | Fall 2021

MRC’s Knives Out

Special deliveries Special-purpose acquisition companies, otherwise known as SPACs, are nothing new but a large number have emerged in recent months targeting media and entertainment businesses.

month after stepping down as president of WarnerMedia in France, Benelux, Germany, Austria and Switzerland in June, Iris Knobloch resurfaced as co-founder of I2PO, billed as “the ﬁrst SPAC in Europe to be co-founded and led by a woman” and “the ﬁrst European SPAC in the entertainment and leisure sector.” SPACs, or special-purpose acquisition companies, are not new but a spate of them have appeared over the past 18 months during the pandemic, especially in the US but with a growing number now in Europe. Otherwise known as blank-cheque companies,

Iris Knobloch rings the bell at the launch of I2PO on Euronext

these are entities without any assets established via a stock market listing for the sole purpose of buying and merging with an unspecified existing private business to take it public. For those behind them, such placements are quicker, cheaper and generally less onerous than conventional initial public offerings. For investors, they are a bet on the track record of the management team with the possibility of greater upside once the agreed acquisition is revealed. Knobloch brings with her decades of experience at WarnerMedia, Warner Bros and Time Warner, while I2PO is also backed by Artemis, the holding company of France’s billionaire Pinault family. A third backer is Combat Holding, an investment vehicle run by banker Matthieu Pigasse who used the same SPAC mechanism five years ago to launch Mediawan – now owner of businesses including AB Groupe, Aito Media, Atlantique Productions, Palomar, Drama Republic and more. I2PO made its debut in July, raising €275m (US$325m) on Euronext – exceeding its original target of €250m. It will now use the funds to acquire “an established brand,” having identified “considerable growth opportunities in Europe” driven by technological innovation that has accelerated during the pandemic. Covid-19 has forced entrepreneurs to be more entrepreneurial, it has put companies with sound fundamentals in unexpectedly parlous financial situations. It has created stock market volatility,

Channel 21 International | Fall 2021

making flotations less palatable and, for some, it has generated surplus capital in search of new outlets. It is for these reasons that SPACs have surged in popularity, and while I2PO dubs itself the first in Europe focused on entertainment and leisure it is unlikely to be the last. The continent saw only three SPACs last year, raising US$500m, versus 244 in the US that pulled in US$80bn of investment, according to transatlantic financial data firm Refinitiv. At the time of writing, so far this year the number of European SPACs has topped 20, raising US$5.4bn, while 365 in the US have generated US$106bn. As far as media and entertainment goes, the number is also growing. The first to really make a splash 12 months ago was Forest Road Acquisition Corp in the US, a venture backed by a tax credit lending specialist with former Disney executives Kevin Mayer and Tom Staggs at the helm, also counting basketball legend Shaquille O’Neal and Martin Luther King III among its strategic advisors. The outfit raised US$300m in November, having targeted US$250m, and in June this year completed a three-way merger with health and fitness companies Beachbody and Myx. A second Forest Road SPAC was set up in March, raising US$350m. Another US entity, Horizon Acquisition Corp, is already on its third SPAC, filed in March but yet to complete. An affiliate of Eldridge Industries (owner of House of Cards, Ozark and Knives Out maker MRC and others), it merged its first US$575m fund this April with live event ticketing organisation Vivid Seats. In November last year, Horizon enrolled former Netflix originals chief Cindy Holland on the board of another US$525m acquisitions pot. This was due to merge with Switzerland-based sports betting data giant Sportradar but the deal collapsed in June – a reminder that not all SPACs necessarily end well, a case in point for the TV industry being last year’s collapse of Kew Media Group. Others to have entered the fray in recent months include Hearst Magazines editor and chief content officer Joanna Coles as CEO of Northern Star Acquisition Corp; Liberty Media CEO Greg Maffei leading Liberty Media Acquisition Corp; Shibasish Sarkar, CEO of India’s Reliance Entertainment with International Media Acquisition Corp; former CBS CEO Joe Ianniello with Argus Capital Corp; and Emiliano Calemzuk, former chief of Shine Group Americas, Fox Television Studios and Silver Eagle Acquisition. The latter is one in a string of funds from SPAC veterans Jeff Sagansky and Harry Sloan, whose Diamond Eagle merger with US fantasy sports betting operator DraftKings last year is regarded as one of the most successful on record. Calemzuk is now CEO of 890 5th Avenue Partners, which this June struck a deal to merge with BuzzFeed, valuing the latter at US$1.5bn, at the same time giving it the firepower to acquire Hearst and Verizon Communication’s youth-skewing multimedia outfit Complex Networks for a reported US$300m.

THE C21 CONTENT BUSINESS TRENDS REPORT: Fall 2021

Iris Knobloch, chairwoman and CEO, I2PO The success of this private placement demonstrates investors’ confidence in the unique combination of the founders and in our ability to successfully deliver on I2PO’s ambition: accompanying a European champion in conquering the entertainment and leisure market globally. David Craig, former CEO, Refinitiv It’s clear from the capital figures raised that the US is the dominant force within the SPAC landscape, where retail investors have been given that chance to participate in more venture capital-style investments. This could mean more volatility, but it’s an opportunity that European investors are embracing. And that appetite could eventually increase the size and scale of European listings and start to close the gap with the US. Kevin Mayer, co-CEO and co-chairman, Forest Road Acquisition Corp II I see many parallels at Beachbody with the work we did at Disney, where we aggressively accelerated our digital transformation and leveraged our content to build Disney+, ESPN+ and Hulu. The company’s engagement and retention metrics validate the quality and depth of its content library and directto-consumer technology capabilities. Joanna Coles, chairperson and CEO, Northern Star Acquisition Corp We intend to look for businesses who create, produce, own, distribute and/or market content, products and services or facilitate the sharing economy. The use of technology to drive adoption of emerging brands online, together with the ongoing seismic shift in retail sales from physical stores to e-commerce and online activities, makes the beauty, wellness, self-care, fashion, e-commerce, subscription and digital-media sectors even more ripe for attractive business combination opportunities.

Shibasish Sarkar, chairman and CEO, International Media Acquisition Corp The Covid-19 global pandemic will impact the media and entertainment industry differently within various segments. There will be some strong businesses that may end up in special situations and need capital and expertise to grow. Some examples are studios and production houses with strong content libraries and pipelines seeking financing deals to make up for an unforeseen lack of liquidity. Jonah Peretti, founder and CEO, BuzzFeed We’ve built a slate of essential brands, loved by the most diverse, engaged and loyal audience on the internet. We’re taking the next step in BuzzFeed’s evolution, bringing capital and additional experience to our business. The acquisition of Complex Networks will expand our reach into new audiences, complement our entertainment, news, and lifestyle brands, and open the door to even more revenue opportunities. Greg Maffei, CEO, Liberty Media We see opportunities out there where the SPAC could be an interesting tool in our corporate finance arsenal and where we could put capital to work in ways that are beneficial to us and the shareholders of the SPAC. We have several entities, several stocks and they’re all well capitalised but there are different levels of excess capital and ability to apply that, so this is another opportunity to put smart investments to work. Joe Ianniello, chairman and CEO, Argus Capital Our themes of interest include the digital transformation of wellknown media brands, the production and distribution of premium content, the ability to enrich consumer experiences through interactive platforms, and the launch and growth of subscription businesses that build off the strength and scale of media assets.

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Channel 21 International | Fall 2021

John Wick maker Lionsgate is working with NFT platform Autograph

Token gestures Proponents of blockchain technology maintain that it will transform media and entertainment in the same way Bitcoin is shaking up finance, with sales of ‘tokenised’ digital content already soaring.

Micah Johnson’s Aku NFT character

n the same week that a Banksy fan got scammed out of more than US$300,000 for a fake digital work sold via an apparent hack of the British street artist’s website, United Talent Agency (UTA) in the US signed a deal to represent the CryptoPunk collection of cyber characters created by Larva Labs duo Matt Ha Hall and John Watkinson. doubts that non-fungible tokens, or Anyone who w NFTs, have entered the mainstream may wish to think again aga – and the potential for the media and entertainment industry is only now beginning to enterta be truly explored. Relying on the same blockchain technology Rely that underpins Bitcoin, NFTs are unique digital u assets that can be bought and sold using cryptocurrencies, giving the owner irrefutable crypto proof they are holder of the original work. t Interest Intere in the space has ballooned this year, with the high watermark coming in March when auction house Christie’s closed the sale of a virtual virtua work called ‘Everydays: The First 5000 Days’ Days by the artist Beeple for over US$69m. Beyond art, plenty see opportunity in B other oth sectors. Indeed, a month before the Beeple sale, Canadian-based Dapper Labs Bee – the th company behind NBA Top Shot – said fans fan had already spent the equivalent of more mor than US$230m on their US basketball league leagu digital asset trading platform. UTA’s deal with Larva Labs was unveiled UT in August, a week after Visa took its first Au step into the NFT space, paying nearly US$150,000 in Ethereum for CryptoPunk US$1 7610 – one in a series of 10,000 pixelated avatars avata devised by Hall and Watkinson. UTA will work with the New York-based ‘creative technologists’ to expand their ‘creati CryptoPunk character set across film, TV, Crypto

video games, publishing and licensing, as well as representing two further creations called Meebits and Autoglyphs. UTA is actively seeking IP devised in the ‘metaverse,’ and it’s not the only player in Hollywood to be doing so. Along with contemporaries CAA and WME, the firm joined forces this July with tax credit-lending specialist Forest Road Company (also behind a series of special-purpose acquisition companies, see pages 6-7) to launch NFT sales venture Notables. Meanwhile, production and management company Anonymous Content – behind series including Mr Robot, The Alienist and Catch-22 – became the first to option an NFT for film and television when it signed a deal in April with former Major League Baseball player Micah Johnson to develop his young black astronaut character Aku. Star power certainly seems to help in this sector. Also in April, celebrated NFL quarterback Tom Brady founded NFT platform Autograph, with an advisory board including golfer Tiger Woods, tennis player Naomi Osaka, skateboarder Tony Hawk and actress Eva Longoria Baston. Among the others involved in Autograph are Hollywood heavyweights Brian Grazer, the CEO and chairman of Imagine Entertainment; former The CW entertainment chief Dawn Ostroff (now chief content officer at Spotify); and Lionsgate CEO Jon Feltheimer. The latter studio said in July it would help launch Autograph’s entertainment vertical with NFT content based on a string of film and TV properties like John Wick, Hunger Games and Mad Men. Elsewhere, director JJ Abrams, former Google CEO Eric Schmidt and Endeavor CEO Ari Emanuel are among the board members of virtual reality and NFT software firm Otoy, whose investors including Disney, HBO and Discovery. The firm has recently

