Channel 21 International - Winter 2024

international Everything about content

Winter 2023/24

Atresmedia on new twists for familiar formats

Reasons to be hopeful about the year ahead

Fuse Media’s growing int’l ambitions

PLUS: Content Trends Report | Latest on AI | Amazon Prime Video UK | Branded entertainment | Scripted to unscripted

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Channel21 International | Winter 2023/24 | Issue #322

UPFRONT

CONTENTS

Agro over hagiography

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urely we have to accept that a mainstream audience likes a hagiography?” asked one delegate during a punchy session titled ‘Truth vs fiction – bringing celebrity stories to screen’ at Content London in November.

I admit I had to Google the word’s exact meaning. Literally, it is “the writing of the lives of saints,” but it can also be used to describe “a biography that treats its subject with undue reverence.”

It’s exactly the right term for the recent wave of glossy documentaries on A-list talent, often made by their own production company, which are being spearheaded by streamers like Netflix. Now I just need to learn how the word is pronounced.

That question was at odds with something Fozia Khan, head of unscripted at Amazon Studios UK, said elsewhere during the conference: “Audiences are really sophisticated now. They can see a puff piece a mile off.”

Can both statements be true? Perhaps the conclusion to be drawn is audiences can indeed spot a puff piece but then gravitate towards it, if the viewing figures for some of these docuseries are to be believed.

The debate surrounding journalistic standards, impartiality and editorial control in access docs is explored on page 10, and it also bleeds into another hot topic in this issue, that of branded entertainment post-Barbie (page 16).

While writing that piece I came across a quote from a few years ago that should frankly terrify

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the TV industry. It came from Si Lloyd, then culture marketing manager at sportswear retailer Footasylum, which has been commissioning a growing number of its own unscripted entertainment formats in recent years.

“Our core consumer spends more time watching YouTube than they do watching TV, so by creating shows like Locked In we get eyes on the brand for far longer than any other form of advertising,” said Lloyd in 2021.

Since then the trend towards YouTube has only accelerated, with brand marketing agency EssenceMediacom predicting the Google-owned platform will “leapfrog” Netflix in viewership on big screens in 2024.

Doubtless embracing branded entertainment and affording more control to celebrity contributors could throw the TV industry a lifeline. However, in keeping its head above water, the business must also make sure it retains what makes TV one of the most compelling mediums around.

There’s no better reminder of this than ITV’s recent four-part drama Mr Bates vs The Post Office, which grabbed headlines in the UK and created public outcry over one of the greatest miscarriages of justice in British legal history.

Fawning docuseries and programming made with potentially meddling multinational corporations is the antithesis of Mr Bates vs The Post Office, which shows how TV can still deliver real social justice and enact positive change on an unrivalled scale.

Nico Franks

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THE C21 CONTENT TRENDS REPORT: Winter 2023/24 Leading execs from across the worldwide entertainment industry offer their takes on what to expect in 2024 and what your priorities should be over the next 12 months.

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AI use has proliferated in the past year and looks set for exponential growth in 2024 and beyond, with its creative potential either exciting or terrifying for those working in television.

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Netflix’s Beckham was one of its mostwatched shows of 2023, but the fact the player’s own company made it has reignited a debate about impartiality and editorial control in access docs.

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CONTENT STRATEGIES: Atresmedia Carmen Ferreiro and Ana Cueto on the Spanish broadcaster’s unscripted entertainment mission as it looks to innovate without scaring off over-50s.

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AHEAD OF THE CURVE: Branded entertainment With buyers’ budgets squeezed and brands setting up content studios, is branded entertainment the silver bullet the TV industry needs?

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NEXT BIG THINGS: Scripted to unscripted With well-known IP more important than ever in getting projects greenlit by riskaverse commissioners, unscripted execs are increasingly looking to scripted brands to inspire premium formats.

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CONTENT STRATEGIES: Amazon Prime Video UK Amazon-owned Prime Video’s unscripted team in the UK is on the lookout for a range of shows spanning sports docs, competition reality formats and bigname, talent-led docuseries.

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DEVELOPMENT SLATE: Dreamspark Dreamspark’s Moe Bennani and Julien Muresianu discuss the art and science of using artificial intelligence to develop and sell entertainment formats.

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THREE-YEAR PLAN: Fuse Media The US group has growing international ambitions, fuelled by content focusing on diversity, equality and inclusivity.

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PRESENT IMPERFECT FUTURE TENSE: Maurice Wheeler We Are Family UK’s CEO considers how artificial intelligence will bring new talent to the creative industry – even as it causes job losses.

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THE C21 CONTENT TRENDS REPORT: Winter 2023/24

Channel21 International | Winter 2023/24

Globo, RTP and SPi copro Codex 632

Drive to survive The C21 Content Trends Report, a quarterly outline of the biggest trends in the business, continues in this issue with insider intel on what to expect in 2024 and what your priorities should be over the next 12 months.

By Nico Franks

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welve months ago on these pages we declared “belttightening” among the bywords that would come to define 2023 and, sadly, we were right.

Daniela Neumann, MD of Londonbased indie Spun Gold TV, sums up what will go down as a potentially devastating annus horribilis. “We have to hope that there will be brighter times ahead in 2024, otherwise we would all just quit now. For a lot of people in our industry, 2023 was absolutely terrible.

I’ve never known so many amazing people, and especially freelancers, to be out of work,” says Neumann.

Such were the content industry’s woes in 2023 that the year bore the phrase “survive till 2025,” essentially writing off the next 12 months as an exercise in endurance.

“I’m very sad to say that I think a number of prodcos will probably go bust over the next six to nine months.

I’ve never known such hard times, but if we can all hold our nerve til the spring, hopefully we can come through this,” says Neumann.

“I remember when I was working as a commissioner at ITV in 2009 there was a similar economic situation with budgets slashed, but the industry recovered from the downturn.

It’s cyclical and things will pick up again.”

Indeed, by the time C21’s Content London event was staged towards the end of 2023, commissioning freezes had begun to thaw and the mood among the approximately 2,500 delegates was one of cautious optimism. Well, things surely couldn’t get any worse, could they?

You can always count on execs at US-owned entities for some good cheer in dark times and Kai Finke, chief content officer at SkyShowtime – the joint venture between Comcast’s Sky and Paramount Global with lofty pan-European ambitions in 2024 – doesn’t disappoint.

“I believe the industry is recovering very successfully from the economic

challenges of 2023, and that was reflected in the last quarterly earnings reports from some of the big studios,” says Finke, who joined SkyShowtime from Netflix in 2023 and is looking forward to a “positive year” in 2024 with the launch of shows such as Veronika.

Amanda Groom, MD of consultancy firm The Bridge, which specialises in the Asian market, agrees things can only get better.

“Following a tough 2023, let’s start with good news: Asia is re-opening for business. The Covid restrictions on Asian production have lifted, revealing a roaring Asian hunger to resume coproduction with European, US and UK companies. We

Netflix’s One Piece is based on the manga

by Eiichiro Oda

THE C21 CONTENT TRENDS REPORT: Winter 2023/24

Channel21 International | Winter 2023/24

Marie Leguizamo, MD, Banijay Mexico & US Hispanic Light-hearted, entertaining content is proving hot right now, especially with everything that is happening in the world. However, I expect in 2024 that this will come in very different forms as more mixed-genre formats emerge, giving a distinct feel to each show. I expect the popularity of reality to continue, especially as Mexican and US Hispanic audiences are used to content that taps into emotions, is unpredictable and draws people into a new world.

Guy Bisson, executive director, Ampere Analysis The cost rationalisation of the last 12 months has positioned the industry for genuine streaming profitability.

Passing that milestone will enable a return to flexibility, experimentation and a realisation existing models are already in place to fully exploit studio output when streaming direct takes its rightful place as one window in the broader value chain.

Stephen Hodge, CEO, OTTera What we’re seeing more of now are YouTube influencers with a large library of premium content who have potential viability in the FAST market. That will increase competition for eyeballs and monetisation opportunities. FAST is a dynamic space to be in, because as it enters new territories it opens up more reach for content producers who are not tied to major broadcasters, allowing them to share their creativity and benefit financially.

are confident that the paper walls with Asia will continue to fall in 2024 and that Korean content will maintain its position as a driver of leading content into global markets.

“The pendulum is swinging back to content licensing while careful distribution release strategies mean we can potentially all

Angela Colla, director of international business, Globo In the international market, one of our business model bets was on the sale of formats, which came to fruition with the adaptation of Brazil Avenue in Turkey. For 2024, we continue to invest in this model to take our stories to new audiences via local productions.

After the premiere of Codex 632, a coproduction with RTP and SPi in Portugal, and Englishlanguage series Rio Connection, with Sony Pictures Television and Floresta, we continue to look for new coproduction agreements.

