2ble Click GLOBAL AGENCY SCREENINGS & HANGOVER
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DAYS WAS THE LENGHT OF THE FIRST SPECIAL SCREENINGS OF THE TURKISH DISTRIBUTOR. tHE EVENT TOOK PLACE BETWEEN JUNE, 2 AND 5 IN THE CITY OF BODRUM.
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• BUYERS FROM 37 NATIONALITIES WERE PRESENT AT THE SCREENINGS.
• two screening days with drama and formatS presentations by the experienced sales directors of Global Agency.
+ SPEECHES
• Endemol Shine Turkey and GroupM Turkey GAVE speeches about the Turkish television market; and Herve Hubert talked about Global Agency’s hit formats around the world.
PEACE POINT AND CISNEROS CLOSED INTERNATIONAL DISTRIBUTION DEAL
DISCOP LAUNCHES NEW MARKET IN DUBAI Basic Lead, organizer of the regional DISCOP content, adaptation rights and packaged channels markets, announced the launch of DISCOP DUBAI, taking place from 29 to 31 January, 2017 at the prestigious MADINAT JUMEIRAH resort in Dubai. DISCOP DUBAI will specifically target countries from the Middle East, North Africa, Gulf Countries and the Asian subcontinent, and bring together under one roof key players driving multiscreen content business across these regions.
Both companies confirmed an agreement that will see Peace Point as the exclusive distributor for Cisneros’s unscripted titles in multiple international territories. Initial titles include the news special “End of Days”, children’s educational series “Super Genius”, celebrity entertainment series “Talk the Walk”, Olympic documentary series “Flame of Passion”, and the reality series’ “SHÄK” and “XRC”. The agreement was arranged by Julie Chang, SVP of Business Affairs and Acquisitions for Peace Point Rights, and Marcello Coltro, EVP, Content Distribution for Cisneros Media; and it will cover exclusive distribution rights in Canada, UK, France, Monaco, Andorra, French-speaking Belgium, Germany, Austria, Switzerland, Lichtenstein, Baltics, Balkans, CIS, Australia and New Zealand.
CBS AND RTL II LICENSE POPULAR LATE LATE SHOW CBS Studios International and RTL II closed a licensing agreement in Germany for “The Late Late Show with James Corden”. The series will air on RTL II’s new internet-only linear station, RTL II YOU, which launched on May 31. In a first for RTL II, “The Late Late Show with James Corden” will be broadcast within 24 hours of the show’s U.S. broadcast and in its original format, without German dubbing. Since launching with James Corden in March 2015, the show has become one of the most talked about shows on television. Tom Hanks, Matt Damon, Arnold Schwarzenegger, David Beckham, Julia Roberts, George Clooney and Will Ferrell have appeared there. 4 · SEÑAL INTERNACIONAL
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TELEMUNDO AND KESHET TO DEVELOP SCRIPTED CONTENT
APT SECURES ALL3MEDIA “HINTERLAND” FOR USA Leading independent distributor has signed a new USA deal for its award-winning crime noir drama “Hinterland”, this time with American Public Television (APT), that has acquired series one (4 x 2 hours). Produced by Fiction Factory for S4C with Tinopolis, all3media International and BBC Wales, “Hinterland is set for release to 13 US markets with APT on June 30th, including Kansas City, Seattle, Oregon, Milwaukee, Buffalo NY and Boston. The launch follows APT’s ongoing success with all3media International’s global bestseller Midsomer Murders, which now airs in more than 25 markets. Currently in production on a new third season (4 x 2 hours), filming in Aberystwyth, Wales, “Hinterland has now been sold to more than 150 territories, including Netflix for the US and the rest of world, ARD Germany, KRO Netherlands, NRK Norway, YLE Finland, VRT Belgium, RTV Slovenia, Dizale in France and, of course, home to Scandi noir DR Denmark.
Telemundo Studios and Keshet International announced a scripted deal to co-develop and produce a new original Spanishlanguage series to air on Telemundo Network. The series will be the first Spanish-language original production to be developed under the Keshet banner and will be co-produced with Telemundo Studios. The development of the Spanish-language series will be led by Perla Farias, Senior Vice President, Scripted Development for Telemundo Studios. The series will be produced by Telemundo Studios. Keshet´s Head of Latin America, Kelly Wright, will oversee the project on behalf of the distribution and production group. “Keshet is known for producing powerful, unconventional and bold scripted series,” said Luis Silberwasser, President, Telemundo Network. “We are very excited to partner with Keshet on this development deal and about the prospects of what we can create together.”