THE C21 CONTENT BUSINESS TRENDS REPORT: Fall 2021

Channel 21 International | Fall 2021

worked with Marvel and DC Comics artist Alex Ross to release a digital collection of his work on the blockchain. In July, meanwhile, film finance and production outfit Enderby Entertainment teamed with NFT platform Vuele and fintech specialist CurrencyWorks to release Oscar winner Anthony Hopkins’ latest movie, Zero Contact, via a token sale. Technology companies are springing up in this space almost as quickly as digital currencies, and another, called Sator, is readying the launch of a decentralised app that allows users to earn NFTs, tokens and other rewards for simply watching their favourite TV shows. In August, Fox Corporation announced it was investing in Eluvio to provide the underlying platform for Blockchain Creative Labs – an NFT venture it formed in June through subsidiaries Fox Entertainment and Bento Box Entertainment. The aim is to provide content creators, IP owners and advertising partners with the ability to build, launch, manage and sell NFT assets, while at the same time the unit has committed US$100m to a fund that will back interesting growth prospects. The developments came shortly after Fox used its Upfront in May to unveil Krapopolis – a new series from Rick & Morty creator Dan Harmon – as the “first animated series to be curated entirely on the blockchain.” The company will sell digital Krapopolis goods, including NFTs of unique characters, background art and GIFs, as well as tokens that offer superfans exclusive social experiences. Ethereum founder Vitalik Buterin is even set to feature as a guru in new adult animation series Stoner Cats from celebrity couple Mila Kunis and Ashton Kutcher, after crowdfunding more than US$8m for the project through an NFT sale in August. Chris Rock, Jane Fonda and Family Guy creator Seth Macfarlane are also involved. Visa paid US$150,000 for CryptoPunk 7610

Mr Robot prodco Anonymous Content optioned Aku for film and TV

Nigel Green, CEO and founder, deVere Group Technology will inevitably be the investment megatrend of the decade, and we can expect NFTs to become an integral part of this. NFTs are positively changing business models, especially in the creative industries. Cuy Sheffield, crypto head, Visa NFTs are unique tokens that can be used to certify the provenance, authenticity and ownership of a piece of digital media. We think they will play an important role in the future of retail, social media, entertainment, and commerce. Dawn Olmstead, CEO, Anonymous Content We are experiencing a content renaissance fuelled by the convergence of art with tech and an inspired generation of creators using the two to tell stories. Anonymous Content wants to be at the forefront with them. Jenefer Brown, exec VP, global live, interactive & location-based entertainment, Lionsgate NFTs present a tremendous opportunity for mixed-reality worldbuilding experiences, deepening user engagement and interaction and fostering a community for our hundreds of millions of global consumers to create one-of-a-kind digital collections. Scott Greenberg, cofounder and CEO, Bento Box Entertainment; CEO, Blockchain Creative Labs There is great opportunity in tokenised media on the blockchain, which represents a new era in how technology and entertainment will drive one another forward. Our longstanding relationships within the creative community allow us to harness this to bridge together brands and producers with fans in new and interesting ways.

Michelle Munson, CEO and cofounder, Eluvio Fox, Blockchain Creative Labs and Eluvio share a common vision about the ability of blockchain and ‘smart’ assets to fundamentally alter how digital entertainment is created, controlled and distributed. Cameron Chell, chairman, CurrencyWorks Unlike cryptocurrency coins, NFTs are unique. The ability to store extra information like movie scenes, music or gaming content allows IP owners the opportunity to leverage their brand and their imagination, and connect with fans on an exciting new level while adding new revenue streams at the same time. Zachary Tarica, CEO, Forest Road Company We are confident in our ability to replicate the success seen with music and art-based NFTs for film. Technology will continue to drive the evolution of the entertainment industry, and our team is at the forefront of using technology to shape the way filmmakers will do business moving forward. Mark Burg, Saw creator and board member, Forest Road Company NFTs represent a new way to leverage IP and connect with fans. Through the creation of this platform, there is a significant opportunity for filmmakers to source meaningful capital through this new revenue stream and deepen engagement with their audiences. Chris Martin, president, Sator NFTs potentiality span fascinating utilities only beginning to be explored – embedded rights, direct viewer engagement, smart contract-based advertising, shared experiences, shared economies and seamless journeying between screens and virtual worlds.

THE C21 CONTENT BUSINESS TRENDS REPORT: Fall 2021

Channel 21 International | Fall 2021

Aggregation nation Content discovery is a growing conundrum for consumers amidst a proliferation of streamers and the number of companies proffering solutions to the problem is growing.

German VoD service Joyn’s original comedy Jerks

dizzying array of video-streaming services are available today thanks to changes in audience behaviour brought about by YouTube and Netflix and the subsequent paradigm shift within the TV industry. Broadcasters around the globe have been forced to place growing emphasis on their online services, as pioneered by the BBC and its iPlayer over 15 years ago, while the US majors have pivoted in the past two years with Disney+, HBO Max, Peacock, Paramount+ and Discovery+. Plenty of others have arrived on the scene, notably tech giants Amazon, Apple and Facebook, alongside a plethora of smaller players like Acorn TV, Britbox and CuriosityStream. Ad-supported services such as Tubi and Pluto TV have had a growing impact while innumerable niche offerings have proliferated, tailored to specific cross-sections of society. The number of VoD services launched in the UK, US and European Union increased by 32% from 2,270 in 2017 to 3,015 in 2020, with 745 new services arriving in four years. That’s according to a report released in June by UK-based TV distributor Drive based on data gathered at the outset of the global coronavirus pandemic. Covid-19 has accelerated consumer uptake across the board, giving confined populations the time to explore the vast expanse of the streaming universe. Many have become overwhelmed, not only by the choice but cost as well, as the cord-cutting phenomenon that promised promis US citizens freedom from expensive cable bundles bund has been replaced by a similarly priced bouquet of individual subscriptions. US streaming household The average U now has an average of four SVoD to Ampere Analysis. services, according accord largest Western European In the five lar territories, streaming homes territories have an average of two services. Overall, across Western Overa Europe Euro and the US, almost 10% of SVoD homes already take five or more services, says say the research firm. It’s I no surprise that in such an environment a su slew sle of services should spring up aiming to sp simplify the viewer si experience. One of the e most high-profile arrived m on o the scene in May this th year in the form of Struum, a streaming aggregation platform ag developed by a team of dev former forme Disney and Discovery

veterans with backing from ex-Disney chief Michael Eisner’s Tornante Company. Struum charges users US$4.99 a month, giving them 100 ‘credits’ to sample content from more than 50 premium services, including Tastemade, Tribeca, History Hit, Gusto, Indieflix, Cinedigm, Magnolia Pictures and Little Dot Studios. Others, including BBC Select, France Channels, Revolt, InsightTV and OUTtv, are in the pipeline and Struum offers these partners a revenue share plus the promise of converting its customers into full-on subscribers for them. Also gaining momentum in recent months has been a company called ScreenHits TV. UK- and USbased, the business has been around for a decade, supplying technology to the likes of the BBC, Disney, NBCUniversal, Sony and WarnerMedia. In the past year it has introduced a consumerfacing aggregator of its own, giving consumers the ability to bring services such as Amazon Prime Video, Netflix, Disney+, StarzPlay, the BBC iPlayer, Mubi, Hayu and others together on a single, searchable interface. Mixing subscription and free ad-supported services, the firm promises discounts on the former as well as live premium TV channels. ScreenHits bolstered its ranks this summer with the addition of former Amazon Studios head of comedy and drama Joe Lewis to its board, along with former WarnerMedia and Disney EMEA distribution exec Humphrey Black, plus Latin America network and streaming exec Mariano Kon to lead expansion in the region. Around the same time, it moved into Germany through a partnership with ProSiebenSat.1 Media and Discovery VoD joint venture Joyn and moved into the Indian market in collaboration with former Sony Pictures Networks India CEO Kunal Dasgupt. US-based Whip Media Group is another company that’s been on the scene for a while now and is behind the TV Time aggregation service. The business was set up in 2014 as a social media videoclip sharing service but has evolved – in particular, with the acquisition two years ago of content distribution and tracking service Mediamorph. While TV Time is Whip’s consumer-facing product, behind the scenes it supplies enterprise solutions for the likes of Disney, WarnerMedia, NBCUniversal, ViacomCBS and others, designed to help them better manage, distribute and monetise their content. Other notable players include transatlantic aggregator Reelgood, which is also big on audience data and counts former A+E Networks veteran Dietrich von Behren among its ranks. Playpilot is a Sweden-based curator that’s been around for five years, while UK-based start-up Must TV debuted this year but remains in beta, set up by Reef Television founder Richard Farmbrough with former Warner Bros TV UK production chief Claire Hungate on its board.

