Señal News 181 | MIPCOM 2021

GLOBAL AGENCY’S 15TH ANNIVERSARY

SENAL.TV LLC ∙ 990 BISCAYNE BLVD, SUITE 501, FL, 33132, USA ∙ DISTRIBUCIÓN GRATUITA

MIPCOM 2021

CONECTA FICTION 2021 BACK TO PHYSICAL EVENTS

NON-ENGLISH DRAMAS THE NEW GLOBAL TREND

#181 ∙ YEAR 21 ∙ OCTOBER 2021

22 OVERVIEW

THE NON-ENGLISH DRAMA BOOM

The current popularity of content produced in different languages suggests that the traces of the “language barrier” that many productions faced in the past is gone.

To better understand this phenomenon, Señal News

spoke with companies from different parts of the world and diverse areas of the business about their views on the past, present and future of non-English-speaking productions.

20

26

30

RX FRANCE

GLOBAL AGENCY

15 YEARS OF A BRAND WITH PERSONALITY

KANAL D

NEW LEADERSHIP, REVAMPED GOALS

Lucy Smith, Mipcom & MIP Junior Director, describes the challenges of this new physical Mipcom edition and how a newly developed digital extension will support it.

Global Agency is celebrating its 15th anniversary, and Izzet Pinto, its Founder and CEO, reviews the company’s main achievements during that period.

Ekin Koyuncu, the new Executive Director of Kanal D International, describes the first months in her new role and talks about her revamped international strategy.

THE NEW WORLD OF PHYSICAL EVENTS

Follow us: /senalnews YEAR 22 ∙ #181 ∙ OCTOBER 2021 www.senalnews.com Developed and Designed by: Senal.TV LLC

10

Señal News and www.senalnews.com are operated by SENAL.TV LLC. All text, content, photographs, video, audio, and graphics are owned by or licensed by Senal.TV or other third parties and are protected from any unauthorized use, copying and dissemination by copyrights, trademarks, and/or other proprietary rights and laws of the U.S. and other countries.

2ble Click Percentage of Outstanding series or TV movie nominees by producer type SVoD services

50%

Broadcasters

2017 2018 2019 2020 2021 0%

50%

100%

Source: Ampere, The Primetime Emmys

44 WINS

SVOD PLATFORMS HAVE PRODUCED HALF OF 2021’S EMMY NOMINATED SHOWS.

19

SVOD-PRODUCED TITLES ACCOUNTING FOR 19 OF THE 38 NOMINEES FOR OUTSTANDING SERIES OR TV MOVIE.

5.6 B

NETFLIX IS FORECAST TO SPEND $5.6 BILLION ON ORIGINAL CONTENT IN 2021, AN INCREASE OF OVER $2.6 BILLION SINCE 2019.

NETFLIX SURPASSED ALL OTHER NETWORKS AND STREAMING PLATFORMS DURING THE 73RD EMMY AWARDS WITH 44 TOTAL WINS. THANKS TO SHOWS SUCH AS “THE CROWN” AND “THE QUEEN’S GAMBIT,” THE STREAMER TIED THE RECORD FOR THE MOST BY ANY NETWORK OR PLATFORM, WHICH WAS FIRST SET BY CBS IN 1974.

BBC AND NBC FORM AN UNSCRIPTED PARTNERSHIP IN THE UK The development partnership aims to find and fund the next wave of unscripted programming ideas, with global scale and appeal. This agreement will be open to all UK-based production companies and studios, maximizing the opportunities presented by the wideranging shared DNA of NBCUniversal and the BBC. A broad range of unscripted genres will be considered, with a view to co-commission pilots or developments that have series potential. ∙

SONY PICTURES ACQUIRES MAJOR STAKE IN INDIA’S ZEE ENTERTAINMENT Sony Picture Entertainment has announced plans to merge its linear networks, digital assets, and production operations with India-based Zee Entertainment, and gain access to its programming library after acquiring a major stake in the company. The deal will undergo a 90day period of due diligence, both companies report. “We have unanimously provided an in-principle approval to the proposal and have advised the management to initiate the due diligence process,” Rajarangamani Gopalan, Chairman at ZEE, said. Under the deal, Sony has agreed to invest $1.6 billion in hopes of growing its digital platforms, and bid for broadcasting rights in the sports landscape and pursue other growth opportunities. ∙

RTL GROUP RESTRUCTURES ITS MANAGEMENT TEAM IN GERMANY German broadcasting company RTL Deutschland has promoted Matthias Dang and Stephan Schäfer to co-CEO as part of a restructure of its management team following the acquisition of local publishing house Gruner + Jahr. Both executives already took over leadership of the group, while the company’s former CEO, Bernd Reichart, will depart to take on new management responsibilities at Bertelsmann Group, RTL’s parent company. ∙

12

NENT GROUP REORGANISES STUDIOS OPERATIONS AS VIAPLAY STUDIOS

BANIJAY’S FRENCH SCRIPTED LABEL REBRANDS AS SHINE FICTION Banijay announced that its French scripted label, Endemol Shine Fiction, has rebranded as Shine Fiction.

Led by Dominique Farrugia, who has been in that role since November 2020, Shine Fiction is building a pipeline of ambitious premium content for the French market, with international potential.

Shine Fiction has signed a deal with talent agent Camille Trumer, giving the company the rights to adapt bestselling novels by Pierre Lemaitre. The award-winning writer is behind multiple blockbuster thrillers, which are now available for development into television series by the business, alongside two other book adaptations with major authors. The company also has a number of projects for French broadcasters in the pipeline, including a four-part series for M6 and a 90-minute special for France 2. Shine Fiction joins Banijay France’s line-up of boutique creative scripted labels Marathon, Terence and Banijay Studios France. ∙

Nordic Entertainment Group (NENT Group) has reorganised and rebranded its studios operations, previously known as NENT Studios, as Viaplay Studios. The company will focus primarily on delivering original content for NENT Group’s fast-growing Viaplay streaming service, which will be available in at least 15 countries by the end of 2023.

The new organisational set-up is effective immediately. Viaplay Studios comprises NENT Group’s Swedish production companies Brain Academy and Nice Drama, which are currently in the process of merging into a single entity named Viaplay Studios Sweden, that will produce original content exclusively for Viaplay. Viaplay Studios is also home to Viaplay Studios Animation, previously called NENT Animation, which will produce animated content exclusively for Viaplay. ∙

BRIAN ROBBINS IS THE NEW PRESIDENT AND CEO OF PARAMOUNT PICTURES Brian Robbins has been appointed President and CEO of the studio in addition to maintaining his current responsibilities leading Nickelodeon. In addition, Paramount Television Studios will now become part of the premium network group under the leadership of David Nevins, Chairman and Chief Executive Officer of Showtime Networks, bringing together the divisions’ premium scripted content capabilities. Nicole Clemens will continue to lead PTVS in her capacity as President, reporting directly to Nevins. ∙

FEDERATION LAUNCHES NEW OPERATION IN THE UK Federation Entertainment launched a new operation in the UK led by Polly Williams (Managing Director) and Arielle Gottlieb (Creative Director), who join from eOne as partners with Federation in the new London based company.

Both executives will focus on working with premium drama creators in making ambitious commercial content for a global audience. They are also keen to bring more female led content to the Federation slate. The new UK venture will develop, produce and invest in drama content for TV and film. They will offer flexibility for creators beyond the traditional in-house production model and will be looking for co-productions, co-financing and distribution opportunities. ∙

13

THE FUTURE

THE TV AWARDS THAT CELEBRATE STREAMING

A

ccording to the definition available at the Academy of Television Arts & Sciences’ official website, the Emmy Awards recognize and reward excellence in television programming. Even the award’s name was born with TV. The term “Emmy” comes from Immy, which was used during the early years of television to identify the camera’s recording tube for images.

Thus, the English diminutive for the “image” word, Immy, slowly transformed into Emmy.

The 2021 Emmy Awards were undoubtedly a long-awaited event.

After a pandemic 2020 without movie theaters, many of us took refuge in TV and streaming platforms to watch series, mini-series, and high-quality content. Again, we fall into the initial confusion. The best of TV? Or rather the best from what we all consume the most, which were streaming platforms.

In this context, we can say that the awards for 2021 do represent excellence in content production because we had exceptional titles among the nominees. But they also represent a reality that we have raised in this column throughout

18

the year: TV is no longer the one we knew, not even at the Emmy Awards.

I found a great way to describe that new environment in a simple tweet: “Congratulations to ‘Hamilton,’ a film from a theatrical musical that premiered on a streaming service, and won an Emmy, an award that celebrates television”.

It is difficult to understand what the term “TV” includes or not. Still, it is clear that streaming platforms are already part of it, and the nostalgic sensation from TV networks that dominated the Emmys is inevitable.

Those networks only stand out for their late-night shows; the remaining awarded and great content comes from streaming platforms.

So it is about time to correct the awards definition: the Emmys recognize and reward excellence in television programming.

Once we all have recognized this new content era, let’s analyze the stats that the Emmy Awards left to us. Streaming has simply dominated the event. Netflix reached the record that CBS had since 1974, with the highest number of winners for the same year, 44. I clarify that Netflix did not pay me to talk about them, but, shockingly, they have achieved that milestone with only ten years in the market. Yes, I know many people would say: “They have

By Pablo Mancuso

all the money in the world to do it”.

Yes, that’s true, but it is equally impressive how they became the most awarded company, even surpassing HBO, which had the Emmy throne for many years.

Now, to say that streaming has dominated the Emmy Awards leads us to another conclusion. The TV era for the Emmys represented a more “democratic” time for the media environment, where we all could watch the same shows.

We’ve trusted the democracy of TV. Today, that context has changed, and it feels like a more exclusive industry with different niches and thousands of platforms. Watching all the available productions is almost impossible because they are scattered throughout different platforms and services.

I insist; what a great year for content production! A great year indeed for producers and platforms. What is the perspective for consumers?

Not that easy. Let’s take a simple example from this year’s Emmys to illustrate the new user’s scourges daily. The biggest winners of 2021 were “The Crown,” “The Queen Gambit” (Netflix), “Hamilton,” “The Mandalorian,” (Disney+), “Mare of Eastown,” “LoveCraft Country” (HBO Max), “Ted Lasso” (Apple TV+), and “The Handmaid’s Tale” (Paramount+).

So, you need to have five different streaming platforms to watch the best shows of the year. To conclude, let’s reinforce an idea we already discussed in 2021: let me know where the premieres go, and I’ll tell you the future of the business.

Welcome to the new Emmys!

OVERVIEW

IS THERE ENOUGH SPANISH-SPEAKING CONTENT IN THE UNITED STATES? OMDIA TRACKED THE CATALOGS OF THE MAJOR STREAMING PLAYERS IN THE COUNTRY AND ANALYZED ITS OFFERING OF CONTENT PRODUCED IN SPANISH. WHO WOULD BE THE WINNER OF THAT RACE?