Bo Stehmeier, CEO, Off The Fence Co-financing and coproduction will come back in a big way for bigbudget specialist factual. The trend that sees A-list talent harbouring their own production companies will continue, if not expedite, post-writers’ strike. They will become the new oases for coproduction from which commissions will be much easier to come by. The biggest threat facing the industry in 2024 will be further delays in decision making, which will rob the English-speaking TV market of its last remaining oxygen and could break its back.

Akira Morii, chief content officer and producer, The Seven In 2024, I believe that big Japanese manga IPs that were previously thought to be unrealistic for liveaction adaptation will now become more achievable.

A recent example of this

benefit once again from the long tail of revenue waterfalls. There may be fewer productions but with careful management these can once again generate returns to all parties.”

While the distribution market rebounds, other trends set to continue into 2024 include the maturation of the free, ad-supported streaming TV (FAST) space, with expansion of the market in Europe, Africa, the Middle East and Asia expected. But will the quality of the programming available on FAST rise in line with the number of channels?

Meanwhile, generative artificial intelligence (AI) – the defining trend of 2023 – will continue to surprise, scare and stimulate an industry that is simultaneously looking for ways to cut costs while holding on to that allimportant human touch. For more on the latest trends in the fast-moving world of AI, turn to page 8.

With additional reporting by Karolina Kaminska, Neil Batey and Clive Whittingham

Forthcoming SkyShowtime series Veronika

was the Netflix fantasy adventure series One Piece, based on Eiichiro Oda’s manga.

Darren Nartey, senior acquisitions manager, films and kids, ITV The industry is commissioning and buying fewer projects at the moment and this will continue in 2024. We acquired and pre-bought close to 30 titles in 2023 to help with the launch of ITVX Kids. Traditional funding models remain a challenge, but we’ve found some opportunities in pre-buys where we come on board projects with a large majority of the funding already in place. Diversity and inclusion will still be key aspects of kids’ content in 2024. Equally, issues around climate change and the environment are vital and will remain a key theme of kids’ programming for the foreseeable future.

Carlos Biern, content and distribution director, kids and family, DeAPlaneta Entertainment Hot IPs are starting to come from places we never thought of or identified in the past, like Web3 or TikTok, and often they are created directly by communities and audiences instead of studios. In the next few years, or maybe even months, AI will probably advance and completely change the way we produce and deliver content. We are very confident AI will help us to be faster so we can spend more time doublechecking what is needed for our audience, while allowing us to automatise stages that took too long under the traditional model.

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Channel21 International | Winter 2023/24

Intelligent debate The use of artificial intelligence has proliferated in the past year and looks set for exponential growth in 2024 and beyond, with its creative potential either exciting or terrifying for those working in television.

By Jonathan Webdale

The Lord of the Rings

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n early 2023, ChatGPT became the fastest growing internet application in history when it clocked up 100 million users only two months after launch. In parallel, its popularisation of artificial intelligence saw the term ‘AI’ designated ‘word of the year’ by Collins Dictionary for 2023, while the share price of associated computer chip maker Nvidia similarly soared and fears over the technology were at the heart of the US writers and actors’ strikes.

All this was triggered by the release of the 3.5 free version of the large language model (LLM), which draws on some 175 billion parameters to

deliver its text responses. By contrast, ChatGPT 4 – available via subscription since March 2023 – has over a trillion parameters at its disposal and is also multimodal, meaning it can input and output between text, images and voice.

While OpenAI, the Microsoft-backed company behind the service, hasn’t announced anything yet, a fifth version or beyond will inevitably be more powerful, drawing on multiple trillions of trainable algorithms and capable of converting text or voice prompts into multimedia instantaneously. In short, it will be possible for a writer, director, producer, or indeed anyone, to type their ideas for a movie or TV show into a computer or speak them into their mobile phone and see their vision realised before their eyes. Not only that, but the AI will be able to render suggested licensing and merchandising product lines, maybe even mass produce them using 3D printing.

These were some of the scenarios presented by leading thinkers and practitioners in the field at C21’s Content London in late 2023, where ChatGPT and other emerging AI tools like Midjourney, Gamma, Runway, Lore Machine and Flawless came under discussion.

Allan Niblo, co-founder of UK-based Vertigo Films, said AI would soon lead to great leaps in content creation, with productions on the scale of The Lord of the Rings capable of being made by individuals on laptops. He compared the present to when Francis Ford Coppola speculated in the Chad Nelson, creative director, native foreign and consultant, OpenAI What’s most exciting to me about AI is what’s coming in 2024. I look at it as we just started this rocket ship ride and 2024, I think, is going to be when it really explodes.

Thobey Campion, founder, Lore Machine What I’m so excited about is that I can’t see where AI is going. For us, the dream scenario is breaking out of these pre-existing moulds of how you tell stories and building deeply interactive experiences that bridge the gap between gaming and film.

Adam Cunningham, chief strategy officer, Allied Global Marketing Our industry has been going through

THE C21 CONTENT TRENDS REPORT: Winter 2023/24

Channel21 International | Winter 2023/24

Michael Connelly’s Bosch

George RR Martin’s Game of Thrones

late 1970s, during the making of Apocalypse Now, that it would one day be possible to make films on a hand-held camera and self-distribute to millions – a prediction that came true with the advent of the smartphone.

“The next evolution along from that is a kid on a laptop making Lord of the Rings at the same quality,” said Niblo. “I don’t think we’re far from that. Some people will disagree with me but when all the barriers are down and things are fully democratised, what will that mean?”

Elsewhere, Chad Nelson, creative director at California-based creative agency and production company Native Foreign, and also a consultant to OpenAI, echoed the point.

“This technology changes the centuries-old creative process of storytelling,” he said. “It allows you to go from ideas to execution much faster. The younger generation live in a Roblox/Minecraft world and think of entertainment as a sandbox that everyone should be able to manipulate and play with. My son told me that he could make a better Star Wars show than the last one on Disney+ and my answer was, ‘I can’t wait for you to prove it,’ because that’s not far away. In this new world you’re going to have viewers interacting with content in a whole new way.”

Nelson, who began working with OpenAI when he used the firm’s image-based ChatGPT predecessor DALL-E to produce a short animated film called Critterz, hailed the company’s November ‘DevDay’ existential crisis after existential crisis, questions of monetisation, of distribution, of format. AI accelerates that quite a bit. I don’t think it’s hype. When I overhear people say, ‘This is going to be really scary in the future,’ I think, ‘Oh, you’ve already missed it because it’s here right now.’

Monica Landers, founder and CEO, StoryFit There’s a lot of fear about AI destroying storytelling, but it can really empower, not just in efficiency but in terms of room for creativity and support and measurement for creativity. What I see in our data is that original storytelling is better for audiences. Right now, generative AI can’t hold a story together.

Jessica Chapplow, head of commerce, Reprise The business of traditional entertainment creation

DALL-E-produced film Critterz

as another watershed moment, during which it announced plans for the release of customised GPTs (generative pre-training transformers).

“I think of ChatGPT as like a good encyclopaedia, but it’s not an expert really at anything – it’s general knowledge,” he explained. But with personalised GPTs, “all of a sudden you can train based on your expert knowledge for your production, a custom GPT perfectly designed with your data, with your scripts, with your characters and no one else can will evolve, but not as we expect.

At the core we have Hollywood, then on the periphery things like user-generated content and unsanctioned sequels. As hundreds more ideas get greenlit, the core will get 10 times bigger and the periphery will get 100 times bigger. There will be a huge opportunity to take a lot more creative risks and people will crave more originality, with fewer sequels and reboots.

Dan Taylor-Watt, digital consultant Overwhelmingly, the most important thing to do is to play with AI and experiment with it.

Whatever your role, whatever your background, these are tools you can start to get a handle on. Research suggests those who are starting to use it are feeling a bit more optimistic and less concerned about the negative impacts.

see it, no one else can use it. It’s just for you.”

For Nelson, what this means within the context of TV production is the ability to establish standalone biographical GPTs for individual characters within a series, a different GPT for storylines, another for production design, another for merchandising, with each being able to talk to the other so that with overarching human input the whole system can iterate and realise entire seasons within a fraction of the time this would have taken previously.

The industry is at a critical juncture.

In 2023, Game of Thrones’ George RR Martin, Bosch creator Michael Connelly, The Firm’s John Grisham and others were among an Authors Guild class-action lawsuit brought against OpenAI, while The New York Times also sued the company recently.

Meanwhile, others, such as ABC in Australia, CNN and The Guardian have blocked the firm’s bots from trawling their sites. Germany’s Axel Springer, however, has agreed a content licensing deal with OpenAI and more will no doubt follow as media organisations of all sizes find themselves increasingly inclined to take potentially existential decisions about whether to engage with the technology or try to deny it.

Tim Carter, VP of ecosystems, Flawless Artificial intelligence is just a machine. It’s just a reaction to inputs. It’s not taking over the world. It is powerful and it requires a lot of thought in how we deploy it and how we build it but it’s not sentient. It has no concept of understanding but there are issues around rights at every step of this process.