Channel 21 International | Fall 2021

THE T TH H HE E C2 C211 CO CONTENT C ONT NTEN ENT BU B BUSINESS SINESS TRENDS REPORT: Fall 2021

ScreenHits TV

Lauren DeViller, CEO, Struum Struum is designed to create the easiest way to find more of the content you love through one single monthly subscription. We view ourselves as the ultimate complementary service and a perfect fit for TV and film lovers increasingly frustrated by the costs, complexity and effort required to discover and watch what they want. Michael Eisner, founder, The Tornante Company With so much proliferation in the niche and specialty streaming landscape, there is a clear need for a resource that helps people seamlessly discover and consume content from these services. This is truly a firstclass team that is leveraging their wide breadth of experiences and relationships to create a solution unmatched by anything else currently available that will benefit both viewers and streaming services. Richard Rosenblatt, CEO and founder, Whip Media Streaming has profoundly changed the way we watch, buy, and experience entertainment. The pandemic only accelerated the growth of streaming and consumer demand for new content. To keep viewers engaged, platforms are compiling large amounts of film and TV content and show no sign of slowing down. Managing this amount of content requires technology to do it well. Rose Adkins Hulse, CEO, ScreenHits TV With hundreds of streaming services available, the consumer has too much choice and often gets lost in the vast array of content, creating subscription fatigue and content overload. The app helps to streamline the viewing experience and unlike traditional cable solutions, customers can curate their channels and subscriptions, thus only paying for channels they

actually want to watch versus contributing monthly to the channels they never watch. Humphrey Black, former VP of EMEA media distribution, WarnerMedia With the array of streaming services growing daily, there is a clear customer need for a service like ScreenHits TV, which offers greater simplicity, convenience and value to its users by aggregating their streaming services. I’m excited to be involved in a company with so much potential to be an important player in the new media landscape. Dietrich von Behren, chief business officer, Reelgood The landscape of media – and of cable in particular – has been profoundly influenced and affected by the rise of OTT platforms. The phenomenon of cord-cutting and the move towards not subscribing to arguably expensive cable packages, but rather going to leading sources like Netflix, Amazon or Hulu, have shifted the focus on to content. Richard Farmbrough, CEO, Must TV As linear programming comes to its final days, there is a huge digital-shaped gap in the market to help viewers navigate the growing number of streaming services now on offer. Must TV is the essential guide to all content in a catch-up world where the channel scheduler is no longer king. Constanze Gilles, senior VP of partnerships and business development, Joyn We are pleased to be able to offer our users additional quick access to our entertaining content, like our originals Jerks or Slavik – Auf Staats Nacken. With the cooperation of ScreenHits TV, we are taking another step on our way to creating ‘Entertainment Comfort Zones’ for our viewers.

The final season of Netflix’s Money Heist recently topped charts based on usage of Whip Media Group’s TV Time app

THE C21 CONTENT BUSINESS TRENDS REPORT: ORT: Fall 20 2021 02 211 Clickbait

Stemming the stream The rise of Netflix, Amazon an d others has been welcomed by consumers and industry con stituents alike, but government s around the world are increasin gly in favour of regulating US streamers to safeguard their domestic TV ecosystems.

n July, France became the first country in the European Union (EU) to introduce new regulations requiring streamers operating in the territory to allocate a specified proportion of their revenues to content produced there. The move, which will require Netflix, Amazon, Disney+ and others to invest 20-25% of their French income in local productions, comes as countries around the globe look to legislate against a perceived growing dominance of US players. France may be the first within the EU to implement such rules, but others will likely follow suit – each able to choose their own interpretation of the European Commission (EC)’s 2018 Audiovisual Media Services Directive (AVMSD). The AVMSD was designed to level the playing field for public service broadcasters (PSBs) struggling to compete in an era of global streaming, ensure domestic producers get a fair share of commissions, and safeguard a degree of on-screen cultural diversity. At the heart of the decree is the stipulation for overseas VoD services to offer a minimum of 30% homegrown product to subscribers in each market. The edict also gives governments leeway to set additional rules in terms of investment in local production, as France has chosen to do. Furthermore, the country requires 85% of each streamer’s 20-25% spend to be on French-language programming – two-thirds of which needs to be with indie producers that regain rights to their shows after 36 months. This means, for example, that Gaumont will get back its popular Netflix series Lupin for licensing in three years’ time. In Europe in particular, the ‘work for hire’ production model propagated by US players doesn’t always find favour.

The rights to Netflix series Lupin will eventually return to producer Gaumont under new rules in France

Channel 21 International | Fall 2021

While EU states were supposed to have put versions of these measures in place a year ago, only Denmark, Hungary, the Netherlands, and Sweden met the deadline, prompting the EC to up the pressure on its other constituents – many of which continue to grapple with revisions to outdated existing statute. Poland passed a new broadcasting Act into law in August, becoming the latest to get its AVMSD house in order, but it didn’t go as far as France, opting to leave out the production investment requirement. Major territories including Germany, Italy and Spain are at various stages of enshrining the directive and have yet to finalise their plans, while the UK – despite having left the EU at the end of January last year – adopted AVMSD principles beforehand and remains intent on levelling “the regulatory playing field between mainstream VoD services and traditional broadcasters.” “Now that the UK has left the EU, there is an opportunity to create regulation suited to UK viewers that goes beyond the minimum standards as set out in EU regulation under the revised AVMSD,” states the government. It is currently consulting on plans that will, however, likely focus on ensuring the national PSBs retain prominence on UK screens and that streamers are subject to similar content standards, rather than imposing production quotas. Given the specific challenge US streamers pose to the position of English-language broadcasters, it’s no surprise Australia and Canada are the other two m main territories wrangling over the paradox of welcome inward investment weighed against a welco potential long-term outflow of programme rights, poten eyeballs, cultural diversity and talent. Australian eyeba film a and TV makers have called on the federal government to require international SVoD services gover and local streamer Stan to spend a minimum of 20% lo of their the locally sourced revenues on commissioning new homegrown content. Such a levy would generate hundreds of millions of dollars in annual gener spending and 10,000 jobs, according to trade spend association Screen Producers Australia (SPA). assoc Again, Aga the government continues to consult on the matter matte as part of reforms to existing legislation, with the S SPA’s submission also highlighting the need for streamers to work with Indigenous-led businesses stream on projects with a genuine Indigenous voice. pro Netfl Net ix has hit back, arguing it already outspends Australia’s commercial broadcasters in drama with Austra originals like Clickbait, The White Rabbit Project, origin Tidelands and others, while Amazon warned that Tidela prescribing the number of hours of Australian presc programming on its service would reduce the nonprogra Australian content selection or lead to the “inclusion Austra of low-quality or low-viewership content.” low In Canada, meanwhile, a controversial bill designed to give the Canadian Radio-television & desig Telecommunications Commission power over Tel streamers was thrown out of parliament over the st ssummer as amendments to include services like YouTube, Facebook and TikTok were perceived Y as tthreatening freedom of speech. The result of country’s recent election will determine whether the co ongoing calls for greater scrutiny of international ongoi makes it back on the statute book any VoD providers p time ssoon.

THE C21 CONTENT BUSINESS TRENDS REPORT: Fall 2021

Margrethe Vestager, executive VP, European Commission We want a level playing field for all media players and to better protect children and consumers accessing audiovisual content. We also want to ensure more diversity on video-on-demand platforms and to create a fairer landscape. The AVMSD merits all our collective effort. It is an important achievement. Damien Porte, partner,global distribution and operations, Can’t Stop Media In a market potentially seeing major consolidation among historic broadcasters – a trend mechanically reducing the number of opportunities and pushing commissioning budgets on a downward slope – it is very important to see new entrants committing to invest in original ideas. This new regulation is very promising for independent content creators like us. Pascal Breton, founder and group chairman, Federation Entertainment There will be an American model, which will give all the powers and the rights to the streamers and the studios, and the European model, which gives part of content ownership to creators and producers. What the French government is proposing is a good example for the rest of Europe, and other countries should follow France’s path. You can’t build a strong international studio without funding and rights. Samuel Kissous, president, Pernel Media Current regulations for the TV industry date back to the 1980s, pre-dating streamers. This means they are obsolete in today’s climate, particularly as we are going towards a model where streamers are considered to be like local broadcasters and local broadcasters are becoming more like streamers. The whole industry has been overhauled and we had been expecting a major shake-up of the regulations in France to reflect the current market.

Oliver Dowden, former UK secretary of state for Digital, Culture, Media and Sport Technology has transformed broadcasting but the rules protecting viewers and helping our traditional channels compete are from an analogue age. The time has come to look at how we can unleash the potential of our PSBs while also ensuring viewers and listeners consuming content on new formats are served by a fair and well-functioning system. Matt Deaner, CEO, Screen Producers Australia Streamers are now an entrenched part of the Australian entertainment and cultural landscape, deriving huge financial gain from operating here. Now is the time to be taking steps to ensure they make an appropriate contribution back to local audiences. Incorporating streamers into the regulatory mix and levelling the regulatory playing field with the free-to-air networks will be crucial to unlocking the growth potential of our industry. Troy Reeb, executive VP of broadcast networks, Corus Entertainment We believe we are well equipped to compete with companies even as big as Netflix and Amazon. But we have to do it with a level playing field. We can’t do it in a way that we are so heavily regulated while our primary competitors – and make no mistake, Netflix is the biggest TV network in Canada every night in primetime – face no regulatory burden at all. Stéphane Cardin, director of public policy for Canada, Netflix Imposing the regulatory obligations of licensed Canadian broadcasters on online services would not be appropriate. Services like Netflix do not perform the same roles as traditional broadcasters, nor do we have the same content strategy. Overly burdensome regulation could result in reduced choice for Canadians. As new global services are launched, some may decide not to enter the Canadian market, while others may avoid regulation by providing content through a local intermediary instead of setting up here.