S

Tubi

0%

20%

40%

Unscript Comedy Drama Kids/Animed 60%

80%

100%

Starz Roku Pluto TV Peacock

ome 18.5% of the US population is Hispanic in origin, according to the US Census Bureau. That’s approximately 61 million people, more significant than any Spanish-speaking country apart from Mexico, and a big target for media companies, including the well-established group of services offering video content on an ondemand basis in the US. Omdia, using data from our partners, MediaBiz, tracks the catalogs of these major players continuously. “In June 2021, we collected data about 27 on-demand services in the United States. We included the SVOD market leaders

Netflix IMDb TV Hulu HBO Max HBO Disney+ CuriosityStream Amazon

Source: Omdia using MediaBiz data

SPANISH-LANGUAGE TITLES ON US ON DEMAND SERVICES BY COUNTRY OF ORIGIN - JUNE 2021 0

400

800

1,200

Tubi Netflix Amazon Pluto TV HBO Max HBO IMDb TV Hulu Peacock

Mexico Spain Argentina

Starz

US

Roku

Colombia

CuriosityStream Showtime Disney+ AMC Paramount+ Sundance NOW TCM

Chile Venezuela Domican Rep. Peru Uruguay Puerto Rico Cuba Ecuador Bolivia Panama

Source: Omdia using MediaBiz data

20

SPANISH-LANGUAGE TITLES ON US ON DEMAND SERVICES BY COUNTRY OF ORIGIN - JUNE 2021

like Amazon, Hulu, and Netflix; plus the AVOD platforms Pluto TV and Tubi, and the new wave of studiobacked D2C services like HBO Max, Paramount+ and Peacock,” said Tim Westcott, Senior Principal Analyst, Digital Content & Channels, at Omdia.

For content offered only on an SVOD basis, Amazon is ahead of other platforms overall, with 12.411 titles, ahead of Netflix, which has 5.278 titles, and Hulu, which has 2.681 titles. Amazon has trimmed the size of its catalog quite significantly in the last six months, and the AVOD Tubi now offers the broadest catalog, with 31.052 titles and 92.995 hours available. These totals include nonseries (theatrical movies, TV movies, and specials) and all series titles.

Regarding Spanish-language content, Tubi is the absolute leader. In June, the AVOD service had 1.139 titles in Spanish in its offering, equivalent to 6.344 hours. While this is just over 6% of its overall runtime, it’s crucial to highlight that those stats refer to content produced in Spanish and not dubbed or subtitled. Another key AVOD player, Pluto TV, had 2.548 hours of Spanish-language content in June, a lower volume but a similar proportion to the Fox Corp service.

Netflix, with 357 titles, has a much stronger Spanish-language offering than Amazon (121) in the United States.

“Spanish content has been the target of heavy investment by Netflix, with the Spanish series ‘La Casa de Papel’ and ‘Elite’ performing well internationally, along with Latin American series like ‘Narcos,’ ‘Luis Miguel,’ and ‘¿Quién mató a Sara?’,” Westcott state.

Omdia’s consumer research shows that the depth of the catalog is an essential part of the consumer proposition for SVOD services, but it’s not the only one. Services linked to premium pay channels like HBO, Starz, and Sundance have smaller catalogs overall and pitch for a discerning subscriber looking for specific, often high-budget, series.

HBO Max offered 100 Spanishlanguage titles in June, Starz just 35, and Sundance just four. Disney+ is still low profile for that target, with just two Spanish-language titles in June.

Scripted drama has been the critical genre for SVOD services. In June, the Spanish-language drama offer was lead by HBO, Hulu, Netflix, and Starz. The unscripted slot has grown for services like Amazon, Tubi, Pluto TV, and Amazon’s AVOD service IMDb TV. Moreover, comedy is the second most crucial genre for Starz, while animation has grown recently at Roku and Amazon.

Mexico was the primary source of Spanish-langue content on SVOD services in the United States in June, with a total of 742 titles available across 18 services. Tubi was the leading destination for Mexican content, followed by Netflix. Spain was the next most significant source of Spanish-language content, with 560 titles, followed by Argentina with 226. Finally, there were 177 Spanishspeaking available titles produced in the United States.

By Omdia

INTERVIEW

“OUR PRIORITY IS SUPPORTING THE INDUSTRY IN GETTING BACK TO IN-PERSON BUSINESS”  LUCY SMITH, MIPCOM & MIP JUNIOR DIRECTOR, DESCRIBES THE CHALLENGES OF THIS NEW PHYSICAL MIPCOM EDITION AND HOW A NEWLY DEVELOPED DIGITAL EXTENSION WILL SUPPORT IT.

L

ast April, Reed Expositions France and Reed Midem, French subsidiaries of RX (previously known as Reed Exhibitions), announced their merge. The company is now named RX France, and its French and international events are organized under the RX brand. To describe the challenges of planning a global event in the middle of a pandemic, Señal News interviewed Lucy Smith, Mipcom & MIP Junior Director.

Which are the strengths of RX France as a new Mipcom organizer?

“Although RX France is a ‘new’ entity since Reed Midem and Reed Expositions France merged in April, the Mipcom team is the same, so our strengths are the same as in previous years, if not stronger. Perhaps the biggest difference in the current global context is how we have developed our digital extensions to the physical markets”.

How was the combination of Reed Expositions France and Reed Midem teams?

“Now, the legal aspect of the merger is complete. We are working on bringing the expertise of both companies together. We are at the beginning of this process, and we are combining our respective strengths in order to provide clients with unique business opportunities”.

Mipcom 2021 will be very peculiar. What were the main challenges of organizing the event?

“For many of us, Mipcom 2021 will be the first international TV trade market attended live in nearly 18 months. Our absolute priority this year is supporting the industry in getting back to in-person business as safely and confidently as we can. Obviously, there are challenges, and everyone involved accepts it will be a different market this year. At the same time, we have people telling us every day how much they want Mipcom to happen, and we’re committed to supporting the industry and delivering it for them. The major challenges are the restrictions around traveling, which may prevent people who want to be there from attending, and the logistics around planning a major exhibition in the current circumstances. We can’t change each country and company travel policies, but we are addressing the need for more flexibility in how companies exhibit and attend the market this year.

22

People are registering every day, and we now have around 140 confirmed exhibitors and hundreds of buyers and producers participating from over 70 countries. Of course, some won’t be able to attend this year, and some will be there in smaller delegations”.

What are the main concerns of the Mipcom attendants?

“Everyone’s priority is the safety and wellbeing of delegates attending the market. We have been able to reassure participants thanks to the comprehensive safety protocols we have in place. All delegates will need a ‘Pass Sanitaire,’ meaning they need either a vaccination certificate or proof of a negative test of less than 72 hours prior to the event. We will provide additional testing facilities onsite. We will communicate clear instructions to our non-European clients on accessing the ‘Pass Sanitaire’. Face masks and physical distancing, ‘print at home’ access passes to reduce queuing, and capacity limits and regulated traffic flows will all be in place as part of our comprehensive safety measures.

We are investing in a market that delivers flexibility and access to clients, so they join us in Cannes but scale their investment where necessary this year. The footprint will be smaller, with Riviera 8 and Palais-1 not being used as exhibition halls. MipJr will now take place during Mipcom in the Palais des Festivals and will not require a separate registration. We are also pleased to confirm we have planned safe and secure ways to hold our traditional key events that make Mipcom so special to the industry”.

Does RX France plan to continue offering hybrid events in the future?

“This year’s Mipcom is not a hybrid event. We are focused on delivering a physical market, supported by our newly developed digital extension. Mipcom Digital is designed to enrich the in-person market with an enhanced networking experience and more opportunities for content marketing. The aim is to embrace digital to enhance the physical market, not replicate the Cannes experience. This strategy will stay for all our future markets. We are developing new ways of digitally connecting and serving the Mipcom community all year round, but, again, as a complement, not an alternative, to the physical markets”.

By Romina Rodríguez

OVERVIEW

Ida Takes Charge

Children From Bahnhof Zoo

NON-ENGLISH DRAMAS, THE NEW OWNERS OF GLOBAL RANKINGS COMPANIES FROM DIFFERENT PARTS OF THE WORLD AND DIVERSE AREAS OF THE BUSINESS SHARE THEIR VIEWS ON THE PAST, PRESENT AND FUTURE OF NON-ENGLISH-SPEAKING PRODUCTIONS.

Pørni

24

S

treaming platforms came years ago to stay permanently in people’s homes. Their massive popularity changed the way audiences watch content and created consumer habits that are now the norm. Back in the 2010s, Netflix pioneered a digital revolution that today has thousands of players, which generates an unprecedented content offering.

Simultaneously, the almost unlimited supply of content led to consumers discovering programs that they previously did not have access to. Slowly, Englishspoken shows had given way to non-English-speaking content in the global rankings of the most-watched series and movies.

Today, charts previously dominated entirely by Englishspeaking shows display a tremendous diversity of languages. For example, last month, two of the three most popular Netflix shows were Non-English dramas: the successful Spanish series “Money Heist” and the surprising South Korean hit “Squid Game”.

The current popularity of content produced in different languages suggests that the traces of the “language barrier” that many productions faced in the past is gone. To better understand this phenomenon, Señal News spoke with companies from different parts of the world and from diverse business areas, who shared their views on the past, present, and future of non-English-speaking productions.

Shelia Aguirre,

José Antonio Salso,

EVP Content Distribution & Format Sales, LatAm, Caribbean, Hispanic US

Head of Acquisitions and Sales

Money Heist

High Class

Julie Meldal-Johnsen, EVP of Global Content

“

Non-English language drama has definitely increased in profile over the last several years with some great examples of series breaking through internationally. For example, our own ‘Balthazar’ has been sold in over 75 territories, including the UK, USA, Australia, Japan, and throughout Europe. But although some successful series have widened audience for subs and dubs, it is still true that, in most cases, it is easier to access financing from English-speaking countries for predominantly English language shows”.

“For a drama to break through internationally it needs to be a story that resonates with people globally, and that is told from a fresh new angle that audiences have not seen before. Known IP can help and, of course, can production values. On a practical level, it also needs to attract a strong distribution partner to reach audiences globally, whether that be a global platform or an international sales business”.

“

In most territories, language has never been a great barrier when it comes to selling content, although it is true that thanks to the great success of ‘Money Heist,’ more and more companies are looking for Spanish content. Those series, in which the public can easily identify with the characters and connect with them, are the most successful. They must tell engaging stories with great dramatic impact.

Of course, dynamism, action, and a touch of love are also key pieces”.

“Series are conceived and created from the beginning for a global audience without losing the local essence that gives them personality.

Those shows address topics and stories that everyone can relate to. On the other hand, the increase in the offer has made it more and more difficult to differentiate and stand out. That is why at Atresmedia we created the brand Series Atresmedia, to be able to include our productions within a quality seal that was recognizable in the international market”.

Fariña

“

Fueled by the accelerated growth of global digital platforms that have made more options available, English-speaking territories are now more open to foreign-language drama.

However, for territories where English is not the dominant language, this has never been an obstacle.

Fremantle represents several producers from around the globe. Therefore, our catalog features series in several languages. In Latin America alone, we have sold Italian, German, and Nordic language series to many different platforms across the region”.

