2ble Click DISNEY TAKES FULL CONTROL OF HULU
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DISNEY WILL PAY COMCAST AT LEAST $5.8 BILLION FOR ITS HULU STAKE, DURING THE NEXT FIVE YEARS.
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• DISNEY GROWN ITS HULU SHARE THROUGH ITS $71.3-BILLION ACQUISITION OF 21ST CENTURY FOX. • HULU RECENTLY ANNOUNCED IT HAD SURPASSED 28 MILLION SUBSCRIBERS, 26.8 MILLION OF WHICH WERE MONTHLY PAID SUBSCRIBERS.
DIFFERENT TIERS • HULU HAS MULTIPLE SUBSCRIPTION TIERS: A $5.99 MONTHLY SUBSCRIPTION WITH ADS; AN $11.99 PLAN WITH NO ADS; AND A $44.99 SUBSCRIPTION THAT ALSO INCLUDES LIVE TV.
GRB STUDIOS APPOINTS NEW SVP OF DEVELOPMENT
VIACOM CLOSES EXCLUSIVITY DEAL WITH JUAN JOSÉ CAMPANELLA
GRB Studios has appointed former Discovery Studios executive, Pamela Welch, to the role of Senior Vice President, Development, reporting directly to Gary R. Benz. In her new role Welch will be responsible for creating and developing original and talent driven content for the company. Benz cites Welch as being “a highly skilled development executive with a successful track record of getting shows on the air. We look forward to creating more compelling programming with her”.While at Discovery Studios, Welch developed and produced content for the various its networks.
Viacom International Studios – Americas announced an exclusivity deal (First Look Deal) with renowned Argentine director, screenwriter, film and television producer, Juan José Campanella, and his production company 100 Bares, to develop and produce premium content for the next two years. “We are very excited about this deal,” Campanella said. “These days, partnerships between companies are vital to boost projects. Our experience with Telefe has been fantastic. After this agreement with Viacom International Studios, we can think of even more ambitious projects without limiting ourselves in terms of formats and platforms, giving priority to good ideas,” he added.
UNIVERSAL CINERGIA OPENS NEW STUDIOS IN MEXICO Liliam Hernandez, President & CEO and Gema Lopez, President & COO of Universal Cinergia Dubbing announced the opening of new recording studios in Mexico. The studios will be based in Mexico City, with industry veteran Cristina Littin as Director of Operations. Cinergia already has 17 studios in Cuernavaca, Mexico, working non-stop in Spanish language projects. For the last 5 years Universal Cinergia has been the leading dubbing studio for Turkish content into Spanish, and has been a huge part of its growth in Latin America, with approximately 6000 hours of Turkish content per year. 4 · SEÑAL INTERNACIONAL
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“THE VOICE” FINAL WINS ITS TIME SLOT IN THE UNITED STATES GLOBO AND SONY PARTNER UP IN A MULTI-SERIES DEAL Globo and Sony Pictures Television have announced a multi-project deal to co-develop and co-produce two English-language scripted dramas, with a third project forthcoming. SPT-backed Floresta is set to co-produce the exciting new projects in partnership with Globo Studios. The collaboration marks the first venture into English-language drama for both Floresta and Globo Studios. The first two projects in development, ‘The Angel of Hamburg’ and ‘Rio Connection’, are based on true Brazilian stories that highlight the country’s incredible legacy of heroism and scandal on the world stage. SPT will have global distribution rights outside of Brazil, while Globo plans to broadcast it on its free-to-air channel in primetime and on Grupo Globo’s platforms. Both productions are under responsibility of Globo’s Monica Albuquerque, Head of Development, and Silvio de Abreu, Head of Drama and Comedy.
