SEÑAL NEWS 186 | MIPTV 2022 by Señal News

MALTA

BUILDING A GLOBAL INDUSTRY The Malta Film Commission decided to celebrate its film and television industry and organized the first Malta Film Week and the Malta Film Awards, two unique events that aim to solidify a fresh and

adaptable brand image to celebrate the success story of Malta’s audiovisual industry. The country plans to build the biggest European hub for the film and arts in Fort Ricasoli.

AN INTERNATIONAL QUALITY SEAL

A NEW STREAMING EXPERIENCE

NEW BRAND, SAME COMMITMENT

FRENCH ANIMATION

Animation is a leading genre in the French content industry. Xilam, Cyber Group, MIAM! Animation, TeamTO, Princess Sam, and Unifrance analyze that momentum.

VIX

Michael Cerdá, EVP of Product & Engineering – Streaming at TelevisaUnivision, talks about the technology behind the company’s new streaming platform.

ZDF STUDIOS

Fred Burcksen, President and CEO of ZDF Studios, describes the concept of the company’s new name and clarifies how this brand comes with different positioning objectives.

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8.45

BILLION DOLLARS IS WHAT AMAZON PAID FOR THE ACQUISITION OF MGM. THE DEAL WAS COMPLETED LAST MONTH.

HUGE IPS

17,000

TV EPISODES WILL COMPLEMENT PRIME VIDEO AND AMAZON STUDIOS’ CONTENT PRODUCTION.

4,000

FILMS ARE INCLUDED IN THE DEAL, WHICH WILL BE ADDED TO AMAZON.

Amazon will add huge content franchises. On the TV side, MGM’s catalog includes “The Handmaid’s Tale,” “Fargo,” and “Vikings,” while its film library includes “James Bond,” “Basic Instinct,” “Creed,” “Moonstruck,” “Raging Bull,” “Robocop,” “Rocky,” “Silence of the Lambs,” “Stargate,” “Thelma & Louise,” and “Tomb Raider.”

NETFLIX TO INVEST $221 MILLION ON FRENCH ORIGINALS IN 2022 The streamer has revealed its slate of French originals for this year, while also revealing the total sum of the investment to be more than 200 million euros, $221 million. “We are proud of bringing new stories to life and reflecting the diversity of French creation in all the 25 productions, in all their variety, being released this year on Netflix,” Damien Couvreur, Netflix’s VP Series France, said. The company has 25 new French titles ready for launch this year and 20 more in production, leading to a total of 52. ∙

ANGELINA JOLIE SIGNS FILMMAKING DEAL WITH FREMANTLE Director and Oscar award-winning actress has signed a multi-year international filmmaking agreement with Fremantle. Under the three-year agreement, which commences immediately, Jolie and Fremantle will jointly develop a sophisticated, powerful, and internationally focused slate of feature films, documentaries, and original series in which she will produce, direct, and/or star, based on each project. ∙

LEONINE STUDIOS LAUNCHES MADAME ZHENG PRODUCTION Leonine Studios strategically realigns its production company Odeon Entertainment under the new brand name Madame Zheng Production. Tina Wagner, previously Producer and Executive Producer at RedSeven Entertainment, and Nina Etspüler, Co-Head of Entertainment at Leonine Studios, are joining the management team and will lead the company under Tina Wagner’s direction along with Martin Schneider, Odeon Entertainment’s long-standing managing director. ∙

BANIJAY ACQUIRES ITALIAN SCRIPTED OUTFIT GRØENLANDIA GROUP Banijay has confirmed that Italian premium scripted producer, Grøenlandia Group, will join its local holding, Banijay Italy. Led by film directors and producers, Matteo Rovere and Sydney Sibilia, the label has an outstanding reputation for films realised for cinema, television, streamers and also for the creation of TV series, and in joining the business, further cements its international expanding ambitions. Grøenlandia also encompasses Ascent Films, founded and managed by Andrea Paris, who will keep operating in the Group, in which it has had a majority stake since 2014. ∙