SVOD SV S VOD O PROFILE: PRO Disney+ EMEA

Channel 21 International | Fall 2021

A whole new world? Having mined classic European, Middle Eastern and African stories for over 80 years, The Walt Disney Company’s massive pivot to streaming is ushering in a new era for the US media giant in Europe. By Nico Franks

Disney EMEA president Jan Koeppen

Star on Disney+

t’s no fairy tale to say stories from or based in Europe, as well as the Middle East and Africa, have provided US media giant The Walt Disney Company (TWDC) with some of its most popular and proﬁtable hits over the past century. From Cinderella to Pinocchio, Aladdin to The Hunchback of Notre Dame, Bambi to The Lion King, Black Panther to Luca, EMEA stories have been good to Disney ever since Snow White & the Seven Dwarfs premiered in 1937. In terms of re-investing a proportionate amount of the billions of dollars gained from those movies back into the region’s local producers and storytellers, however, it’s fair to say Disney hasn’t always been good to EMEA. But could that all be about to change, thanks to the streaming revolution and the fact non-US programming is increasingly popular with audiences worldwide? Oh, and not forgetting local content quotas introduced by the EU requiring streaming services such as Disney+ to have a minimum of 30% of their catalogue produced in European countries. A combination of all these factors has meant the Mouse House has spent the past summer making appearances at various European TV events to big up its local ambitions. Meanwhile, the addition of international general entertainment brand Star, bought as part of the Mouse House’s acquisition of major 21st Century Fox assets in 2019, to Disney+ has blown open the scope for more grown-up and

edgy projects to find their way onto the streamer, performing a similar function to Hulu in the US. TWDC is building up a pipeline of originals that will debut exclusively on Disney+ over the coming years, many of which will be the typical big-budget Hollywood superhero and sci-fi spin-offs you’d expect from the home of Marvel and Star Wars. There’s also the thousands of hours of US movies and TV from Disney’s studios, including Disney Television Studios, FX Productions, 20th Century Studios and Searchlight Pictures, that TWDC hopes will chip away at Netflix’s dominance of the world of SVoD in the coming years. As of this summer, Disney+ had 116 million subscribers worldwide, a long way short of Netflix’s 209 million, but the Mouse House streamer still has plenty of new launch territories to go. While Disney+ is now widely available in Western Europe, TWDC has delayed the launch ch of Disney+ in Eastern Europe from m later this year to summer 2022 to give priority to launches in parts of the Middle East and South Africa, while le Asia remains a key focus. The roll-out of Disney+ sney+ around the world is happening ing in tandem with the closure of Disney’s isney’s linear TV channelss in certain international onal markets as the company any continues its shift to o a direct-to-consumer er business model via ia streaming. TWDC C plans to have switched ed

off 100 TV channels around the world in 2021, while networks in markets including the UK, Australia and New Zealand have already gone dark. In times gone by, this would have been seen as disastrous for local producers. But if TWDC execs in EMEA are to be believed, the company is more committed than ever to sourcing, developing and producing content with European production companies. TWDC’s lack of ﬂexibility when it comes to programming rights on program Disney+ will no doubt doub be a bone of contention for European producers used to producer the long lon tail of X

Anything we do under the Disney banner really has to stand up against Marvel and Lucasfilm and all of aga that t a amazing content. Everything has to th be imbued with the Disney qualities of optimism op and hope and joy, and a sense of community.

“

Johanna Devereaux Jo The Walt Disney Company

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SVOD PROFILE: Disney+ EMEA

Channel 21 International | Fall 2021

Disney is adapting Jules Vernes’ 20,000 Leagues Under the Sea, a film version of which was released in 1954

international distribution. But healthy production fees and bonuses could prove enticing. Across all the markets where it is available, Disney is reportedly set to spend US$16bn on content for its streaming services over the next three years. Having previously aimed for 50 European original series by 2024, it recently upped that target to 60, as revealed by Jan Koeppen, president of TWDC EMEA, during a keynote address at the recent in-person Series Mania event in Lille, France. “Disney+ has given us a unique opportunity to build on our legacy of creating Hollywood content that resonates around the world by now also telling uniquely European stories to global audiences,” Koeppen said. “Historically, we were inspired by Europe, but today we are proudly making European content, which is reﬂected in the investments we are making. “While TWDC has a long heritage of producing content in Europe for our channels business, as well as producing some of our big blockbuster movies like Disney’s Cruella or Star Wars: The Rise of Skywalker here, it is the launch of Disney+ that has allowed us to put an afterburner on our European productions and to create a whole new slate of local originals.” Meanwhile, at the Edinburgh TV Festival, EMEA TWDC execs spoke about the importance of investing in UK creatives, diversity and why Disney content must appeal to other demos as well as kids. Anyone out there still under the misconception that Disney+ is a streaming service to occupy children may be surprised to ﬁnd one of its upcoming originals for Star is a darkly comic crime thriller described by Koeppen as a “female Breaking Bad.” Sultan City, an eight-part series from Ayla Gottschlich, Aysel Yilmaz and Two Moons Pictures, follows the respectable matriarch of a GermanTurkish family who accidentally becomes the head of a criminal

underworld, before discovering she and her daughters have a talent for the business. Until now, Disney execs on the ground in Europe with the power to commission high-end content for adults on the continent were few and far between. But now there are a host of familiar faces to whom local producers can pitch. Liam Keelan, VP of original productions for EMEA, who left BBC Studios’ scripted division in 2019, says Disney+ is concentrating its efforts on regional stories and, in the UK, investing in local creatives is an important focus. “There’s such a depth of talent in the UK and we’ve seen that over the past ﬁve or 10 years, particularly in the streaming world. British content travels really, really well,” says Keelan.

More often than not, we will fully fund because we’re looking to have these shows on the platform wherever we’ve got Disney+. That’s not to say we wouldn’t look at coproductions, but the priority is full ownership.

“

Liam Keelan The Walt Disney Company

Among the UK originals on the way are action-adventure series The Ballad of Renegade Nell (8x45’), from Sally Wainwright (Gentleman Jack) and Lookout Point, about a swashbuckling highwaywoman; romcom action thriller Wedding Season, from Dancing Ledge Productions in association with Jax Media and starring Rosa Salazar; and Culprits, a heist series from Stephen Garrett and J Blakeson, starring Nathan Stewart-Jarrett. Other UK-based execs Keelan has added to his team since arriving last year include Lee Mason, the Channel 4 commissioner behind It’s a Sin, to look after scripted in EMEA, and Sean Doyle, another former C4 exec who is now looking for premium docs for Disney+ in EMEA. Meanwhile, as part of the commitment to Europe, two new roles were created earlier this year in Spain and Germany. Sofía Fábregas was appointed as VP of original productions in Iberia, while Benjamina Mirnik-Voges was hired as VP of original productions in Germany. Both are responsible for developing and producing local Disney-branded and Star-branded originals for Disney+. They report to local leadership and Diego Londono, executive VP of media networks and content at TWDC EMEA, who works in collaboration with Keelan. Since the arrival of new streaming services backed by the likes of Disney and WarnerMedia, many producers have been keen to gauge their willingness to coproduce just as their rivals Netﬂix and Amazon have done occasionally. While WarnerMedia execs have suggested HBO Max is open to sharing content in different territories, full ownership of its originals looks to be the goal for Disney+, according to Keelan – although he doesn’t rule out copros completely. “More often than not, we will fully fund because we’re looking to have these shows on the platform wherever we’ve got Disney+. And anything we commission for Star will automatically play on Hulu in the US as well, so it will have that window globally. That’s not to say we wouldn’t look at coproductions, but the priority is full ownership.” X

Soprano: Sing or Die focuses on the French rapper, singer and songwriter (photo: Thesupermat)

SVOD PROFILE: Disney+ EMEA

Clockwise from left: Forthcoming Disney+ shows include a series about Karl Lagerfeld (photo: Christopher William Adach), while Nathan Stewart-Jarrett (photo: Ryan Pfluger) and Rosa Salazar will star in Culprits and Wedding Season respectively

Another key focus for Keelan when it comes to content on Disney+, which costs £7.99 (US$11) per month in the UK, is to provide meaningful stories. In line with this, diversity is a big priority both on and off screen. “Disney’s got a really good track record in diversity and inclusion; you see that reﬂected on screen in things like Moana, Black Panther and other shows. It’s about making sure it’s not just on screen but behind the scenes as well, and that is something we’re doing with every single production from the very off,” he says. “Any producer that we have dealings with gets contacted by Jan Koeppen to say how important it is that diversity and inclusion is part of what we do. From the writers rooms to the people staffing the production itself, that conversation is at the very beginning. It’s crucially important.” Meanwhile, Johanna Devereaux, director of scripted content at TWDC in EMEA, is seeking “local but not parochial” shows with “scale and ambition” for Disney+, with optimistic tones and inclusive storytelling. “Anything we do under the Disney banner really has to stand up against Marvel and Lucasﬁlm and all of that amazing content. Everything has to be imbued with the Disney qualities of optimism and hope and joy, and a sense of community. We’re better together than we are apart – that message is incredibly important for Disney. Inclusive storytelling is really, really important as well.” A strong example of a Disney+