The final episode of “The Voice” US won its time slot on Tuesdays with a 1.1 rating point in the key demo. Over 7 million viewers saw Maelyn Jarmon being named the Season 16 champ of “The Voice” during show’s finale, handing John Legend a win in his first season as a coach. The 17th season of The Voice is expected to air this fall on NBC. Moreover, season eight of “The Voice” Australia premiered on Nine channel and scored impressive ratings. In the key demo the first episode scored a 23% market share and was market leader in its time slot in all five metro capitals. Also in viewership the show increased with 5.3% in the key demo compared to last year’s launch episode. In Spain, “The Voice Senior” premiered well on Antena 3, reaching a solid 2.4 million viewers and scoring a 16.5% average market share.
BBC ONE COMMISSIONS A THIRD SERIES OF “THE A WORD”
INTER MEDYA’S “FLAMES OF DESIRE” REACHES NEW TERRITORIES
Filming started on late May in the Lake District and Manchester on the third series of BBC One’s drama series “The A Word” written by the multi-award winning Peter Bowker. The family drama will return to BBC One. Familiar faces Max Vento, Morven Christie, Lee Ingleby, Greg McHugh, Molly Wright, Pooky Quesnel, Leon Harrop, and Christopher Eccleston reprise their roles and are joined new faces including Julie Hesmondhalgh, Sarah Gordy and David Gyasi. “The A Word” is a Fifty Fathoms Productions and Keshet Productions UK production for BBC One. Licensed from Keshet International, the series is based on Yellow Peppers, an Israeli drama written and created by Keren Margalit and produced by July August Productions for Keshet Broadcasting.
Inter Medya confirmed that the drama “Flames of Desire” will arrive to Colombia. The Turkish distributor had also sealed deals in Puerto Rico, US Hispanic, MENA region and Serbia for the hit show. Produced by Most Production, “Flames of Desire” focuses on the love, convergence, victories, and struggles of the heroes who fall behind in their desires and their possessions. In an effort to reconciliate after a huge dispute, Bayram and his best friend Salih plan a marriage between their young children. Beatriz Cea Okan, Sales Executive at Inter Medya, said: “The great results that the show got in Turkey is one of the reasons that could also be a hit anywhere. We notice an increasing interest for this title”. SEÑAL INTERNACIONAL 2019
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An Ally to Combat IP Infringement Phil Gurin, Co-Chair of the Format Recognition and Protection Association (FRAPA), discusses a new service called “Infringement Guide” and emphasizes how important it is to protect content from being copied.
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arlier this year, the Format Recognition and Protection Association (FRAPA) has announced the launch of a new service, the FRAPA Infringement Guide, supported by free case assessments from industry experts. The Infringement Guide is FRAPA’s response to a call from format professionals to provide practical, step-by-step assistance on what to do in the event of a suspected intellectual property (IP) infringement by a producer, broadcaster or platform. The new tool consists of an infographic that clearly and systematically illustrates the steps needed to ascertain whether a format has been copied, along with the actions that should then be taken. “People who are involved in the business of creating, selling, and producing intellectual property are aware of potential rip-offs and how important it is to protect your content from copying because that is the very foundation of the whole entertainment industry. Recognizing IP is why this business even works financially for everyone,” Phil Gurin, Co-Chair of FRAPA, told Señal Internacional. In a multi-screen industry, with more windows to show content than ever before, anyone might steal an idea. “Other companies, channels, creators, or platforms potentially can copy your idea. Not everyone does that, but it is an increasingly widespread problem where people do not respect the