Emma Wright, partner, Harbottle & Lewis The thing that really concerns me is there is a total imbalance of power between the companies that have created these LLMs and those that are trying to show that their rights have been breached. We are at risk of losing some critical creativity unless we figure that out and that will have to be done on the jurisdiction-byjurisdiction basis.

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Netflix’s Beckham

Access all areas?

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n 2019, with the UK government going through one of its frequent “why can’t you be more like Netflix?” attacks on the BBC, Mandy Chang, then commissioning editor of the pubcaster’s Storyville documentary strand, pointed out an uncomfortable truth.

Netflix’s headline-grabbing documentary at the time, Fyre: The Greatest Party That Never Happened, was produced

by Jerry Media, part of the same marketing company behind the festival itself – a clear conflict of interest that meant Chang and the BBC couldn’t have bought or commissioned that doc even if they had wanted to.

Yet Netflix, operating in the same market, competing for the same viewers, and often lauded as the example to follow by the ruling Conservative party, was not covered by the same regulations, Ofcom guidance or clauses on impartiality. A slippery slope of journalistic standards stretched out ahead, Chang told delegates at Sheffield Doc/Fest.

Fast forward to the end of 2023 and Netflix’s most watched documentary of the year in the UK is four-parter Beckham, produced by Studio 99, a production company part-owned by the former England football captain.

Brandon Riegg, Netflix’s global unscripted chief, has been at pains to state the streamer retained final editorial control throughout. The documentary’s producer, John Battsek, has insisted he would walk away from any project if editorial control was ever in question or publicists insisted on sitting in on interviews. Nicola Howson, MD of Studio 99, told delegates at Content London in late 2023 that Beckham absolutely hated the process of being interviewed by director Fisher Stevens, and anybody suggesting it was merely a propaganda film for ‘Brand Beckham’ simply doesn’t understand the process of making the series.

Netflix’s Beckham was one of its most-watched shows of 2023, but the fact his own production company made the four-parter has reignited a debate about journalistic standards, impartiality and editorial control in access docs. By Clive Whittingham

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Twenty years ago there were numerous stories in the tabloids about David Beckham and his marriage. We didn’t need to replay the allegations because they’d been replayed ad nauseum 20 years ago. What Fisher was interested in was the effect that had on two human beings in the eye of the storm, David and Victoria.

Nicola Howson Studio 99

Beckham’s alleged affair in the early 2000s is discussed in the docuseries, but the woman in question, Rebecca Loos, is never mentioned by name. Also ignored is Beckham’s apparent attempt to target the ‘pink pound’ by appearing shirtless in Attitude magazine when that benefitted his brand and bank balance, only to later happily promote the 2022 Fifa World Cup in Qatar, where checking your Grindr messages can see you imprisoned and/or tortured.

On the omission of Loos, Howson said: “Twenty

years ago there were numerous stories in the tabloids about David Beckham and his marriage. We didn’t need to replay the allegations because they’d been replayed ad nauseum 20 years ago.

“What Fisher was interested in was the effect that had on two human beings in the eye of the storm, David and Victoria. They’d never talked about it before. We deliberately didn’t talk about any other individuals in our show because it wasn’t about other individuals who may have chosen to tell stories or sell stories in a different context that were not relevant to us.”

Beckham was just a film about a former footballer, but if viewers Beckham director Fisher tolerate this – and 3.8 Stevens million viewers in the UK for Beckham in its premiere week alone suggests they do – then will Shell making documentaries about the climate emergency be next?

In the UK, an Ofcom-regulated VoD code for major streamers, similar to the broadcasting code, could level the playing field between the likes of the BBC and Netflix once it becomes law in 2024.

However, there is next to no chance of the industry putting the genie back in the bottle, particularly now talent and brands can produce their own content and air it via online platforms whenever they like.

Channel21 International | Winter 2023/24

THE C21 CONTENT TRENDS REPORT: Winter 2023/24

Left: Sky sports doc Hatton looks at the career of British boxer Ricky Hatton. Above: Box to Box Films’ Netflix doc Formula 1: Drive to Survive

Brandon Riegg, VP unscripted and documentary, Netflix It was on David and Victoria to be open and authentic. They were, and what came from that is something we’re incredibly proud of and is a global phenomenon. We did not give away full editorial control, we retained final cut. We talk to all the partners and want them to feel invested as stakeholders but understand our job and the producer’s job is to tell the best version of that story that is meaningful. He [Beckham] didn’t watch the series until it premiered. They were really pleased with how it turned out.

John Battsek, producer, Beckham I’ve been doing this for more than 20 years and made a bunch of films. There has never been a publicist anywhere near an interview we’ve done with anyone at any point. If at the outset Sir Alex Ferguson had said, “This is great but my publicist will be at every interview,” of course I would have said, “I have the utmost respect for you but I’m not doing this film.” There’s an insatiable desire from people who don’t make these films to assume these people are desperate for control as well as being paid absurd amounts of money – it’s not the case, in my experience.

Guy Davies, commissioning editor of non-scripted UK originals, Channel 5 and Paramount+ The Beckham series is an interesting one because inevitably there is a degree of debate about what the price of access is when making big celebrity stories.

There’s a conversation that needs to be had about

editorial integrity when weighing up projects like that. However, we need to be realistic in that the way we present these stories is not going to be the traditional fly-on-the-wall or Ruby Wax Meets… type of journalistic enterprises. Those have gone.

Stephen Segaller, VP of programming at the WNET Group, parent company to PBS I have grave reservations about projects where celebrities have editorial control. We won’t allow that, though it does limit the number of people who are willing to succumb to this experience. People ask me why we haven’t made an American Masters film about Bruce Springsteen and that’s because he wants a degree of control over any programming made with him. With these kinds of issues there are no rules, just preferences. Ours are very stodgy and old-fashioned, but we like them.

Poppy Dixon, director of documentaries and factual, Sky Hatton was raw, honest and the dynamic between Hatton, the film’s director and Sky was integral to making an unsanitised take on his story. It could be that some celebrities are very manipulative of certain broadcasters or commissioners, but for us it’s important that it doesn’t get to that stage. Every commercial broadcaster wants a hit series like Beckham, but I don’t think the average viewer knows that his company made it. Telling celebrity stories requires rigorous thinking at the point of commission.

Warren Smith, head of sports and factual, Box to Box Films Formula 1: Drive to Survive needed F1 to allow ourselves and Netflix in for people to see there was

something in it for them, because essentially if you can pull back the curtain a bit then people want to see more. Editorial control lies with Netflix, Amazon or Apple. None of the clubs or governing bodies have final cut on our shows, but we obviously have a great relationship with them. For us, it’s about trust and having dialogue across the year – you don’t just get access and then touch base in 12 months when you’re finished.

John McKenna, co-founder and CEO, Noah Media If there is a big area of the story the talent doesn’t want to talk about then you must question whether you should be making that film.

What used to happen is you’d film a piece, it would go out on a channel once, some people would see it and that was it. Now these are legacy pieces on people’s lives, so you must treat them with respect.

If you are honest at the start and lay it all out then you can get to a point where they do go there.

Fozia Khan, head of unscripted, Amazon Studios UK With access, whatever you agree on a piece of paper is never really the access. The access is always about the people making the show and the relationships they have with the contributors. Editorial control stays with us and that’s really important. You’re always collaborating with your contributors because it’s their story you’re telling and they’re being so generous in sharing that story with you. You have a massive responsibility to tell that story with care while also asking difficult questions. Audiences are really sophisticated now, they can see a puff piece a mile off.

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CONTENT STRATEGIES: Atresmedia

Channel21 International | Winter 2023/24

Generation games Atresmedia’s Carmen Ferreiro and Ana Cueto discuss the Spanish broadcaster’s unscripted entertainment mission across its services as it looks to innovate without scaring off the over-50s. By Gün Akyuz

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pain’s leading commercial broadcaster, Atresmedia, is in the market for more international formats, according to the group’s head of new projects, Ana Cueto. However, the exec also cautions against a media industry “obsession” with finding the next big thing, when the real audience drivers are familiar formats with new twists.

Speaking at C21’s recent Content London event, Cueto, who is responsible for developing new entertainment formats for the group, said she looks for new formats to adapt for each of the group’s channels and services. This includes flagship Antena 3, LaSexta and the premium SVoD service on the group’s recently revamped digital platform Atresplayer.

For flagship free-to-air (FTA) channel Antena 3, the focus is big shiny-floor entertainment, but also standard entertainment shows.

“We do have a very high renewal rate, which means we don’t really have much room for new formats. But we always like to have at least one title per season,” said Cueto. In 2022, for instance, it launched a local version of UK gameshow The Wheel from Hungry Bear Media for the BBC, while in 2023 it launched Talpa gameshow The Floor.

“The mission will be to maintain our position.

We have a leading position right now; it was really tough to get here. Our strategy is to target big family audiences with light entertainment, and we will continue doing that,” said Cueto.