“A series’ ability to travel depends on the story itself.

The story is crucial. Even if the characters and story are local, as long as it is something relatable, as long as there are human emotions to connect with the audience, it can achieve global appeal.

In terms of writing, if you have a good story with good writers on board, tweaking it to make it more global could lose the story’s authenticity.

The effort to reach global appeal should not be forced.

At the same time, dubbing has become a necessity, but as in windowing, producers and distributors need to have a well thought out strategy to ensure maximum revenue potential”.

25

OVERVIEW

Rodrigo Herrera Ibarguengoytia,

Kelly Wright, SVP Distribution & New Business

Senior Acquisitions & Co-production Manager

“

“

More and more viewers around the world are now enjoying foreign-language dramas than ever before, as platforms and buyers that previously were not interested are starting to pick up content from other countries. It is great that global platforms have proved a growing appetite for content from unfamiliar countries, whether these shows are dubbed or subbed”.

“Great stories travel, period.

A compelling, well-told ‘local’ story is a great starting point.

It is the universality of its themes that can then make a show globally appealing.

For us, here at Keshet International, one size does not fit all, both for formats or finished shows. Particularly now, that demand for foreignlanguage dramas is growing so strongly. We take a truly bespoke approach to each title, depending on which broadcaster or platform we are talking to and for what territories. It’s about responding to our client’s needs”.

26

Fredrik af Malmborg,

It has certainly become a lot easier to sell foreignlanguage drama. The rise of the streamers and the increasing globalization of content mean viewers are accepting more subtitled and dubbed shows, and buyers are no longer focused on US content. German drama, in particular, continues to get more ambitious in terms of production values and budgets and the scope of its themes and storylines. Trends come and go quickly in scripted, which is why it is important to have a broad mix of scripted content on offer”.

“One of the biggest changes to the business model is the rise in the importance of the regional streamers. Their contribution to the drama’s financing process is crucial.

Regional European streamers, in particular, have become major players, offering financing as an element of flexibility. They are multiterritory as opposed to global; so we can put together diverse financing partnerships such as a combination of linear broadcaster and streamer”.

Blackout

Managing Director

Liar

“

The investment in language assets is, of course, a challenge to get series flying internationally. We are to an increasing extent investing in language assets from the start for all different platforms, and then the costs may be shared by several clients. In Europe especially, where the dubbing fees are high, it goes without saying that it has to be a hot series to motivate the investment”.

“More than ever, the focus is important right now when launching a series internationally. Even though platforms buy some projects for a global reach, series sold regionally or locally bring a much higher margin potential for producers and rights holders. The global deals may be attractive for producers; however, to reach anything more than a cost-plus deal where the streamer pays the costs plus a small margin, producers need representation to keep reasonable margins and to be able to finance development and high-end productions”.

Filippa Wallestam,

Can Okan,

Chief Content Officer

Founder and CEO

“

In our business, language is the most important factor of distinction.

Emotions and ideas can be experienced in the same way in every language, but it is vital to convey them in another language without compromising the authenticity. In recent years, language has stopped being a barrier in our business. The channels started adding more foreign-language dramas to their line-up, and audiences got used to watching them”.

“Every project has a potential buyer across the globe. High production quality, strong characters, remarkable costumes are always an advantage to appeal to global buyers and audiences. Dramas touch the audience’s emotions with their strong narrations, and people become fascinated by their gripping stories bonding with the characters.

The successful use of locations and music also strengthens that bond. If a drama wants to succeed in the international arena, it is crucial that it carries universal codes and meets different countries’ cultural values”.

Interrupted

“

There have always been great stories in every language. The difference today is that these stories are more available than ever before. International streaming services like Viaplay are a big part of that because we take down barriers to access. Streaming does not redraw the map; it pretty much ignores it. Audiences now see just how much amazing content is out there, and the demand for NonEnglish content keeps growing as a result. We see this directly in our markets, where six of our ten most-watched titles in the first half of 2021 were Viaplay Originals”.

“In general, it is all about bringing together the right talents to tell the right story at the right time. This year, we will premiere 50 Viaplay Originals, and the interesting thing is that even the most local stories can say something universal. In the Nordic region, some of our most-watched shows in Sweden are from Norway and Denmark. We are going through a fascinating era, and I believe more drama, Non-English in particular, is being produced now than ever before. For us, streaming and our opportunity to expand beyond our original countries mean that we can produce more shows, which also drives more variety”.

Elisa Aquino,

Kaitlyn O’Neill,

VP Sales & Marketing

Chief Production Officer

“

Dubbing allows for a much wider audience to have access to content and to be able to enjoy the vast number of shows produced and distributed worldwide.

With the proliferation of streaming platforms, dubbing has become increasingly critical to the entertainment industry. For example, Netflix offers lots of Non-English speaking content, and slowly, American audiences are watching dubbed versions, and they are enjoying it. Content distributors have much bigger chances of increasing distribution to new territories if they dubb versions into key languages”.

“Dubbing adaptation can be something extraordinary.

There is much to consider when localizing a script. There is always a need to focus on ensuring that all factors work harmoniously together. All talents have to make the most of the performance required of them. That process needs to maintain the style of the show, lipsync, and the correlation of the plot. Most importantly, what’s best for the audience is always the priority of any drama’s dubbing project”.

By Federico Marzullo

27

DISTRIBUTION

“GLOBAL AGENCY IS A BRAND WITH PERSONALITY” THIS YEAR, GLOBAL AGENCY IS CELEBRATING ITS 15TH ANNIVERSARY, AND IZZET PINTO, ITS FOUNDER AND CEO, REVIEWS THE COMPANY’S MAIN ACHIEVEMENTS DURING THAT PERIOD. Izzet Pinto

I

n 2021, Global Agency is celebrating the 15th anniversary of the company’s foundation. The firm has become one of the world’s leading TV content distributors. It offers a broad portfolio of powerful dramas and innovative formats that continue to capture the imagination of audiences worldwide. “It has been so fast. It is hard to believe that 15 years have passed. I set up my company just one month before Mipcom 2006, with only one project in our catalog, a reality show. The first two years were all about evolving that one show.

Still, in 2008 I started to represent Turkish dramas, which then became a worldwide phenomenon,” Izzet Pinto, Founder and CEO of Global Agency, told Señal News.

Growing quickly to encompass more than 150 projects, Global Agency has enjoyed international hits with hard-hitting dramas such as “1001 Nights,” “Magnificent Century,” “Broken Pieces,” and “Mother”. It draws upon a rich pool of creativity, and it has diversified into formats such as lifestyle, talent, dating, and game shows, achieving success with programs such as “Shopping Monsters,” “Keep Your Light Shining,” “Perfect Bride,” and “The Remix”.

“Our main achievement has been the boom of Turkish drama. At the same time, some of our formats have become successful, especially in Europe. For example, our bestselling format ‘Shopping Monsters’ 28

has been on air in France for many years, with hundreds of episodes.

Something similar happened in Germany. Our original formats are also big achievements for us,” Pinto commented.

IN NUMBERS Global Agency has represented more than 20 domestic and foreign TV channels and more than 90 production companies, making sales to a total of 136 countries. Over 100.000 hours of series have been sold in the last ten years. It has signed more than 2.500 license agreements over the previous 15 years, with more than 1.500 in the last five alone. The company has also delivered more than 5.000 hours of premium content while developing a solid marketing presence in the industry.

“Global Agency is a brand with personality. We have always created a good name behind it, including our team’s reputation. This company is essential for us. It is not only about how good business you do, but how people trust your brand, and that is an achievement for us,” the Founder and CEO of Global Agency noted.

For one decade and a half, the

company’s strategy has changed a lot, although Pinto considers one thing always remained the same: the investment in brands.

“We invest most of our income in marketing and building huge brands around a project. In big markets, such as Mipcom, people see our brand everywhere, with big parties, in-door campaigns, or out-door campaigns,” he said.

At the same time, with so many years in business, the company has been not stranger to numerous changes that occurred in the industry. “One of the biggest changes has been the increase in drama production. When I started the company, the format business was a trend; everyone was producing them. That evolved into dramas lately. Now, instead of formats, we see scripted projects. Also, with the launch of big digital platforms, the entertainment industry has grown a lot,” he analyzed.

Looking forward, Global Agency is all about keeping the momentum, but the company also has plans to expand its business areas.

“Maintaining our growth is a key for us. We would also like to increase the number of originals that we own.

Maybe, in the future, we could test production. In that case, we could try with formats, as they are easier to produce than a drama. Formats are how we started, so they have always motivated us,” Pinto concluded.

By Federico Marzullo

INTERVIEW

Claire Jago

“WE ARE LOOKING FOR GOOD CONTENT THAT APPEALS ACROSS THE BOARD”

CLAIRE JAGO, EVP, EMEA SALES AND SALES AND ACQUISITIONS AT BANIJAY RIGHTS, TALKS ABOUT THE NEW SALES STRUCTURE OF THE COMPANY FOR EUROPE, THE MIDDLE EAST AND AFRICA.

L

ast July, Banijay Rights confirmed its new sales structure in Europe, the Middle East and Africa.

The revamped team follows the recent promotion of Claire Jago to EVP, EMEA Sales and Sales and Acquisitions, a role that sees her take responsibly for all Banijay Rights’ sales activity in the region. To find out more about this new structure, Señal News chatted with Jago.

How were the first weeks of work after Banijay Rights’ sales restructure in Europe, the Middle East and Africa?

“I do not think anyone would necessarily want to restructure during a pandemic. At the same time, Banijay is a huge company with offices all around the world, so we were able to adapt to people being in different time zones and all over the place quite quickly. We were working remotely for a while before the restructuring, so it was easy to continue working together. The first weeks have been great, as everybody is really eager to spend more time together, without so many restrictions”.

What is the company’s strategy for each of these territories?

“The strategy across the board is to grow in all the regions. We aim to provide excellent programming for our broadcaster clients. Taste in programs obviously differ from territory to territory, but our strategy is to grow our sales in those regions and work together with the broadcasters”.

Which differences do you observe between these territories in terms of clients’ needs?

“EMEA is a large territory with very different tastes, but good programming is what people want, what gets people talking and together. This is especially important after all we have been through, because the pandemic has been a global situation, and everybody seemed to be fading away. Maybe more of a ‘feel-good’ factor in programming has been something that has been present across the whole area. There are definitely differences: some are more into documentaries, crime, some others like soap operas, but the shiny-floor entertainment, that cozy television that gets people reunited, remains. At the same time, good stories and good quality productions will always be key, no matter the territory”.

What are you looking for when it comes to acquiring content for Banijay Rights’ catalog?

“We want to grow as a group, so we are always actively looking to acquire third party content to represent. We have production companies all around the world, so it is great when we can acquire some format and then produce local versions. We are looking for good content that appeals across the board”.

What are your goals for the rest of the year?

“We have a lot of new programming coming through.