Channel 21 International | Fall 2021

original that ticks the boxes when it comes to diversity and targeting both children and adults, according to Devereaux, is upcoming live-action adventure series Nautilus. Based on Jules Verne’s classic novel 20,000 Leagues Under the Sea, Nautilus is being coproduced by UK prodcos Moonriver TV and All3Media-owned Seven Stories. Devereaux says the series will reimagine Verne’s tale for new generations, building on Disney’s long history with the story which began with the 1954 ﬁlm 20,000 Leagues Under the Sea. “In the book, the story is about the white westerner who comes on to the ship and views it all from the outside. Our version of the story is following Captain Nemo, the Indian prince who has been dispossessed, lost his home, his family, everything, and is going off on this adventure with an incredible, diverse crew to get his revenge. Along the way, he’s going to have an incredible number of adventures under the sea,” Devereaux says. Disney+ has also commissioned a biographical drama based on the life of German fashion designer Karl Lagerfeld for Star as part of its focus on European stories. Kaiser Karl (6x50’) will be ﬁlmed in France and produced by Paris-based Gaumont (Lupin), and is based on the biography of the same name by Raphaëlle Bacqué. Centring on the enigmatic and larger-than-life fashion designer who died in 2019, the series will be made available on Disney+ as a Star original. It traces Lagerfeld’s quest

to become an icon and his love story with Jacques de Bascher in the 1970s. It joins more than 15 previously announced European projects – which as well as drama span comedy, sci-fi and documentary – that have been greenlit in the UK, France, Germany, Italy and the Netherlands so far, with a raft of additional projects in development. Other European originals include Oussekine (4x60’), a limited series from Itinéraire Productions examining the events that led to the death of Algerian student Malik Oussekine in police custody in France in 1986. The show features a lead cast who are entirely of North African heritage. There’s also Sam: A Saxon, a sixparter from Big Window Productions. The show is based on the true story of Samuel Meffire, East Germany’s first black police officer, who ended up behind bars himself as an enemy of the state. The Good Mothers, meanwhile, tells a mafia story entirely from the women’s perspectives. It comes from House Productions and Wildside. Unscripted commissions include Feyenoord Rotterdam, a sports documentary about the Dutch football team produced by Lusus Media, and Soprano: Sing or Die, a documentary series following French rapper, singer and songwriter Soprano. “As far as I can see, there has never been a more exciting time to be in European production,” says Koeppen. “The opportunities are boundless, creating a win for the producers and creators and for an industry that is thriving. And if this were not enough, we are also adding a meaningful dimension of cultural diversity on a global scale.” In sociology, the term ‘Disneyfication’ describes the commercial transformation of things or environments into something simplified, controlled and ‘safe,’ reminiscent of the Walt Disney brand. But with Star originals set in criminal underworlds, TWDC is taking a calculated step away from the kind of programming many would associate with that brand. It’s a fascinating proposition for producers and audiences alike – and particularly, it would seem, for those in Europe. Additional reporting by Karolina Kaminska

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THOUGHT LEADERSHIP: Alex Okosi

Channel 21 International | Fall 2021

Elevating talent YouTube has made a priority of backing black creators over the past year as it attempts tto make the platform a safer place for m marginalised voices. By Nico Franks

ouTube's US$100m Black Voices Fund, launched last year, is dedicated to equipping up-and-coming black creators and artists with the resources to succeed on the platform. For YouTube's EMEA emerging markets MD Alex Okosi, who joined the tech giant from ViacomCBS Networks International at the beginning of 2020, the key for the fund is to focus not just on the US but the global market, just as YouTube does. The multi-year commitment aims to spotlight and grow black creators on the Google-owned platform. In its first

year, it awarded 132 grantees, hailing from the US, Kenya, the UK, Brazil, Australia, South Africa and Nigeria. YouTube is now working with these creators to offer dedicated partner support and seed funding to invest in the development of their channels. They are also able to participate in an intensive development programme that will focus on training in production, community engagement and wellbeing, followed by ongoing workshops and networking programmes. Over the next few years, the plan is invest in over 500 creators to directly inve

YouTube creators have direct access to their audience. There’s no need to pitch people about what they want to do. They can have their voices authentically heard and their creativity seen from their own editorial viewpoint.

“

Alex Okosi YouTube

and artists from across the a world worl to support, grow and fund their channels and content development. con This comes as part of T YouTube's efforts to make Yo its platform, which like the internet itself is home to in both the very best and b worst of humanity – and w YouTube has certainly Y been guilty of amplifying b the latter in the past t – a place where black artists, creators, and a users can share their use stories and feel protected. sto "We think this initiative is a really powerful way

Little Mix star LeighAnne Pinnock features in YouTube series The Outsiders (photo: Simon Frederick)

to showcase the intellectual power of black voices and creativity,” says Okosi. “Some of the voices, the black voices, face intense criticism on the platform. We've been working hard to look at our products to make sure that we're providing the best opportunities to protect our black creators and artists.” YouTube last year updated its hatespeech policy to ban videos "alleging that a group is superior based on qualities like race, gender, religion, or sexual orientation in order to justify discrimination, segregation or exclusion." These changes resulted in the removal of more than 100,000 videos and 100 million comments for hate and harassment in the second quarter of 2020, YouTube CEO Susan Wojcicki wrote in a blog post in June last year. This came amid the surge in support for the Black Lives Matter movement following the murder of George Floyd at the hands of Minneapolis Police. Okosi says tools are now in place that flag to anyone posting potentially harmful comments to reflect on how they could be perceived before they post. "We're also very diligent in looking at ways we remove X

Catch C21’s THOUGHT LEADERSHIP - Smart thinking from the people running the content business Keep reading online and smarten up your programming strategy at c21media.net/departments/ thought-leadership

THOUGHT UGHT LEADER LEADERSHIP: RS SH HIIP HIP P: Alex Alle ex Okosi Ok O kosi

Entrepreneur and YouTube star Patricia Bright fronts If I Could Tell You Just One Thing

offensive content that doesn't meet our community guidelines," adds the exec, who was responsible for developing dev and launching MTV Africa in 2005. 20 YouTube is Many would claim YouT still not doing enough to clean up its act. TechCrunch reported earlier this year that crowds crowdsourced research on behalf of internet browser Mozilla found harmful disinformation and disinformatio divisive content remains r rife on the platform and, crucially, YouTube's algorithm al recommend it to continues to recommen

Channel 21 International | Fall 2021

users, "a side effect of the platform’s rapacious appetite to harvest views to serve ads." In response to the TechCrunch report, Google said: "The goal of our recommendation system is to connect viewers with content they love. On any given day, more than 200 million videos are recommended on the homepage alone. Over 80 billion pieces of information are used to help inform our systems, including survey responses from viewers on what they want to watch. “We constantly work to improve the experience on YouTube and, over the past year alone, we've launched over 30 different changes to reduce recommendations of harmful content. Thanks to this change, consumption of borderline content that comes from our recommendations is now significantly below 1%." But back to the Black Voices Fund, which is undoubtedly helping to support an array of talented YouTubers whose channels cover everything from vegan cooking to financial advice to gaming, as in the case of Tamago2474, aka London-based Simi Adeshina. "There's not a prescriptive way for them to use the fund but we want them to use it to elevate their content and tell their stories in a very authentic way," says Okosi. Slightly terrifyingly, 22-year-old Adeshina has been a YouTuber for over a decade now and has been able to make a living from it since 2017, highlighting just how mature the space now is and the rewards that come with fostering a community of passionate fans around previously dismissed "niche" subjects. Adeshina has used the Black Voices Fund to upgrade the equipment he uses to shoot his YouTube videos, the most popular of which include 'The Club Penguin Story' and 'The Simpsons: Hit & Run – An Unexpected Masterpiece.' "At this point in time, people my age have all experienced playing games. It's no longer this niche culture. Everyone plays games," says Adeshina, who also regularly live

I feel like YouTube, Yo more so than other platforms II’ve been on, put the protection of their creators into a very high accord.

“

Simi Adeshina YouTuber

streams to his fanbase on Amazonowned Twitch and is satisfied with the protection he gets on YouTube. "I feel like YouTube, more so than other platforms I've been on, put the protection of their creators into a very high accord," says Adeshina, adding that this is necessary given how personal a connection it's possible to generate with an audience on YouTube. For Okosi, that's what makes YouTube such a powerful platform: "Creators have direct access to their audience. There's no need to pitch people about what they want to do. They can have their voices authentically heard and their creativity seen from their own editorial viewpoint." Meanwhile, as part of its originals strategy to bring more premium content to the platform, YouTube has commissioned series including The Outsiders?, which made its debut on October 4 and captures the unique perspectives of young black people in UK society, including Little Mix's Leigh-Anne Pinnock and bestselling author Reni Eddo-Lodge. Elsewhere, If I Could Tell You Just One Thing sees entrepreneur and YouTube star Patricia Bright and some of the world's most inspirational women discuss the experiences that have shaped their own lives. "The objective is to continue to support underserved voices on the platform as much as we can and make sure we're supporting not only black voices but other voices that are marginalised around the world," says Okosi, who is keen to see more talent transfer between YouTube and traditional TV. "It's a beautiful, powerful thing," Okosi says of YouTubers reaching different audiences on TV and fronting lifestyle or magazine shows or starring in scripted series as the online talent pool deepens. "It's about enabling the success of our creators and not about them being exclusively on YouTube. We want them to be as successful and popular across the board as they can," adds the exec, who is also happy to see the likes of Netflix increasingly using YouTube as a marketing tool for their endless stream of originals with channels such as Netflix Is a Joke and Still Watching Netflix. "Netflix is an incredibly powerful platform as well, so seeing it lean into YouTube is a testament to the value that they see in reaching incremental audiences and promoting their content. We encourage that."