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authorship of the original creators. As there are more and more platforms for the exploitation of the content, more and more people think that they can get away with ripping someone off. Clearly, we want to help to advise, and we also want to educate people and tell them why it is not a good business practice to rip people off,” Gurin said. WHAT TO DO In a recent FRAPA questionnaire of its members and users of the Format Registration Service, 29% of respondents said they had experienced infringement but had done nothing about it due to a lack of knowledge and/or the time to invest in what is perceived to be a long, expensive and confusing process. “If you consider you have been infringed, it really requires you to spend time
documenting the differences, the similarities or perhaps analyzing if you have previously pitched your show to the company that is creating it. It depends on the person who feels ripped-off to do anything he can to try to fight to protect the format. If you do not fight on your own, no one will fight for you,” the CoChair of FRAPA admitted. In Gurin words, “there is no blanket rule to determine if an idea is copied from another one or it is just similar”. That is when the specifics characteristics of the format that make it unique and special come into play. “If somebody is trying to do the same kind of things, they are probably copying. The court has had a long history of cases where they had examined the unique elements versus what we might call public domain elements. The more unique you can make your format, the better chance you
“Recognizing IP property is why this business even works financially for everyone” have of protecting it,” he assured. “FRAPA’s philosophy is that if we do not honor and respect intellectual property, we will end up in a kind of ‘free-for-all’ business where everybody rips everybody off. The whole acquisition and distribution business, which really fuels the global business of television, will collapse. The key to a successful and healthy international business of TV is the mutual respect between companies and cultures. We have to honor that,” Gurin concluded. By Federico Marzullo /senalint
OVERVIEW
UHD: Time for A Reality Check Over half of TV sets shipped in the last quarter of 2018 were UHD, driven by Chinese fabs and users, but other elements of the TV ecosystem aren’t keeping pace, and content providers need more time (and investment) to avoid consumer disenchantment.
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he last quarter of 2018 saw an important milestone: over half of TV sets shipped were of UHD resolution. It represents a remarkable and rapid shift in the television set industry, especially as UHD content remains scarce for most viewers. According to IHS Markit, China took an early lead in UHD shipments, driven by a hyper-competitive television market, low pricing, and enthusiasm from consumers for huge sizes; indeed, the biggest in the world. That context follows an established trend: the Chinese consumer is now the earliest adopter of new technology. North America has tracked closely with a similar preference for large screens. Demand for smaller, cheaper sets for the ubiquitous secondary televisions in American households always dilutes overall UHD share. Surprisingly, Western Europe moved to the front in UHD TV share. While Europeans buy smaller sets, they are more willing to spend extra for features. In the high-volume 40-43” segment, Europeans have been happy to pay a little more for 4K resolution. Western Europe is undergoing a broader shift in TV ownership patterns: demographic changes mean that many countries (such as Germany and the Nordics) have over 40% of households with a single occupant.
Japan remains a puzzle. Despite early moves into UHD services, consumers continued to buy smaller sets in HD resolutions and indeed smaller sets generally. For example, consumers in Indonesia buy larger TVs, despite excellent demonstrations of UHD by Japanese retailers, with consumers encouraged to sit down in front of big sets to watch beautiful UHD demonstration showreels. Shipment of UHD sets gained new momentum in late 2018, as broadcasters moved simultaneously to launch a wave of new UHD channels (and even NHK’s BS8K channel). Japanese consumers have generally shown less enthusiasm for new technology in recent years, which may be symptomatic of an aging population. From a TV provider’s point of view, what matters is the installed base: is the number of households large enough to provide a commercially viable audience? The picture reverses somewhat, with North America leading throughout the forecast, trailed by Western Europe and China.
