Miptv 2017 news 3

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Wednesday 5 April 2017

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EMMY KIDS AWARDS

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The International Emmy Kids Awards were given at a gala ceremony in Cannes last night

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PRE-LA SCREENINGS

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Disney and Lionsgate gave a taste of what they’ll be showing at the LA Screenings in May

BRAND OF THE YEAR

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PepsiCo’s Adam Harter received the MIPTV 2017 Brand Of The Year Award before his Media Mastermind Keynote yesterday

MASTERMIND KEYNOTE

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Variety Award-winner Gilles Pelisson of TF1 gave a Media Mastermind Keynote yesterday

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O U T S TA N D I N G W O R L D D R A M A S

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FROM THE MAKERS OF THE YOUNG POPE

A F A M I LY TA L E

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CONTENTS + hedule

NEWS

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6 MIPTV day two International Emmy Kids Awards; Media Mastermind Keynotes; International Drama Co-Production Summit; Cannes in pictures; day-two deals; and more...

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ter content development between Chinese and international production companies, as well as provide an intensive educational forum for Chinese media professionals.

One interesting innovation is The Partnership Forum, which will bring together leading executives from up to 40 international television production and distribution companies, with 40 senior-level Chinese media executives for prescheduled, one-to-one meetings devoted to forging partnerships.

Cyrus Farrokh of LA-based Propagate Content said: “China

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REED MIDEM’s global reach is underscored by the launch of hina ang hou, the first ever MIP event to be held in China.

MIP China Hangzhou will run from May 23-25, 2017, in Hangzhou, the lakeside city that hosted the G20 Summit in

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September 2016. The event is organised in partnership with China Media Management Inc - , official representative for MIPTV/MIPCOM in China, and Zhejiang MegaMedia, organiser of the Zhejiang Provincial Pavilion in Cannes.

The new event is designed to fos-

The official MIPTV daily newspaper Wednesday 5 April 2017

is one of the fastest growing content-distribution markets in the world. So MIP China Hangzhou will be a great opportunity to have face-to-face meetings with key stakeholders in the territory.”

Benny Luo of China’s Tencent Video added: “The market here is growing rapidly and there is strong demand for quality international content. We expect MIP China to deliver that to our industry. The event will also help us to explore new ways to export great Chinese content to the rest of the world.”

The MIPTV Newsroom is located in the Gare Maritime

Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Neil Churchman, Neil Crossley, Nigel Willmott Reporters Stuart Braun, Ben Cooper, Andy Fry, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens, David Wood Editorial Management Boutique Editions Head of Graphic Studio Herve Traisnel Graphic Studio Manager Frederic Beauseigneur Graphic Designers Véronique Duthille, Yovana Filipovic, Carole Peres Head of Photographers Yann Coatsaliou / 360 Media Photographers Christian Alminana, Patrick Frega, Phyrass Haidar, Olivier Houeix, Michel Johner Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Printer Riccobono Imprimeurs, Le Muy (France).

ADVERTISING CONTACT IN CANNES Silvia Ferreira: +33 7 78 35 43 99 Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNEBILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2017, Reed MIDEM Market Publications. Publication registered 2nd quarter 2017. ISSN 1967-5178.

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IN PICTURES

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International Emmy Kids Awards Celebrities walked the purple carpet at the Martinez hotel on their way to the gala ceremony for last night’s International Emmy Kids Awards which celebrates excellence in children’s programming. The presentation partners with MIPTV were Ernst & Young, Shaw Rocket Fund, TV Kids and WDR mediagroup

Presenter Die Mause walks the purple carpet

International Emmy Kids Awards gets creative

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Testosterone fix?

Here come the boys

Our Guy in China

Rocket Ronnie’s American Hustle

all3media International showcases North One’s acclaimed male-skewing new factual entertainment slate.

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IN PICTURES

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Presenter for the evening: British comedian Paul Taylor

Presenter for the evening: German actor Joyce Ilg

Michael Loeb and Andrea Zuska from sponsors, WDR mediagroup

Presenter for the evening: American actor Jenn McAllister

Presenter for the evening: Miss Supranational, Srinidhi Shetty

Presenters for the evening: performers Generation Double Dutch

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NEWS elegates in Cannes gi en first sight of ollywood’s hot roster

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EST ER DAY’s i naugural MIPDrama recreenings Showcase marked the first time olly ood studios have released segments

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of future TV content ahead of the May Screenings. uring the session, ionsgate Television’s Peter Iacono unveiled a preview of what he described as one of the “best and

most e citing pilots in years teaser of the pilot for Ten Days In The Valley was revealed on stage.

Iacono, who is president of international television and digital distri ution at ionsgate, pre-

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uartet to be honoured at FOUR leading media executives will receive MIPTV Medailles D’Honneur at tonight’s MIPTV Gala Dinner in the Carlton hotel.

They are ZDF Enterprises president and CEO Alexander Coridass, Huace Group president and co-founder Zhao Yifang, CTC Media CEO Viacheslav Murugov and Amazon Studios vicepresident Roy Price.

Alexander Coridass rose to become president and CEO of ZDF Enterprises in 1998. Under his leadership, ZDF Enterprises has e ol ed into a highly profita le and respected production and

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distribution group focusing on drama, factual, children/youth and entertainment programming. At the same time, ZDFE handles all programme acquisitions for the ZDF network.

Zhao Yifang established Huace in 2005 and has built it into one of the biggest producers of drama series and variety programming in China. Huace-produced content accounts for more than 30% of China’s top programmes, and in 2016 its shows accumulated more than 100 billion views across China’s online broadcasting platforms. In recent years,

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sented the clip along with a slate of other shows due for screenings in May. Also presenting on stage was Mark Endemano, senior vicepresident and general manager of Disney Media Distribution EMEA, who unveiled clips from a number of Disney shows including a major new Marvel series, Inhumans, which will make its debut in IMAX screens globally in September.

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Zhao’s Cultural Stepping Out programme pushed Huace into partnerships with international producers and broadcasters.

Viacheslav Murugov oversees the strategic development and business operations of four CTC Media TV channels, broadcasting in several countries. In addition to creating successful programming, his vision and business attributes ha e significantly contri uted to the development of CTC Media into one of Russia’s leading TV entertainment businesses.

Roy Price is vice-president of Amazon Studios, where he over-

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sees Prime Video including content licensing and acquisition, as well as all development, production and acquisition of Amazon original series and movies, such as the Golden Globe- and Oscarinning film anchester y he Sea, and Golden Globe- and Emmy-winning series Transparent.

“It is a great honour to recognise these four exceptional industry figures, ho ha e each, in their own way, made major contributions to the international entertainment content sector, and whose vision and leadership have set the standards in their respecti e fields, said aurine araude, director, TV division, Reed MIDEM, which organises MIPTV.

Ale ander Coridass,

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NEWS Pelisson lays out TF1 strategy for maintaining leadership position

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i l les Pel isson, chairman and CEO of French commercial broadcasting group T F1, was presented with Variety’s 2017 Achievement in Television Award yesterday evening at the start of his Media Mastermind Keynote in the Grand Auditorium. He then proceeded to lay out TF1’s strategy for maintaining its leadership position in the face of digital disruption.

Key to this strategy is keeping the agshi channel strong while simultaneously building up a robust portfolio of sister channels.

“TF1 [the channel] is unique in Europe and we want to keep its leadership position,” Pelisson said. “But we fight the battle differently compared to 10 years ago. Now we are much more focused on the channel’s

commercial targets to keep the share around 21%. At the same time, we are making our other

channels well-known so people want to rendezvous with them.”

Pelisson rejected the sugges-

TF1’s Gilles Pelisson

Shing predicts revolution in content

AOL’s self-proclaimed digital prophet, David Shing, took to the stage for Tuesday’s Media Mastermind Keynote to preach the need to market human “experience” instead of mere content.

“Who is done with content today?” Shing asked a packed Grand Auditorium in the Palais.

Arguing that “invention” should supplant the over-used term “innovation”, Shing underlined the need for much greater creativity when connecting with niche audiences and social networks that will, as opposed to mass marets, define the way indi iduals consume media into the future.

“The word of this year is experience,” said Shing, who quoted Einstein’s saying that “imagination is more important than knowledge.”

Shing spoke of the “need to understand the needs of the connected

tion that linear TV is dying but he acknowledged that younger audiences are watching TV in different ways across multiple platforms: “So our job is to make sure our content can be watched on every screen in an easy way. Success today is about agility.”

He admitted to mixed feelings about the relationship between TF1 and digital disruptors like Netflix and Facebook. But he did point to an innovative deal in which aired the first two episodes of Netflix Original Marseille on the understanding that if the show is recommissioned for a second season TF1 will be given a window to air the whole of season one.

Pelisson discussed TF1’s investment in US-style procedural dramas, its involvement in lavish period drama Versailles and its investment in ProSieben’s MCN Studio71. He stressed the importance of having a “pan-European vision” for the company.

human” in the digital age.

Discussing the inability of recent innovations like VR devices to connect with consumers on a mass scale, Shing referred to a range of new wearable AR (aug-

mented reality) devices that more powerfully allow humans to connect with content — including sensors in clothing that allow viewers to experience the emotions of the professional sports

David Shing

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people as they are performing.

Referring also to the Internet of Things, or what he would prefer to call the Internet of Emotions, Shing described the future of content that can be experienced in revolutionary ways.

“It’s going to be remarkable,” he said.

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EPSICO is the MIPTV 2017 Brand Of The Year.

PepsiCo vice-president marketing and cultural connections Adam Harter received the award from MIPTV director of television Laurine Garaude for his company’s ground-breaking product integration work with Fox on projects such as TV music-drama Empire.