We were very lucky to keep a lot of drama productions going, so we have many titles ready to launch next year, especially non-English drama from our production companies in France, Italy, Germany, and Israel, to name a few. It is great to be able to work together with these production houses, and when you have a catalog like the one we have, with so many hours and so much quality, not only in the current productions coming through but also in the library, then you really can work closely with all companies, especially with streaming platforms, which need a lot of content. That is great, so we aim to continue working, growing in every territory and providing awesome content”.

By Federico Marzullo  Grantchester

 Germinal

30

INTERVIEW

“WE HAVE ENWIDENED THE PRESENCE OF ROMANTIC COMEDIES IN OUR CATALOG”  EKIN KOYUNCU, THE NEW EXECUTIVE DIRECTOR OF KANAL D INTERNATIONAL, DESCRIBES THE FIRST MONTHS IN HER NEW ROLE AND TALKS ABOUT HER REVAMPED INTERNATIONAL STRATEGY.

E

arlier this year, Ekin Koyuncu was appointed as the new Executive Director of Kanal D International, replacing Kerim Emrah Turna. Being a part of the industry for 12 years, Koyuncu has been responsible for the growth and reach of Turkish content and the company’s ongoing network expansion efforts in the territory.

Speaking with Señal News, the executive described what these first months in her new role were like and talked about her strategy.

What challenges does this new position present to you?

“I really appreciate this opportunity.

Right now, I am working closely with different teams in order to create new strategies. For example, to enwiden our presence in Asia, which is not unknown to us, but it is still an unopened territory because of the cultural differences. We are also working on getting adapted to the days we’ve lived for the last two years. The viewing habits and the demand for genres changed, so we are working on different projects in order to reach all targets”.

What is your strategy when it comes to international sales?

“This past year has been a huge challenge for everyone, but we 32

were able to see the opportunities quickly and determine our priorities. At the beginning of the pandemic, there were many aspects that people could not foresee. Traditional broadcasters lost their yearly acquisition budgets and lowered expenses on marketing and localization. In those circumstances, while keeping the expenses under control and maintaining the slots running with good performance, many territories went after strong re-runs. We have been underlining the power of our all-time favorites such as ‘Forbidden Love,’ ‘Fatmagul,’ and ‘Time Goes By’ for many years. Once again, the strength of our library provided us a much wider playground”.

Film, called ‘Üç Kız Kardeşler’ (Three Sisters), an adaptation of a bestseller novel written by Turkish author İclal Aydın”.

Do you observe any particular trends in the global market?

“People are shifting towards more optimistic, feel-good stories.

Romantic comedies became the breakpoint to the stress we are all experiencing in our daily lives.

Therefore, we have enwidened the presence of romantic comedies in our catalog and added two stress relievers like ‘Recipe of Love’ and ‘Twist of Fate’. Nevertheless, the demand for strong dramas continues so that we will have a new premium drama by Süreç

What are the most significant needs of your clients?

“Right now, in order to increase the viewership of their channels, clients are in search of not only library titles but also newer titles.

I believe Turkish content remains the top product and the first choice for buyers. We truly appreciate the value given to every production and even to our catalog library, that continues to gain relevance in every region where we distribute our content”.

How do you analyze the current global positioning of Turkish dramas?

“For many years, telenovelas were huge in the global market, but with time the popularity decreased.

While not generalizing, I believe this is due to production quality and losing the creativity in finding unique stories. The Turkish market is a very competitive environment, where the audience is tough and has many viewing options. Producers and broadcasters need to deliver the best production standard with authentic stories. I believe this equation sets the bar higher for the next title, and all that hard work and effort will continue to be rewarded in the international arena”.

By Federico Marzullo

EVENTS

INDUSTRY’S MOST WANTED COME BACK: FACE TO FACE MEETINGS THE FIFTH EDITION OF CONECTA FICTION BROUGHT TOGETHER 517 PARTICIPANTS, 357 OF WHOM MET FACE-TO-FACE, WHICH CLEARLY REFLECTS THE DESIRE OF THE AUDIOVISUAL INDUSTRY TO MEET PHYSICALLY.

C

onecta Fiction 5 closed a very successful fifth edition since it managed to gather 517 participants, 357 of whom traveled to the Spanish city of Pamplona to attend the event personally. Other 160 people followed the various online activities proposed by the networking event, ranging from panels to keynotes, including six different categories of pitching that led to the presentation of 13 awards this year.

“We have noticed a clear return to face-to-face events and the importance and necessity of being able to meet in person to close deals and alliances. For its fifth anniversary, Conecta Fiction has established itself as a boutique event specializing in television content. Many projects are born here and will continue to be, and many meetings and relationships are made here. Conecta Fiction is where you can hear and gather the views of the most important players in the industry, which allows us to imagine the future. The event happened in an extremely prolific moment for the international industry”, Géraldine Gonard, Director of Conecta Fiction, told Señal News.

A concept that became clear throughout the event was the need to come together in order to survive in such a competitive and segmented audiovisual ecosystem. That concept was backed by European public channels like ZDF (Germany), France Télévisions (France), RTVE (Spain),

 Conecta Fiction Opening Ceremony

and RAI (Italy) in the panel “European public channels: How to be relevant in a highly competitive scenario”.

The channels’ executives highlighted the role of The Alliance, the initiative that emerged a few years ago between the European public broadcasters ZDF, RAI, and France Télévisions. “In Europe, all broadcasters face the same competition: strong streaming platforms that are capable of investing in premium drama. To compete, we have to team up, and The Alliance was the first step in this regard,” Manuel Alduy, Head of International Development and Cinema at France Télévisions, said.

THE ADVANCE OF THE STREAMERS Another subject that resonated during Conecta Fiction was the ground gained by the giant streamers and the potential of new niche platforms that satisfy the needs of an increasingly segmented and selective audience.

According to Omdia, there are currently more than 5.000

 Casual meetings, lunches, and networking areas; all awaited moments by the content industry.

34

EVENTS

 Conecta Fiction 2021 had a complete in-person schedule.

streaming services available today, but most of the market belongs to the most significant providers. “We are obsessed with our customers because we look for the best content for them. We look for key players, but we also focus on diverse voices,” María José Rodríguez, Head of Spanish Originals at Amazon Studios, said.

“We are very open to co-production with global partners, but we always have to ensure the right content and talents,” Neale Dennett, New Markets Launch Director at BritBox International, added.

Susana Herreras, Editorial Director of Fiction Production at Movistar+, also referred to Alianza, the new strategic division launched by the company. “We launched it intending to create stronger partnerships with major partners such as Netflix, Antena 3, Disney, and Dazn,” she stated.

In 2021, Conecta Fiction event had a record for its awards event, with a total of 13 prizes. Among 40 projects were opted in six different pitching categories.

CONECTA WINNERS In 2021, Conecta Fiction event had a record for its awards event, with 13 total prizes. Among 40 projects were opted in six different pitching categories. Spain was the biggest winner, but projects from Russia, Chile, and Mexico were also recognized.

The RTVE award, consisting of signing a project development contract, went to “Olvida Mi Nombre” from AVI Films (Spain). The PLAYZ award, a development project contract, went to “Una Casa En La Playa” from Mediacrest Entertainment (Spain). Finally, the Acorde award, which will provide the music for a project of his choice, went to “Agencia De Detectives Harrogate” from Out of Series Productions (Spain).

36

Moreover, the ARPA Abogados Consultores award, consisting of 10 hours of consulting and legal advice, went to “Smaver” from Smaver Microfilms Studio (Spain).

The Spain Film Commission award went to “Vida” from Mediacrest Entertainment, White Lion Films, and Mediawan (Spain), and the ALMA Writers Guild award went to “Perder El Tiempo” by Hector Beltran.

Regarding the Euroregion awards, the development award worth €6,000, and the Euroregion award /EITB award, consisting of a €10,000 development contract, went to “Entre Muros” from Bixabu Entertainment (Spain). The Euroregion Award /France 3 NouvelleAquitaine Award, consisting of a €10,000 development contract, went to “Gaia” from Aura Pictures (Spain).

That project also won the Euroregion Award /Acorde Music Library Award and the Euroregion Award /Navarra Television Award.

Three international projects were recognized in the Bime Pro-Conecta Fiction Award, which consists of mentoring sessions with the composer and music producer Óscar Gómez (Cargo Music). This award went to “Beaters” from Producciones Cinematográfica Del Sur (Mexico); “Strings” by Sputnik Vostok Production (Russia) and “Chapa Discos” by Pris & Batty Films (Spain). Finally, the TV Drama Vision Award, an invitation to present a project in person at the next edition of the Gotenborg Festival (Sweden), was won by “Niños De Contrabando” by María Wood Producciones and Megamedia (Chile).

By Romina Rodríguez

 Inside Content’s team celebrates the end of a successful event.

THE FUTURE OF KIDS’S STREAMING SERVICES

SENAL.TV LLC ∙ 990 BISCAYNE BLVD, SUITE 501, FL, 33132, USA ∙ FREE DISTRIBUTION

MIPJR 2021

GRUPPO ALCUNI, ITALIAN ANIMATION GOES GLOBAL

ACTF AND THE APPETITE FOR HIGH-QUALITY SERIES

YEAR 22 ∙ OCTOBER 2021

PRODUCTION

ITALIAN QUALITY, WITH GLOBAL APPEAL

 Leo da Vinci

GRUPPO ALCUNI IS GROWING ITS FOOTPRINT IN THE ANIMATION ARENA WITH NEW SEASONS OF HIT SERIES SUCH AS “LEO DA VINCI” AND “MINI PET PALS”. FRANCESCO MANFIO, CEO OF THE COMPANY, DESCRIBES THESE TITLES AND COMMENTS ON THE NEW PROJECTS.

G

 Francesco Manfio

ruppo Alcuni is expanding considerably on the international market, even with the difficulties the pandemic caused on the audiovisual productions. The Italian production company has announced new seasons of its hit series as well as new animated projects. “We’re stepping up, and the forecasts look great. We obtained great results without ever giving up our creative zeal and technical R&D. Our entire creative, production, and distribution teams work with great enthusiasm. They are committed to innovating towards the standards that the market demands,” Francesco Manfio, CEO at Gruppo Alcuni, told Señal News.

Recently, Gruppo Alcuni confirmed the second season of “Leo da Vinci”. “We’re very excited to announce the co-production deal for our second series. The show is dedicated to Italy’s boy-genius, which follows on the heels of an extremely successful first season, and boasts great ratings in Italy and European countries like Germany, Poland, Portugal, Greece, and Hungary,” Manfio stated.

“We created the series as a sequel to our award-winning animated 38

feature ‘Leo da Vinci: Mission Mona Lisa,’ distributed in theatres in over 80 countries. It is a great satisfaction for us! Our co-producers on board for this extraordinary project are India’s Cosmos-Maya, Germany’s Hessischer Rundfunk/ARD, and Italy’s RAI Ragazzi,” he added.

Moreover, Gruppo Alcuni is working on a new “Mini Pet Pals” series. While this production is based on a highly successful brand (156 episodes and one feature film, its concept is being completely renovated.