Scripted Series / Thriller, 6 x 45’ redarrowstudios.com/international

NEWS ANALYSIS: Channel 4

Channel 21 International | Fall 2021

Up 4 grabs? O

ver the summer, the UK government launched a consultation about potentially selling commercially funded public service broadcaster (PSB) Channel 4 (C4) to a private owner, with the ﬁnal decision expected later this year. In recent years, C4 and the vibrant UK independent production sector it relies on have been behind formats such as The Circle, Gogglebox and First Dates, as well as dramas like It’s a Sin and hard-hitting current affairs news and documentaries. It also recently broadcast a day of programming featuring black presenters, actors, writers and experts, contributors and programme makers as part of its Black to Front initiative. The plans to sell it – attracting the interest of a host of US players, including Discovery – have been widely criticised by the indie sector it was set up to service in the 1980s. John McVay, CEO of producers’ association Pact, has gone as far as describing the proposal as a “hatchet job” and believes

The UK government’s plans to place commercially funded public broadcaster bro Channel 4 in private hands has left the country’s ind sector up in arms while US media giants circle. indie By B Oli Hammett

the plan could see numerous indies bite the dust if they go ahead. Bosses at C4 itself have been equally outspoken about the idea, with CEO Alex Mahon stating in September: “We have not seen any evidence that the irreversible change of privatising C4 will be in the interests of either British audiences or the UK’s economy, and it could well have serious and long-lasting consequences for our world-leading television production sector.”

The fundamental difference is C4 cares if the indie sector survives. Comcast or ViacomCBS doesn’t, and the idea a private buyer would reinvest savings in the channel is fanciful.

“

Alan Clements Two Rivers Media

C4’s Joe Lycett’s Got Your Back aimed to attract a younger audience to consumer TV

During a recent Royal Television Society panel discussion, executives from the industry were asked about the impact it could have on the country’s TV business, with some making the case for privatisation. David Elstein, exec producer at London’s Portobello Films and chief executive of the UK’s Channel 5 at its launch in 1997, outlined the government’s rationale for what it calls the “modernisation of Channel 4’s remit.” “C4 has no real obligation to broadcast any new programmes at all. I believe it’s already 70% repeats and with the current legislation that could be 90% or 95%. There’s the idea that it is meant to represent alternative views across the country, but its total spend outside England last year was less than 9% of its budget – half of what it should be, accounting for population. There’s actually quite a long way to go for C4 to be as representative as it should be,” he said. Elstein believes C4 could possibly do even more for the independent sector if it was privately owned. “When I was running Thames TV, a privately owned company, we did vastly more public service broadcasting than C4 does now,” he claimed. However, Melanie Leach, CEO of London prodco South Shore, said C4’s remit went beyond just commissioning shows from new indies, and that the proposed plans would decimate the value of the country’s creative industry. “I’ve been an independent producer for 25 years,” she said. “I started shortly after C4 was launched at a tiny company that went on to become TwoFour Productions. The growth of that company would never have happened if it weren’t for the support of C4 during the early years. If C4 hadn’t been in a supporting role I would have thought twice about even getting started in production. If you stop people from doing that, you’re stopping the building of the wonderful IP library we have in the UK.” The broadcaster’s willingness to greenlight series that would unlikely be made otherwise was essential to the make-up of the UK TV business, X

NEW PROGRAMMES | MIPCOM 2021 ROYALTY

HISTORY

AUGUST 23RD 2022 80TH ANNIVERSARY, BATTLE OF STALINGRAD

TRUE CRIME

CULTURE

NEWS ANALYSIS: Channel 4

Channel 21 International | Fall 2021

she added, citing South Shore’s reality format Educating…, which she said no other broadcaster would have taken a chance on. “Another example is Joe Lycett’s Got Your Back,” she said. “Could I persuade my son to watch an hour of consumer-based television? Absolutely not. But C4 has packaged it right and attached a popular comedian, bringing a new audience to a genre they wouldn’t have touched with a barge pole. C4 serves more young people than any other UK PSB, and they do very well with that remit.” Alan Clements, the founder of Scotland’s Two Rivers Media, echoed Leach’s sentiments that privatisation was a bad idea for the creative industry. However, he also said the problem would go a lot deeper should the channel be sold. “The only way to make C4 attractive to a private buyer is if they can own the IP,” he said. “But the only way that can happen is if you change the terms of trade so the channel owns more than the producers. That would create a terrible domino effect among the creative industry, and the broadcasters don’t need to be asked twice to push those dominoes over. If they did, however, C4’s business model would be impossible and our creative sector would suffer.” Clements suggested that C4, home to shows such as The Great British Bake Off and longrunning soap Hollyoaks, owning its own content would have equally disastrous consequences for the UK’s content library. Leach agreed, saying: “We don’t know what a privatised C4 would do, because it very much depends what the terms of the regulations are. If the government decided that it wanted to maximise the value of the asset, then they’re very likely to change the model. If they took away the restrictions that allowed the channel to commission from an in-house studio, that would make it a much more difficult place for independents like mine and Alan’s to do business.” Marcus Ryder, head of external consultancies at the Sir Lenny Henry Centre for Media Diversity, felt the issue of privatisation went beyond C4’s remit as a PSB. “The issue is a combination of C4’s ownership

From top: A special Black to Front episode of teen soap Hollyoaks. The Great British Bake Off contestants. 1980s-set AIDS drama It’s a Sin

model, with regards to how much of its surplus income can go into investment in indies and the regulatory framework that UK media regulator Ofcom has built since its creation in 2003, which is a lot more lax,” he said. “We want to make sure that we have a channel and a broadcaster that is radical and representing diverse views. We need to look at how Ofcom sets out its remit in the ﬁrst place.” Elstein echoed this, saying Ofcom’s regulations had taken the public service element out of PSBs in the UK, allowing C4 to abandon educational and multicultural programming. UK adults get one minute of public service content – which Ofcom

used to deﬁne as news, current affairs and regional documentaries, among other content – each day from C4, he claimed. The broadcaster’s position as a PSB gives it too much leeway and private ownership could allow the government to be tougher on it, he added. “There are obvious buyers,” Elstein said. “ViacomCBS, Discovery, Comcast and others could get it, but C4’s business model is clearly suboptimal. When I was running Channel 5, we saved £130m [US$178m] in our back office by merging everything, and then we invested those savings in new content. C4, meanwhile, has the highest internal wage bill of any UK media company, yet last year cut its programming budget by 23%. It would depend on the terms of purchase, but ironically the government could exercise more control over C4 as a private company than it can as a PSB.” Despite this, Clements said the negative effect on the creative industry would be more devastating than an inefficient C4 remaining in public hands. “The fundamental difference is that C4 cares if the indie sector survives,” he said. “Comcast or ViacomCBS doesn’t, and the idea that a private buyer would reinvest savings in the channel is fanciful. Another big factor is the channel’s recent move out of London to Leeds and Glasgow. This year, C4 will spend half its original content budget in the regions – a target it has hit two years ahead of schedule. Its commitment to these areas can’t be questioned.”

Current Highlights

Agatha Christie’s Hjerson

The Window Series / Crime + Suspense

10 x 45’

Series / Crime + Suspense

New

4 x 90’ / 8 x 45’ New

The Window is a character-based thriller set in the world of elite professional football. Focusing on an ensemble cast of players, agents, club owners, administrators and journalists, the series explores the cutthroat off-field machinations of the game. The series begins at the end of the English football season — with the transfer window opening. Across ten episodes, The Window charts one summer in the life of Jordan Burdett, a 17-year-old Wunderkind who is on the wish list of every club in Europe. The tug of war begins…

A modern-day Agatha Christie spinoff about Sven Hjerson, a once renowned criminal profiler who suddenly chose to retire from the spotlight, and Klara Sandberg, a trash TV producer who wants to reset her career with a true crime show that stars him. Hjerson has just been informed of his mother’s death and is forced to return to Åland. Klara manages to track him down and is on the same cruise ship heading to the archipelago. A young journalist is murdered on the ship. A reluctant Hjerson and a zealous Klara start to solve a string of murder mysteries.

Produced by: Boogie Entertainment in co-production with Fuji Television Network and ZDF Enterprises Cast: Tommy Bastow, Mel Raido, Teo Yoo, Samuel Jordan a. o.

Produced by: BR•F, TV4/C MORE, ZDF, Agatha Christie Ltd., Nadcon Film Cast: Johan Rheborg, Hanna Alström, Maria Lundqvist, David Fukamachi Regnfors, Björn Andrésen, Peter Kanerva

Sherlock — The Russian Chronicles

Before We Die (English language adaptation)

Series / Crime + Suspense

8 x 52’

Series / Crime + Suspense

New

6 x 52’ New

The action drama gives a Russian spin to the stories of the world’s most famous investigator. The story unfolds as Sherlock Holmes attempts to track down Jack the Ripper, who has fled to St Petersburg in the year 1889. To help him navigate this unfamiliar country, Mr. Holmes is joined by Dr. Kartsev and Sophia who help him solve a series of mysterious crimes, while facing conflict and interference from the local police chief, Znamensky.

When her married lover and fellow police officer, Sean Hardacre, is reported missing under mysterious circumstances, Detective Hannah Laing launches an urgent search. She manages to contact ‘Issy’, one of Sean’s confidential sources. Meanwhile, Hannah and her partner start investigating the Mimica family after receiving a tip-off. The Croatian clan plans to smuggle a massive quality of cocaine into the country, but Hannah faces a conflict of interest when she finds out the informant is her son.