The Masked Singer has run to four seasons for Atresmedia

Ana Cueto at Content London

Cueto also highlighted a preference for big entertainment formats. “We definitely go big,” said the exec. “We have a big entertainment slot on Friday night where we have [shows like] The Voice or Your Face Sounds Familiar. We also have Wednesday nights with The Masked Singer. So we have already two nights a week dedicated to entertainment shows.”

In 2022, Antena 3

tested a new factual entertainment format on weekdays called Joaquín, El Novato, an interview show with retired Spanish football player Joaquín Sánchez. “The first season did very well, but for the second season, the ratings were really way down.

Our conclusion is that for us these kinds of shows have a glass ceiling, so it’s better to bet on big shinyfloor entertainment shows,” said Cueto.

Atresmedia’s current entertainment roster includes a 10th season of The Voice, a fourth season of The Masked Singer and an 11th of Your Face Sounds Familiar (Tu Cara Me Suena). Other renewals include The Floor and Atrapa un Millión (The Million Pound Drop).

Also in the pipeline is a Spanish version of The 1% Club and Fox format Beat My Mini-Mes, with a release date yet to be confirmed. “We decided to do it after finding out that Julien [Degroote] and TF1 picked it up,” said Cueto.

Another newcomer will be a local version of UK talent reality show The Piano from Love Productions for Channel 4. The Spanish version will launch on LaSexta. “It will be a very different kind of show to what you usually see on that channel,” says Cueto, highlighting the fact LaSexta is largely focused on current affairs, investigative shows and factual entertainment. “This is a talent show with a different take. It will be very interesting to see the reaction of our audience and we’re sure it’s going to work.”

Discussing the key ingredients to producing a long-running entertaining format for Atresmedia, Cueto advised: “Stay loyal to the viewer. There are brands that are very familiar to the audience, so it’s worth maintaining these brands and renewing them year by year because they are very familiar.

Reboots do appeal to the Spanish viewer. You don’t want to interrupt your love affair with the viewer if there is a brand that works for you.”

Atresmedia’s philosophy is to focus on 

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CONTENT STRATEGIES: Atresmedia

Channel21 International | Winter 2023/24

formats that give the viewer an extra novelty factor, while also being accessible enough to a broad family audience, Cueto’s boss and Atresmedia’s director of entertainment programmes Carmen Ferreiro recently told C21’s Spanish-language sister publication Cveintiuno.

On the local formats front, Atresmedia’s success with originals includes Spanish formats like El Desafío (The Challenge) and Your Face Sounds Familiar.

“We have only a few possibilities to bet on paper formats because we are renewing large international formats that fit with our strategy. When a finished, more tried and tested product comes along it gives you more guarantees. It’s a vicious circle, because so long as we continue to renew everything and have few gaps, we have little room for new things.

But if we’re looking for something specific that does not exist in the market, we will commission it,” said Ferreiro.

“Luckily we don’t have any needs right now, we’ve been leading for two long years in entertainment and in all slots. Rather than absolutely necessary, we consider formats we believe can fit into our group philosophy and our way of understanding entertainment. I’m always looking for the next big format, but we all look for that,” she said.

Arguing that Atresmedia has a strong track record in selecting formats that everyone talks about, Ferreiro said: “That’s because we have a very clear DNA. We know who we want to address and with what type of offer. That makes the work much easier, because you know what you are looking for and what you are not looking for. As we’re a large group we also buy for the digital player and LaSexta, and we always have more margin.”

When it comes to formats for digital platforms, Ferreiro said: “It has to have a lot of personality. The difficulty with platforms is that in the end it has to be a product that makes you want to subscribe to see it; it needs a very powerful premise and a lot of engagement so the viewer doesn’t want to miss the next one.

Whether a format is chosen for a digital platform or FTA television, it must be a good format and well produced.”

What digital service Atresplayer needs on top are more innovative elements that lean into a younger viewing profile than for FTA, which attracts “an older viewer, usually over 55, who wants more classic products. On the platform we can allow ourselves to innovate a little more,” she added.

Formats that launched exclusively on the digital platform include Drag Race España, Reinas al Rescate (Queens to the Rescue), featuring stars from Drag Race España, and Love Island.

Meanwhile, productions in the pipeline for Atresmedia’s digital youth service, Flooxer, which is accessible on Atresplayer, include Sex, Celebrities & Rag Dolls, an adaptation of UK series Puppets Do Porn (aka The Really Really Rude Puppet Show), made by RDF Television for Channel 4. “The Channel 4 version has not yet been released and we

Your Face Sounds Familiar (Tu Cara Me Suena) has reached 11 seasons. Left: Drag Race España launched exclusively on Atresplayer

“

It’s a vicious circle, because so long as we continue to renew everything and have few gaps, we have little room for new things. But if we’re looking for something specific that does not exist in the market, we will commission it.

Carmen Ferreiro Atresmedia

are the first adaptation, so we can’t release it until they do,” said Ferreiro.

Other local adaptations for Flooxer include Talpa format Hunting Season and Belgian dating format Mommy Knows Best from Lineup Industries.

When it comes to pitching to the group, Cueto said: “We mainly go for international formats, but it

doesn’t mean that we won’t look at a paper format that has a very good idea, a twist, a new take on a classic concept.

It’s true that it’s difficult, but all the big media players have subsidiaries in Spain. So if you have a good idea, don’t hesitate to talk to them, because they will come to us and make a pitch. You never know.”

But as to whether Atresmedia is still looking for the next big thing in the entertainment space, Cueto replied: “I have a theory about that. I don’t think we should get obsessed with the ‘next big thing.’ A big, big thing comes to market every few years, and I would say the last killer format was The Masked Singer, and before that it was The Voice.

“Of course, there are things like The Traitors, which has been remade in many countries, but the numbers are not as big as the ones I’ve mentioned. So maybe we should be realistic. We have The Masked Singer; there are all these new reality adventure shows with a twist that came out last season.”

As for what Atresmedia is still looking for, Ferreira said: “In the end you need an audiovisual language that convinces you but doesn’t drive your mother away. If you don’t attract people over 50, even if you bring in 40% of young people, you won’t succeed.

“Why are we seeing all the classics being reinvented? Because there aren’t so many formats that have that classic language. What does The Masked Singer have? It introduces you to something very crazy, like those dolls, but it still has the keys to traditional TV: a famous person, a set, a game.

“The difficulty is finding formats with all those elements, that on the one hand will attract younger people and on the other that my mother will understand, because if you put on something very bizarre, it will be lost.”

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AHEAD OF THE CURVE: Branded entertainment

Channel21 International | Winter 2023/24

Brand of bothers?

T

he runaway success of 2023’s Barbie movie, combined with the TV and advertising industries’ entwined economic woes, have ensured content wholly or partially funded by brands has become top-of-mind for costconscious execs.

Whatever you choose to call it, branded entertainment – or brandfunded programming (BFP) or advertiser-funded programming (AFP) – is on the up as the impact of 30-second ad spots continues to wane, product placement becomes the norm and broadcasters and advertisers alike contend with the recent slump caused by the economic downturn.

Barbie’s success, however, is unlikely to be replicated on the same scale by another brand any time soon, unless they’re willing to stump up the US$150m that Mattel reportedly splashed out on marketing the film, on top of its estimated US$145m production budget.

“It’s potentially a bit of a red herring; there are only certain brands that have that scale. It’s been incredible, but not all brands are going to be able to do it at that level,” says David Amodio, deputy head of commercial innovation and 4Studio at UK commercially funded public service broadcaster Channel 4.

4Studio created shortform drama Fractured with luxury fashion house Balmain

With buyers’ budgets squeezed and brands setting up content studios, some have suggested branded entertainment is the silver bullet the TV industry needs right now.

By Nico Franks

What the movie has done, however, is make BFP feel “kosher,” according to Sam Glynne, head of EMEA, entertainment and culture marketing at United Talent Agency (UTA), which represents clients such as General Motors, one of the many companies whose brands appeared in the blockbuster.

Of course, in many parts of Asia, Central and Eastern Europe and Latin America, BFP is common, with advertising and marketing giants already playing a crucial role in getting shows made and on air.

But various recent developments have highlighted how other markets and major industry players are taking BFP far more seriously than before, suggesting another turn of the wheel for a financing model born when cleaning product makers funded and produced the original soap operas.

Banijay, for

example, set up a dedicated division towards the end of 2023 to spearhead its branded content activity, overseen

by Carlotta Rossi Spencer, as more and more of its prodcos have got increasingly involved in BFP in recent years.

Banijay Branded Entertainment is leveraging the production and distribution giant’s international footprint to deliver against brand briefs at both local and global levels, tapping into worldwide ad, media and event agencies to liaise directly with brands and connect them with buyers.