NETFLIX ORDERS FIRST INDIAN SERIES: “SACRED GAMES” The video streaming company is reinforcing its orginal content strategy with the first Indian series, “ Sacred Games”. The drama will be co-produced with Phantom Films, whose founders include director Anurag Kashyap, director Vikramaditya Motwane and producer Madhu Mantena. Kashyap’s latest title, “Raman Raghav 2.0”, premiered at Cannes’ Directors’ Fortnight this year. The partnership marks the first co-production for an original series between Netflix and an Indian banner. Phantom’s other projects include Motwane’s upcoming film version of “Chakra The Invincible”, Spider-Man creator Stan Lee’s first Indian superhero property that has also aired on Cartoon Network India. 5 · SEÑAL INTERNACIONAL
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FRANCE AND CHILE JOIN ARMOZA´S “LA FAMIGLIA” This new scripted comedy produced by United Studios of Israel and distributed by Armoza Formats, has now been taken in two new territories. Zodiak Fiction in France and Endemol Shine Chile have both acquired the local rights to the series, with this deal also marking the first collaboration between Armoza and Zodiak Fiction, a Banijay Group company. The Israeli comedy, which raised Channel 10’s ratings by 31% in the time slot, has already been commissioned for a second season in Israel and was recently taken in French Canada by Avanti Ciné Vidéo (Un Gars, Une Fille / Love Bugs). /senalint
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SHONDA RHIMES NAMED MIPCOM 2016 PERSONALITY OF THE YEAR
RECORD INCREASES RATINGS IN BRAZIL AND ARGENTINA “Moses and the Ten Commandments” continues making history in Argentina. Since its debut, the telenovela reached an average of 17.2 points, and it´s one of the most watched foreign novels in the country during 2016.
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he second season of “Moses and the Ten Commandments”, the popular telenovela by Record TV Network saw a grow of its audience of 25% from the first season in the local audince of Brazil, according to Kantar Ibope. The first 40 episodes of the first season registered an average 12.0 rating, versus 15.0 of the current season. In addition, the scripted production, written by Vivian de Oliveira and directed by Alexandre Avancini, scored an average 14
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rating versus the 11 reached by the previous season, growing 27%. Successful in Brazil, the telenovela is also scoring great ratings in the international market, such as Uruguay and Argentina, where made on Telefe and reached 14.9 rating points, becoming the most watched show on argentine primetime and the most successful show of the entire day. Then, “Moses and the Ten Commandments” made history in Argentina, and since its debut, achieved an average of 17.2 points. This success comes together with the performance that gained in Chile, where it was the most viewed product on TVN. The show has also been broadcasted with great success in Guatemala, Panama, Dominican Republic and even United States. “Moses and the Ten Commandments” is based in four books from the Old Testament (Exodus, Leviticus, Numbers and Deuteronomy). It has a cast with over 80 actors, a crew of over 100 people and sets in the Atacama Desert and a scenographic city of 7.000 m2. Every episode cost US$ 250.000 to make.
The creator and writer of groundbreaking hit shows and one of the most celebrated and influential producers in Hollywood, has been named MIPCOM 2016 Personality of the Year. She will be honoured at a gala dinner for leading international television executives at the Carlton Hotel, Cannes, on Wednesday 19 October.
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million viewers achieved Globo´s telenovela ‘Total Dreamer’ in Brazil, with 41 rating points and 58% of share. The show had an innovative programming strategy.
TRICON KIDS CLOSED DEAL WITH DISNEY XD US Tricon Kids & Family and Wildseed Kids announce the sale of Counterfeit Cat (52 x 11’ episodes & 11 x 2’ shorts) to Disney XD in the U.S. The original animated comedy series was released in the United States on June 20 on Disney XD and its multiple platforms including the Disney XD app and via video on demand.
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INTERVIEW ENTREVISTA
“We started to show genres like comedy.
Nobody has tried that before” m Kerim Emrah Turna
Kerim Emrah Turna, Head of Sales, Americas & Africa from Kanal D, explains the recent sales of the company throughout Latin America, and highlights the future focus in terms of genres and business models.