UHD AVAILABILITY A reality check is needed about UHD. Much of the world is still using analog connections. The number of UHD channels is growing steadily, with over 140 distinct channels operating world-
4K TV PENETRATION TREND: SHARE OF GLOBAL SHIPMENTS 70% 60% 50% 40% 30% 20% 10% 0% Japan
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wide. What’s the future? As TV brands have completed the swap to UHD resolutions in 50” and larger panel sizes, UHD growth now relies on overall screen size growth at replacement time. The 40” class is too small for UHD at typical viewing distances. So far, consumers have proved willing to make space for ever-larger televisions in their homes, yet this trend cannot continue forever. The 8K technology was initially conceived jointly by NHK and the BBC, based on the premise that standards should evolve once a generation, with a decade of implementation and then a time of stability. With the original conception of a soft launch in 2025 with mass-market adoption from 2030, the average main television set around ten inches larger than today. Of course, politics and the 2020 Olympics hastened the launch of 8K, with a corresponding heroic effort by NHK and its partners IHS Markit forecast for 8K relies on slightly different factors. The company expects a numbers-led marketing surge in China to lead the global uptake of 8K. The CE industry has moved extremely fast to launch ever-higher resolutions but has to date failed to understand that other players in the content chain have more substantial investments and require more time to develop the services that are the lifeblood of the industry. While the severity of competition is the cause of this frenetic activity, ignoring content results in sets that are less valuable to consumers, with consequently more significant price erosion. By IHS Markit /senalint
INTERVIEW ENTREVISTA
“Eastern Europe Has Always Been an Active Territory”
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Aysegul Tuzun, VP Sales & Marketing of Mistco, explains the company’s strategy for the Eastern Europe region, which already received welcomed new dramas such as “The Circle” and “Beloved”.
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y the beginning of 2019, Mistco’s successful new dramas “The Circle” and “Beloved” landed in Albania’s Tring TV. Both series, broadcasted by TRT1 in Turkey, were premiered in January and are receiving tremendous interest from international broadcasters. Moreover, “Hold My Hand” has been sold to Imagen Televisión in Mexico, after arriving at more than 15 countries, such as Macedonia, Greece, Slovenia, and Kosovo. To describe the sales growth of Mistco, Aysegul Tuzun, VP Sales & Marketing of the company, dialogued with Señal Internacional. What are the expansion opportunities for the new TRT dramas in Eastern Europe during 2019? “Eastern Europe has always been an active territory for us. Our new and strong contents help us to reach the best broadcasters in Croatia, Bulgaria, Macedonia, Kosovo, Bosnia, Slovenia, Russia, Albania
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and, in particular, Romania. For the rest of 2019, we are expecting to meet new partners and expand our business in the Balkans. It is a fact that Turkish dramas are top-rated among Eastern Europe broadcasters. We think that our clients have a great strategy so that we are delighted regarding our sales”. “The Circle” and “Beloved” had already been premiered in Albania’s Tring TV. What would be the next perfect territories for both dramas? “We are glad to have sold two of our brandnew dramas to Albania. ‘The Circle’ is a very high-quality modern time drama and has a great cast who are well-known internationally. Due to its intriguing plot, the series also grasps attention from the very first minute. On the other hand, ‘Beloved” focuses on an extraordinary love story. While our characters climb up the ladders of love, they also unwittingly go through
hard challenges. We strongly believe that these two dramas will be very successful in the region and open up new territories very soon”. The drama “Hold My Hand” has been recently sold to Mexico. What will be the sales main appeal of the show in Eastern Europe? “‘Hold My Hand’ is a compelling show and fulfills every expectation that the global audience awaits from a Turkish drama. As a perfect combination of romance, tragedy, and conspiracy, the show is getting tremendous interest from all around the world. We are glad that it will be aired in Mexico. In the Balkans, ‘Hold My Hand’ has been sold to around ten broadcasters and we are getting very positive feedback from each of them”. What specific value will have NATPE Budapest for Mistco’s strategy? “This year we will be located at booth #4 at NATPE Budapest, and it will be a pleasure for us to share details about our new catalog. Our focus will be around our slate of dramas, animation series for kids, and TV Movies”. By Diego Alfagemez /senalint
INTERVIEW ENTREVISTA
“We Want to Be A Strong Partner for Early-Stage Content” Alexandra Heidrich, Head of TV Sales and Acquisitions at Global Screen, explains the business focus of the company in Eastern Europe and describes a strategy that expands the acquisition focus by increasing the development and coproduction areas.