“Don’t fall into the trap of thinking

it’s the answer to everything,” says Rossi Spencer, head of branded content business development at Banijay, who advises producers to focus on finding the right partners to work with, rather than simply chasing the money. “We try to work in the best possible way with brands and also to guide them, because sometimes you need to do that.

Brands need to understand this is not advertising and they can’t control every single bit,” she says.

Currently, Banijay’s teams create branded content in 11 markets, with examples including Lindt Maître Chocolatier, which aired on TV8 in Italy; the multi-territory Hairstyle: The Talent Show with Alfaparf, which has five local versions covering Spain, Italy, the US, Mexico and Brazil; and

AHEAD OF THE CURVE: Branded entertainment

EndemolShine Germany’s brand-funded Knossi Edition spin-off to Big Brother.

For Amazon Prime Video, meanwhile, there has been the James Blunt-fronted Beer Masters,, produced by Banijay Group-owned Electric Robin and multinational drink and brewing company AB InBev, along with Live Italian with Birra Moretti and Niall Horan’s Homecoming: The Road To Mullingar with Guinness.

Interestingly, Hannah Blyth, head of TV at Prime Video UK, told C21 at Content London 2023 that BFP “is not a huge focus” for Amazon, despite it being the biggest e-commerce company in the world.

“We do have a few shows on our service that are led by the Amazon ads team, but there will be oversight to make sure it’s not brand-led content. They’re more shows that resonate with the mission of the brand. It’s not incorporated into our content strategy,” said Blyth.

Other buyers are open about their desire for more brand-funded content. UK commercial broadcaster ITV launched BE Studio towards the end of last year to produce entertainment content alongside advertisers.

BE Studio continues ITV’s push into ad-funded entertainment, which has seen it make shows such as DNA Journey with Ancestry and ITV is now looking to connect with more brands in areas such as fashion, travel and food.

Led by Bhavit Chandrani, director of BE Studio and formerly director of creative and digital partnerships at ITV, BE Studio comes as ITV seeks greater integration between ITV Commercial and ITV Creative.

Many of those working in the world of BFP hope developments such as these will help solve some of the age-old problems besetting all the various partners that have threatened to give BFP a bad name.

These include BFP causing friction between a broadcaster’s creative and commercial teams, with the latter concerned about ad dollars moving

Footasylum’s Locked In from Cowshed Social. Right: Sam Glynne and David Amodio

out of the ad breaks and into the programming, while producers butt heads with a brand’s creative team over editorial.

Another sticking point is how to measure the success of BFP, particularly as strong ratings are so hard to come by these days for linear channels as viewer attention increasingly shifts online. UTA’s Glynne points out brands are well versed in measuring their return on investment from commercials, but BFP is akin to them entering “the Wild West.”

“It’s up to broadcasters to deliver some robust measurement around it. When production companies have the scale to deliver digital as well as linear that really helps the brand on its KPIs [key-performance indicators],” says Glynne.

Luci Sanan set up

“

consultancy firm 53 Degrees North Media in 2023 after leaving her role as senior VP of global at The Story Lab, the content division of global agency Dentsu. More and more brands want to “tell stories” these days, Sanan says, and her aim is to bring “more cohesion” between areas of the industry “that often speak very different languages.”

For better or worse, the Barbie movie has “made brands realise they are in a position to influence the cultural narrative,” Sanan believes.

Glynne says she regularly receives calls from brands saying they want to set up content studios but they don’t know how and are unfamiliar with the business model of programme making.

This comes after a number set up production banners with ambitions in scripted in 2023 such as French fashion house Yves Saint Laurent’s Saint Laurent Productions and US

arts supply giant Crayola’s Crayola Studios.

“Some are failing, some have closed recently, some are opening. It’s a really tricky thing to get right. And it’s a very different way of working for brands. They must be brave and patient,” adds Glynne.

“A lot of brands think they want to be in high-end drama because it’s really sexy and they might get a Netflix credit,” says Sanan. “But in reality, the chief marketing officer probably isn’t going to be in the job by the time it actually gets made.”

One shortcut could be for brands to acquire production companies – a trend Glynne expects and Channel 4’s Amodio warns against, saying: “It could be a very expensive mistake.

The best creativity comes from diversity of thinking. The minute something is parked in-house it becomes a bit of an echo chamber.”

Barbie may have grabbed all 

We try to work in the best possible way with brands and also to guide them, because sometimes you need to do that. Brands need to understand this is not advertising and they can’t control every single bit.

Carlotta Rossi Spencer, Banijay

17

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AHEAD OF THE CURVE: Branded entertainment

Channel21 International | Winter 2023/24

the headlines but there are many other less flashy examples of BFP success, some of which may even be going undetected by audiences as paid-for content.

Take DNA Journey on ITV, a show looking at the family history of celebrities such as Hugh Bonneville and John Bishop, made with genealogy company and UTA client Ancestry, which is also behind similar family history shows involving celebs Drinks company AB InBev partnered on Beer Masters in the US and Australia.

A show about someone how clean a brand’s resumé can be, discovering their past particularly ones that have been backed by Ancestry “makes around the block. sense,” says Glynne, and “If you dig deep enough, you find means the brand doesn’t things that aren’t ‘impact forward’ have to try too hard to get in the heritage of most brands. So its fingerprints all over the it’s really about looking at what their show. intentions are and what they’re “People probably watch looking to deliver,” says Cadwallader.

DNA Journeys without “To move forward we need brands realising that it’s been paid involved in systems change – ideas for by Ancestry,” says Sanan that change the world. [You can’t] of this light-touch approach. ignore all the big brands completely Glynne adds: “They’re a because of a heritage that might have market leader in the sector; had a bad impact. It’s a show about genealogy about looking at where will lead you to Ancestry. they want to take The mistake producers things.” sometimes make is they Undoubtedly many just see brands as cash cows. in the industry will But brands bring so much Ancestry-backed DNA Journey with John Bishop and Hugh Bonneville, from feel queasy about the more. Ancestry can bring ITV. Right: Luci Sanan (top) and Lisa Cadwallader increasingly close, and research, access, celebrities reliant, relationship and marketing dollars. When between creative and the brand is paying to drive viewers to worked with around 100 brands the content on its advertiser that BFE on content creation ideas since its platform is co-financed that content, then everybody wins.” often requires. Channel On the other hand, Amodio says launch in 2020. Focusing on content with either brands 4’s long-running, “nobody wins” when the hand of the for TikTok, Instagram and Channel or non-governmental award-winning 4’s digital-first brand for YouTube, organisations. Given brand is shown too clearly. investigative current “Marketeers are always going to 4.0, projects have included the its eco ambitions, any affairs programme want to push the brand more and shortform drama Fractured (5x8’), whiff of greenwashing Dispatches is among damage more and there’s always going to be a partnership with luxury fashion would the jewels in its crown, WaterBear, so it must an uncomfortable point at which the house Balmain. but could a reliance Meanwhile, brands are already be rigorous about who commissioning team feels it isn’t on brand-funding commissioning their own reality it works with, says right,” says Amodio. at the financially “The minute it veers into a space shows and distributing them its VP of content and stretched broadcaster Lisa where the viewer switches off then no themselves on YouTube, as in the development, threaten its editorial one wins. There’s that clutch control case of footwear retailer Footasylum, Cadwallader. independence?

“Most people can you need to protect the viewer, not which tasked Cowshed Social to make “The editorial spot greenwashing. bang them over the head with the Locked In. As Sanan says: “Footasylum does We have something called ‘the team has to and always will protect brand, and at the same time work with your partners and make sure it’s longform formatted entertainment moral compass,’ which sounds a bit the content it makes. If there’s a on a shoestring budget compared with hoity toity. We interrogate what the Dispatches on a brand, it’s going to go a symbiotic relationship.

“When you don’t have to work too what you might see on linear telly, but partner wants to achieve. We don’t out no matter what we’re doing in the hard, it’s normally the right solution,” it really works. Their numbers on want to be flying the wrong crew into ad space. That level of impartiality says Amodio, pointing to Channel YouTube are phenomenal. They’ve an Indigenous community in the is important to retain because you 4’s reboot of Changing Rooms, which been trailblazers in what they’re Amazon on behalf of a beer brand,” have to have trust from the audience.

That’s why brands are coming in the was only made possible after the UK’s doing. It’s interesting and other says Cadwallader.

As a B Corp company, which first place,” says Amodio. leading paint brand, Dulux, came in brands are following.”

“The commercial team would Integrity is of paramount means it meets the highest standards as an investor.

“You want to work with brands who importance to WaterBear, the for social and environmental never say to the editorial team, ‘You want to say something rather than streaming platform that seeks to performance, WaterBear has the can’t put that out,’ because that’s sell something,” continues Amodio, tell stories that inspire positive right credentials. But Cadwallader what makes the channel great. If you who via digital division 4Studio has action for the planet. Crucially, all is pragmatic about the reality of do that it all breaks down.”