ITV REVAMPS ITS STREAMING STRATEGY WITH ITVX ITV announced the launch of ITVX, the UK’s first integrated advertising and subscription-funded (AVOD/SVOD) platform. With this move, the British company is combining its subscription and ad-funded streaming services in ITVX, a new digital platform with 15,000 hours of content at launch and a 160 million-pound ($214 million) dedicated budget for shows. ITVX, which will replace ITV Hub, ITV Hub+, and BritBox UK when it launches in the fourth quarter, aims to double ITV’s digital revenue to at least 750 million pounds by 2026, the broadcaster said. ITV will adopt a digital-first windowing strategy, premiering much of its new content first on ITVX and subsequently on ITV linear channels. ∙

THE LONDON TV SCREENINGS GATHERED 500 BUYERS IN ITS FIRST IN-PERSON EVENT The London TV Screenings has been a success with more than 500 buyers coming to UK’s capital for the first-ever in-person event, following last year’s inaugural virtual festival. Clients from all major markets, including Africa, Australia, China, the Middle East, the USA, and across Europe attended the event, which ran from February 28th to March 4th, curated by a leading group of London-based international distributors led by All3Media International, Banijay Rights, eOne, Fremantle and ITV Studios. More than 15 live events included world premiere screenings and sessions. ∙

CANAL+ CLOSES SPI INTERNATIONAL ACQUISITION Canal+ Group has completed its integration with SPI International. “Canal+ Group is pleased that SPI International will continue their worldwide expansion while developing their operations in a way that benefits the entire group,” the company stated. Canal+ Group now owns 70% of SPI International. The acquisition was confirmed following the approval from all involving competent authorities in European jurisdictions. Canal+ will benefit from SPI’s significant presence in Europe with content distribution and worldwide broadcasting. SPI will help strengthen pay-TV offers in Europe and develop new ranges of global services. ∙

THE FUTURE

DON´T WORRY, YOU CAN ALWAYS CHANGE WHAT YOU SAID (OR YOUR BUSINESS MODEL SAID)

ome companies had to change their mission statements while developing products in a changing world. The original message from Bill Gates to his Microsoft staff in 1980 was: “A microcomputer on every desk and in every home running Microsoft software.” Forty years ago, that view sounded crazy but today is a shared vision by everyone. In 2015, Microsoft changed its original mission statement to something like: “To empower every person and every organization on the planet to achieve more.”

By Pablo Mancuso

in 2022. I am trying to say that it’s hard to keep our word in the media business.

It is fair to say that this change is understandable, as their original vision was right but at the same time old and outdated for our present. Companies need to revise and change their mission and visions constantly. Microsoft had to do it forty years later, but now it seems everything is going faster, and what you said and thought about your business could dramatically change in just a few years.

We all heard about Netflix plans in three countries, where they will test markets with new costs for those users sharing passwords; some call them “cord-cheaters.” Statistics show that password sharing is a widespread behavior not only in Latin America. For example, in the U.S., almost 36% of the users shared passwords with their relatives. People are not happy about this potential change of terms, even more, if you find a Netflix official tweet in 2017 saying that “Love is sharing a password.”

Where am I going with this? It’s Microsoft going to launch an SVOD platform or something like that? No, this is not about Bill; it’s a prelude to what’s happening lately in our industry. A vision from 2010 will probably be behind the market

Netflix did not change its mission statement, “to entertain the world.” They are breaking some promises in order to accomplish that statement. Companies need to be flexible even with product values, including what was impossible a short time ago.

We may all agree that ad-based video products are now the new hot thing in the market. AVOD revenues are expected to reach $260 billion by 2025. That is also the reason why U.S. operators are moving quickly into offering AVOD options to their SVODs, with HBO Max, Peacock, and Disney-owned Hulu all allowing subscribers to pay less, or nothing in some cases, to access select programming in return for watching ads. So next time you read a header saying that Netflix’s CFO has no plans to include advertising in the platform, think it again. Never say never. Mostly sure, they are really planning to do it. The same thinking works for the next time you find one of the old ads from 2014 with the promise “No commercials ever.” Don’t take it personally; eight years is too much time in our game to keep everything as was initially planned. Of course, I do understand the needs behind all these changes. Every media company will be involved in that process, so let’s be careful about our statements. Worst case scenario, don’t worry; you can always change what you said (or your business model) in the future.