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lobal Screen had a huge MIPTV this year, with the global launch of its new original series “The Master Butcher” and the presentation of the thriller “1989 – A Spy Story”. Facing a new NATPE in Budapest, the company has greater plans for Eastern Europe, where is trying to expand its acquisition and production business. To describe that scenario, Señal Internacional interviewed Alexandra Heidrich, Head of TV Sales and Acquisitions at Global Screen.
What’s the Global Screen’s acquisition focus? Are you looking for any specific type of development? “Now, more than ever, content is king. Like all the other big players in the entertainment industry, we are constantly searching for unique, internationally promising content from all over the world. We are particularly looking for potentially long-running series with a globally relevant topic and compelling characters. We are also widening our acquisition focus by increasing our development and co-production activities. We want to be a strong partner for early-stage content and are looking for innovative ideas like the projects that are
NATPE HIGHLIGHTS l WICKED GAME – WHOM DO YOU TRUST (TV Thriller) l RACKO – NO BETTER FRIEND (Family Eentertainment) l COUNTRY WOMEN COOKING (Format)
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currently in development in Scandinavia, Benelux, and Eastern Europe”. Do you recognize any specific potential for the content that is being produced in Eastern Europe? “Global Screen has been keeping a close eye on the Eastern European production market for quite some time now. For us, the series development in Poland, Ukraine, and Croatia is particularly interesting. We have already spotted some promising projects. We are establishing partnerships with producers from Eastern Europe and are excited to meet new potential partners at NATPE”. How was the feedback about “The Master Butcher” launch at MIPTV? “‘The Master Butcher’ was our highlight program at this year’s MIPTV, and it certainly lived up to expectations. It is an outstanding example of a local story with universal appeal. It’s a gripping family saga about Germans emigrating to America after WWI, but emigration is such a global
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topic that nearly everyone who goes back in their family’s history will find a member who tried to build a new life somewhere new. Besides, it’s a great love story on many levels, and has a top-notch cast. At MIPTV, our clients from all over the world had the opportunity to meet the main cast and the producers from our great partner Constantin. They were given exclusive insights into the production and discussed its universal topics so; it’s not just in the story that ‘The Master Butcher’ is crossing borders”. What are the expectations for the show’s launch at Filmfest in Munich? “After the premiere at MIPTV, Filmfest München is the perfect setting to present ‘The Master Butcher’ to a broader public audience. Our clients are also looking forward to finally watching the full program, as it was still in post-production at MIPTV and was not ready to be shown in its entirety. So now, we are excited to show the first two episodes with English subtitles on a big screen, as such a great event series deserves”. How will Global Screen be involved in the “Turbulent Skies” project? “We are looking forward to being a part of ‘Turbulent Skies’. This Dutch series starts shooting in July, and we are excited to show the first glimpse, hopefully, some spectacular flying scenes, at Mipcom. ‘Turbulent Skies’ will be an adventure story about two pioneers who moved mountains. Their story is embedded in the history of The Roaring Twenties and The Dirty Thirties and, though little known, it is a story with which many can identify. We are excited to have the critically acclaimed writing team of Winchester & McFly and award-winning director Joram Luersen on board”. By Diego Alfagemez /senalint
PHOTOBOOTH
LA SCREENINGS 2019
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Merging companies, flexible episode orders, and a new streaming spectre fueled the conversation around the Intercontinetal Hotel and Hollywood studios, in ten days that will shape a year of business.
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/15 1 - Federico Cuervo, Pierluigi Gazzolo, Dario Turovelzky, David Lynn and Guillermo Borezstein (VIACOM). 2 - Jason Priestley, Gabrielle Carteris, Tori Spelling, Jennie Garth, David Stapf, Armando Nuñez (CBS), Ian Ziering, Barry Chamberlain (CBS). 3 - Bob Buchi, Jim Gianopulos y Dan Cohen (PARAMOUNT). 4 - Francisco Morales, Danae Kokenos, María Sánchez y Pablo Iacovelo (AMAZON). 5 - Juan Vicente (MEGA), Raphael Correa Netto (GLOBO), Carlos Bardasano (UNIVISION), Mónica Albuquerque (GLOBO) y Darío Turovelzky (VIACOM). 6 - Patricio Hernandez, Esperanza Garay y Juan Vicente (MEGA CHILE). 7 - Pablo Corona y Christopher Rubi (AMC). 8 - Can Okan y Beatriz Cea Okan (INTER MEDYA). 9 - Alejandra Moreno, Silvio de Abreu, Carolina Andrade y Raphael -Corrêa Netto (GLOBO).