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NEXT BIG THINGS: Scripted to unscripted

Channel21 International | Winter 2023/24

Flipping the script With well-known IP more important than ever in getting projects greenlit by risk-averse commissioners, unscripted execs are increasingly looking to scripted brands to inspire premium formats.

By Neil Batey

2

023 was undoubtedly the year in which producers in the unscripted space exploited scripted IP and used it as inspiration for ambitious, genre-busting formats based on hit TV drama and feature film brands.

For evidence of this emerging content trend, look no further than the head-to-head battle between arguably 2023’s two biggest new formats.

First out of the gates in November was Amazon Prime Video’s 007: Road to a Million – James Bond’s first official foray into the world of TV. With Succession actor Brian Cox onboard as The Controller, it saw nine pairs of everyday people take on Bond-esque challenges around the world for a US$1.2m prize.

The show began life as a reality competition format from London-based prodco 72 Films ((All or Nothing: Arsenal). ). However, when 72 Films CEO David Glover pitched it to Dan Grabiner, the then head of UK and Northern Europe at Amazon Studios, the project took a surprising turn. He decided that the idea needed to be “supersized” and took it to Bond producer Eon Productions, suggesting an official collaboration.

“It felt like a bit of a long shot at that stage,” admits John Douglas, creative director at 72 Films. “Over the decades, Eon and Barbara Broccoli have been inundated with proposals and treatments for Bond TV shows, but they’ve never wanted to do any of them.”

Josh Duhamel fronts Buddy Games

Squid Game: The Challenge

Proving the old adage ‘if you don’t ask, you don’t get,’ Eon – perhaps surprisingly – was quick to give its stamp of approval. “We loved the concept as well as the creative team behind the project,” says Broccoli. “The ambition for this show was to make a spectacle on a par with the legacy of the Bond franchise.”

“In terms of instantly recognisable IP, James Bond is about as big as it gets,” says Douglas. “It’s a massive international brand. Being backed by Bond took the project to another level entirely and immediately brought a worldwide audience to the show.”

Just two weeks after Prime Video released 007: Road to a Million Million, rival platform Netflix unveiled its own mega-budget scripted-to-unscripted tentpole format, in the shape of Squid Game: The Challenge.

Coproduced by London-based Studio Lambert (The Traitors Traitors) and The Garden (Alone), it is based on the South Korean survival thriller that became Netflix’s most watched series. Claiming to have the largest number of contestants in gameshow history (456), as well as the biggest single cash prize ever (US$4.56m), it sees players from around the world play games inspired by the original show.

The series was greenlit by Brandon Riegg, Netflix’s VP of non-fiction series, who told Stephen Lambert, CEO of Studio Lambert, Squid Game was “the most tantalising and equally most terrifying piece of IP to try to fashion into an unscripted series.”

“We all knew the risks of getting it wrong were very high. How could we recreate the extraordinary, visually striking world that director Hwang Dong-hyuk had created?” says Lambert. “How could we make viewers care about 456 contestants and recreate the tension of elimination from the original show, where failed players were killed?

“The logistical and creative efforts that went into answering those and a million more questions were unlike anything any of us had ever been involved in.”

Despite a reportedly bumpy production process, which has seen some contestants threaten legal action over alleged injuries sustained during filming, Squid Game: The Challenge has 

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NEXT BIG THINGS: Scripted to unscripted

Channel21 International | Winter 2023/24

Brian Cox as The Controller in 007: Road to a Million

already been renewed for a second season, having mark the 20th anniversary of hit Brit comedy film hit Netflix Top 10 lists in 93 countries following its The Full Monty, it was greenlit after Spun Gold tweaked the concept to instead feature celebrities launch in November.

It’s not just the streaming giants that are ordering stripping to raise awareness for cancer charities.

“Having a show that comes from a known scripted-to-unscripted content. In the US, broadcast network CBS commissioned reality gameshow quantity is brilliant for a broadcaster,” says Daniela Buddy Games. In its original form, the property was Neumann, MD of Spun Gold.

With the show commissioned, Spun Gold then a 2019 comedy film co-written and directed by Josh Duhamel (Transformers), who, alongside business faced the challenge of securing permission from US partner Michael J Luisi, saw the potential of a TV studio Fox to use the Full Monty title and footage gameshow spin-off. After approaching some US from the original film.

“That was a nightmare,” Neumann says. “Who studios, they realised they would need the support knew that Fox consists of so many different arms of an experienced unscripted prodco.

Duhamel chose to work with LA-based outfit and departments? As soon as one department gave Bunim/Murray Productions, which falls under the us permission, another would say, ‘Hey, what the Banijay Americas umbrella and has made classic hell is this?’ So that was a very long and drawn-out reality formats such as The Real World for MTV. process, but we got there in the end.”

Following the warm reception to the first The Real Produced by Bunim/Murray, CBS Studios and Dakota Kid Productions, Buddy Games was filmed Full Monty, the format has since reappeared on ITV in Bogota, Colombia, and premiered on CBS in in several iterations including The Real Full Monty: Ladies’ Night and Strictly the Real Full Monty. mid-September 2023.

Keen to monetise this success, Spun Gold next With Duhamel onboard as host, the TV format sought to export the franchise closely mirrors the action of overseas. “Two years after the the original film, with six teams first show, we saw that it was of four friends taking on wacky doing well abroad as finished physical and mental challenges. tape, but we needed to establish “With all the silly games, it as a format,” says Neumann. stunts and challenges, Buddy “All3Media has since done a Games was literally made for brilliant job of selling it around television,” says Bunim/Murray the world, with local adaptations president Julie Pizzi. in Belgium, Germany, France “It really helped to have a and Spain, and we’re now in Hollywood star front-andproduction with a big American centre, not just as an executive network, which I can’t name producer attachment, but The risks of getting just yet. literally a contributor who Squid Game: “Spun Gold own the rights turns up to all the meetings, to the format, so every time it’s does all the press and The Challenge wrong sold abroad we’re very happy.” marketing and dials into every were very high. How As a pioneer of scriptedsingle phone call.” could we recreate the to-unscripted content, what By not selling the show to an advice would Neumann give OTT service, Bunim/Murray extraordinary, visually producers planning to pitch was able to negotiate a financial striking world that their own IP-driven concepts? director Hwang Dongpackage that suited all parties.

“First of all, it’s important “A real benefit of this kind of hyuk had created? to ensure the IP is globally IP-driven content is that you recognised rather than just can get some rights,” says Rupert Stephen Lambert domestic-based,” she says.

Dobson, Bunim/Murray’s Studio Lambert “It’s also better if the source executive VP of development.

“Josh and his partner held the rights, so it was a very material is cross-generational and younger simple deal. When CBS commissioned the show, viewers will be familiar with the brand.

“If you need access to rights, IP or archive it became a three-way partnership, so in terms of footage, it’s worth researching if the broadcaster or taking the format overseas, we’re all stakeholders.”

Buoyed by the experience, Bunim/Murray is platform you’re pitching to has a good relationship already developing another scripted-to-unscripted with the studio that made the original scripted project, with Sex & the City creator Candace film or TV drama. Some channels, for example, are Bushnell. Dating format Is There Still Sex in the known for having deals with certain US studios like City? will see four friends in their 50s live together Warner Bros or Fox. “Finally, when approaching studios to negotiate in a country chateau, where they will be wooed by securing the rights to use IP, think about how you an assortment of suitors.

In the UK, London-based prodco Spun Gold can be of benefit to them.

“In our case, the 20th anniversary of the show can legitimately claim to be a trailblazer in the scripted-to-unscripted space. Its format The Real offered Fox some publicity to encourage people to Full Monty debuted on commercial pubcaster ITV perhaps watch the film, and the cancer-awareness element made the whole project feel warm and in the summer of 2017.

Initially conceived as a documentary special to worthwhile.”

“

Daniela Neumann

Julie Pizzi

CONTENTLA

The Fairmont Century Plaza • 16-17 May 2024 Visit contentla.com for more information

24

CONTENT STRATEGIES: Amazon Prime Video UK

Channel21 International | Winter 2023/24

007: Road to a Million

With Clarkson, May and Hammond leaving The Grand Tour in 2024, Amazonowned Prime Video’s unscripted team in the UK is on the lookout for a range of shows spanning sports docs, competition reality formats and bigname, talent-led docuseries.

By Nico Franks

Delivering the goods

T

he end of an era is approaching at Prime Video UK, of TV at Prime Video UK, also cutting deals for licensed and with The Grand Tour presenters Jeremy Clarkson, acquired content that the streamer takes exclusively for the James May and Richard Hammond set to leave the UK and Ireland.

As with most streamers right now, flexibility is the order of show following the launch of two specials in 2024.

When Amazon poached the trio from the BBC in 2015 it the day and at Content London Blyth was keen to emphasise heralded a massive statement of intent from the e-commerce the team at Amazon can strike agreements of all shapes giant and its Prime Video subscription service, marking the and sizes. “Standard acquisitions, copros and pre-buys are a big growth area for us at the moment,” said Blyth, who beginning of a concerted push into UK originals.