Harter said that the creation of a three-part storyline about the character Jamal Lyon, an artist on the verge of musical stardom who lands an endorsement deal to make a new Pepsi commercial, represented a new level of brand integration.

Empire creator and director Lee Daniels also appeared in Empire

PepsiCo vice-president marketing and cultural connections Adam Harter

Tech a lifie arbie rules the playroom

IS HELLO Barbie Hologram the future of play? This latest digital iteration of Mattel’s iconic 58-year-old brand launched in February. Activated by the phrase “Hello Barbie”, it dances and answers questions.

It is an example of how Michael Shore, Mattel’s vice-president and head of purposeful play and innovation insights, is harnessing kids’ evolving love of digital technology to deliver its properties to kids in an increasingly fragmented landscape.

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as the director of the advert — which viewers saw for real in the show’s commercial break.

Harter gave an insight into PepsiCo’s future plans to engage audiences, including The Sound Drop, a recently-launched Pepsi-backed initiative to support the next generation of breaking recording artists by providing them with a platform to promote their work.

Harter said: “We need to engage fans in new experiences and in unexpected ways. Fans lifestyles are changing fast so we need to say ahead.”

He added that the company had also set up PepsiCo Creator, with a mission to explore and help create new cultural experiences; and a Creators League content studio, which produces in-house digital content for Pepsi.

researching in order to extend Mattel brands. Around 49% of US kids aged 6-plus create their own digital content, and growing numbers are coding.

Some kids’ properties lend themselves to digital extension better than others. “The types of content that drive imaginative play are those that have action, strong and purposeful characters, clear delineation of the forces of good and evil, signature settings, and signature accessories,” Shore said.

Humour doesn’t work the same way, he said. Although humour is a feature of many — even most — kids’ shows, it’s hard for kids successfully to replicate it: “Kids like to extend storylines, not replay them. So while humour drives some licensing and merchandising, it doesn’t always drive the toy.”

Favourite categories of digital content for kids include usergenerated, animation, “unboxing” videos, online tutorials, jump scares, esports, watchthem-play and speed stuff (speed-drawing, speed-gaming…), he said.

Speaking at the Designing The Future Of Kids’ TV conference session, Shore called the hologram “a tech-amplified toy at the intersection of content in a play platform”.

Another example is Barbie’s Dreamhouse, a smart dolls house that responds to voice commands like “Hello, Dreamhouse. Switch on the lights in the bedroom.”

STEM/robotic play and iCreate — kid-created digital content — are also categories Moore is

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Mattel’s Michael Shore: “kids like to extend storylines, not replay them”

He is currently exploring how on-demand viewing is changing the way kids relate to content, asking whether binge-watching builds attachment to a brand, or encourages “churn and burn”.

Earlier in the day, Eurodata head of global media research and content strategy Sahar Baghery revealed some of the ingredients common to the successful kids’ shows. Among them are music, relationships, empowered girls, time travel and the use o ou ube in uencers to help build audiences.

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RAILERS from Big aci ic, arguably the most expensive native 4K UHD wildlife documentary to date, had the audience at the er any Embraces Ultra-HD session applauding the visual quality and luminous colours powered by HDR (high dynamic range) imaging.

The $10m (€9.4m) tent-pole factual series, exploring rare underwater li e in the acific cean, was made by New Zealand-based NHNZ. But it is Germany’s ZDF Enterprises (ZDFE) that is handling worldwide distribution. The first trans ission is scheduled to be on the S networ in the S in the second quarter this year, followed by ARTE in Germany and France later in 2017.

The other co-producers include China’s CCTV9, German broadcaster ZDF and Discovery International.

“We’re very selective about what we include in our catalogue and

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OTT (over-the-top) streaming technology will enable broadcasters to bypass hurdles currently slowing down the take-up of 4K UHD TV via traditional cable, satellite and terrestrial signals. That was a key message during UHD Super Session: Dramatic Entertainment In Ultra-HD, where it emerged that Insight TV, the pioneering Netherlands-based 4K broadcaster, has launched an online subscription-funded VOD version via OTT. 4K signals are too large for standard broadcast set-top boxes, as Rian Bester, Insight TV’s CEO, said: “There are stumbling blocks against UHD on

we couldn’t be more convinced that ig acific fits the bill, said Nikolas Huelbusch, director, ZDFE.factual at ZDFE. “It was the most screened progra e in the oc screening library and we’ve already got commitments from many countries. While theatrical distribution is not core to our business, it is also definitely an o tion.

Kyle Murdoch, NHNZ’s managing director, said shooting and editing in UHD has numerous advantages, citing as an example the fact that the technology can future-proof the production for the next 20 years and more.

Challenges can crop up when storing footage on location, he said. “4K comprises four times as much information as standard footage and that requires a lot of storage s ace when fil ing in the wild,” he said. “In fact, we had to edit it o ine in H as there are still not many post-production houses able to edit in UHD.” Also speaking was Simon Busch, CEO of Germany-based Busch Media Group, who demonstrated how UHD can be used to remaster vintage footage to create premium-quality content.

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set-top boxes, including bandwidth problems,” he said.

Also, while Insight TV has started adding HDR (high dynamic range) tech to offer even greater colours on its 4K shows, the number of 4K-capable TV homes is not growing fast enough. Streaming giants like et i and azon ri e ha e demonstrated that OTT 4K is a viable alternative to 4K broadcast. This has taught specialist 4K channels like Insight TV to grow their audience by reaching users of connected devices, including smartphones, laptops and smart TV sets.

“We now have our own SVOD offering via an app on digital

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devices by Samsung, LG, Sony and [Microsoft’s] Xbox One console,” Bester added. ete ella y, senior ice resident at 4K online-video specialist NeuLion — the company that powers Insight TV’s OTT service — said: “4K is increasingly becoming central to all our clients’ brands.”

Once on OTT, 4K content can migrate to broadcast set-top boxes when manufacturers enhance them for broader bandwidths.

“Our own Videoload [a VOD service] is already offering 4K content but only on OTT,” said eter erc ho , eutsche elekom’s vice-president, content.

“But we hope to have it on settop boxes during the second half of this year.”

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The experts speak at Drama Co-production Summit

Co-production Summit delegates enjoyed a range of events and networking sessions

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nce again, the industry’s leading scripted TV executives came together for MIPTV’s annual international drama co-production summit, held behind closed doors at the Majestic hotel on Tuesday morning. The event, supported by leading agency UTA, was a mix of networking sessions, panels and keynotes spread across twoand-a-half hours.

Keynote speakers included RAI

general manager Antonio Campo Dall’Orto, who described how the Italian public broadcaster fits into the new world of cross-platform international co-production. There was also an insightful session with Nora Melhli, director of original creation at the fast-growing Altice Group. With Altice emerging as a key partner in the scripted co-production business, she told delegates about the kind of projects her company is interested

in and the commercial terms Altice favours.

The Summit also put the spotlight on the MIPDrama Screenings, with an illustrious panel talking about the scripted business and the quality of the shows selected for the Screenings — Inside The Creative Circle: Featuring MIPDrama Screenings Jury. Participants included Lars Blomgren, chairman, scripted exchange Endemol Shine Group; Jalil Lespert, director and actor (Versailles); Ran Tellem, Mediapro’s head of international content development; and Frank Spotnitz, executive producer and writer of titles including The X-Files and The Man In The High Castle.

The panel agreed that the MIPDrama judging process was a positive experience, with the diversity of subjects and storylines far greater than it would have been e en fi e years ago. hey also discussed how producers should respond to the turbulent political climate — stressing that it is important for creatives not to shy away ro di ficult sub ects.

That said, Blomgren predicted that there will be more feel-good content coming through – as a response to the tough times people are living through.

Creative Circle: Frank Spotnitz (left), Lars Blomgren, Ran Tellem and Jalil Lespert

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Spotnitz showed a clip of his new show Ransom. Asked about the importance of SVOD platforms, he said that azon and et i had contributed to the increased creativity in TV drama production but that producers should not overlook the role of free-to-air broadcasters.

A big part of the Summit involves encouraging people to collaborate and meet potential coproduction partners. Throughout the morning, delegates were challenged to work together on co-production-style problems. At the end, there was a networking drinks event for those who hadn’t managed to meet everyone during the course of the morning.

Altice’s Nora Melhli

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Boosting brand awareness with eye-catching content

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HE Keynote Superpanel: Turning Brands Into Content Studios was introduced by Campaign’s Adrian Bar rick who spelled out the challenges facing all content-makers: “Some peo-

ple refer to the original LEGO movie from 2014 as the best advert ever made, and it even grossed $486m,” he said. “But generally speaking we are in the middle of an almighty battle for people’s attention.”

Attention is something that Wargaming project manager Valeriya Tsygankova has a unique take on: “The fact that anyone can start playing one of our games, but to get really good you have to understand the attacking and defen-

Campaign’s Adrian Barrick (left); Pepsico’s Creators League Studio’s Louis Arbetter; Wargaming’s Valeriya Tsygankova; and Marriott International’s David Beebe

sive capabilities of the vehicles you are controlling,” she said.

“And that means that the content that we create has a vast audience that really wants to learn how to progress.”

Another brand with an intimate relationship with its audience is Marriott International.

“Lots of brands could and should create content,” David Beebe, the former vice-president of global creative for the company, said.

“Marriott decided that it wanted to own the idea of travel and therefore inspire its customers to do so. The fact that we could also offer them a room in a hotel was a secondary consideration but undeniably a good fit. he tric is to stop interrupting people and give them what they’re interested in.”