Produced by: SREDA, START Cast: Maxim Matveev, Irina Starshenbaum, Vladimir Mishukov

Produced by: Eagle Eye Drama Cast: Lesley Sharp, Patrick Gibson, Vincent Regan a. o.

.. 2 ..

School of Roars Animation

The Muscleteers 104 x 7’

Animation

Preschool

45 x 11’

Season 2: Brand New

Brand New

Welcome to the Harbor district, a bustling port full of activity and cosmopolitan flair. But its dark, shadow-filled alleyways are not always safe for the area’s rodent residents. Hunted by cats and exterminators, swept away with the garbage, driven from their homes by construction and stomping, oblivious humans; every day is filled with danger and hardship. But the flame of hope still burns thanks to our courageous protectors — The Muscleteers!

Welcome back to the School of Roars, where monsters go to growl and grow. We bring you a brand new season of the hugely popular School of Roars, with even more adventures for Wufflebump, Yummble, Icklewoo, Meepa and Wingston, a class of loveable monster friends who together with their teacher, Miss Grizzlesniff, experience one of life’s biggest challenges… starting school! There are also seasonal episodes, with a ‘Beaster Egg Hunt,’ a Halloween ‘Pumpkin Parade,’ and a Christmas episode featuring jolly monster ‘Frosty Claws.’

Produced by: Caligari Film Web: www.zdfe-presents.de/the_muscleteers

Produced by: Dot to Dot Productions Ltd. Web: www.zdf-enterprises.de/schoolofroars

Scream Street Animation

6 — 10

Zoom — The White Dolphin 78 x 11’

6 — 10

Animation

104 x 12’

Season 2: Brand New

6 — 10 Season 2: Available Now

Scream Street is back: bigger, better, funnier and scarier than ever before. The new season sees teenage werewolf Luke and his friends, Cleo the mummy, and Resus the vampire, face all kinds of gruesome new monsters: the likes of ‘Vostradamus’ the ghostly fortune-teller, ‘Lorelei’ the siren singer as well as ‘The Destroyer of Worlds.’ It also sees the arrival of secretive new neighbour ‘Dr F,’ an evil scientist with a manic laugh, together with her new creation ‘Six,’ a teenage Frankenstein’s monster.

Yann (15) and his little sister Marina (7) live on the island of Maotou, a tiny corner of paradise lost in the Pacific Ocean. Yann has formed a bond of friendship with Zoom, a white dolphin of exceptional intelligence. In the new season, our heroes and their Polynesian friends are confronted with fresh dangers. Through Ramana, the custodian of local legends, Yann and his friends are also set on the trail of the mysteries that shroud the history and origins of the island.

Produced by: Coolabi Productions, Factory, Nau Productions Web: www.zdf-enterprises.de/screamstreet

Produced by: Media Valley, Marzipan Films Web: www.zdfe-presents.de/zoom

.. 3 ..

Wildlife + Nature + 1 x 50’ Special

Surprise Supervise!

The PRISM IS A DANCER Show

5 x 50’

Entertainment / Show

90’

4 Shows Aired

New

With unprecedented access and filmed over 30 years, this groundbreaking series uncovers Dr. Jane Goodall’s extraordinary journey to create the largest chimpanzee sanctuary in Africa, Tchimpounga. From malnutrition and tetanus to disease and paralysis, the sanctuary’s director, Dr. Rebeca Atencia, and her team of vets are challenged every day on a whole assortment of issues. Together they battle illness, escapees, personality clashes, and a constant arrival of new orphans, each bringing their own unique challenges.

Embarrassing selfies posted on Facebook, YouTube videos that were thought to no longer exist and detailed LinkedIn CVs: the Internet forgets nothing! Surprise Supervise! The PRISM IS A DANCER Show meticulously x-rays the Internet profiles of the unsuspecting studio audience prior to filming. In the show itself, the host uses the audience members’ online posts to truly grill them. All of the juicy finds come together to create one entertaining show with added studio stunts and exciting clips.

Produced by: Off the Fence Productions with the support of the Jane Goodall Institute for Curiosity Stream in association with ZDF Enterprises

Produced by: btf

Underworld

Ancient Superstructures, Season 2

Science + Knowledge

5 x 50’

History + Biographies

New

UHD

3 x 50’ New

Underworld is an exciting, visually spectacular cave exploration series shot in 5 countries. Each film follows an investigation led by Richard ‘Roo’ Walters, using pioneering 3D laser-scanning technology to solve a cave-related mystery. Alongside this key quest, the expedition also sheds light on the science, natural history and culture surrounding caves in the featured country and beyond. These underground adventures create a detailed picture of a unique world hidden beneath our feet.

Ancient Superstructures reveals the secrets behind Angkor Wat, Istanbul’s Hagia Sophia and the French monument The Louvre. These ancient marvels have been scrutinized for centuries and yet remain shrouded in mystery. By observing them from different perspectives of scale — from satellite imagery right down to macro and microscopic levels — this groundbreaking series sheds new light on historical and construction enigmas.

Produced by: Off The Fence for Curiosity Stream in coproduction with ZDF Enterprises and Youku, in association with Wingsight

Produced by: Pernel Media in association with RMC Découverte, Histoire and ZDF Enterprises

Current Highlights

2.2021

Rescued Chimpanzees of the Congo with Jane Goodall

Channel 21 International | Fall 2021

NEXT BIG THINGS: 21 on 21

Back in the room D Drag formats, eco-friendly travel series and stories of social justice a among the big programming trends as Mipcom returns as a are physical event. By Nico Franks p

The Panthers (6x60’) Producers: Tavake, Four Knights Film Distributor: Endeavor Content They say: “Inspired by true events, The Panthers follows Will ‘Ilolahia who, along with a group of young street gangsters and university students, form The Polynesian Panthers in Auckland, New Zealand, in the 1970s, to fight a broken system and become the history-making revolutionaries that their community so desperately needs them to be.” We say: The first New Zealand-made series to make the official selection at the Toronto International Film Festival, this TVNZ drama has been garnering rave reviews among Kiwis down under since launching in August.

Operacion Marea Negra (4x60’)

A Girl’s Guide to Hunting, Fishing & Wild Cooking (8x30’)

Producer: Ficcion Productions Distributor: Entertainment One They say: “An epic, fast-paced, claustrophobic and risky underwater adventure in which a Spanish boxing champion and his two friends embark on a homemade submarine to cross the Atlantic loaded with thousands of kilos of cocaine.” We say: This gripping drama, a collaboration between Amazon Prime and public broadcasters in Iberia, takes place on a submarine with no bathroom, no beds and no food. How about that for a premise?

Producers: Southern Pictures, Broken Yellow Distributor: Flame Distribution They say: “Follow chef Analiese Gregory over the course of a year as she lives as a wild woman of the land – hunting for ingredients, growing her food and making the most of the bounty that surrounds her.” We say: This series for SBS in Australia sees an uber-chef turn hunter and forager after sacrificing the security and success of her acclaimed restaurant career to buy a small cottage in Tasmania’s remote Huon Valley.

Lucky Day (8x45’) Producers: IDIP Films, Perpetual Soup Distributor: About Premium Content They say: “Follow the crazy adventures of a dysfunctional family propelled into sudden wealth when its patriarch wins the lottery jackpot.” We say: This French-language series, commissioned by Swiss public broadcaster RTS, is a funny and touching comedy from writers David Elkaïm and Vincent Poymiro (En Thérapie) and Anne Feinsilber.

NEXT BIG THINGS: 21 on 21

Channel 21 International | Fall 2021

Evolve (6x60’) Crime & Justice (8x60’) Producers: Canal+, Showmax Distributor: Arrested Industries They say: “Based on real stories that have dominated Kenyan headlines over the years, including femicide, sexual abuse and domestic violence.” We say: This police procedural and legal drama, set in Nairobi, is backed by M-Net in South Africa and looks to expose bias and other weaknesses in the Kenyan police and judicial systems.

Conviction: The Case of Stephen Lawrence (3x60’) Producers: Hat Trick Mercurio Television, Baby Cow Productions Distributor: Hat Trick International They say: “At a time when racial injustice is being challenged more than ever before, this is a true story of love, loyalty and a fight for justice, told through a compelling police procedural.” We say: Almost three decades after Stephen Lawrence’s murder, UK broadcaster ITV revisits the story of his tragic death and how his parents’ continued campaign for justice led to a public inquiry that branded the Metropolitan Police institutionally racist.

Producer: Beach House Pictures Distributor: Abacus Media Rights They say: “Fuelled by his passion for animals, ecology and science, biologist Patrick Aryee takes viewers on an enthralling, visually spectacular journey to meet the most astonishingly superpowered species on the planet.” We say: While some nature documentaries justifiably fill us with despair, this CuriosityStream series aims to invoke a sense of awe and optimism for the future by exploring biomimicry, the study of solving human design challenges by looking to the natural world.

Herzogpark (6x60’) Producers: Letterbox Filmproduktion, Amalia Film Distributor: Leonine Studios They say: “At the centre of this juicy society comedy drama are strong female characters depicted by an award-winning and internationally known cast.” We say: From the production company behind Bad Banks, this glossy series is set in Munich’s highly exclusive residential area of Herzogpark and will premiere on RTL’s streaming service TVNow in Germany.

Down for Love (3x60’) Producer: Attitude Pictures Distributor: TVF International They say: “Our search for love is universal, no matter who we are. A primetime series following six inspiring young people with Down’s syndrome on their search for love, navigating the ups and downs of modern dating.” We say: With a few exceptions, dating shows can be soul-crushingly conservative when it comes to who gets to take part. But this factual entertainment show, from a disability-first production company in New Zealand for TVNZ, is a refreshing addition to the hottest genre in TV right now.