OVERVIEW

NETFLIX NEEDS POPULAR CONTENT, NOW MORE THAN EVER THE STREAMING GIANT ADDED 8.28 MILLION SUBSCRIBERS IN Q4 2021, SLIGHTLY UNDER ITS OWN FORECAST. WHILE SOME REGIONS ARE GROWING MORE THAN OTHERS, YEAROVER-YEAR SUBSCRIPTION GROWTH HAS SLOWED IN ALL REGIONS.

espite reaching a new best-ever subscriber total at the end of 2021, concerns regarding Netflix’s long-term future are beginning to be expressed. It is spending more on content than ever before, but subscriber growth is slowing down in some more established markets. How much higher will its subscriber total go in these markets? What can the streamer do if its subscription revenue begins to level off? The streaming giant added 8.28 million subscribers in Q4 2021, slightly under Netflix’s own forecast of 8.5 million, for 221.8 million worldwide subscribers. While some regions are growing more than others, year-over-year (YoY) subscription growth has slowed. Recent Omdia data show that subscriptions in the U.S. and Canada have increased the slowest of Netflix’s four reported regions. It is understandable as it is the region in which Netflix has been present the longest and has the most subscribers (over 75 million). Growth in other regions is healthier, but the decline in 2021 is noticeable across all of them. That happens partly due to better than anticipated progress in 2020 when lockdowns and periods of selfisolation during the early phases of the Covid-19 pandemic meant that people were spending more time indoors watching television 14

and streaming services. The concern is what happens if Netflix subscription growth continues to slow, meaning subscription revenue would level out. The most obvious option is to increase subscription prices, but that must be managed carefully as increasing prices too much or too frequently could increase subscriber churn. In the past 12 months, Netflix has increased the cost of some or all of its subscription plans in markets including the U.S., Canada, the U.K., Ireland, Spain, Italy, the Netherlands, France, and Portugal. With newer services such as HBO Max, Paramount+ and SkyShowtime set to continue or begin their rollout into new markets, consumers will have more services to switch to, and they would decide if Netflix’s subscription has become too costly.

NETFLIX: YoY SUBSCRIPTION GROWTH BY REGION 2019

2020

2021

60% 50% 40% 30% 20% 10% 0%

UCAN

LATAM

EMEA

APAC

Source: Omdia

Another option is finding and developing new revenue streams to supplement its subscription revenue. Some of Netflix’s recent activity indicates it is beginning to explore some new options. Netflix added a small collection of games in November 2021, including two “Stranger Things” titles. Moreover, the streamer has closed a deal to acquire Finland-based games

developer Next Games to develop its gaming products further. In June 2021, Netflix launched its merchandise store, which sells a range of clothing, accessories, and art inspired by popular titles, including “Squid Game,” “Lupin,” and “The Witcher.” Netflix has also introduced large-scale live-event experiences based on “Stranger Things” and “Bridgerton.” At the same time, 2021’s virtual fan event “TUDUM” could be expanded to include a physical convention element in the future. The common thread among these examples is that they feature some of Netflix’s most popular shows. To continue developing these and any other possible revenue streams, Netflix needs popular titles that will inspire consumers to spend money outside of their subscription. That move partly explains Netflix’s decision to publish weekly data on some of its top-performing titles. The reported numbers for each title’s viewed hours are too large to mean much without additional context, but it still allows Netflix to boast about its successes. Also, a popular content list on the Netflix interface means that these in-demand titles can be pushed to new viewers to grow their popularity further. It remains to be seen how high Netflix’s subscriber total will develop and how many years it will take to reach that total. However, much in the same way that its foray into producing original content was ahead of its time, Netflix is looking further ahead to ensure it maintains its presence in the top tier of the global online video market. By Matthew Evenson