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anal D has reached a solid international position not only as a quality producer, but also as a distributor of well performing shows like “Time Goes By” and “Fatmagul”, all of them very successful in Turkey and worldwide. Now, “Time Goes By” is conquering the world and leads the international focus of the company, that is explained which to Señal Internacional by Kerim Emrah Turna, Head of Sales, Americas & Africa. What are the most important distribution achievements of Kanal D in 2016? “One of our most important titles, ‘Times Goes By’ , fortunately started in Puerto Rico, on the 1 PM slot of Wapa TV. Actually, they wanted to do a test and as we believe in this tittle really much, we were completely sure that it was going to perform great in Chile, where it was against ‘Fatmagul’, we have not received the desired results at that time. Then, Telemundo acquired the show, after they have started with ‘Fatmagul’ and ‘Secrets’. After that experience, it started in Wapa TV in Puerto Rico and it was really successful. They decided to move it to prime time, where is also performing really well. Those ratings results are the same amount of the two following channels together”. “Times Go By” is the key title for the company today? “After our experience in LA Screenings we will be selling ‘Times go by’ these years like crazy to each country. ‘Fatmagul’ has been sold everywhere, it´s unbelievable. ‘Fatmagul’, ‘Forbidden Love’, which is a core
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prime time product and ‘Kuzey Guney’, which is a late night prime time product, are doing pretty well in different countries like Peru, Chile and Argentina. Ecuador and Uruguay have recently acquired ‘Forbidden Love’ too. Now, from this year on, we are focused on selling ‘War of the Roses’ and ‘For My Son’. We have premiered ‘For My Son’ during the last MIPCANCUN and people loved it. It´s still on air in Turkey at 8PM, core prime time. We will probably be starting to sign deals for this title in a couple of months. Right now we don´t know how many episodes we will have at the end of this year”. Which would be the main global appeal for “War of the Roses”? “‘War of the Roses’ has finished in Turkey and we´re producing the international versions, dubbing everything in house as we´re the largest Turkish media group. We´ve also a couple of new titles like ‘Sweet Revenge’ and ‘Flames of Desire’, that we have recently showed to our clients but we will be selling them probably next year. At the same time, we have recently signed
another deal with Somos Distribution, who is our partner for Latin America and it is distributing three titles of our catalogue: ‘Gumus’, ‘Mercy’ and ‘The Outsiders’. Now we have signed a new deal with them for two more dramas: ‘Matter of Respect’ and ‘Sunshine Girls’”. How do you evaluate the recent LA Screenings in terms of new business? “Before LA Screenings we closed a couple of deals for ‘Matter of Respect’ with Telemundo in Puerto Rico and Azteca in México, who bought it for their prime time. Besides that, we tried to show to our clients some different genres like comedy. No one has tried that before. We´ve a very interesting title called ‘Bandits’, which is a different experience. Lots of clients have seen it and they have really enjoyed it. Comedy is different, it’s very cultural, a difficult genre, but interesting due to similarities between Turkish and Latin American culture. We´re going to be able to license this title to most of the countries and the audiences will love it”. What about formats? Do you see an opportunity there? “We have been receiving requests for our formats for a very long time, especially from Mexico and United States. Possibly, we are going to start selling formats. We didn´t want to put down our own dramas and focus only on formats, but now we have changed our minds and we are now open to co-productions with major companies in Latin America. It will give us the opportunity to be involved in new projects, and in addition, we have many different projects in the region with different types of business models that we are going to announce soon. Having lots of successful titles allows us to act in a more flexible way. We would like both our clients and partners to use this huge power, so hopefully we will see new projects in the upcoming future”. By Diego Alfagemez
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OVERVIEW
Central and Eastern Europe takes inspiration from the rest of the world Fiction is still leading the region, since the genre gathered 63% of the 291 new programs launched in the region in early 2016, where new fiction and entertainment series were half original formats and half imported concepts
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TVP1’s slot average for 16-49 year olds by 127% on its premiere. In Russia, the after-show of the reality “Revizorro”, centering on hotel and restaurant inspection, also achieved great results (+157% on its premiere for ages 4+). Other popular factual themes – in the region but also worldwide – are nature and true crime. Original docuseries Descalecati in Carpati and imported wildlife documentary Wild Canada both appealed to local audiences, respectively in Romania and Poland. Also successful, the Russian docudrama Prestupleniya Strasti tells real stories of women who convince themselves to commit murders for the sake of love.