The unscripted side of this strategy has been overseen is primarily looking to take rights to UK productions rather

by Fozia Khan, head of unscripted at Amazon Studios UK than international shows.

Whereas a straight licensing deal once meant simply since mid-2021 and the exec is considering her options around the motoring show, which could potentially return taking a finished programme off the shelf, the current state of play means Amazon execs would with a new line-up of presenters. still expect to have “extensive creative Speaking at C21’s Content London I’d love to find input” into a show. “If we do pick up a event in November, Khan said the a competitive show, it’ll be these guys working on it in current incarnation of the show had “come to its natural end” and the format, whether that’s an the same way as a global rights deal,” said Blyth, pointing to her colleagues presenters are “going out on a high,” elimination competition Harjeet Chhokar, unscripted executive while adding that Amazon Studios is or reality gameshow – at Amazon Studios UK, who looks in “early discussions” about how to an incredibly simple, after factual content, and Cat Lynch, continue the show. distinctive, ambitious unscripted executive at Amazon Clarkson, however, will return with Studios UK, who is across formats. more episodes of Clarkson’s Farm, one idea, especially with In scripted, the streamer is open of Prime Video’s biggest unscripted hits talent. to coproducing series with other both in the UK and internationally. Khan broadcast or streaming partners confirmed season three will launch in Cat Lynch outside of the UK, but it would be less 2024, with S4 due to go into production Amazon Studios UK likely to do so in unscripted. soon.

The forthcoming Hot Mess Summer, a UK adaptation of Prime Video had been set to cut its ties with the controversial UK presenter after his outspoken criticism of Fremantle reality show The Bar, produced by FremantleMeghan Markle and press reports claimed at the beginning owned Naked, and LOL: Last One Laughing Ireland, of 2023 that the US-based streamer would not renew The hosted by Graham Norton and made by Kite Entertainment, Grand Tour and Clarkson’s Farm after the commissioned highlight the UK team’s appetite for formats.

The latter launched in January 2024 and continues Prime seasons have been screened.

But clearly Clarkson remains part of the fold at Prime Video’s track record of remaking the Japanese comedy Video, as does May, who leads other originals such as format around the world, with discussions around a UK cooking format Oh Cook and travel show Our Man In…, version taking place, according to Khan.

Lynch, who joined Amazon in early 2023 from Londonwhich has seen the journalist and presenter visit Japan and based factual prodco Initial, where she was co-MD, was Italy, with India next up.

Amazon Studios UK launches around 10 originals across eager to reveal some items on her shopping list for 2024 scripted and unscripted per year, with Hannah Blyth, head during Content London.

“

Fozia Khan of Amazon Studios UK

Channel21 International | Winter 2023/24

“Big fact ent reality formats are definitely something I’m looking for,” said Lynch, who is keen to replicate the ‘real world’ element of existing shows such as the cinematic 007: Road to a Million – which is casting for new episodes although S2 has not yet been greenlit, according to Khan – rather than bring things into a shiny-floor studio, while the Bond show also fills the recognisable IP box that Lynch is looking to tick.

“I’d love to find a competitive format, whether that’s an elimination competition or reality gameshow – an incredibly simple, distinctive, ambitious idea, especially with talent,” added Lynch, who points to Channel 4’s Celebrity SAS: Who Dares Wins and the US version of LEGO Masters as examples. “It can’t be niche or too quirky. It must hit really big and has to appeal to as many people as possible. We don’t do many of them so the bigger an audience it can mop up the better.”

While Amazon is experimenting with live entertainment shows in markets such as Spain, where Prime Video recently launched a reboot of talent show Operación Triunfo, Lynch said: “We haven’t got specific plans to follow the same route but I’m really interested to see how Operación Triunfo lands.”

Meanwhile, big-name talent is something of a must for Prime Video UK as it seeks to catch viewers’ attention as they scroll through the carousel. “There’s a gap out there in docuseries for the next Kardashians or Osbournes – a big observational doc series about an incredibly famous, probably quite chaotic, family or household that can run and run. If anyone has really top-level access to a famous family, bring it our way,” added Lynch.

Chhokar, who like Khan joined Amazon from the commissioning team at Channel 4’s factual department, said “big talent” and “gripping UK stories” are his priorities, with “access that feels privileged and unique.”

The recent documentary Ronnie O’Sullivan: The Edge of Everything, produced by David Beckham’s prodco Studio 99, is a case in point, with Chhokar praising the snooker champion for his openness on screen.

This comes at a time when the rise of the celebrity documentary has led to a debate around the extent to which streamers are affording their big-name contributors too much of an influence in the edit suite (see page 10).

“Ronnie goes to places that are quite unfiltered. That’s built through trust and an understanding of a need to tell that story. It’s very collaborative but editorial control stays with us and that’s what we want on Prime Video: definitive docs that go to places that could be uncomfortable,” said Chhokar.

Elsewhere, stranger-than-fiction stories in the vein of three-part Prime Video docuseries The Greatest Show Never Made remain welcome, while the unscripted TV team keeps communication lines open with the podcast team at Amazon-owned Audible for potential cross-pollination, Khan confirmed.

Amazon made a splash when it took the UK rights to a batch of English Premier League (EPL) football matches in 2019 in a landmark deal, making it the first streaming service in the UK to pick up rights to EPL games. However, the e-commerce giant decided not to go big on the recent batch of rights for the next four seasons, meaning it won’t be showing any more live EPL games until at least 2028.

CONTENT STRATEGIES: Amazon Prime Video UK

However, it remains in the market for access driven observational sports documentaries to add to its growing catalogue of titles. This includes the All or Nothing series and Leeds United: Take Us Home, plus docs on Bastian Schweinsteiger, Sergio Ramos and Steven Gerrard.

Coming up in 2024 is 99, about Manchester United’s historic treble-winning season in the late 1990s.

Elsewhere at Content London, the Prime Video UK unscripted team discussed the recently commissioned projects Married to the Game and Dead in the Water, which highlight Prime Video’s continued desire for sport-related and true crime content respectively.

Raw TV, the London-based indie behind Netflix true crime hits The Tinder Swindler and Don’t F**k With Cats, is producing Dead in the Water, which will be available on Prime Video in the UK, Ireland, Canada, Australia, New Zealand, the Nordics and the Netherlands. It follows the hunt for a brutal killer that spans four decades, beginning with the murder of backpackers Chris Farmer and Peta Frampton in Central America in 1978.

“It’s carefully told; contributor care runs through everything we do. Both families of the couple killed were on board and the family of the murderer too,” said Chhokar, nodding to the trend for more ethical true crime content in which he said Prime Video is keen to participate.

Ronnie O’Sullivan: The Edge of Everything (top) and Graham Nortonhosted LOL: Last One Laughing Ireland.

Inset: Prime Video UK’s Hannah Blyth

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Your unfair advantage CONTENT STRATEGIES

Content

NIGERIA

CONTENTLA

BACKEND

Channel21 International | Winter 2023/24

Dreamspark’s Moe Bennani and Julien Muresianu discuss the art and science of using artificial intelligence to develop and sell entertainment formats.

By Nico Franks

T

he world of buying and selling unscripted formats could be transformed in 2024, according to the founders of Paris-based Dreamspark.

The company, set up by former Talpa exec and WeMake director Moe Bennani alongside tech entrepreneur Julien Muresianu in 2022, has made no secret of its use of generative AI to shake up the formats industry.

Dreamspark launched with a catalogue of more than 20 formats and now has over 40, including social experiments, reality competitions and datingreality series. The company is in production on three shows, while others are in development with the likes of TF1 and Mediawan in France.

The three shows in production are Loup Garou H24 for Canal+, inspired by the same werewolf/ mafia party game that led to the creation of worldwide hit The Traitors; Poker Society, made with online poker brand Winamax; and an as-yetunannounced reality show.

Meanwhile, the projects in development include Treasure Hunters, a competition format in which 12 contestants, stranded on a remote but wellfurnished island, must hide their own treasure chests containing gold bars worth between US$10,000 and US$250,000 from one another.

Dreamspark uses vast amounts of data to enhance idea generation, sales strategies and executive production, explains Bennani, to find smarter ways of approaching format generation and understanding programming decisions.

Treasure Hunters, for example, was pitched to the client with the benefit of information drawn from Salespark and Buyspark, the company’s in-house tools that Muresianu claims give them an advantage by mining data from the history of television to matchmake new formats with potential buyers.

It’s sometimes said that the key to a successful pitch is to bring a buyer something they don’t know they want yet and leave the room making them think they’ll lose their job if they turn the idea down. Rapid advancements in AI mean producers may be given a helping hand in this pursuit.

“Commissioners are very creative at finding reasons to say no, so our goal is to make sure there are relevant arguments to say yes,” says Bennani, who believes tools like Salespark and Buyspark are

“

Moe Bennani

Development Slate

Dreamspark already influencing buyers. “We can analyse the successes and failures of a channel and tell them why our format is right for them.”