“In ‘Mini Pet Pals Start School,’ our little friends are ready to go to school, with all the issues that this could bring: making new friends or listen to their teachers. Each of the main characters faces these new situations differently. Our team created an amazing and colorful school, with a surprising classroom, a theatre, and playrooms. In other words, it is a truly child-friendly school environment,” Manfio described. The 26 episodes are  Vlady & Mirò

complete and will be available on Rai’s YoYo (who co-produced with RAI Ragazzi) starting October 28. “They’re also available for international distribution, which is handled directly by us. Another 26 episodes will be ready by May 2022,” he added.

Another popular Gruppo Alcuni’s IP is “Vlady & Mirò,” an old-fashioned slapstick series. Its plot is simple: Vlady (a raccoon) and Mirò (a bear) are getting ready to hibernate.

Everything goes according to the plan until Mirò starts snoring. If Vlady wants to sleep too, he has to stop that. “Every episode is a sequence of whacky, outrageous, dangerous, and hilarious ideas that Vlady tries out to stop Mirò’s snoring,” Manfio said.

Regarding Gruppo Alcuni’s new projects, Manfio anticipated “The Black Diamond Race,” one of the company’s biggest bets. “We believe in this project because it aims to the pre-teen target, a very challenging one. Moreover, the show is all about love and adventure, and it takes place in Europe and India in the early 20th Century. Finally, the series has very innovative graphics, and it’s full of ‘guest stars’ as a young Enzo Ferrari,” Manfio concluded.

By Romina Rodriguez

INTERVIEW

“KIDS’ STREAMING SERVICES ARE SHIFTING THEIR MODELS AND MIMICKING YOUTUBE”  TONY HAVELKA, CEO AT AMEBA TV, SPEAKS ABOUT THE LATEST KIDS’ PROGRAMMING TRENDS AND DEFINES SOME KEY POINTS THAT PRODUCERS AND CONTENT PROVIDERS HAVE TO KEEP IN MIND WHEN CHOOSING A STREAMING PLATFORM PARTNER.

A

s the influx of kids streaming platforms grows, content providers have many choices when selecting the right digital partners. Tony Havelka, CEO at Ameba TV, highlighted some points that producers and content providers should know during that process and anticipated what Ameba is looking for to acquire for its offer.

What do producers and content providers look for when seeking a streaming partner?

“Producers and content providers have to look for an established partner that has a history of paying royalties. A streaming service needs to work like a well-oiled machine for content ingestion (early stage), with reporting and payments (ongoing).

Producers and content providers want this relationship to be a low effort and high reward, and they want to get paid on time. Also, content providers have to look for similarities in the catalog. Being different and standing out in a catalog is great, but if the platform’s audience is tuned to a completely different type of show, you may not get good viewer numbers”.

What are some of the biggest misconceptions?

“One of the main misconceptions is to think that ‘it’s easy to get started onboard’. You must have all of your content assets in the correct formats and be prepared to do some ‘detailed’ work to ensure it meets the platforms’ requirements. A second misconception is believing that ‘now that I’ve uploaded everything, my 40

job is done’. Actually, it’s just the beginning. It is the streamer’s job to deliver the shows that viewers want to watch. It isthe producer/ distributor’s job to create demand for the show. If you are not continually promoting your show and you are not telling your fans where they can watch it, you are only tapping into 10% of your streaming strategy’s potential revenue. The last wrong concept is to think ‘my show did/does well on YouTube, so it should do well on this streamer’. Each streaming service is different. The goal is to have your content on all platforms, then take all those viewers and revenue data to see which platforms are performing best for your content”.

What kind of revenue stream should you hope to ascertain?

“Content should be everywhere, at all times, for everyone to see. Strive to get a few big revenue streams and lots of smaller ones. This way, you will be able to get market information at a macro scale. Is your show doing well on AVOD vs.

SVOD (revenue analysis), in the USA vs. UK (territory analysis), web vs. connected TV (platform analysis),

general vs. niche streamer (service analysis)? From there, you can start ranking what works well for your property and start optimizing the services you spend your time hunting and cultivating”.

How do producers and content providers have to deliver their content?

“Once the contract is completed, you have to acquire all the assets for the streamer before seeing the first revenue. Most services have the exact requirements and may base them on Amazon’s and/or Netflix’s required specs. Use these as your store for what you store and deliver.

Have extensive artwork ready for delivery in all the standard sizes.

Create metadata that describes your property, each season, and each episode. Captions are also essential.

No matter your content, making it accessible is key to reaching the widest audience. Finally, with the recent explosion of AVOD and FAST services, ad cue points are critical for a great user experience”.

What types of content is Ameba TV seeking to acquire at Mipcom?

“We’ve noticed a trend in the industry that kids streaming services are shifting their models and mimicking YouTube: Ad revenue vs.

Subscription; interstitial over longer run formats; contemporary vs. evergreen themes; kid influencer vs. scripted stories. It is an effort to tap into YouTube’s formula for success.

Our success comes in providing a service that is different from platforms like YouTube, not in being similar. That strategy is working for us. So, we’d love to see longer run, scripted stories with evergreen themed properties”.

By Romina Rodríguez

INTERVIEW

“THE APPETITE FOR HIGHQUALITY CHILDREN’S SERIES IS AS HIGH AS EVER”  TIM HEGARTY, INTERNATIONAL SALES MANAGER AT THE AUSTRALIAN CHILDREN’S TELEVISION FOUNDATION, DESCRIBES THE COMPANY’S NEW ANIMATED SERIES AND HIGHLIGHTS THE LATEST TRENDS OF THE KIDS’ WORLD.

T

he Australian Children’s Television Foundation (ACTF) is an entity that is very passionate about high-quality children’s media and television. Based in Melbourne, the company develops and distributes television projects and accompanying educational resources for Australian and international markets. Tim Hegarty, International Sales Manager at ACTF, spoke with Señal News about the Australian shows that travel worldwide.

What does ACTF look for to greenlight a new project?

“We are always on the lookout for Australian stories with global appeal. Live-action scripted comedy, drama, and animation will continue to dominate our development slate, with a small amount of factual. We look for stories with heart and don’t shy away from difficult subjects when done in an age-appropriate way. But most of all, comedy will always be at the center of what we do”.

ACTF also sells its kids’ series around the world. Which are the central values of these titles?

“Scripted shows that we sell to the world will always have well-developed 3D characters, a strong narrative and point of view that is relatable for the audience, with authentic diversity that reflects the audiences’ real world”.

You are currently promoting “The Inbestigators” and “Hardball Series 2”. What is the potential of those shows? “’The Inbestigators’ is a live-action comedy series that capitalizes on children’s (and adults) insatiable appetite for puzzles. Each episode includes a self-contained mystery to be solved. The series is currently available on ABC TV (Australia) and Netflix (Worldwide) with recent sales to linear broadcasters KAN (Israel), Clan TV (Spain), RTV (Slovenia), and SABC (South Africa). The Emmy awardwinning, live-action comedy ‘Hardball’ returns for a second series. Created by Guy Edmonds and Matt Zeremes, the show is produced by Northern Pictures and commissioned

by ABC TV (Australia). The second series has already been sold to the BBC (UK), ARD SWR (Germany), Canal Panda (Spain), ETB (Spain), RTE (Ireland), RTV (Slovenia), TV Catalunya (Spain), TVO (Canada), and SABC (South Africa).

ACTF internationally distributes both shows”.

42

 Hardbal

Does ACTF have more projects in the production pipeline?

“We currently have three live-action drama series in various stages of production: one upper teen series, two animation series, and one factual series. All will be delivered over the next 12-18 months and will launch in 2022 and 2023. ACTF also recently joined forces with Australian SVOD platform Stan to create the Original Film Initiative. That venture will see ACTF funding for developing and producing children’s movies to be screened exclusively on Stan in Australia and distributed to the world by the ACTF. We are very excited by the response to the initiative, and we are looking forward to moving a project to production in 2022”.

How difficult is it to find a project that appeals to digital native kids?

“Kids will always love good stories, well-told ones, and the appetite for high quality original children’s series is as high as ever. The audience’s expectations get higher and higher each year and that’s a challenge. These unique and original stories will stand out in the market; they are the ones that are going to rise to the surface. There are great ideas out there; it’s all about putting the right team together and taking the time to develop an idea to its full potential, and then finding the right partners to carry out that project”.

By Romina Rodríguez

PRODUCTION

“WE CAN PRODUCE ANIMATION IN SUCH A WIDE VARIETY OF TECHNIQUES” YULIANA SLASHCHEVA, CHAIRMAN OF THE BOARD AT SMF STUDIO/ SOYUZMULTFILM, DESCRIBES THE EVOLUTION OF THE RUSSIAN COMPANY DURING ITS 85 YEARS OF HISTORY, WHILE SHE EXPLAINS ITS STRATEGY FOR A NEW BUSINESS ERA.

F

ounded in 1936, SMF studio has always been at the forefront of innovation in Russian animation. Celebrating 85 years of business in 2021, Señal News spoke with Yuliana Slashcheva, Chairman of the Board at SMF Studio/ Soyuzmultfilm, to describe the evolution of the Russian company.

How was the evolution of SMS’s business in the past 85 years?

“It’s quite unbelievable that SMF Studio has already been working for more than 85 years and has created over 1.500 animated movies. Since its beginning, the studio has drastically changed. We went through ups and downs and reached our peak in the 1960s and 1970s when the range of styles, techniques, and genres expanded dramatically. Most of the animated films created during that period are considered masterpieces of the animation world and make up our ‘Golden Collection’”.

How would you define the new era of the company?

“A few years ago, SMF Studio was

Meowgic

44

for all platforms, and we continue to expand our international reach, with broadcasting and streaming deals in over 50 countries”.

Yuliana Slashcheva

reborn within our technology park, home to our production company, animation studio, technology center, licensing agency, and educational and recreational parks for kids.

Thanks to the investment of SBER, SMF was able to finance the reboot of the studio and expand not only our production capacity but also the development and production of new creative projects. We are also actively building strong relationships within the international animation market to distribute our content and work with new partners in co-productions. For example, we created the ‘Cyber Soyuz Group’ preschool animation brand alongside Cyber Group Studios, and released two new series, ‘Orange Moo Cow’ and ‘Squared Zebra’”.

What kind of animation shows are you producing right now?

“We can produce animation in such a wide variety of techniques, including stop-motion, clay, and hand-drawn along with digital 2D and CGI. We are also experimenting with new technologies such as the Unreal Engine developed by Epic Games. We want to create content that is not only entertaining but can also educate the youngest audiences. We have titles suitable

Rockoons

The Secrets of Honey Hills

What are the most substantial territories for SMF Studio’s shows?

Where do you want to reinforce its presence?

“Many of SMF Studio’s ‘Golden Collection’ are hits for the Russian and global audiences. ‘The Snow Queen,’ ‘The Little Magic Horse,’ ‘Once Upon a Time There Was a Dog,’ ‘The Mystery of the Third Planet,’ and ‘Cheburashka’ are known worldwide.

Those shows have been translated into many languages. However, the majority of our fans come from former Soviet Union countries.

Our goal is that our remastered collection of these classics could find new global viewers. We are not only creating shows for our local market, but we are producing global-appealing content for a broader audience. We are working with top international distributors to bring SMF’s animation to all key markets”.