iction is still leading the way in Central and Eastern Europe (CEE) since the genre gathered 63% of the 291 new programs launched in the region in early 2016, followed by factual programs (25%) and entertainment shows (12%). On top of that, 2016 new fiction and entertainment series were half original formats and half imported concepts whereas as 68% of new factual shows were original programs. However, this repartition varies from one country to another depending on local preferences. Since the beginning of 2016, Polish audiences have mainly been fond of foreign documentaries while Russian and Ukrainian viewers are rather keen on local fiction, especially miniseries. As for Romania, original unscripted formats performed particularly well early this year. On the factual side, the latest successes in Central and Eastern Europe follow the path of international trends. Firstly, companion shows of hit programs are multiplying worldwide and the CEE region is no exception. In Poland, the behind-the-scenes documentary of the Turkish hit series “The Magnificent Century” increased
NATIONAL ENTERTAINMENT As for entertainment, the majority of the latest hits are national productions, whether it be original concepts or local adaptations of international formats. The genre particularly appealed to young adults and celebrities, kids and humour
>> New programs in CEE (January - May 2016)
seem to be the key ingredients of success. For example, the Russian adaptation of the US format Comedy Central “Roast” puts celebrities under pressure revealing their hidden vices in front of the audience. Featuring a jury of three local celebrities, the humour talent show “iUmor” managed to catch the attention of Romanian young adults, with the third episode reaching a peak market share of 23.3% among 15-24 year olds. Ukrainian comedy show “Crack Them Up Kids”, in which children compete to make the jury smile or laugh within 1 minute, and the Polish version of “Masterchef Junior” both achieved great success for its first season. Globally, fiction dominates the region’s line-ups, especially in Russia and Ukraine, two prolific producers but also importers of dramas. Ukrainian channels keep betting, with success, on classic stories about love and family, such as original miniseries “Nazavzhdi” and imported Russian “Stairway To Heaven”, both focusing on impossible love stories. As for Russia, viewers have recently been keen on fiction with a lighter tone such as the sitcom “Borodach”, centering on a foolish security guard, whose premiere increased TNT’s primetime average by 34% among young adults. Another fresh take of the fictional genre is the comedy series “Ostrov”, following the fictional participants of a reality show taking place on a desert island. It has already become one of the major hits of Russian mid-season. By Mathilde Hervieu mhervieu@eurodatatv.com
Fiction 183 new programs
55 %
Factual 73 new programs
4%
41 %
4%
68 %
27 %
Source: NOTA – Copyright Eurodata TV Worldwide / Relevant Partners
Entertainment 35 new programs
46 %
31 %
23 %
Stay up-to-date and discover further mid-season editorial trends and hit programs in NOTA International Trends
Original Format
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Adaptation
Finished Program
TV Report soon available.
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INTERVIEW
“Our formats can be easily adapted” Shannon Ramey is the new Sales Executive of ITV Inter Medya, and will oversee the most recent business goal of the company: formats. Here she explains the shows developed in house, and their international potential.
m Beatriz Esterueas y Shannon Ramey
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during MIPCOM. All of them are developed in house in ITV. Right now they are on paper but we have one that is on air in Europe, called “Join Instant”. It´s very funny and it´s focused on the Turkish people living in Europe. Then there is another one called ‘Fifty Fifty’, which is a quiz show, kind of a reality combined with a quiz show; and it has been 99% sold to a Turkish channel”.
How ITV is approaching to the format sales business? “We have six formats, but we are going to introduce the sixth one
What was the first feedback from the clients about these shows? “The needs of each broadcaster depend on the country. Some of the people who come to us have just a women’s audience, some an older audience, some do not want a big production, and some are okay with big productions. And then, even between the countries the needs depend on the channels. We have such a good relations-
TV Inter Medya has stablished a steady global distribution position as a drama distributor, but since last Mipcom, the company is focused on a new business model: formats. This strategy includes shows across all genres, from game shows to cooking shows and celebrity titles. For this new step, ITV hired Shannon Ramey, new Sales Executive who will oversee the formats sales around each market.
TURKISH DRAMA LEADER • ITV Inter Medya has been awarded by the Electrical Electronics and Services Exporters Association as the company that generated the biggest income for the TV series industry through the international sales of “Kara Para Ask” and “Karagül”. thanks to “Our success as drama distributors many clients are looking for our product even when they´re on paper. For example, Ay Yapım today is a guarantee of success for any broadcaster. They are not only looking for a nice story, they want the best cast because actors have become so famous around the world. For instance, the main actor of ‘Black money love’ is a sensation in Latin America”, Beatriz Esteruelas, said Sales Executive at ITV Inter Medya.