Louis Arbetter, general manager of Pepsico’s Creators League Studio, cited another example of being interesting and relevant: “People listen to what Gatorade has to say because it’s a respected brand, so to reinforce that we made a series about people reaching deep inside themselves to achieve seemingly impossible things.”

Agencies seek more return on investment

MEDIA agencies are increasingly plugging funding gaps, and especially for format shows, where the budgets can be large and the global rewards even larger. And they understand that there’s more to play for — not just existing shows, but new ideas, distribution, even creative input and IP. The question asked at the When Media Agencies Become Production Powerhouses panel was, essentially, what do you get for your money?

“Fremantle has always felt comfortable working with partners, especially if it means we get into more territories,” said the company’s Samantha Glynne. But she warned: “Creative involve-

ment is questionable. We’d have to look at that on a case-by-case basis.”

David Fletcher of Omnicom Media recognised his company could take on nuanced roles, but stressed the need for understanding between all partners and for the economics to work for everyone. “It’s a mistake if we try to be something we’re not. Let’s concentrate on what we’re good at,” he said.

From the broadcaster side, Ton Rozestraten of RTL in the Netherlands, said: “We really want to know the production company is behind it. Not every production company can make what the agency wants them to be able to.”

Samantha Glynne of FremantleMedia

So even if the bottom line is the bottom line, it’s good to know that quality creative still counts. But with new digital

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content channels and new markets emerging, it is clear that this portion of the business is evolving rapidly.

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NEWS The secret of kids VR: familiar characters — and Easter eggs

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ANY OF the early fears that kids were not suited to VR experiences appear to be unfounded, according to a panel of kids experts speaking at a MIPTV conference session on kids and AR/VR experiences.

BBC Studios’ interactive & technology lead, Tom Burton, said concerns about VR devices not being suitable for kids hadn’t really been borne out.

Peter Robinson, head of research at Dubit, said that kids have in general responded strongly to VR and that the potential is huge.

“Kids respond well, particularly when offered interactive games with familiar role-play and hidden Easter eggs to provide good long-term engagement,” Robinson said.

The chairman of Digital TV Russia, Dmitry Mednikov, said that kids adapted to new technology such as VR much more readily than adults.

The key for VR kids content is providing active engagement, added Turner’s head of digital

content, strategy and product, Marc Goodchild.

“The great thing about VR is that it allows you to put kids with their favourite characters, or even allow them to become their favourite characters,” he said.

Turner is creating entry-level VR experiences for kids using cardboard headsets, combined with mobile phones. Last year, Turner kids channel Cartoon Network released an Adventure Time virtual-reality game

Turner’s Marc Goodchild: “kids are looking for active engagement rather than passive experiences

From Puccini to Pink Floyd in UHD MIPTV delegates were treated

to spectacular 4K UHD liveevent footage during the Music & Culture In Ultra-HD session, illustrating the future of TVscreen formats.

The line-up of clips included shots from Puccini’s opera Turandot, Pink Floyd rock superstar David Gilmour in concert, and the filming of The Grand Tour, Amazon’s $160m motoring TV series. The speakers used the excerpts to share what they learned from using 4K tech.

Amos Rozenberg, CEO of France-based Paramax Films,

said shooting Turandot taught him the 4K camera lenses required for cinema might need to be different from the ones used for TV shows. “Cinema lenses give you a different texture. Also, shooting at 25 frames per second (fps) can be better for the eyes in the cinema than (the 4K standard) 50 fps,” Rozenberg said.

Dione Orrom, producer at UKbased Serpent Productions, said that Gilmour’s stadium concert in 4K brought its own challenges. “You’ve little control of where you put the cameras and lighting, and you cannot alter the show in any way,” she said.

As the production in 4K UHD evolves, producers should take note of some basic guidelines, advised Rene Delwel, CEO of Dutch company, United.

They include the image resolution, the high frame rate, the wide gamut of colours to capture, the use of surround sound and the inclusion of high dynamic range luminosity and clarity.

Once you’ve mastered those basic needs, he said, you can customise the technology to meet the production’s specific requirements, as seen in United’s work on The Grand Tour.

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Serpent Productions’ Dione Orrom

on Google Play for Android mobile devices.

“A lot of adult VR development has been about putting people in places they can’t go and giving them experiences they couldn’t otherwise have,” Goodchild said.

“Kids don’t really value that kind of thing without any context. But they do respond to fantasy worlds which are an extension of their own highly active imaginations.”

“Kids are looking for active engagement rather than passive experiences,” Goodchild added.

“They need some kind of agency and immediately look for handson and interactive elements. They hate it when they are ust oating around in space and want to know answers to questions such as “what am I standing on?”.

Dubit’s Robinson said the key to engaging kids with VR experiences was to use characters that they are already familiar with to create immediate engagement. It was also important to recognise that the putting on of headsets, and the setting up and calibration of devices is a bigger barrier for kids.

Robinson noted that boys tend to be poor at reading instructions and tend to use VR experiences more instinctively, while girls tend to spend more time following instructions, undertaking tasks and fi ing things.

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NEWS AwesomenessTV showing how to capture the Gen Z zeitgeist

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E I N F E L D lef t ou r screens 20 years ago, Sex And The City’s Carrie Bradshaw is no longer relevant and even millennial stars are now in their 30s with kids of their own. Baby boomers and Gen Xers take note, said Kelly Day, chief content officer at weso eness : en are now where it’s at. And not least, she explained during her Digital Fronts presentation, because they command $40bn of spending power.

AwesomenessTV is an MCN dedicated to serving their interests and if the themes of the featured content were traditional — a second series of Jen McAllister’s YouTube Red high-school comedy Foursome was given a sneak peek — then the treatment of it skewed towards tech-savvy obile-fi ated eyes.

Day was joined on stage by Hannah MacPherson, writer and director of the teen horror T@gged,

which, it was announced at MIPTV, would premiere its second series on Go90 early next month.

“I’m ver y easily sca red!”

MacPherson said, “but a couple of years ago I realised that there

was nothing more scary to me than a teenager with a cellphone.

I’m interested in how teenagers make themselves vulnerable.”

Day also previewed The Commute, a scripted teen romance to

Kelly Day (left) talks to Hannah MacPherson

Redefining T for a bold generation GEN Z don’t chase money, they

chase ideas. They believe the world needs purpose, not profit.

They predict the future is unpredictable and aren’t afraid of being different. But, contrary to the received wisdom, they do watch TV, yesterday’s Digital Fronts session, Connecting Gen Z To TV, was told. Quite a lot of it, in fact.

“If you take one thing away from this session, it’s this: for Gen Z, TV is entertainment, not a device or a format,” said Richard Chambers, head of Zoomin Studios.

Part of Europe’s largest MCN, Zoomin TV is drawing on its global network of 3,500 video journalists and 25,000-plus online channels to take the pulse of the generation for whom 9/11 “is history, not memory”. It is then

run on YouTube, and Zack And Mia, a love story based on the young adult novel.

Day said that AwesomenessTV’s influencers had a global social reach and fanbase, but her colleague Rebecca Glashow, pledged the MCN would seek more partnerships. “Our content uniquely speaks to discerning global audiences,” she said. “We’re taking these stories on the road.”

converting its findings into shows “for Gen Z, made by Gen Z”, said Zoomin senior development producer Joel Philip.

“Almost half the world’s population is under 25,” Chambers added. “That’s a powerful lump of people. And they are also very powerful because they have the money, time, tools and demographic power to create change.”

They are also incredibly loyal to the brands and people they like and trust — one of whom is extreme adventurer Chris Horsley, who appeared on stage in the protective suit he wears to climb into the heart of live volcanos. Horsley is driven by more than a desire to push the limits: “I can also gather scientific data that is invaluable to understanding volcanoes.”

The mind-blowing footage

captured by Horsley is being distilled into a TV series called Volcano Hunter. Chambers and Philip also presented a show starring another thrillseeking YouTube star, James Kingston. The format, All For

Adrenalin (10 x 60 mins), features Kingston “defying death for the thrill of living on the edge” in a variety of terrifying ways, from running with bulls to free-climbing skyscrapers.

The format has been licensed this week by MTV for its Scandinavian, Baltic and Bulgaria networks.

Extreme adventurer Chris Horsley

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miptv

Korea’s content agency reports rising demand for unscripted...

T

HE KOREAN Creative Contents Agency (KOCCA) has reported growing interest in Korean unscripted formats at MIPTV this year.

KOCCA’s vice-president and chief operating officer, Kim Young-chul, said that although Korean companies have been attending the market for many years to sell TV shows, trade in reality formats is now beginning to take off.

Shows such as NBC reality travel series Better Late Than Never, starring William Shatner and Henry Winkler, a remake of Korea s randpas ver lowers Can See Your Voice, which has aired in seven countries and antastic Duo on TVE in Spain are

KOCCA’s Kim Young-chul

YT finds scripted drama in favour

JAPAN’s Yomiuri Telecasting (YTV) has more than 100 animation and entertainment and drama formats on offer at MIPTV, including its global anime hit, City Hunter, which is set to be reincarnated as a Chinese live-action movie.

City Hunter started life in the 1980s as a manga comic-book series about a sniper with a penchant for working for beautiful women. YTV adapted the print series into a TV animation, which is enjoying strong sales around the world.

The series has been particularly successful in China — so much so that a live-action movie is now in pre-production, slated for a December 2018 release. The fil will be directed and e ec produced by Stanley Tong (Police Story 3) and will star Huang Xiaoming.

On the formats front, Mari Yoshikawa, general manager of YTV’s content division, said she

has observed a growing demand for scripted. “A few years ago, our clients were mostly interested in non-scripted Japanese formats, particularly variety and game shows,” she said.