What would be the main business goals for 2022?

“We are working to grow the company in all of our areas. First, developing new shows, integrating new technologies, growing our education and training programs, building our licensing program, and expanding our content distribution to more countries. We are also actively seeking out co-productions where we could join, including, at least, one show with a strong CGI production studio to enhance our CGI technical abilities and build a solid pipeline for international co-productions”.

By Romina Rodríguez

PRODUCTION

THE POTENTIAL OF RUSSIAN ANIMATED SERIES IN CHINA

R

ussian animation company Riki Group has teamed up with Youku Kids, a Chinese company Alibaba Group division, to produce three seasons of the preschool series “Tina & Tony”.

The new deal comes after the success of the first season of the show in China. “We are delighted to hear that our series has received such strong recognition from the Chinese audience. We are excited to move forward with a new development with Alibaba Group to bring ‘Tina and Tony’ to China,” Mark Zavadskiy, CEO of RIKI Group, told Señal News.

For “Tina and Tony” upcoming seasons, producers have defined the most relevant topics for their target audience. “Our characters promote positive and safe behavior.

Learning through play and healthy relationships with adults are two topics of preschoolers’ interest that we’ve chosen for the next

RUSSIAN ANIMATION COMPANY RIKI GROUP HAS JOINED FORCES WITH YOUKU KIDS, AN ALIBABA GROUP DIVISION, TO PRODUCE THREE SEASONS OF THE ANIMATED HIT “TINA & TONY”. RIKI GROUP’S CEO, MARK ZAVADSKIY, EXPLAINS THIS NEW INTERNATIONAL DEVELOPMENT. season. Riki plans to deliver 52 episodes/5minutes run, with 3D/2D animation by July 2023”, Zavadskiy anticipated.

Alibaba will make a long-term investment for “Tina & Tony,” ensuring a broadcast slot for the show, as the first step for the business cooperation between the Chinese company and Riki Group. “We are very pleased to have achieved a long-term cooperative relationship with Riki Group, and we hope that through our joint efforts ‘Tina & Tony’ could become a global brand,” Lu Ye, Youki Kids’ Producer, commented. “As a hit on Youku channel, ‘Tina and Tony’ has earned its reputation, and its popularity among children and parents show our dedication and trust for the project. Youku Kids always strives to provide only high-quality content

 Mark Zavadskiy, CEO of RIKI Group

“We are delighted that our series has received such strong recognition from the Chinese audience and happy to see the development of cooperation with Alibaba Group to bring 'Tina and Tony' to China.”

for Chinese families. ‘Tina & Tony’ is a great brand from its inception and development; it consistently represents the values and social responsibility of Youku Kids,” Lu Ye added. The first season of “Tina and Tony” has premiered in November 2018 on Yuku in China. The series had an outstanding performance, surpassing all other animated projects on the platform in terms of popularity and total views, which are more than 2,5 billion to date.  Tina & Tony

46

By Romina Rodríguez

INTERVIEW

“WE ARE LIVING IN A PIVOTAL TIME FOR TELEVISION”  JANEL DOWNING, SVP LATIN AMERICA AT ALL3MEDIA INTERNATIONAL, DESCRIBES THE COMPANY’S MAIN FOCUS REGARDING SCRIPTED CONTENT, ANALYZES MARKET TRENDS, AND ANTICIPATES THE GOALS FOR THE REST OF 2021.

W

hether it is a light-hearted romance or a dark thriller, All3Media International always has something to offer when it comes to scripted programming.

Speaking to Señal News, Janel Downing, SVP Latin America at All3Media International, described the company’s main focus regarding scripted content, analyzed market trends, and anticipated the goals for the rest of 2021.

What is your main focus right now regarding scripted content?

“We continue to invest in a range of projects so we can offer a broad slate. We are proud of maintaining consistency of quality in the productions we offer; whether it is a light-hearted romance or a dark thriller, the quality threshold is guaranteed from All3Media International. It is great that so many of our production partners have resumed or started productions as soon as various lockdown situations allowed. The Q4 2021 slate looks genuinely amazing, and next year will be equally fabulous”.

Do you feel that there is a genre or topic that resonates the most nowadays?

“There is a high demand in the market for compelling, intelligent thrillers, and we are pleased to be able to offer these. Our scripted catalog includes the latest’ Manhunt’ series, ‘Manhunt: The Night Stalker,’ which sees the return of BAFTAwinning Martin Clunes as real-life police detective Colin Sutton. We are also extremely excited about the taut female-led thriller ‘Hollington Drive’ from award-winning screenwriter Sophie Petzal and 48

starring BAFTA winner Anna Maxwell Martin.

We have seen strong interest in premium documentaries that offer insider access, through never-before-seen footage and exclusive interviews.

Our brilliant factual slate features the enthralling series from David Beckham’s production company Studio 99 and BAFTA and Emmy award-winning Story Films, ‘Fever Pitch: Rise of the Premier League’.

We will also feature the true-crime documentary ‘The Wimbledon Kidnapping,’ which explores the untold story of the UK’s first kidnap and ransom case, with the Murdoch empire key to the case’s outcome”.

Do you think that scripted content stopped having language or country barriers?

“Yes, absolutely. We are living in a pivotal time for television. With the emergence of streaming platforms offering more international content, audiences are finding that they can connect with stories from all over the world. The high-quality storytelling and fantastic talent of our scripted slate have led to a

recent raft of international sales.

We reached global sales for titles including acclaimed new detective drama ‘Annika,’ compelling series ‘Eden,’ and Hitchcockian thriller ‘Angela Black,’ which reunites Two Brothers Pictures and Joanne Froggatt, following their success on ‘Liar’”.

What differences do you observe between TV and streaming platforms when it comes to doing business?

“We have seen streaming platforms are aiming to offer audiences more non-traditional types of programming, and so are open to acquiring shorter run premium dramas. That has led to sales for a number of our thrillers, including ‘The Drowning,’ which was licensed to Acorn, ‘The Deceived,’ and Two Brothers Pictures’ new series ‘Angela Black,’ both of which we licensed to Directv”.

What are the company’s scripted plans for the rest of 2021?

“We are excited to bring the brilliant new incarnation of H.E. Bates’ beloved ‘The Darling Buds of May The Larkins’ to the global market.

Pure escapism for a family audience, the show is set in the late 1950s.

The six-part drama follows the story of a family led by the goldenhearted, entrepreneurial man, Pop Larkin, and his wife, Ma. Together with their six children, the family is fiercely loyal and hardworking, with a distinct disinterest in authority.

Surrounded by the idyllic Kent countryside, this heart-warming and humorous series celebrates family and community”.

By Federico Marzulllo

PRODUCTION

“I CAME TO DORI MEDIA GROUP TO CONTRIBUTE WITH MY IDEAS” JOSHUA MINTZ IS THE NEW EXECUTIVE DIRECTOR OF CONTENT OF DORI MEDIA GROUP, AND DESCRIBES HIS FIRST WEEKS WITH THE COMPANY, WHILE HE DISCUSSES THE INDUSTRY’S CURRENT LANDSCAPE IN TERMS OF CONTENT DEMAND.

E

arlier this year, Dori Media Group announced the appointment of Joshua Mintz as Executive Director of Content to further expand its portfolio of international productions, following the significant increase in demand for global content around the world, especially in Latin American countries.

An Emmy Award winner, Mintz has had a very successful career in the television industry for more than 30 years, with leadership and production positions at four of the most important Hispanic television networks in the United States and Mexico: TV Azteca, Telemundo, Televisa, and Univision. “For me, this is both a personal and a cultural challenge. Israel is very different from Mexico or the United States, starting with the language. However, the team I work with has excellent professionals and makes it so much easier. I have been very well received here,” Joshua Mintz told Señal News.

Mintz spent his first weeks of work getting to know the Dori Media Group catalog in-depth and thinking about the business opportunities it offers. “I have spent hours and

 Little Mom

50

Joshua Mintz

hours analyzing the catalog and discovering materials that I did not even know existed,” the executive admitted. “This material is like a jewel, like a treasure that you open and discover,” he added.

Located in Israel, Switzerland, Argentina, Spain, and Singapore, Dori Media Group produces and distributes TV and new media content, broadcasts various TV channels, and operates video-content internet sites. The group owns approximately 7.500 television hours. Its catalog contains weekly and daily series, reality and entertainment formats, and kids’ programs, which it sells to a wide variety of audiences in more than 100 countries. In Mintz’s words, Dori Media is quite forward-thinking in terms of its approach and remains at the forefront of doing business in different territories. “I came here to contribute with my ideas and with my knowledge of the Hispanic market,” the new Executive Director of Content said.

GLOBAL LANDSCAPE The executive analyzed the current landscape of the industry, particularly regarding the demand for content. “It seems that there is a place for everything. I do believe that there is wear and tear when it comes to narco-series. However, thrillers or police shows are growing a lot. I also see much space in the kids’ genre,” he indicated.

 Normal

 Power Couple

Beyond that, Mintz strongly believes that content will only be able to travel internationally if it first achieves great local recognition. “If the show is well targeted locally, it is likely to be a global success as well,” he assured. However, the executive noticed that “it is becoming increasingly difficult to stand out and be globally successful. The offer is overwhelming, and the audience is increasingly indecisive in choosing what content to watch”.

Mintz’s future goals are more than distinctive. First, he plans to produce at least two series by 2022, a goal that he is looking to double by 2023. “We can do it,” he affirmed.

At the same, at a business level, the executive’s great desire is to return to a certain normality in the markets. “In our business, contact is essential. Creative discussion is possible by Zoom, but it is always better in person. Everything is easier when you can see your partners,” he concluded.

By Federico Marzullo

DISTRIBUTION

NEW TURKISH HITS, READY TO REACH GLOBAL AUDIENCES Aysegul Tuzun

AYSEGUL TUZUN, MANAGING DIRECTOR AT MISTCO, DESCRIBES THE COMPANY’S BUSINESS PLAN FOR MIPCOM, THE FIRST PHYSICAL MARKET IN MORE THAN 18 MONTHS, WITH NEW SHOWS AND RETURNING SEASONS OF LOCAL TURKISH HITS.

F

ollowing an influx of suspensions and delays for the Turkish distribution market amid the Covid-19 pandemic, Mistco’s team is more prepared than ever to showcase this season’s slate of titles at this year’s Mipcom event.

Aysegul Tuzun, Managing Director of the company, spoke with Señal News about the new content slate.

It will be the first physical market for the company in more than 18 months, where they will launch all last season’s successes.

Tuzun was sure about the business climate after the pandemic. “I realized how much I missed physical meetings because you can express yourself better in person, and you can connect with people,” she admitted.

 Barbarossa: Sword of the Mediterranean

52

The company has big aspirations for the event following last year’s slate’s results. “The Innocence” was the highest-rated drama of the season, gaining global positive feedback after reaching 50 countries. There are still ongoing negotiations for the title, currently being aired in Spain on Antena 3.