32 xxx

NEXT BIG THINGS: 21 on 21

Channel 21 International | Fall 2021

Race for the Future (3x60’) Producer: SWR Media Distributor: Beyond Rights They say: “In a thrilling adventure that doesn’t impact the planet, James Levelle plans to travel the world to raise awareness about climate change – but without becoming part of the problem.” We say: Adventurer Levelle’s 9,000-mile fossil fuel-free journey from Europe to South America hit a snag when the United Nations’ climate conference was unexpectedly moved from Chile to Spain, but that doesn’t make the environmental message from today’s youth he’s sending any less relevant.

#OfflineInTheWild (format) Producer: Redseven Entertainment Distributor: Red Arrow Studio International They say: “A fun, fish-out-of-water format that highlights our reliance on smartphones – and what can be achieved without them.” We say: Social media stars battle it out to survive offline and off the grid in this competitive digital-detox format that launched on streaming service Joyn in Germany over the summer.

Sherwood (6x60’)

Nadia (1x60’) Producers: Federation Entertainment, Echo Studio, Canal+ Distributor: Federation Entertainment They say: “An invitation to reach out and welcome other refugees fleeing from war.” We say: The latest documentary from Anissa Bonnefont (Wonder Boy), Nadia tells the amazing story of Nadia Nadim, an Afghan refugee who, having achieved football stardom, yearns to return to Afghanistan to find out the truth behind her father’s murder.

Producer: House Productions Distributor: BBC Studios They say: “A powerfully resonant and timely examination of the frayed social and political fabric of modern-day, postBrexit Britain.” We say: David Morrissey leads an all-star ensemble that also features Joanne Froggatt, Stephen Tompkinson and Lesley Manville. Inspired in part by real events, this crime drama is set in the aftermath of two shocking murders that take place in an already fractured community.

Crime (6x60’) Producers: Buccaneer Media, Off Grid Film & TV Distributor: Cineflix They say: “A girl goes missing. A town is in fear. A police department fights with itself. A hero is lost, tortured by his own demons. And all the while – watching, waiting – a brutal killer is poised to strike.” We say: This psychological, procedural thriller, heading to BritBox later this year, is based on the novel of the same name by Scottish literary legend Irvine Welsh (Trainspotting), whose tormented detective will be played by Dougray Scott (Mission: Impossible 2).

Love Me (6x60’) Producers: Warner Bros International Television Australia, Aquarius Films Distributor: DCD Rights They say: “In an era when the world is driven by conflict, Love Me is a call to the heart – a funny, sophisticated, heartfelt exploration of love in all its forms.” We say: This remake of Swedish series Älska Mig for Foxtel’s streamer Binge explores modern love as experienced by different family members at various stages of their lives and features a cast led by Hugo Weaving (Lord of the Rings, The Matrix).

C21’s NEXT BIG THINGS - The people, programmes and businesses that are about to change the game. Keep reading online at c21media.net/department/next-big-things/

© 2019 La Cabane Productions – Thuristar – Cake Entertainment. © 2020 Rovio Entertainment Corporation and Rovio Animation Ltd © Total Daycare Drama Productions Inc. (2017). © Ragdoll Productions Ltd. 2021 All Rights Reserved.

50 x 5’

156 x 11’

40 x 1’

48 x 11’ & 2 x 22

’

PRODUCTION I DISTRIBUTION I DEVELOPMENT I FINANCING

info@cakeentertainment.com +44 (0) 20 7307 3230

cakeentertainment.com

NEXT BIG THINGS:: 2 211 on 21

Channel 21 International | Fall 2021

Drag Me Out (format) Producer: Mastiff TV Denmark Distributor: Banijay They say: “A recurring posse of the most legendary drag artists on the scene compete to create fabulous personas for well-known celebrities.” We say: An extravaganza of highenergy lip-sync battles, comedy performances, dance shows and more, this format launched on TV2 Zulu in Denmark and looks set to ride the latest wave of interest in drag that’s building around the world.

Uncoupling (9x30’)

Spirit to Soar (1x60’)

Producer: Escazal Films Distributor: StudioCanal They say: “A fresh comedy with an original take on how to deal with universal yet very concrete couple issues.” We say: Adapted from 2018 movie In the Move for Love, this French comedy for Canal+ follows a married couple who, rather than separate, decide to live in two separate apartments connected via their children’s bedroom.

Producers: Makwa Creative, Antica Productions Distributor: Blue Ant International They say: “A story of the strength and bravery First Nations youth show every single day when they walk out the front door and head to high school in a country that has tried to erase them.” We say: This powerful CBC and CBC Gem documentary is inspired by Tanya Talaga’s book Seven Fallen Feathers, about seven missing or dead First Nations high school students in Northern Canada. It tracks the ongoing pursuit of justice for their loved ones and equity for First Nations People.

The History of Camping (1x52’) Producer: Moers Media Distributor: Autentic They say: “From 13 horsepower, to the iconic VW Bulli, to caravans and luxurious campervans, this documentary looks at the history of camping and its odd people.” We say: With camping seemingly more popular than ever thanks to another summer when holidays to farflung places were mostly out of the question, European broadcasters ZDF and Arte have pitched up this lifestyle doc about the low-cost form of travel at the ideal time.

Two Sisters (8x23’)

Help (1x120’) Producer: The Forge Distributor: All3Media International They say: “It will shine an unflinching light on the terrible events of 2020 through telling us a compelling, heart-wrenching relationship story.” We say: Written by Bafta winner Jack Thorne and starring Jodie Comer (Killing Eve) and Stephen Graham (The Virtues), this drama about the Covid-19-induced care home crisis tells the moving story of the relationship between a young care home worker and a resident, whose lives are changed forever by the onset of the pandemic in spring 2020.

Producer: Yellow Bird Distributor: Rainmaker They say: “Sisters and best friends begin to drift apart as they search for their identities in the adult world.” We say: Based on the bestselling novels by highprofile Swedish media personalities Hannah Widell and Amanda Schulman, this Viaplay original stars Dilan Gwyn and Julia Ragnarsson as sisters in Stockholm who live very different lives.

RECONNECT

AFM 2021 ®

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1 - 5

A MERICANF ILMM ARKET.COM

100

PRESENT IMPERFECT FUTURE TENSE: Alexandra Lebret

Playing with fire E

uropean film and TV markets have US-based streamers’ returned over the summer after more fixation on global than a year of disruption, and with them rights is a threat so have the in-person meetings, the vigorous, to independent interpersonal exchange of ideas, that give production and them their drive. At the recent Series Mania festival in Lille, greater protection I saw an industry back in full flow, planting of IP is vital, warns Alexandra new seeds of concepts that will grow into fully Lebret, MD of the European formed projects. The industry, it seems, has never been Producers Club. busier. Producers are desperately seeking to reinforce their teams as they strive to develop, lead to a drying up of financial and artistic sell, produce and deliver the increasing resources. This will stunt the ability of those number of series being commissioned by a producers to remain creative and prevent myriad new actors that have arrived in the reinvestment in a European ecosystem that European market. Netflix and Amazon have has proved so attractive to the streamers in been joined by Disney+ and HBO Max in the first place. Only effective regulation will enable the Europe and everyone wants to know what industry to achieve the virtuous circle of they want. But how to remain creative and come up investment and reinvestment that needs to with original concepts in a world where the be in place. But the conversations held during creative talent available is, like the technicians, Series Mania’s Forum discussions in Lille in limited, due to the incredible demands of the September were not reassuring on that front. Yes, an arsenal of regulations is already market? How many more projects need to being implemented – be developed to satisfy, the Audiovisual Media for example, the appetite In this race, we Services Directive, of Netflix, which by the must not forget to Copyright in the Digital end of this year will have protect and look after Single Market, the Digital commissioned nearly 70 Markets Act and the original titles from the what is essential: the IP created by European Digital Services Act – in Nordics alone. the hope of ensuring the A dangerous business creative talent, which in growth of our sector and model is developing. a previous time would its cultural diversity. But Independent producers’ have been a strong are these regulations fully own resources are being protecting and favouring sucked into an inflationary revenue earner for the ecosystem of indies spiral, but without the whoever made it. and diversity and creativity possibility of making a return on their own investment, in the absence that currently exists in Europe? Look at them closely and these regulations of rights retention or a share of revenues from the work that is produced. Meanwhile, they are have missing pieces essential to the having to work to an ever-tighter timeframe to development of our industry and its ability to distribute content worldwide. These missing create original work. As a result of this, the whole market is now pieces are the protection of indies and their turning towards sequels, prequels, remakes, right to the IP they develop and to a share of or spin-offs; those projects already written, the revenues earned from their exploitation. The runners in this race need to take the developed from proven intellectual property, that can be adapted at a limited cost and time to stop and draw breath. The regulators quickly. But how much of this work ever ends need to take their pens into their hands again, up in the hands of the independent producers? because their work is a long way from being This pressure for the rapid production of finished. There is a great risk that we may screen content is the result of, and indeed see this ecosystem – our creative forests necessitated by, the competition between the – destroyed, only for us to deplore those international streaming services, which has responsible afterwards. Unless something is done, we will see only just begun. But in this race, we must not forget to an irreversible deforestation of our industry, protect and look after what is essential: the leading to the loss of that virtuous ecosystem IP created by European creative talent, which of creativity. Without holding on to the IP in a previous time would have been a strong they create, indies are an ecosystem of trees without virtual roots, unable to shoot leaves revenue earner for whoever made it. The fact that indies are now obliged to and bear fruit. If their IP is not protected, they will end up surrender their rights to the IP they have created when working with the streamers will as dead wood for the fire.

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