“But today, the big global distributors are much more interested in scripted dramas.”

Among YTV’s scripted highlights are ace- aker mins), about a genius plastic sur-

YTV’s Mari Yoshikawa (left) and Norie Taga

23

evidence of international demand for some of the creative ideas coming out of Korea, Kim said.

He added: “As a Korean I am very happy to see this growth. We e pect Korean formats to establish a solid foothold in future global markets.”

KOCCA’s effort to promote Korean formats through initiatives such as the K-Format showcase at MIPFormats have succeeded in raising awareness, he said. Nine out of 12 formats showcased this year were unscripted.

Other developments in Korean content production include KOCCA funding of animation in the region of €8.3m a year, and a surge in the level of co-productions, with nine new animation projects in 2016 as a result of partnerships.

Korea also had two nominations for the 2017 International Emmy Kids Awards, plus co-production agreements have been set up with the EU, Australia and New Zealand.

geon who changes people’s faces with une pected results and ure oul ins , a oving story about a woman with early-onset Alzheimer’s. Pure Soul has already been remade for South Korea, where it topped the bo office under the na e Moment To Remember.

miptv

NEWS Big hitters join forces to launch global drama-commissioning club at MIPTV

M

I P T V saw t he launch of an innovative new concept in drama production aimed at creating pre iu , high-profile drama content for regional OTT players and Telcos.

Described as a “commissioning club” for high-end content, the initiative — Atrium TV — is the brainchild of big industry names

such as former Sony chairman and former CBS president, Sir Howard Stringer; CEO of British distributor DRG, Jeremy Fox; and MTG executive vicepresident and head of programming and content development, Jakob Mejlhede Andersen.

Stringer said: “The demand for high-quality drama is increasing throughout the world as new platforms come on line and as

new audiences consume their programming in an alternative way to linear TV. Atrium helps these new platforms compete with broadcasters and global SVOD players by offering a creative solution to offer big-budget drama to subscribers.”

Based in London and Los Angeles, the triu tea will find and develop projects and share them with club members, who will

MTG’s Jorgen Madsen Lindemann (left); DRG’s Jeremy Fox; Sir Howard Stringer; and MTG’s Jakob Mejlhede Andersen

then decide if they want to invest.

Club members will license shows exclusively in their territories and exploit them in their local markets, with DRG (which is part of MTG) handling the rest of the world.

Jeremy Fox said that the plan is to develop and produce 10 series over the ne t five years in the $5m (€4.7m) per hour range.

Projects currently being developed through Atrium TV include The Eagle Has Landed, a drama set for 2019 to celebrate the 50th anniversary of the moon landing. Stephen Kronish (24; The Kennedys) is attached to write the script.

Fandorin, based on the novels about a late 19th-century detective by Boris Akunin, is being developed by BBC Studios, with a script written by Simon Ashford (The Musketeers; Robin Hood).

Saigon, based on the novel by Anthony Grey, tells an epic story spanning 50 years of Vietnam’s history, from the French colonial days of 1925 to the last helicopter from the roof of the American embassy in 1975.

DRG’s Fox, CEO of Atrium TV added: “We are encouraging approaches from producers and are especially keen to hear new ideas based on historical novels or major world events.”

Atrium TV has appointed Quinn Taylor, based in Los Angeles, as creative consultant. Taylor has 25 years experience in international drama, including senior roles at both ABC and NBC.

Blumhouse targets ‘dark genre’ for TV BLUMHOUSE is to launch an independent television studio with ITV Studios acquiring a 45% stake. With this investment Blumhouse Television becomes an independent television studio and will continue its growth by financing and producing original scripted and unscripted ‘dark-genre’ programming for global audiences.

The independent studio has been established by Jason Blum’s Blumhouse whose film division is in the midst of a 10-year deal with Universal Pictures, and has produced movies which have grossed over $2.8bn at the bo -office including recent hits Split from M Night Shyamalan; Get Out from Jordan Peele; the international hit franchises The

Purge, Insidious and Paranormal Activity; and Academy Awardwinning Whiplash.

Blumhouse Television was launched in 2012 and in a short period has won Emmy awards for The Jinx and The Normal Heart, produced the recently rebooted Cold Case Files on A&E and 12 Deadly Days for YouTube Red.

Blumhouse’s Jason Blum

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04/04/2017 18:07

829v2_RM MIPJUNIOR_N3&48TV.

Kids Content Rules in Cannes this October

MIPCOM 16-19 October 2017 MIPJunior 14-15 October 2017 Cannes, France

The World’s Showcase for Kids Programming

Registration mipcom.com

miptv

NEWS Ahead of the curve: the power and possibilities of the 360 experience

“F

ILMING in 360 allows you to see the subjects up close and personal,” said RT correspondent Marina Kosareva, “and they act more naturally because they forget the camera is there.”

Speaking at Tuesday’s session, Integration Of 360 Video: Pioneering A New Method Of Storytelling, Kosareva explained how she made Project Duterte, a doc about Philippine president Rodrigo Duterte’s controversial anti-drug campaigns. The film combines fil shot in prisons bri ing with for er drug dealers, with at (traditional) footage and an interview with Duterte himself.

The 360 segments allow the viewer to take a 360 look at the most captivating parts of a documentary, but it creates an editing

Marina Kosareva of RT

challenge. three- inute fil can take up to three months to edit, with transitions between at and 360 footage carefully timed to let the viewer explore, then guide them back to the core story.

“We do the transition just before a reveal, so the viewer has a reason to co e back to the at narrative,” Kosareva said. “We’re still exploring what’s possible.

There are things we don’t even know yet.”

RT was among the first global news media outlet to adopt 360 technology, and now lays claim to a library of over 100 titles. “ o bining at footage with video put us ahead of the curve,” said Eduard Chizhikov, head of RT360. “No-one has ever attempted this before. And this year at MIPTV we have witnessed a real breakthrough in VR content licensing. or the first ti e we have concluded multiple VR content deals. It’s a clear sign that the market is becoming more established and that the demand for quality 360 content is growing.”

GUIDE 2017 The Who’s Who of the global industry Pick up your copy at the registration area Gare Maritime

A year-round networking tool PUYG_MIPTV17_demi.indd 1

04/04/2017 11:57

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NEWS

Deals take ITV Studios and Talpa formats to Mongolia

ITV Studios GE’s Ella Umansky (left), Mongol TV’s Nomin Chinbat and ITV Studios’ Mike Beale

B

LOCKBUSTER international formats are on their way to Mongolia thanks to deals done at MIPTV. Mongol TV, one of the country’s leading independent broadcasters, has signed both ITV Studios Global Entertainment’s Come Dine With Me and Talpa’s The Voice.

Come Dine With Me has been sold in over 40 countries, and Mongol TV CEO Nomin Chin-

bat said it would strike a chord at home: “Mongolians are very family-oriented people and cooking for family and friends is very meaningful in Mongolian culture. It will not only offer a unique window to contemporary Mongolian society, but it will also showcase the competitive nature of Mongolian people.”

Mongol TV’s The Voice Of Mongolia will be produced in-house and will air early next year. It also pro-

duced and aired the local version of Got Talent whose second season finale took ore than of audience share, according to Chinbat.

Mongol TV is one of the main importers of international formats. “In Mongolia a lot of people want entertainment,” Chinbat said. “But only six per cent of local production is entertainment.”

She added that there are over 150 channels but that “the media landscape is not that developed”.

Stars work hard for Turkish drama ACTORS Kerem Bursin and Leyla Lydia Tugutlu went to great lengths to prepare for their starring roles in Eccho Rights’ Heart Of The City, which debuted on Turkish channel ATV earlier this year.

Bursin revealed that he spent a year and a half in LA with former British Olympic boxer Tony effries and fought in bouts as part of his training for the role of Ali, a sailor and amateur boxer with painful memories . “I really enjoyed the training, right up to the point when I got hit — it’s a different psychology,” Bursin said.

Tugutlu, a former Miss Turkey, spent 10 days training for her role as an aspiring ballet dancer. “It

Actors Kerem Bursin and Leyla Lydia Tugutlu, stars of Heart Of The City

was really hard, but I loved it,” she said.

Eccho Rights is distributing

the series from Turkish drama producer Ay Yapim and writer Ece Yorenc.

27

CZECH TV GRABS A NEW SLICE OF THE BAKE OFF ACTION BBC WORLDWIDE has sold Love Productions’ Great Bake Off format to Czech TV in the Czech Republic.

The move brings to 25 the number of countries where the popular battle of the bakers is licensed.

The format, in which amateur bakers are pushed to the limit as they endeavour to impress the judges with their skills, is about to have new series in Denmark and Israel following renewal deals.

The show is also available for audiences in Australia, Germany, France, Sweden, South Africa, Brazil and Thailand among others.

“Bake Off has proved an international hit for BBC Worldwide and continues to win new fans in every corner of the globe,” said Sumi Connock, creative director of formats, BBC Worldwide.

GERMAN DEAL EXTENDS FILM COLLABORATION PROSIEBENSAT.1 and Constantin Film have renewed their licensing collaboration to cover productions and co-productions that start shooting in the next two years. The deal ensures the German production company’s premium film content will continue to be broadcast on ProSiebenSat.1 stations.

Upcoming highlights include the third and final part of the ack u oehte film trilogy.

More than 15 million people saw the first two mo ies making them among the most successful German films of all time.