Another successful show that was aired last season is “An Anatolian Tale,” produced by Köprü Film and broadcasted by TRT1. Moreover, “Shadow Team” became the leader of Sunday evenings last season in Turkey, and its second season will be presented at Mipcom. “It was a very strong season for all of us,” Tuzun said.

Furthermore, Mistco’s new shows will include two new historical dramas: “Barbarossa: Sword of the Mediterranean,” which showcases four brothers who served as conquerors of the world in the 16th century. The title has already closed several deals, just with only one episode aired in Turkey.

Following that broadcast, the title became the top show of Thursday evenings, projected to become the highest-rated drama of that entire competition-packed day.

The slate also includes “Great Seljuks: The Legend of Alparslan,” the story of the great commander who opened the doors of Anatolia to Turks.

“Initially, when the pandemic started, we were a little concerned about the future of our business.

If there were no new productions, it meant that we wouldn’t have anything new to sell, but our company is very lucky since we are representing a huge content library,” Tuzun said.

 Once Upon a Time in Cyprus

UNEXPECTED RESULT With an influx of viewers staying home during the pandemic, Mistco saw a great programming demand.

“I cannot say that the pandemic affected our business. In opposite, we saw great potential for our library titles,” Tuzun explained. Mistco’s global business, once limited to free and pay-tv, can also rely on digital platforms. The demands from both sides continued to increase after productions resumed in Turkey.

Despite the growth that the company experienced in the pandemic, Tuzun admitted that the client productivity during the virtual events was relative. “That method has become increasingly boring, and those meetings are not as effective as in the in-person world. We will have big news to share at Mipcom. We are excited to be there. We really missed our connection and our friends with the industry. We hope to meet you all at Mipcom,” Tuzun ended.

By Karla Florez

53

 Leonardo

PRODUCTION

HIGHCONCEPT SERIES WITH A GLOBAL REACH

LUCA BERNABEI, CEO AT LUXVIDE, EXPLAINS THE STRATEGY BEHIND THE ITALIAN PRODUCTION COMPANY, WELLKNOWN FOR SHOWS LIKE “DEVILS” AND “LEONARDO”.

WITH NEW TITLES AND RETURNING SEASONS, THE GOAL IS TO KEEP GROWING AS A GLOBAL PLAYER.

L

ux Vide is one of the most prolific Italian production companies, with shows like “Doc-nelletuemani,” which has been the most-watched title in Italy in the past 13 years, as well as premium series such as “Devils” and “Leonardo”. Señal News spoke with Luca Bernabei, CEO of Lux Vide, to understand the different strategies used for each project and know more about the company’s new shows. “For every show we make, we try to make the audience think as well as entertain them. Lux Vide is specialized in feeling-good content.

We don’t just tell stories, but we try to leave a little flame in the audience,” Bernabei stated. “That has been the reason for the great results we had in terms of global expansion and sales. Audiences are desperately seeking something that gives them hope, and this is what we’re trying to do. It’s essential to create very high concepts that anybody in the world could recognize,” he added.

Lux Vide already confirmed new seasons for “Devils” and “Leonardo”.

“I’m very proud about ‘Leonardo’.

It is not an easy series to produce; it is the story of one of history’s brightest geniuses. We try to tell the life of this person, but also the story of the Renaissance. Leonardo lived in Florence, and the Medici family fed the city’s culture. We are trying 54

wonderful talents, Li Jun Li and Joel de la Fuente. The story evolves; we are now writing the third episode, which will be totally different, almost shocking,” stated Bernabei.

Luca Bernabei

to show what can be done with the intelligence of a man, who is not just seeking greatness for himself but is looking for the common good, which is crucial nowadays all over the world,” Bernabei said. The executive also confirmed that there will be two new exciting parts for the show’s second season: Leonardo’s secret life in Rome and the last part of his life living in France.

Moreover, “Devils” will have new episodes, focusing on the confrontation between Massimo Ruggero (Alessandro Borghi) and Dominic Morgan (Patrick Dempsey).

“We will tell the story of 2016, which is a critical year for Europe and the world. That year we heard about the Cambridge Analytica conflict, the Brexit concept appeared, and the Trump election happened. It was a really complex year, and we are trying to give the audience the real scene of what happened,” Bernabei described.

Lux Vide’s CEO also mentioned that “Devils” new episodes will include new members to its international cast. “There will be a China element on the show, with two new

ITALIAN IP FOR THE WORLD Regarding the possibility for the Italian series (shoot in Italian language) to expand its international presence, Bernabei highlighted the path started by Lux Vide’s “Doc-nelletuemani,” which was sold worldwide as a finalized series and as a format. “The global potential of ‘Blanca’ is even stronger. We produced the show with the same group of people from ‘Doc,’” Bernabei said.

“Blanca” is also the first production in the world to use a unique sound recording technique, holophony, which allows the reproduction of a sound similar to how the human auditory apparatus perceives it. The series also had the artistic advice of Andrea Bocelli, who described the screenwriters how a blind person conceives the world. Bocelli also helped the protagonist of the series, Maria Chiara Giannetta, to prepare her character. “We always try to improve the quality of our products and the shooting techniques in order to shock our audiences with different and unique experiences,” Bernabei explained.

By Romina Rodríguez

INTERVIEW

“MODERN RUSSIAN DRAMA HAS WORLDWIDE CLASS”  The Lockdown

EKATERINA EFANOVA, DRAMA PRODUCER AT TV CHANNEL RUSSIA, DESCRIBES THE LOCAL PRODUCTION LANDSCAPE AND ANTICIPATES THE COMPANY’S NEW TITLES FOR MIPCOM.

S

ovtelexport, the sales arm of TV Channel Russia, is gaining ground in the global content arena with impressive dramas stared by strong female characters with tragic and challenging life situations, as well as unique and non-linear plots. Señal News spoke with Ekaterina Efanova, Drama Producer at TV Channel Russia, to describe the company’s production pipeline.

What are Sovtelexport’s new shows for Mipcom?

“We will present new titles such as ‘Cloister’ series, based on the best-selling novel of the same name by Zakhar Prilepin. It is a poignant and shocking love story unfolding on the background of the horrors of the Solovetsky special purpose camp in the Russian post-Civil War era. Moreover, the feature film ‘Elsa’s Land’ is a moving love story of the 70-year-old Leonid and Elsa. Their families disapprove of their love, which leads to a tense confrontation between generations. Finally, the series ‘The Lockdown,’ which was initiated in the pre-Covid times but turned out to be prophetic, centers on the idea that any pandemic will end and the people’s primary goal is to preserve eternal human values, such as love, friendship, and commitment to principles”.

What specific trends do you observe in the global drama arena?

“Current international trends include the role of a strong and independent heroine; acts of heroism committed by an ordinary person; weak characters that decide to fight any life’s challenges; and, finally, the shift from a masculine to a humanistic perception of reality. TV Channel Russia is keeping up with the trends without trying to flatter the audiences. Our series always have  Zuleikha Opens Her Eyes

a strong female character, with difficult and tragic life situations and unique and non-linear plots. For example, ‘Zuleikha Opens Her Eyes,’ ‘Desperate Wives,’ ‘Call Me Mother,’ and our hottest show, sold to 144 countries, ‘Ekaterina’. Modern Russian drama series has worldwide class. We can even surprise international audiences with something fresh and exciting”.

What factors are shaping the global drama business?

“Undoubtedly, such a tragical large-scale events as Covid-19 leave a mark on the world, including the content industry. It naturally influences the production processes. Soon, we will witness many studios addressing that kind of society’s needs and highlighting such topics as living and surviving when the future is fragile and uncertain. We will witness a new character’s journey during the catastrophe and crises. The companies that will help viewers deal with these problems will have a higher demand in the next five years”.

How do you analyze the evolution of Russian content during the pandemic?

“The pandemic crucially affected the shooting process.

We were not ready for the restrictions and lockdowns.

However, it did not take much time for TV Channel Russia to adapt to the situation and the new context for production. We made subtle changes to the production strategy. We agreed to reduce the number of hours of produced content per year and increase the number of hours for the more popular series. That was the case of period dramas that mixes incredible costumes with thrilling plots, such as ‘Ekaterina,’ ‘Godunov,’ and ‘Sophia, The Terrible’. Those shows are expensive, but they are very welcomed and achieve high ratings and positive audience discussions. When the pandemic situation becomes more stable, we will start producing more modern content, with deep psychological titles and exciting and unique characters, such as ‘Blackout’ series. It is way too soon to refer to our titles as ‘evolutionary’ since the pandemic started not that long ago. Still, it is safe to say that our contentmaking process is flexible and multifunctional. There is still progress to be made and new decisions to be found, even during these challenging times”.

By Romina Rodríguez

56

DISTRIBUTION

“EVERY PRODUCT WE LAUNCH IS DESIGNED WITH THE CONSUMER IN MIND”  HAYMI BEHAR, CMO AT SPI INTERNATIONAL, EXPLAINS THE RECENT EXPANSION OF ITS CUSTOMIZABLE PORTFOLIO OF CONTENT SOLUTIONS, WHICH NOW FEATURES PLATFORMS SUCH AS FILMSTREAM, FILMBOX+, AND ITS LATEST ADDITION, DIZI.

A

s the media industry approaches the year’s final quarter, Haymi Behar, CMO at SPI International, highlighted some of the company’s most significant deals of 2021. “At SPI, we work with operators and platforms to enrich their content offering via different methods of content delivery depending on the ever-changing demands of both our clients and the consumer,” Behar stated.

SPI’s recent digital expansion has been driven by partnerships with various major digital platforms such as Amazon, IMDb TV, Samsung TV Plus, Pluto TV, Plex, Rakuten, among numerous others, contributing over 20,000+ hours of content. The company is expanding its SVOD, TVOD, and AVOD with more titles and targeted marketing.

SPI has also launched various new digital platforms, such as Filmstream, Filmbox+, and Dizi, to continue offering relevant content to its audience. One of the most popular, Filmstream, an ad-supported digital channel, accumulated many users

58

after becoming available in the UK, Australia, India, and the Netherlands.

Furthermore, Filmstream saw success in 42 European countries with Rakuten TV earlier this year and Pluto TV in 18 Latin American countries. Finally, the recently established Dizi SVOD has just launched on Amazon Spain.

Another digital platform, FilmBox+, has already reached one million subscribers and was acquired by various major European operators, with more projected to be added. “We are confident that the service will achieve global success by catering to millions of Turkish series enthusiasts all over the world,” Behar said. “Every product we launch is designed with the consumer in mind. SPI’s customizable portfolio of content solutions aims to make quality content accessible on all available screens at all times through standalone products, key alliances with platforms and content aggregators”.

LINEAR EXPANSION With over 700 operating partners, the company has also seen an acceleration of linear TV consumption in various regions of Europe, particularly following the debut of its FilmBox channel in Western Europe and the Netherlands.

“We want to make the entertainment experience burden-free, versatile, and easy to access. FilmBox+ does

just that with its content selection, multiple localization options, and sleek, easy-to-operate interface,” Behar described.