Bennani, whose previous unscripted credits include French shows Until Dawn, La Grande Soirée de Noël and 5 Gold Rings, is adamant format development is a numbers game, quoting his former boss at Talpa, John De Mol: “Create 100 shows, sell 10 and one of them will be a hit.”

Crucially, generative AI tools offer the potential to significantly increase those numbers by speeding up all areas of production with minimal extra costs.

Pitch decks, sizzles and scripts for Dreamspark shows such as Walk of Life, VIP Collection and Starverse have been made using generative AI tools, helping to delegate repetitive tasks to machines and

There will be two types of companies: ones that ride the wave of AI, and others that get the tsunami in their face. Either you ride the wave or you’re going to disappear.

Moe Bennani

Julien Muresianu

saving weeks of work to allow humans to focus on more creativity, argues Bennani.

Dreamspark’s team includes head of content Quentin Jomand, whose unscripted credits include the French version of Who Wants to be a Millionaire?, and Marcellin Tézier, who works across development.

Concerns over originality and machines taking jobs from humans are brushed off by Bennani, who says content created with AI can only be as original as the human prompting it. Moreover: “Crazy ideas do not sell necessarily. It’s not only about being original, but being relevant to your buyers.”

Meanwhile, Bennani believes those most worried about losing their jobs are often the ones who stand to benefit the most from the new tools, such as casting execs who could use a transcription tool to save energy and put it into finding more entertaining participants.

“We are making the decisions. AI will create everything and nothing at the same time,” says Bennani. “There will be two types of companies: ones that ride the wave of AI, and others that get the tsunami in their face. Either you ride the wave or you’re going to disappear.”

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Channel21 International | Winter 2023/24

Fuse Media is accelerating its international ambitions, fuelled by content focusing on diversity, equality and inclusivity that targets young-adult audiences. By Gün Akyuz

I

ndependently owned US entertainment group Fuse Media has big ambitions to grow its global presence across linear, free, ad-supported television (FAST) and subscription video-on-demand (SVoD), with diversity-, equality- and inclusivityfocused programming targeting 18- to 34-year-olds central to its mission.

“First and foremost, we’re a content company and our core mission is inclusive entertainment,” says Miguel Roggero, chairman and CEO of Fuse Media. “We believe going after a diverse youth audience translates around the world, and that’s been true to our DNA from the very beginning. It’s a really simple mission: to be a global leader in inclusive entertainment with a ubiquitous distribution strategy, trying to be everywhere our consumer is and recognising that every market is in a different growth stage.”

Originally a linear pay TV network, Fuse Media expanded its presence in the digital space with the launch of a new streaming division in 2021, followed by a portfolio of FAST channels and SVoD service Fuse+. Fuse Media’s present Latino-led management bought a majority stake in the group in November 2020, led by Roggero.

Beyond its US base, over the past couple of years Fuse Media has launched FAST channels in Canada, the UK, and Mexico; a linear pay channel Fuse in South Africa, where linear pay TV is still very much in demand; and Fuse+ on Tata Play Binge in India.

Linear flagship channel Fuse drives the group’s original content strategy as home to its premium programming and growing slate of largely unscripted original productions, such as Big Freedia, Sex Sells and Upcycle Nation, plus Fuse Docs and Fuse Films strands, to name a few.

“They’re purpose-driven stories that feature strong personalities and we see a lot of demand for that. That type of content also goes into our subscription products internationally, such as Tata Play Binge in India,” says Patrick Courtney, Fuse Media’s head of streaming and business development.

Meanwhile, Fuse Media’s suite of FAST brands are powered by acquired fare to “super serve” younger audiences in the free TV space. In the US alone, the company’s FAST suite generated over two billion minutes in 2023.

The group is now preparing further channel launches in the first quarter of 2024, including the Spanish-language telenovela FAST channel Somos Novelas, developed in partnership with Big Media.

“We know there’s a global appetite for telenovelas and our positioning is as a global telenovela channel, so we’re acquiring telenovelas from all over the world which we think will have strong appeal,” says Courtney.

Somos Novelas will carry familyfriendly titles such as Piel Salvaje, adapted from the classic Venezuelan telenovela La Fiera.

Turkish, Korean and Indian novelas are also lined up.

Miguel Roggero

Big Freedia

Three-Year Plan

Fuse Media

“

It’s a really simple mission: to be a global leader in inclusive entertainment with a ubiquitous distribution strategy, trying to be everywhere our consumer is and recognising that every market is in a different growth stage.

Miguel Roggero

The FAST channel is due to launch in Q1 in the US and discussions are underway with a range of distribution partners in Latin America and elsewhere.

A Portuguese-language version of Somos Novelas is now being created specifically for Brazil, despite the country being a telenovela powerhouse market. Roggero reveals several thousand hours of content have already been curated for the new channel.

Courtney says Fuse Media’s channels will continue to evolve. “[FAST] is still a nascent space and developing very quickly. A lot of new audiences are coming online every day, so we have to be in a position to adapt quickly,” he explains.

Outlining Fuse Media’s growth plans over the next few years, Roggero says its recent FAST and SVoD launches in Mexico and India, and forthcoming launch of Somos Novelas, will open up more opportunities for the group’s style of entertainment.

“We’ll grow from there,” he says.

“Whether it’s a Latino story or a black story, we make sure we have the types of stories that appeal to everybody,” Roggero explains. “When we show advertisers the data, it’s not 100% one ethnic group, but a truly diverse 18-34 audience, which is the colour of America and the colour of the world today.”

Patrick Courtney

ConferenCe, Market SCreeningS & networking 19— 21 feB 2024 berlinaleSerieSMarKeT.COM

30

PRESENT IMPERFECT FUTURE TENSE: Maurice Wheeler

Prompt start to 2024

A

rtificial intelligence (AI) tools that ‘create’ near-perfect images, copy and music are already winning awards, and upsetting a lot of people. We need to accept that a systemic and irreversible change to the creative industry is inevitable.

The breakneck speed of the change will also mean it will be painful. Not long ago, the creative industry was considered untouchable, with the belief that ‘a computer would never be able to replicate the complexity and nuance of the human condition.’ But here we are.

However, I don’t think we are seeing the wholesale removal of human creativity or even the demise of the creative industry. It’s just going to be different, and for those who roll with the punches and look for the opportunities, it might be a positive thing.

Creativity is about the idea and the execution of that idea. Both of these have, to date, gone hand-in-hand – an artist comes up with an idea and then draws it, a novelist comes up with a story and then writes it. AI is going to cleave these disciplines apart. AI is going to do the heavy lifting of creative execution, decoupling it from the ideation.

Those who currently execute the creative process are going to suffer. Photographers, illustrators, copywriters and anyone who executes creativity is going to most likely find the bulk of their work replaced by AI. Like the linen weavers, cashiers and travel agents of the past, removing an entire job class will have a profound effect on many talented people and is hugely sad.

However, by separating the idea and the execution you are potentially opening up the creative industries to a new type of skillset – one that values great ideas over practical skills. It means that someone who can come up with incredible ideas but who doesn’t have the skill (or budget) to execute them can realise their potential. These people have always been around, but without the ability to actualise their ideas, they never received the recognition or reward needed to pursue a job in the creative arts.

AI is putting these people into play. If they can master prompt engineering and effectively evaluate and optimise AI’s output, they could well succeed, and with them bring a whole new approach to creativity, one that has never

Maurice Wheeler, CEO at We Are Family UK, considers how artificial intelligence will bring new talent to the creative industry – even as it causes job losses. been fully leveraged before. An increase in diversity of background, thought and approach is rarely bad for an industry.

With this automation and democratisation of content production, we are going to see an increase in the amount of content flooding self-serve channels (e.g. YouTube, TikTok, SoundCloud).

If you combine AI’s ability to create a lot of content with algorithms that know what kind of content you want to see, we get super-niche micro-targeting. A single piece of content might only be viewed by a dozen people, but those people will love it.

However, this super-niche, mass-produced AI content has two problems.

We as humans generally like authentic content made by real people. You only need to look at the millions of pieces of AI-generated art on Etsy to see we prefer art made by a real person who has put genuine emotion and passion into it.

The existing commercial models just aren’t set up for this type of content. Monetising millions of videos that have 30 views each is simply not efficient. Mass-market content will always be the Holy Grail as long as licensing and merchandising is where the real commercial upside is.

These two problems combined mean commercially successful content will come from marrying human creativity and authenticity with AI’s ability to execute them in a cost-effective manner. Sadly, we will see the loss of some jobs, but we will also see new people coming into the industry.

There are still many, many problems that need to be sorted out, from actors’ rights to copyright law, but these will be resolved. And when they are, I believe we will see a resurgent creative industry empowered by technology rather than replaced by it.

Channel21 International | Winter 2023/24

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