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Chris Forrester, Journalist and Industry Consultant, UK

Anthony Geffen, CEO and Executive Producer, Atlantic Productions, UK

31/03/2017 11:26

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31/03/2017 11:27

miptv

NEWS APC MAKES IT HAPPEN WITH STING PROFILE

Turkish OTT series Phi given Cannes debut by Eccho Rights Phi stars Serenay Sarikaya (left), Mehmet Günsur and Berrak Tuzunatac

A Sting - The Free Man (APC)

DRAMA, kids and documentary distributor About Premium Content (APC) has signed a co-production deal with Make It Happen Studio for the Danish series Unpunished.

“The series originates from Danish company Investigate North, and the new co-production deal means that the dynamic young producer Sydney Gallonde is on board,” Emanuelle Guilbart APC’s joint-CEO said. “At MIPTV this week we are looking for further co-production partners.”

APC has also scored one of the highest counts of views at MIPDoc for Sting – The Free Man and is launching the kids’ series Kid-ECats at MIPTV. “Of course we are very happy that our Sting documentary attracted so much interest, and we’re looking forward to seeing how Kid-E-Cats, part of the APC Kids catalogue, is received,” Guilbart said.

“The show was a huge hit in Russia and we have since engaged Nigel Pickard (ex-Zodiak Media) as executive producer to help us internationalise the show. The results are phenomenal and we are confident that the show has a bright future.”

GROUND-BREAKING OTT series which had its international premiere at MIPTV is a “wake-up call” to this generation, one of the show’s stars has said.

Berrak Tuzunatac, who plays one of the lead roles in the show Phi, said that it challenges audiences to think about serious issues and “has the pulse of what people are questioning right now”.

Phi tells the story of a celebrity psychiatrist, Can Manay, whose popular persona masks his true nature as a disturbed sex-addict and serial killer.

His life intermingles with a number of characters through a complex web of relationships, including with Tuzunatac’s character ge, a ournalist fighting to e pose the truth about his past, and Duru, a dance student and object of Can Manay’s obsession, played by Serenay Sarikaya.

Both Tuzunatac and Sarikaya are in Cannes with co-star Mehmet Gunsur, who plays a pothead musician and partner of Duru.

It is based on a hugely successful series of novels by Turkish writer Azra Kohen, which begins with Phi, followed by two more books, Chi and Pi, on which future seasons will be based.

The series is being presented at MIPTV by distributor and rights management company Eccho Rights, after debuting in Turkey on OTT service Puhu. So far only three episodes have been co pleted, while fil ing on the remaining episodes of the 20-part series continues.

Tuzunatac said that she and her co-stars agreed to the role “just from reading the books”, which she said are written in a relatable way on a universal human level, “rather than being based in one country or city”.

Sherlock resurfaces in Shanghai case

LIUBAI and Lotus Entertainment have closed a deal to co-develop and co-finance Sherlock Holmes: The Shanghai Casebook, a series from Racine Media. The $40m series will be executive produced by Mark Rosen (Sense8).

Based on an original idea by Racine Media, the story takes place in the period after Sherlock Holmes tumbles over the Reichenbach Falls and disappears. The series supposes that Holmes actually hid out in Shanghai, which in the late 1800s was a fascinating nexus of western and eastern culture.

Liubai chairman Xu Kang said: “It’s exciting to be partnering with Lotus and Marc Rosen on this series. Being fans of Sherlock Holmes, we love the idea of seeing the character in Shanghai as an organic and creative choice.”

31

Sense8’s Mark Rosen (left), Lotus Entertainment’s Bill Johnson and Liubai chairman Xu Kang

Lotus Entertainment co-chairman Bill Johnson added: “Sherlock Holmes is a classic in fil and this unique period of his literary absence and his imagined time in China is an exciting twist on the mythology.”

miptv

NEWS THREE-TITLE DEAL PROPELS THE YOUNG POPE EASTWARDS

Striking ut is ‘really good fit’ series for SundanceTV Global

S Jude Law in The Young ope

THE YOUNG Pope is headed for CEE, Russia and CIS thanks to a three-title scripted deal between SPI International/Filmbox Channels Group and FremantleMedia International (FMI).

SPI/Filmbox, which operates more than 30 channels on fi e continents has taken the pay-window rights for three dramas: critical and commercial hit The Young Pope, starring Academy Award-winners Jude Law and Diane Keaton, in a story a out the newly elected first American pope; tense, pro ocati e ritish thriller Apple Tree Yard, based on a no el y ouise oughty and gripping Swedish crime drama Modus, which follows a psychologist and profiler. ll three will air on ilm ox mo ie channels and the ilm ox i e ser ice. aximilian olenius s senior ice-president of sales and distribution, Germanspeaking Europe, CEE, Russia and CIS, said the titles were not only “outstanding creati ely ut also represented “the ery best of European drama”. e added “ ll ha e recei ed critical acclaim and ha e capti ated audiences where er they ha e aired.

UNDANCETV Global has bought RTE’s Striking Out (4 x 60 mins) from UK indie distributor DCD Rights. The legal drama will roll out on SundanceTV Global later this year, airing in multiple regions including CEE, Dutch-speaking Benelux, Iberia, Latin America, MENA, Asia and Sub-Saharan Africa.

Striking Out stars Amy Huberman (Moone Boy) as a Dublinbased solicitor whose world implodes when she finds her fiance cheating on her on the eve of their wedding. Neil Morrissey (Line Of Duty), Rory Keenan (Peaky Blinders) and Fiona O’Shaughnessy (The Living And The Dead) also star in the drama, which offers an engaging snapshot of modern love, relationships and morality.

“With its universal themes, striking characters, great acting and good on-screen chemistry, Striking Out has strong international application and will engage view-

Striking ut around the world: AMC SundanceT Global’s atrick Connolly with C Rights’ Nicky avies illiams

ers worldwide across prime and early-peak viewing,” said DCD Rights CEO Nicky Davies Williams. She added that the editorial structure of the drama, which premiered on the Irish public broadcaster earlier this year, consists of a story-of-the-week built into an overarching series storyline.

Patrick Connolly, vice-presi-

dent of programming for AMC/ SundanceTV Global, said Striking ut was “a really good fit for SundanceTV and AMC channels around the world”.

Striking Out is produced by linder il s for E, with financing from the Broadcasting Authority of Ireland and Acorn Media Enterprises.

Miss Supranational builds global fanbase

THE REIGNING Miss Supranational 2016, Srinidhi Shetty from India, was on the red carpet last night and will also be presenting one of the awards at this years’ International Emmys Kids Awards.

The Miss Supranational show is a total package of elaborate stage design, music acts and spectacular choreography in a competition format aiming at high entertainment value to give Miss Supranational true global appeal.

“The show has grown year on year in terms of licensed broadcasters to over 140 countries,” said Alan Green from recentlylaunched Redbarre Media, distributor of Miss Supranational.

“With the support of major regional platforms such as Star World Asia, DirecTV Latin America and Zoom TV in India as well as national broadcasters in countries from Polsat in

Poland to Net 2 in Ghana, Miss Supranational has established itself as primetime entertainment for a wide audience. The numbers speak for themselves with a huge international fanbase, with

32

Srinidhi Shetty, Miss Supranational 2016

almost a million followers on social media from every country across the world. We look forward to welcoming more broadcasters for the 2017 edition to be shown live in December.”

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miptv

NEWS RAINBOW LETS 44 CATS OUT OF THE BAG

NHK and S4C’s first co-pro set to ‘overturn scientific thinking’

J Rainbow’s Cristiana Buzzelli

CRISTIANA Buzzelli, senior vice-president of sales and acquisitions at Italian animation company Rainbow, is testing the waters for its first pre-school show. The CG-animated physical comedy 44 Cats (52 x 13 mins), which is still in early development, targets four- to six-year-olds.

“We are well established in animated and live-action shows for older girls, but this is our first step into preschool,” Buzzelli said. “It’s also our first gender-neutral show. It’s about friendship and collaboration.”

Meanwhile Rainbow is in production on not one but two series of Winx Club — season eight for TV and season two of the spin-off for Netflix. “These ladies keep us pretty busy,” Buzzelli said.

In other Rainbow news, Maggie & Bianca Fashion Friends is performing well, with season three now in production. A second season of Regal Academy — twisted fairy tales for modern kids — is also in production.

44 Cats (Rainbow)

APAN’s NHK and UK Welsh-language publicservice broadcaster S4C have announced their first ever co-production: a major new eight-part science series called The Body, which looks at how human organs and cells interact at microscopic level.

“A huge and mysterious network exists inside our bodies, and we are excited to be able to share that with the world,” said NHK’s Akira Yoshizawa, senior producer of international coproductions. “We have used an NHK-developed 8K microscope and a 3D electron microscope to get unprecedented images at a microscopic level. Our full-4K CGI [images] of the inside of the human body are also stunning.

Our series will overturn conventional thinking about the body.”

S4C’s head of content distribution, Llion Iwan, said that NHK and S4C are seeking more co-

Behind The Body: NHK’s Akira Yoshizawa (left) and Yuri Sudo with S4C’s Llion Iwan and Amanda Rees

production partners for the ambitious show. He added: “We believe the series will draw worldwide interest, presenting breakthrough medical and scien-

tific knowledge in an entertaining, innovative way.”

The Body will air in eight parts on NHK in the first quarter of 2018, and in three parts on S4C.

Jabu journeys again to Gulli Africa MONSTER Entertainment has sold the second season of hit series Jabu’s Jungle to Gulli Africa, which previously acquired season one. The show has also been picked up by Ultra Media & Entertainment in India for its internet streaming service, which is available across South Asia.

Jabu’s Jungle (13 x 22 mins) is an animated series for four- to seven-year-olds. It follows the adventures of Jabu, an intrepid nine-year-old, and his magic talking drum. Jabu explores the jungle, helping animals in need.