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hip with Latin America clients, because they have been really open to us”. ITV is a big brand in terms of drama. Is the goal to build a format trademark too? “Yes. I think that is part of the battle we are having right now because we are known for this series and we have been very successful. It´s exciting but we are not known for the formats business, and that is part of the struggle. LA Screenings has been a really successful market, and I feel that soon the clients are going to take some of our formats”. Are you open to discuss any type of projects for different channels and budgets? “Yes. What is great about these formats is that they can be adapted. You can either make them big or you can make them smaller. ‘Join Instant’ is right now on a small channel and it is not using celebrities or a big studio. It´s being produced on a small studio, with just a presenter doing the questions, which is not expensive. So we have a lot of flexibility. Then, ‘Fifty Fifty’ is not expensive to shoot because it has only eight people. That is what is exciting about formats:
they are not something strange or boring, they are unique and current. LA Screenings was the first proper Latin American market where we showed our formats and everyone is quite interested. I think we are going to perform very well, probably better than we did with Turkish drama”. Have you started this conversation around any particular country or region? “We are really open about that. First someone has to produce it, and then we can sell it worldwide. It has been only seven months since we launched our formats, and in any kind of business you start and then it takes two years before you experience any result. So we have been really successful with the first conversations”. Has ITV built an in house team to develop their own formats in Turkey? “Correct. We really think about what makes sense and what our clients are looking for. Our reputation is really important because we perform great with drama, and we don´t want a catalogue of 50 formats. We really chose the shows, and develop them at every single aspect of production”. By Diego Alfagemez /senalint
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GALLERY
LA screenings The market was carried out with focus on some different regional concerns: where consumers are going in an era of game changing digital platforms, and the reduced budgets in Latin Amercia for content acquisition and new productions.
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/07 EPIGRAPHS 01 - Ricardo Costianovsky (TELEFILMS), Tomás Yankelevich (TELEFE), Juan Parodi (THE MAGIC EYE) & Tomás Darcyl (TELEFILMS). 02 - Fernándo Gaitán (RCN) 03 - Magalí Urrutia & Lorena Sánchez (MEDCOM) 04 - Fredrik af Malmborg & Barbora Susterova (ECCHO RIGHTS) 05 - Armando Nuñez & Barry Chamberlain (CBS) 06 - Ytziar Cori Alvarez & Rosalind Rotundo (VIP2000) 07 - Frank Scheuermann & Kelly Wright (KESHET) 08 - Shahar Sapir, Savannah Dominguez, Magdalena Godio, Sofia Martinenghi & Angel Zambrano (TURNER) 09 - Guillermo Arcos, Michelle Wasserman & Eduardo Tironi (ENDEMOL SHINE)
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10 - Cesar Diaz, Yonatan Ornelas, Fidela Navarro, Juan Fernández & Ramón Salomón (AZ CONTENIDOS) 11 - Luís Fernández, Marcello Coltro, Sergio Bruna & the brothers Raishbrook from “XRC” & “SHÄK (CISNEROS) 12 - The Telefilms team with buyers of LatAm. 13 - Liliam Hernandez, Elisa Aquino & Gema Lopez (UNIVERSAL CINERGIA) 14 - Liz Chapman (ROSE ENTERTAINMENT), Arturo Chavez (OLYMPUSAT) & Rosamaria Gonzalez (ROSE ENTERTAINMENT) 15 - Gonzalo Fernández Arceu, Julián Rodríguez Montero (TELEFONICA) & Tomás Silva (RIVE GAUCHE) 16 - Adeline Ferro & Renato Martinez (VIACOM) 17 - Ramon Salomon & Fidela Navarro (AZTECA) 18 - Daniel Otaola, Diana Coifman, Meca Salado Pizarro, Natalia Delmas, Mercedes Reike, Diego Piasek & Tomás Yankelevich (TELEFE) 13 · SEÑAL INTERNACIONAL
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TV IN NUMBERS
Key Data to Understand the Current Trends of the Industry
EVOLVING PATTERNS OF MEDIA CONSUMPTION Millenials on the move Millennials
Millennials are now the largest generation ever, surpassing Baby Boomers.
ages 14–18 2015 US Population
ages 19–25 83 MILLION
ages 26–32
Generation X
Baby Boomers
Matures
ages 33–49
ages 50–68
ages 69+
70 MILLION
75 MILLION
23 MILLION
stream om Nearly half of US consumers subscribe to a streaming video service (you're likely one of them), and accessibility is easier than ever. This content convenience is the basis for quite a few shifts.
Millennials are spending more time streaming video content than watching live TV.
Live TV Programming vs. Streaming TV Content, Among Millennials
Binge watching is a routine part of our lifestyles, even for the older generations.
30% 32%
ages 14–18 ages 19–25
29%
ages 26–32
28% 31%
38%
LIVE TV
STREAMING
Average Episodes Watched Per Binge Session ages 14–18
6
ages 19–25
6
ages 26–32
5
ages 33–49
5
ages 50–68
4
ages 69+
4
Millenials are talking the lead when it comes to content consumption, and the remaining generations are following quickly behind SOURCE: Deloitte Digital Democracy Survey, 10th Edition
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