/16 10 - Lisette Osorio (CARACOL) junto al equipo de Netflix. 11 - Elisa Aquino, Liliam Hernández (UNIVERSAL CINERGIA), Cecilia Gómez De La Torre (TONDERO), Kamela Gil de Mares (Incomsa) y Gema López (UNIVERSAL CINERGIA). 12 - Adriana Ibañez (IMAGEN MEXICO) Dago García (CARACOL), Jim McNamara (HEMISPHERE), Aurelio Valcarcel y Suzette Millo (IMAGEN MEXICO). 13 - Keith Le Goy, Mike Hopkins (SONY), Carlos Henrique Schroder (GLOBO) y Wayne Garvie (SONY). 14 - Thiago Worcman, Guilermo Pendino, Paula Kirchner, Mercedes Feu y Diego Rojas (VIACOM). 15 - Marcel Vinay (COMAREX), Alfred Haber, Andrew Haber (ALFRED HABER) y Alexis Piwonka (TVN CHILE). 16 -Eric Jurgensen (AMERICA PERÚ), Ezequiel Olzanski (GAUMONT) y David Alberto Priero Sanchez (AMERICA PERÚ). 17 - Barbora Suster y Lisa Wegscheider (ECCHO RIGHTS) rodean a Rosina Rodriguez (TELEDOCE URUGUAY)
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Engaging Stories for Viewers Around the World Macie Imperial, Division Head of ABS-CBN International analyses the international appeal of the series and formats that the Philippine company is selling around the world and explains the new offer for international buyers.
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BS-CBN International, distributor arm of ABS-CBN Philippine broadcaster, is internationally known for having a catalog full of engaging stories that are relatable even for non-Filipino viewers around the world. “What we produce touches and transforms lives on deeply and different personal universal levels,” Macie Imperial, Division Head of ABS-CBN International, said to Señal Internacional. The company just closed deals in the Dominican Republic, Indonesia, and Turkey. “We are very proud to say that ‘The Promise’ is the very first Filipino drama to air in the Dominican Republic,” Imperial added. “The Promise” is the most successfully distributed Philippine drama series in the global arena as it was sold to 16 countries and remained the only internationally adapted Filipino drama, with the format, buys by Asia and Latin America. It started airing in the Dominican Republic in March on Color Visión Canal 9. “We are confident that other titles will also follow ‘The
“We truly believe on our world-class production skills and talent. It is time to work with the main international players”
Promise’ footsteps in the Dominican Republic soon,” she added. In Indonesia ABS-CBN International also has a hit with the traditional format “It’s Showtime”. MNCTV started producing the show last March, and they’re introducing the legendary dance competition that gets together people from different communities. Moreover, the Philippine distributor signed a deal for the adaptation of its crime suspense drama “A Mother’s Guilt” in Turkey. The series is a co-production with ABS-CBN and Limon Yapim. It is set to start shooting within the second quarter of 2019, and it will be aired by FOX Turkey. MORE CONTENT Today, ABS-CBN International has a strong presence in Asia and Africa, with an increasing footprint in Latin America. “We would like to penetrate that market even stronger,” Imperial highlighted. The executive explained that the company could
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license different types of content, not just romance and family dramas. “We have so much to offer, including horror movies that are very popular among Latin American audiences. Now, we also have edgier and shorter running dramas that are becoming the trend of Pay TV and OTT services,” she added. Furthermore, ABS-CBN will start producing non-scripted formats for the international market this year. “We want to be known as the ultimate source for all these different types of content,” she remarked. The company is open to developing production alliances not only with Asian countries but also with their western counterparts as well. “We truly believe in our world-class production skills and talent. It is time to work with the main international players,” Imperial stated. For the upcoming markets, the executive highlights two new shows. First, “The General’s Daughter,” the story of Rhian Bonifacio about a military nurse for the AFP and her duty for saving lives. The second highlight will be “Los Bastardos,” in which Don