The company also recently established its presence in India, Cape Verde, Netherlands, Poland, and Portugal with a set of deals intended to strengthen its broad scope of linear channels and varied digital services in these markets.

“We work with our partners and clients from all over the world to assess the needs of their particular markets, which content is desirable for the respective audiences and work together to deliver that content in the model of delivery (linear or VOD) that’s in demand,” Behar asserted.

The executive believes that the success of the Turkish media industry is connected to the titles’ actor selection, on-screen chemistry, and the quality of acting, among other attributes.

Behar admits that demand for international dramas has risen in the last decade. “Modern Turkey is at the intersection of Asia and Europe, and due to this strategic location, Anatolian lands have been a perfect crossroads to many civilizations since prehistoric times,” Behar said.

The company is looking forward to expanding its digital operations, making connections with major content providers that will help expand its portfolio of new content, and further develop its technological abilities. “For us, expanding our footprint across the world while delivering the relevant content to the relevant audiences remains key in our operations,” he ended.

By Karla Florez

PRODUCTION

CASTA DIVA ENTERTAINMENT, A NEW ITALIAN CREATIVE HUB THE NEW BUSINESS UNIT OF CASTA DIVA GROUP CREATED AND FINALIZED FIFTEEN ORIGINAL PROJECTS IN SEVEN MONTHS. MASSIMO RIGHINI, CHIEF CREATIVE OFFICER, AND FABIO NESI, PARTNER AND EXECUTIVE PRODUCER AT CASTA DIVA PICTURES, EXPLAIN THIS MILESTONE.

C

asta Diva Entertainment was launched in January 2021 as a new business unit for the TV industry, sharing offices with Casta Diva Pictures (part of Casta Diva Group). Managed by Massimo Righini, the company was born to become a quality content provider on the Italian scene, working with scripted and unscripted original shows.

“We have a very flexible structure with a great team. We work with people we have known for over a decade, skillful talents excited like us for this new adventure. We have a solid background and lots of experience. We were one of the first companies to adapt formats in Italy, and we have achieved great experience in formats. We are team players, and we are grateful to work with very professional people,” Massimo Righini, Chief Creative Officer, and Fabio Nesi, Partner and Executive Producer at Casta Diva Pictures, told Señal News.

In just seven months and during a pandemic, the company created original reality shows and finalized five different productions for Discovery. “We don’t have secrets or special recipes for good formats.

We have been working in the TV industry for more than 20 years, and we know the Italian and international landscapes. The lockdowns in 2020 were a good opportunity to develop new projects because we had more time for the research and analysis process,” they explained. “We 60

Massimo Righini, Chief Creative Officer, and Fabio Nesi, Partner and Executive Producer at Casta Diva Pictures.

could organize more brainstorming sessions with our team and watch future trends. In a way, it was a great chance to restart and reorganize our strategy for the future,” they added.

NEW SHOWS Among the new Casta Diva Entertainment productions, Righini and Nesi highlighted “Back in Time for Love – A Fairy Tale Love” for Discovery.

“It is an original format, conceived during the lockdown and now in production. We are shooting in a beautiful castle in the north of Italy. It is an unscripted format, a dating show set in the 19th century period, where contestants wear amazing period costumes in order to look for their soulmates without the help of ant digital technology.

It is a return to the authenticity of feelings and romantic love as described at ‘Jane

 Back in Time for Love – A Fairy Tale Love

Austen’ or ‘Bridgerton,’” they stated.

Another unscripted format from Casta Diva is the cooking show “Tarabaralla,” also developed for Discovery. The show centers on USbased Italian chef Damiano Carrara, where celebrities and influencers try to create new recipes. “The idea of the projects comes after Carrara’s appearance on Food Network’s series,” Casta Diva’s executives said.

In addition, the Italian production company is working on five scripted projects and is shooting a biopic about a well-known Italian singer and another one about an international influencer. “We firmly believe that we can export our creativity and IP. We have brilliant ideas, and the Italian landscape has changed a lot in the recent few years. Our TV shows are now traveling all over the world, and we are sure that the same trend will happen for our unscripted formats,” both executives concluded.

By Romina Rodríguez

INTERVIEW

“WE WILL REINFORCE OUR FUTURE PLACE IN THE INTERNATIONAL MARKET”  HERVÉ MICHEL, VICE-PRESIDENT OF UNIFRANCE, EXPLAINS THE REASONS FOR TV FRANCE INTERNATIONAL AND UNIFRANCE’S MERGE AND HOW THE NEW REINFORCED INSTITUTION WILL WORK IN THE GLOBAL ARENA.

L

What can we expect in this new era for French content?

“We are mixing two budgets into the newly created Unifrance. That will allow us to allocate more resources to promote our presence and our new productions. We expect that this new organization could soon increase our revenues and our reach all around the world”.

ast June, TV France International, an organization that promoted French TV series abroad, and Unifrance, an institution in charge of French cinema promotion worldwide, announced their merge. Using the historical name of UniFrance, the new association aims to promote all French audiovisual and cinematic content internationally. Señal News spoke with Hervé Michel, VicePresident of UniFrance, to describe the strengths of this new era for French content.

What are the main benefits of being part of UniFrance?

“When you’re bigger, you’re stronger; that could be one answer. We need to be more visible if we aim to be a key player in the competitive and edgy international markets. There are many other reasons why it is wiser to have cinema and TV together. As French cinema or TV exporters, from now on, we will be on the road together, meeting buyers simultaneously, not separately, as happened so far. The recent dramatic changes in the global markets have driven us to this move. We will promote feature films and TV series together at all international festivals. Why wouldn’t TV professionals take advantage of Unifrance’s unique savoir-faire in this field? It would be better to offer TV and cinema catalogs together when meeting streamers to introduce French shows”.

Within the new structure, there are two divisions, one for distributors and another one for producers. How will these divisions work?

“The new structure allows producers, distributors, and talents (TV and cinema) to work together to promote new shows and increase their global sales. We would also be stronger on presales and co-productions. We are sure that sharing and combining these talented professionals across all fields will reinforce our future place in the international market”.

Have you established any specific goals for 2021-2022?

“We want the two former teams to mingle and aggregate their creativity to satisfy our members and enlarge their international presence. The new Unifrance should be able to create new events that would allow all industry professionals to promote their talents at the markets and increase our general turnover. If we have the appropriate communication to emphasize it, we’ll have achieved the first step of our endeavours”.  Love (and trouble) in Paris

By Romina Rodríguez

61

 Dog Patrol

DISTRIBUTION

“WE WANT TO HELP PRODUCERS TO BRING IN MORE TITLES” PAUL HEANEY, CEO AT BOSSANOVA, EXPLAINS THE COMPANY’S MAIN ACHIEVEMENTS DURING ITS FIRST YEAR AND DESCRIBES HOW THEY WORK TOGETHER WITH ITS PRODUCTION PARTNERS AND CLIENTS.

J

ust one year shy of the company’s first anniversary, distributing company Bossanova’s CEO Paul Heaney spoke with Senal News. He detailed the inspiration for the company’s launch, the most important deals he has sealed this year, and his overall growth goals for this new venture.

Heaney, former Head of TCB Media Rights, began strengthening Bossanova’s presence within the global market through its first deal with Stampede Productions. That business features the three seasons of “Border Force USA,” which opened

62

doors for opportunities with large broadcasters and platforms, such as Fox. “To get that property straight away as our first show really put us on the map,” Heaney said.

Another company’s most significant deals include a 600-hour deal with CJZ and Greenstone and Night Train Media, which recently acquired a majority stake in Bossanova. According to Heaney, the agreement with the newly established German-based company benefits Bossanova in the co-creation and co-funding aspects to avoid potential deficits in the production pipeline.

Besides returning series, the company’s slate covers various genres, including true crime, hidden worlds, engineering, and access documentaries, six of which Paul Heaney were recently commissioned.

“We are trying to cover all the bases to make sure we are offering something that we know the buyers will want,” Heaney stated. Some examples set to launch soon include “The Car Years,” now on season two, “Accused of Murdering Our Son,” “Stephen Clark,” “King of Tigers,” with Ross Camp; and “Ripper Speaks,” among various others.

“Having the security of that catalog has been excellent, but we don’t want to sit on that. We want to try and help that particular producer to bring in more brands and more titles, not just sell what they’ve got,” he added.

BUSINESS PROJECTION Heaney projects that 35-40 series will be ready by the end of the year, where 10-15 of those will be launched at Mipcom. “It is super important to help to build our partners’ slates, not simply sell the titles they already have. We must do that in the right way, appropriately matching the titles with the correct broadcasters and platforms. We have to find square pegs for square holes,” Heaney explained.

The executive also detailed his take on the evolution of the scripted market, explaining that much of the releases are influenced by nonlinear approaches and often end up being oversupplied. “The scripted world is absolutely buoyant, but you have to stay close to it,” he stated.

By Karla Florez

INSIGHTS TO UNDERSTAND CURRENT AND FUTURE TRENDS

RESEARCH

THE DYNAMICS OF THE ENTERTAINMENT AND MEDIA INDUSTRY MEDIA & ENTERTAINMENT PROJECTED REVENUES

GLOBAL OTT MARKET REVENUES (US$tn) Logging on to growth.

Consumers will continue to devote more spending to streaming subscriptions.

A rapid return to growth.

Industry revenues are projected to bounce back strongly.

Global E&M revenues (US$tn)

E&M year-on-year growth (%)

Absolute annual revenue growth: SVOD

Subscription video on demand (SVOD) Transactional video on demand (TVOD)

5.0% CAGR 2020–2025

3.5

3.5% CAGR 2019–2025

3.0

10

90

8

80

6

2.5

4

2.0

2

50

-2

0.5

-4

10

-6

0

2.0

2.1

2.0

2.2

2.3

2.4

2.5

2.6

2016

2017

2018

2019

2020

2021

2022

2023

2024

2025

GLOBAL ADVERTISING GROWTH

BY SEGMENT (US$tn)

Video games

Music, radio, podcasts Internet

TV

20

B2B

0.6

0.6

0.4

0.4

0.2

0.2

0

0 2019

2020

2021

2022

Source: PwC’s Global Entertainment & Media Outlook 2021–2025.

64

2023

2018

2019

2020

OTT video

Video games

2021

2022

2023

2024

2025

0

Cinema

2024

2025

Music & radio

Newspapers & consumer magazines

Traditional TV & home video 3.9% CAGR 2020–2025

1.0

0.8

2018

2017

Consuming passions.

Steady growth in spending is fuelled by digital formats.

0.8

2017

2016

Books

3.9% CAGR 2019–2025

2016

2

Virtual reality

Newspapers & consumer magazines 6.5% CAGR 2020–2025

1.0

4

CONSUMER REVENUE

BY SEGMENT (US$tn)

Out-of-home advertising B2B

6

30

Internet ads follow attention and commerce.

Marketers are rushing to meet consumers where they spend more of their time.

Cinema

8

40

1.0

1.9

10

60

0

1.8

12

70

1.5

0

TVOD

2.3% CAGR 2019–2025

2016

2017

2018

2019

2020

2021

2022

2023

2024

2025