Along the way he meets plenty of friends who join in the fun — but also has to watch out for naughty Van the vulture.

The show airs in South Africa on public broadcaster SABC, where it attracts an audience share of up to 28% of four- to 14-year-olds. It has also been acquired by Econet

Gulli Africa’s Naleka Nguessan (left), Monster Entertainment’s Andrew Fitzpatrick and Gulli Africa’s Maud Branly

Media, which broadcasts Jabu’s Jungle in 17 African countries.

The show is produced by Pixcomm in Cape Town’s Masiphumelele township and provides training for young animators and

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illustrators. Working with industry professionals, artists are given a hands-on, apprentice-style training that allows them to earn money as they learn. Production on series three starts soon.

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NEWS Cold War and classic literature inspire new content from Russia

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OVTELEXPORT, the distribution arm of Russian state broadcaster RTR, is at MIPTV with a strong line-up of drama, documentary and special events.

Key titles include season two of the popular period drama Ekaterina, an innovative adaptation of Leo Tolstoy’s Anna Karenina and a Cold War-era drama series entitled The Optimists.

There is also a range of drama and documentary titles that take a fresh look at 1917’s Russian Revolution and a series of documentaries in which Russian President Vladimir Putin talks frankly about Crimea, his rise to power and the emerging world order.

Sovtelexport director Julia Matyash told the MIPTV News: “We’ve been coming to Cannes for 20 years so we know that productions based on classic literature andONLINE historicalDB_N_TV costume 700_RM

dramas work well for us. But we are also ery confident about he Optimists, an exquisite production set in the 1960s during the era of Khrushchev and the Cuba Missile Crisis.”

She also has high hopes for Demon Of The Revolution, which looks at the role of political activist Alexander Parvus in raising the funds for the 1917 revolution.

“Parvus is not as well-known as Vladimir Lenin but he played an important role in raising the revolution finance, atyash said.

Special documentaries entitled Lenin (2 x 43 mins) and The Revolution (1 x 100 mins) are attracting buyer interest, as is the Putin trilogy,which has sold to CCTV China and Mediaset Italy among others. atyash also agged u Doping, a 62-minute documentary that looks at some of the drugs scandals that ha e a icted elite sport in the modern era.

Sovtelexport’s Julia Matyash

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miptv

Candy Crush Saga game show set to hit sweet spot for CBS

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COMPETI TION game-show based on mobile game Candy Crush Saga will premiere on CBS in July. The original mobile game has been downloaded more than four billion times since it launched in 2012.

“The biggest challenge was to make it work for TV, while also making it reminiscent of the mobile version,” said Sandra Stern, president of Lionsgate’s Television Group. “We also introduced elements that are different, so that people who don’t play the mobile game would also enjoy it.

It turned out to be a lot of fun.”

Lionsgate asked 30 producers to come up with game-show concepts, which were then narrowed down to the best fi e. “So e o the

Lionsgate Television Group’s Sandra Stern: “a lot of fun”

ideas were too ironic and some were too physical,” Stern said.

“We were very aware that the

people at King, the company who developed the game, really wanted it to be a fun experience for both participants and the audience.”

The game play starts with four teams of two people, which is reduced to one team through various rounds. he final tea ust deal with some mildly physical challenges. The set also features two large 7 x 10-metre boards — one u right and the other at which replicate the look of the mobile game.

“We didn’t want the physical challenges to be too extreme, but in one of them, one of team is suspended from a wire, which is controlled by the other team member,” Stern said.

There is also a second-screen component, which will be available through the CBS app.

GO-N’s Simon hops off to China

Bunny business: GO-N’s Anne De Galard (left) and Marie Conge, Jetsen Huashi Wangju’s Rachel Zhang and Tracey Cui, and GO-N’s Eric Garnet

GO-N INTERNATIONAL, the commercial arm of Paris-based producer and distributor GO-N Productions, has sold its top animation property Simon to distributor Jetsen Huashi Wangju Kids, marking its first artnershi in hina.

The pre-school HD series (52 x 5 mins), due to be released this spring in China, is based on the best-sell-

ing book series by Stephanie Blake.

The action centres on Simon, a small rabbit of child-like charm.

Zip Zip, a comedy animation aimed at six- to 10-year-olds, features an ensemble cast of wild animals that have disguised themselves as domestic pets. The series, which has so far aired in more than 100 countries, has also been ac-

quired by Jetsen Huashi Wangju.

“GO-N keeps expanding its presence worldwide,” said Marie Conge, head of sales and business development at GO-N International. “We are very pleased to have entered into an agreement that will see our key properties distributed by such a renowned partner.”

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CBC GREENLIGHTS SHAFTESBURY DETECTIVE DRAMA CBC HAS greenlit detective drama series Frankie Drake from Shaftesbury, producer of hit Canadian drama Murdoch Mysteries.

Set in the 1920s, the 11 x 60 mins series follows Frankie Drake, Toronto’s only female private eye, as she solves cases the police either cannot or do not want to handle.

Lauren Lee Smith (This Life; The Listener) plays the title role.

Created by Murdoch Mysteries writers Carol Hay and Michelle Ricci, Frankie Drake will begin production later this year for a third-quarter 2017 launch on CBC. “Frankie Drake is a forwardthinking drama about a woman ahead of her time, challenging convention and the status quo during a period of sweeping change — not unlike our own times,” said Sally Catto, CBC’s general manager of programming.

The series has been developed and produced by Shaftesbury with the participation of the Canada Media Fund, the Canadian Film or Video Production Tax Credit, and the Ontario Film and Television Tax Credit.

Shaftesbury Sales Company holds the worldwide distribution rights. It is executive produced by Christina Jennings, Scott Garvie and Cal Coons, who also serves as showrunner. The producers are Jonathan Hackett and Julie Lacey.

Shaftsbury’s Frankie Drake: ordered by CBC

NEWS Bagdasarian and PGS bag deals for books and clothing

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A RT O ON - c r a z y kids in the UK and Eire will soon be able to wear chipmunk-themed swimwear while reading books about the latest exploits of ALVINNN!!!

And The Chipmunks — thanks to merchandising deals struck

by Bagdasarian Productions and PGS Entertainment.

The deals are with IglooBooks (publishing) and Aykroyds TDP (underwear, swimwear and nightwear), and were bro-

Deal keeps BBC Worldwide dancing in Central Europe

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kered by Lisle Licensing.

ALVINNN!!! And The Chipmunks has been greenlighted for four seasons, a total of 104 half-hour episodes, and is the latest CG-animated take on the classic stories of Alvin, Theodore, Simon and the Chipettes. It is created, written, and directed

by Janice Karman, who, with her husband Ross Bagdasarian, own and voice the Chipmunk franchise. Together, they produced a hit 80s TV series and four Chipmunks movies.

BC WORLDWIDE has signed a pan-regional deal with Central Media Enterprise Group (CME Group), which will see Dancing With The Stars continue to be ade a ailable across fi e territories in Central Europe.

Included in the deal is Pro TV in Romania (Uite Cine Danseaza) and Pop TV in Slovenia (Zvezde plesejo). Both launched the format in March 2017 and achieved a share of 28.6% and 51% respectively in their timeslots. The series has also been renewed on bTV in Bulgaria and Markiza TV in Slovakia, while the format in Croatia will air on Nova TV. Salim Mukaddam, general manager and vice-president, CEE, BBC Worldwide said: “BBCWW’s formats, programming and channels thrive in this part of the world and we look

ALVINNN!!! And The Chipmunks — soon to be seen on pyjamas near you

Wuaki partners with Samsung i ur ea fil e ture

forward to expanding our partnership with CME.” Tubi Neustadt, content production director from CME Group, said, “Dancing With The Stars is the perfect programme for us and our broadcasters across the region. It has all the qualities that we look for in a format; pure entertainment and star quality, not to mention the dancing, the costumes and the glamour.” Dancing With The Stars has been licensed to more than 50 countries globally.

Dancing With The Stars in the US

Jetsen Huashi secures Newen titles

JETSEN Huashi Kids, one

of China’s largest animation distributors, has announced a series of acquisitions from French distributor Newen.

Titles covered by the deal include The Mysterious Cities Of Gold, which tells the story of a group of travellers and their voyage searching for legendary cities. Produced

by Blue Spirit Animation, the show originally premiered on Japan’s NHK. Other key pro-

A BOLD new partnership was

and BBC — on a subscriber/ transactional basis across 12 European territories, and has supplied content on Samsung’s smart hub network since 2010.

Launched successfully in the US in December 2016, TV Plus is a video distribution platform that is only visible within Samsung smart TVs. The market leader currently has about 100,000 connected users.

“TV Plus is located at the centre of our connected TV service,” said Herman Lee, vice-president, Samsung service business team, visual display. “Visibility, accessibility and high picture quality differentiate TV Plus from other video platform services,” he added. The collaboration will New partners: Wuaki TV’s Jacinto Roca, (left) and begin next month.

Samsung’s Herman Lee announced in Cannes that will see the Wuaki.tv streaming service supply premium 4K HDR movie content on Samsung’s new TV Plus platform for the first ti e in uro e. “ e will bring the cinema experience into the home,” said Jacinto Roca, CEO of Wuaki TV. Wuaki is a distributor of ondemand content from both European and Hollywood studios — including Sony, HBO

grammes include Polo, which has aired on broadcasters including KiKA and Boomerang, and UFO which has aired on Cartoon Network Asia.

According to Jetsen Huashi general manager Tracey Cui, the deal illustrates the continued growth of the market in China for quality animation. “We are pleased to conclude this deal with Newen and look forward to bringing more high quality animation content to our market.”