Romanwill lives a happy life with his small family until tragedy strikes and leads him to look for true love from four other women. Another highlight from the ABS-CBN catalog is “Betrayal,” that follows the story of two couples whose marriages are spoiled by temptation, discontentment, and misunderstandings. The goal of the company is to increase its global footprint after already sold over 50,000 hours of content in the past two decades. “We are also now very present in the VOD platforms and have been aggressively distributing our movies and television series on these new platforms,” Imperial specified. By Romina Rodríguez /senalint
QUICKIES
Original Content with International Appeal
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n a dialogue with Señal Internacional, Tatyana Shershneva, Digital Rights Sales Manager at Film.UA Distribution, assured that the Ukrainian group is a creative powerhouse and one of the largest Eastern European media groups, operating in global markets. The company covers the whole production business: from the development and adaptation processes, to the distribution and international
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sales. “We create films, series, TV shows, and new content in all genres, for wide audiences”, Shershneva said. Film.UA Distribution has full rights to commercialize all the original content of the company all around the world. “Our main focus is
the distribution of already made original content. We are also searching for partners to coproduce,” Shershneva added. Part of the company’s featured content is the epic drama “Love in Chains”, which 24-episodes first season has been aired in Ukraine. “We will launch a new season next autumm,” Shershneva stated. Another huge titles for Film. UA Distribution are “Phantom”, the successful detective series that was launched in multiple countries; and the new movie “The Rising Hawk”. The company also has successful formats in its catalogue such as “Dr. Baby Dust” and “Doctor on Call”.
“The medical drama formats are very popular in our country and we got the feedback from many territories that are interested in new adaptations,” Shershneva defined. The sales business of the company is growing each year. “Our theatrical animation ‘The Stolen Princess’ has been sold to more than 60 countries. We work with European and Asian channels. We are oriented to local content, so that many of our projects have international potential,” Shershneva said.
NTV Broadcasting Set Its Focus on VOD Platforms
imur Weinstein, General Producer at NTV Broadcasting, revealed that the company is looking for wider audiences through partnerships with global SVOD platforms. “We are focused on the big platforms. Some of our historical series
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like ‘Uppercut for Hitler’ and ‘Medal of Honor’ are available on Amazon Prime, Billibili, and Netflix,” Weinstein stated. The Russian production and distribution company has a catalog with more than 2000 hours of drama, unscripted, factual, documentaries, and entertainment. “We have been distributing our content for three years. We have a unique library because we are one of the biggest companies in Russia”, Weinstein said. He claimed that nobody knows what the next global content trend will be, but he highlighted that the historical series still get the attention of the international industry. “The series that relate to the Russian history are always attractive to the international market. We must also highlight our original stories because everybody needs those type of shows. We have ‘Beyond Death’, ‘The Crow’, and ‘Sсhubert’,” Weinstein listed. The three series have been chosen by
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Keshet International to be added to their scripted line up. NTV Broadcasting also reached an agreement with Dori Media, which added the dramas “Shepherd” y “The Road to Calvary” to their catalog. “Both deals will allow us to reach Latin American audiences,” Weinstein said. “Brass Sun”; the original “Reluctant Heroe”, the criminal drama “Cover-up Band”, and the new series “Shadow Behind” are other highlights of NTV Broadcasting’s catalog. /senalint
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