Jetsen Huashi’s Tracey Cui (left) and Rachel Zhang, with Newen’s Sophie Eap, and Ambroise Delorme of Blue Spirit Animation (back)

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miptv

IFG takes aim at the booming esports market with Gamerz

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SPORTS are predicted to break the $1bn mark in 2017. What’s more, the popularity of esports among young male millennials with plenty of disposable income — estimated to be upwards of 148 million people — is growing by the day.

Broadcasters and brands eager to target this lucrative demographic are the focus of International Format Group’s (IFG) latest reality/ talent/lifestyle format, Gamerz, an online first ro osition based on the ounter Stri e first erson shooter video game.

“Young men are allergic to advertising and hardly watch linear TV,” Fredrik Ivansson, CEO of the Stockholm-based company, said. “That makes them very hard to824_XTREME_N2_TV reach with traditional content.

But we believe that, if you can hook this demographic into your content online, you can migrate them to other screens — as long as you give them that content on their own terms.”

According to Ivansson, Gamerz ticks all these boxes. The action starts with a casting to recruit an elite team of Counter-Strike players. IFG owns, manages and markets the winning team, provides them with coaching and salaries, and pits them against other professional CounterStrike teams. At the end of the competition season, a finale takes place, watched by thousands of Counter-Strike fans.

The Nordic version of Gamerz premieres on Twitch, YouTube and Facebook in May, followed later in the year by European

and US versions. Merchandise will also be built around the format and the winning team — Gamerz’s partners include Intel, Omen, Puma, Synsam Sports and Zowie — along with 40-plus hours of online content, ranging from layer rofiles through behind the

scenes stories to game analyses.

“When the viral buzz and online community reaches critical mass, we are confident the conce t will be picked up by a traditional broadcaster,” Ivansson said. “The timing is perfect, because the interest in esports among the major broadcast players and brands is huge at the moment.”

Several major esports names and in uencers ha e already signed up to the project. “It’s important that we have real credibility,” Ivansson added.

International Format Group’s Fredrik Ivansson: “the timing is perfect”

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miptv

NEWS

Fuji TV celebrates the first fruit of new format model

Federation of Marathi Films’ Neelkanti Patekar, in Cannes with the federation’s legal advisor Madhav Malpani

PATEKAR AIMS TO RAISE PROFILE OF MARATHI FILMS MIPTV first-timer Neelkanti Patekar, chief operating officer of the Marathi International Film Festival and the marketing department of the Federation of Marathi Films, is on a mission to bring the best films and documentaries from India’s thriving Marathi-speaking region to the rest of the world: “Marathi includes Mumbai and is the heart and soul of the Indian film industry,” she said. “It has its own unique culture and produces around 120 films per year. We wanted to help the region’s film producers so we decided to form the international marketing department last year. It’s a unique idea for a film federation to be actively seeking distribution deals for the films made by its members. Each new film that’s made automatically benefits from this initiative, and we’re here at MIPTV representing both the new work and a catalogue of documentaries that date back to 1940, plus films dating back to 1955.”

The Marathi diaspora lives all around the world with major concentrations in Australia, the UK, Europe, the US and Canada: “Our main aim is to find satellite distribution, and in terms of the films, we came up with the idea of editing them into five episodes which can then be broadcast Monday to Friday as daily episodes,” Patekar added.

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UJI TV is celebrating the airing of the first show to be produced via a new business model that allows it to provide bespoke content direct to broadcasters.

The programme, Give Me Five, was broadcast last week on Chinese satellite TV station Zhejiang TV, which ordered the show after the new initiative was announced at MIPCOM last year.

The new model means Fuji TV can respond to broadcasters’ requirements and provide bespoke services including assistance with format rules, creative concepts, set designs and overall consultation.

Speaking to MIPTV News, So Fujinuma, director of Fuji TV’s worldwide production and sales international department, said: “We have already received orders from various countries including the US, France and South East Asia since this was launched.”

Fuji TV’s So Fujinuma

Nippon sees big appetite for Gochi

NIPPON TV is giving a fresh push to its hit factual series, Gochi: Dinner Is On You Tonight, which combines hungry celebrity contestants, world-renowned

chefs and top-class restaurants in a game-show format.

A primetime hit in Japan for over a decade, Gochi sees six contestants attend an elegant dinner prepared

Gochi’s senior director, Hitoshi Miyashita

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by a five-star chef. Amid behindthe-scenes culinary action, the diners must then guess the cost of each course. Whoever is widest of the mark has to pay the entire bill.

Gochi’s senior director, Hitoshi Miyashita is at MIPTV to promote the series and negotiations to sell the format in Asian markets are already under way.

Gochi offers a unique twist on both the cooking- and game-show formats, Miyashita said. “The golden rule of game shows is to watch who wins. But the funny part of our format is to see who loses, and who pays.”

While shot primarily in Tokyo, episodes have also been filmed globally in cities from Milan to Hong Kong. Jackie Chan was a celebrity guest in Hong Kong, recalled Miyashita. “And Jackie Chan paid!”

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NEWS

High Five as Studiocanal secures German deals for Coben thriller

Visual Data’s James Greenwall

TCB MEDIA RIGHTS IS LATEST ADDITION TO VISUAL DATA NETWORK TCB MEDIA Rights has become the latest addition to Visual Data Media Services’ (Visual Data) network of global content partners. A specialist in factual, factual entertainment and formats, TCB Media Rights offers a full suite of distribution services.

Under the three-year exclusive deal, all of TCB Media Rights’ content will be consolidated at Visual Data’s London facility, optimising the management and reach of both linear and digital distribution.

“TCB Media Rights not only has great content, but it’s got a lot of great content,” James Greenwall, commercial director of Visual Data, said. “We’ll take good care of it. Our workflows are designed to help dynamic companies like TCB get their content to the widest possible audience in the best possible quality in the fastest possible time.”

The Five (Studiocanal)

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TUDIOCANAL has secured two fresh deals in Germany for The Five, the global hit 10-part thriller created exclusively for TV by bestselling author Harlan Coben. ProSiebenSat.1 TV has picked up pay-TV rights, while free-TV rights go to ZDF. Originally broadcast on UK’s Sky 1, the series will debut across Germany later this year.

These latest acquisitions add to a slew of recent European deals for The Five, including Italy’s TIMvision, France’s Canal+, The Netherlands’s NPO and Spain’s Telefonica. The drama has also showcased in Japan on Wowow Prime, in French-speaking Canada with Radio-Canada, on New Zealand’s Sky and Australia’s SBS 1.

“We’re delighted to see the success of The Five continue with these acquisitions in Germany,” said Katrina Neylon, executive vice-president sales and marketing at Studiocanal. “Harlan’s first television project has proved to be such a stand-out success around the world, with international broadcasters quick to recognise The Five’s potential to appeal to a wide audience demographic.”

IT HAS been confirmed at MIPTV that Veni Vidi Vici will be distributed globally by DRG. The 10-part drama series, which will premiere exclusively on MTG’s Nordic video-streaming service Viaplay in April this year, was part of the official selection at the MIPDrama Screenings. “MTG’s storytelling knows no borders. Viewers in the Nordic region are already counting down to the Veni Vidi Vici premiere and now we’re taking it global together with DRG,” said Jakob Mejlhede Andersen, MTG executive vice-president and head of programming and content development.

Octopus announces key alliances ANDREW Eborn, president of Octopus TV — the end-toend cloud-based video-content management, digital-delivery and live-streaming platform — is celebrating its 11th anniversary at MIPTV with a series of key strategic alliances aimed at providing an improved offering for clients. Eborn is now working with several businesses and brands across the IP value chain

including the creation and licensing of content in all media, from production, post-production and visual FX facilities to recording, publishing, distribution, supply of talent, technology, event and artist management, promotion and immersive technology.

“We are experiencing a seismic change in the way content is created, distributed and consumed,” he said. “By continuing to form

42

and seek out strategic alliances with best-in-class businesses and embracing the opportunities presented by new technologies, we are empowering companies of any size to benefit, with access to services across the whole range of the intellectual property value chain – from creation to distribution – providing powerful promotional tools and opening up new revenue streams.”

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IN PICTURES Stars from around the world converged on Cannes to help promote their shows to the international marketplace and press he e s photographers ere ďŹ rst in line

orld ide kick-started on onday ith a ashmo performance of lton ohn hit m till tanding outside the alais to launch its dance and comedy sho et s ing nd ance, hich features cele rities as solo performers, pairs or groups taking on iconic routines from a range of genres from hip-hop to musicals he series is a hi id ntertainment production for the s

urkish drama series set in the th century, he ast mperor, as rought to annes y istco he cast includes Bulent Inal and Ozlem Conker

efore e ie, set in the organised-crime department of the tockholm police, is a - eel ilms production in co-production ith , , nterprises m and , starring dam alsson and arie ichardson

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miptv

ake hat singer ary arlo made the trip to annes in his role as co-creator and judge for BBC talent-search show Let It Shine

rother formally the star of isco ery s urn urn isits ith his ne reality-competition sho rench ars, set in his shop l ey s arage t features ackyard uilders and their home- uilt machines, and is rought to y ed arre edia

ike chmid stars in s altese, a out a maďŹ a- reaking ommissario, a production from alomar for iction

ky s outh of rance- ased thriller series i iera hich as sho cased as the orld remiere creening stars imitri eonidas left , ena lin, ulia tiles, drian ester and o ane uran

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miptv

NEWS ITALIAN OPERA SET TO AIR IN LATIN AMERICA

ITV Studios in co-development format accord with CJ E&M

I

TV STUDIOS Global Entertainment (ITV GE) and CJ E&M, the Korean content and media company, have agreed a format co-development deal.

The creative collaboration will see ITV Studios and CJ E&M produce the new format in their respective territories. CJ E&M will then manage the distribution in Asia, and ITVS GE will represent the show in the rest of the world.

Chul-Yeon Kim, senior vice-president of global contents strategy for CJ E&M, said: “The concept of the forthcoming format will be fresh and adventurous, something not tried before that will create an amazing experience and excite all viewers.”

“This is the natural next step for our relationship with CJ E&M,” Mike Beale, executive vice-president of global devel-

CJ E&M’s president of media contents DJ Lee shakes on the deal with ITV Studio’s Maria Kyriacou

opment and formats for ITV Studios, said.

“By bringing together some of the creative minds and distribution strength from each of our businesses we’re making the very best of our respective expertise.”

FILM and TV distribution company FilmRise is sponsoring the Buyers’ Club at this year’s MIPTV. The operation was founded by veteran producer/financiers Danny Fisher, Jack Fisher and Alan Klingenstein, and currently handles over 15,000 titles across a wide range of genres. Pictured in front of the Buyers Club are FilmRise’s Danny Fisher (left), Melissa Wohl and Max Einhorn. adame Butter y

ALL’OPERA, the ambitious programme to bring the best Italian opera productions to cinema audiences all over the world, continues to broaden its footprint, following a new theatrical distribution deal for Latin America, signed

by RAI Com and Castalia Communications at MIPTV. With this deal, Castalia becomes the exclusive partner for All’Opera across Latin America for the upcoming seasons.

Luis Torres-Bohl, Castalia’s president and founder, said: “We see All’Opera as desirable content for our theatrical partners all over the continent. There is definitely a niche market for high-quality cultural content, especially if it comes with the top-notch production values of All’Opera.”

Mattia Oddone, RAI Com’s head of international sales, added: “Capturing the thrill of a night at the opera is the core of All’Opera’s concept of a live event in your local cinema. We are very happy to partner Castalia to extend the reach of All’Opera; a project that encapsulates so many of the best things Italian culture has to offer to the world.”

TV version of Abbas novel planned

O3 PRODUCTIONS, the programme-making arm of MBC Group, the largest private media company in the Middle East, and Image Nation Abu Dhabi, one of the leading media and entertainment companies in the region, ha e formed a partnership for film and TV production.

They will co-finance and co-produce a feature-film adaptation of raheem bas’s best-selling novel, HWJN, that mixes fantasy, sci-fi and romance, and a spin-off

46

TV series, The Delusionists, inspired by the book. Two additional TV series are also planned. en oss, head of narrati e film and at Image Nation, said: “The new strategic partnership between Image Nation and MBC is a further indication of our shared commitment to producing high-quality Arab-language film and television for the Arab world ... and adds to our already robust slate of programmes across film and

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NEWS ITV STUDIOS INKS RAFT OF DEALS FOR ACCLAIMED DRAMAS

Virtually Live makes fans ‘masters of their own viewing experience’

T Victoria (ITV Studios Global Entertainment)

ITV STUDIOS Global Entertainment has signed a host of new deals across EMEA, including for the criticallyacclaimed Victoria. The Mammoth Screen hit production, which screens again on ITV later this year, has been acquired by the satellite broadcaster YES Israel, with Mediaset in Italy securing free-to-air rights.

Meanwhile, ITV Studios’ Loch Ness, due to air on ITV later this year, has been sold to RTL in the Netherlands, Denmark’s DR, TV4 in Sweden and Norway’s TV2. Ratings hit Prime Suspect: Tennison, has also been acquired

by DR in Denmark, SVT in Sweden and BBC First in the Middle East.

NORWAY WELCOMES GHOST ROCKERS

into its first e perience, irtually i e has already decided to ook a igger stand and field a stronger team at he high-end true specialist, hich has offices in an rancisco, os ngeles, ondon, urich and alaga, is committed to e panding the fan e perience y allo ing them to e masters of their o n ie ing e perience , according to li er eingarten, irtually i e s ondon- ased sports rights and partnerships ad isor he company s main focus is on sports, ut it is also acti e in music e ents and entertainment nlike -degree ideo, true is fully immersi e and allo s you go to any here ithin a li e e ent, eingarten said here is also a strong social element uilt into the e perience, ith a room in hich fans can interact and socialise or us, the social aspect is of e ual importance, he added or e ample, you can e in ondon and your friend can e in ingapore, ut you can oth e at a ormula race in okyo and share that e perience together irtually i e has spent the last fe days talking to roadcasters, producers and rands a out the potential of its technology to redefine the sports e perience hose are the key stakeholders in the ecosystem, eingarten said e see oursel es as part of that ecosystem e re looking to complement it, not canni alise it he company has een sho casing three races from this season s ormula ham-

Virtually Live’s Oliver Weingarten: “looking to complement, not cannibalise”

pionships in arrakesh, uenos ires and e ico ity ie ers can go any here on the race track, including in the cockpit alongside the dri er during the li e race o far, eingarten said, the reaction has een o er helmingly positi e eople ha e een saying they e ne er seen content of this uality e d like to think that, hen e come ack to , people ill e chasing us, rather than us chasing them

AVA and RT360 unite on VR content Ghost Rockers (Studio 100 Media)

PUBLIC kids’ broadcaster NRK Super — part of the Norwegian Broadcasting Corporation and the highest-rating children’s channel in the country — has acquired the third season of Studio 100’s live-action show Ghost Rockers. The third season will go on air in summer 2017.

The new season of Ghost Rockers will be the third Studio 100 property on NRK Super this year alongside Kosmoo and Night Watch.

-reality specialists ntertainment of orea and of ussia used to sign a memorandum of understanding that ill see the t o companies ork together to promote their content nder the terms of the , has e clusi e rights to distri ute s content in ussia, hile has the e clusi e rights to distri ute s content in outh orea n addition, the t o parties ill share ideas, information and technologies as part of a co-production alliance aimed at creating ne content he deal as signed at the orean a ilion in the alais y president ustin im and content chief duard hi hiko is a di ision of , the glo al ne s net ork that roadcasts in nglish, ra ic and panish t has produced

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RT360’s Eduard Chizhikov, AVA’s Jean Baik, RT360’s Anna Semeniouk and AVA’s Justin Kim

a lot of high- uality ased around ne s e ents also has a lot of e pertise in content creation and has orked ith numerous glo al rands including illette

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NEWS THE FINAL FOUR TO GO GLOBAL

Danger Mouse and Penrose return to CBBC for ‘magnificent missions’

Armoza Formats’ The Final Four

ARMOZA Formats’ The Final Four — the Israeli format company’s first in-house-developed singing competition — is headed to France via a deal with Satisfaction – The Television Agency.

The format, launched internationally at MIPTV, starts where most singing competitions end — with the selection of four star-quality finalists, selected by a trio of music professionals. The twist is that the show’s finalists will be challenged in every episode by talented hopefuls seeking to oust them from their position among “the final four”.

Satisfaction will represent The Final Four in France. “It is an ambitious project and a future big hit,” said Arthur Essebag, whose AWPG Group owns the French production company.

KANAL D AND MEGA MAKE PLANS TO TEAM UP DOGAN Media Group’s Kanal D and Chile’s Mega have agreed to seek opportunities in co-production. The deal will include collaborations across film, TV and other platforms.

Co-production is a hot topic in both Turkey and Latin America.

“After building a cultural bond via Turkish dramas and telenovelas, the next step is to co-produce,” Ozge Bulut Marasli, Dogan TV vice-president of international and corporate strategy, said. “We are proud to have an opportunity to collaborate after a respectful relationship with Mega. I believe that both Kanal D’s parent company, Dogan Broadcasting Group, and Chilean private television network Mega Group will benefit. Next market we will be celebrating a brand new co-production to be distributed globally.”

Danger Mouse will return to CBBC

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BBC has commissioned a third series of the successful Danger Mouse animation less than two years after the classic character was revived for kids TV. The series, which was given the nod by CBBC controller Cheryl Taylor, will make its debut next year and pick up from the end of the second series, which will start later this year. It features the voice of comic actor Alexander Armstrong as Danger Mouse, and Kevin Eldon as his sidekick and crime-fighting ally Penfold.

The show is a collaborative project between CBBC and FremantleMedia Kids & Family

(FMK), led by Tim Searle, executive producer for CBBC Productions, and FMK executive producers Bob Higgins and Chapman Maddox, with animation by Boulder Media.

It has been picked up in more than 100 territories since programme was refreshed in September 2015.

FMK president and general manager Rick Glankler said: “Collaborating with the immensely talented teams at the BBC and Boulder has created a global smash that’s already much loved and is going from strength to strength — and now there will be even more magnificent missions, dastardly plots and off the wall humour for our fans to enjoy.”

Josephine Baker life story set to roll

JAZZ-AGE superstar JoShe was enlisted by French sephine Baker is to be the military intelligence during subject of a feature-length the second world war and bedocumentary spanning her excame a spy for the resistance traordinary life from her birth movement. After the war, in the US to renown around Baker adopted 12 children the world. and became a noted civilCall Me Josephine charts rights campaigner, joining Baker’s life from birth in Martin Luther King as the Missouri in the US Mid-West only woman to address the fato her rise to fame as the first mous March on Washington. female African-American Josephine Baker, to be the subject of The documentary is being a new feature-length documentary movie star. produced by Tele-Equipe, Baker, who died in 1975, the fi lm-production arm of found fame in the US before becoming a sen- Stellar Image. It is being distributed by sation in Europe, in particular France, which Poorhouse International, which is in Cannes became her adoptive country. during MIPTV.

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