Research Analyst, TV & Online Video at Omdia

OVERVIEW

WHERE IS THE GAME AIRED TODAY? WHEN WILLING TO WATCH A GAME, SPORTS AUDIENCES ALWAYS HAVE THE SAME QUESTION: WHERE IS IT BROADCASTED? THAT PROBLEM INCREASES TODAY BECAUSE THE “WHERE” HAD HEAVILY SHIFTED TO A STREAMING SERVICE INSTEAD OF A PAY-TV SUBSCRIPTION.

ports streamers bring back more viewers and deliver a richer, enhanced experience. The pandemic stopped and postponed huge sports events. However, when the games resumed, viewership remained low for many live televised sports. We’ve seen the unimaginable, like the Tokyo Summer Olympics facing the challenge of staging a global event without a crowd or an star athlete. Broadcast television is a 20th-century media format, a passive linear experience that must compete with 21st-century media that is available on-demand and often features interactions. Streaming viewership globally increased 44% from Q42019 to Q42020. The number of streaming platforms in the U.S. multiplied, including the launches or relaunches made by Disney (ESPN-Hulu-Disney+), NBC, HBO (with the Champions League rights in certain regions), and ViacomCBS (who recently added the Premier League also for some regions). The bulk of e-gaming users says that online and interactive gaming has cut into their time to view sports. Even Olympics broadcaster NBC addressed this by partnering with gamer streaming platform Twitch to add its own Olympics channel. So the audience, now users, continue with the same question: “where” to watch the sports event, having more accessible and affordable alternatives to consume their favorite sports. Dedicated sports streamers such as DAZN, Flo Sports, Eleven, or Fanatiz are good examples of streaming services 16

prioritizing ways to help fans stay connected, both to their teams and each other. When it is about sports, the decision is emotional, and the transactional or subscription goes to where the favorite team is. Sports media streaming rights are expected to reach $85 billion in revenues by 2024, symbolizing the potential future growth of this space and an overabundance of opportunities for sports brands. In that case, the leagues and teams now raise the question: should I own the distribution and own my own streaming business? Both focused their efforts on mobile devices to engage their fans, get to know them, and enrich the experience of watching. Together with the tailored experiences combining user preferences and consumption, these actions make the mobile app a must-have. Teams like FC Barcelona or Minnesota Vikings, entities like Conmebol, or even traditional broadcasters such as Claro Sports are dealing with the decision of owning their distribution. Also, Formula 1 launched its own OTT service some time ago to show races to more than 20 markets priced at $8-$12 per month. Through ownership of the whole platform, sports brands can capitalize on the opportunities that live streaming, SVOD, and AVOD offer. They can retain more significant ad revenue and deploy different ways of monetizing content. By investing in an OTT platform, sports brands can tap into a global market projected to reach a value of $86.8 billion by 2026 and cater to fans across the globe.

 Laura Tapias

By creating an OTT platform for fans, sports brands can effectively manage engaging content without the limits they’d traditionally face when broadcasting across live TV. Sports brands can package additional content within a streaming platform, such as stats, highlights, replays, fan reactions, or documentaries. That means that sports brands are building more robust fan bases by providing more than just regular live sports broadcasting. In Sports, the laid-back experience on a big screen is here to stay. More and more sports brands are recovering their archive content, renegotiating their documentaries and historical games to build a branded streaming experience where the fan feels at home. There is only a need to choose the right platforms depending on the market you want to be in. If the focus is expanding in the US, Roku and Amazon Fire are a must. Vizio is also starting to be an essential player in promoting content. Also, it is crucial to know that Roku is the #1 streamer in Mexico, for example. Without a doubt, building the right distribution strategy will make a difference in any OTT success. By Laura Tapias VP, Americas & Spain VP, Americas & Spain, Applicaster

OVERVIEW

MALTA: BUILDING A WORLD-CLASS AUDIOVISUAL INDUSTRY MALTA DECIDED TO CELEBRATE ITS FILM AND TELEVISION INDUSTRY FOR THE FIRST TIME WITH AN ENTIRE WEEK FULL OF ACTIVITIES HEADED BY THE MALTA FILM COMMISSION. JOHANN GRECH, MALTA FILM COMMISSIONER, EXPLAINS HOW A TINY ISLAND HAS TRANSFORMED INTO A VAST CONTENT PRODUCTION HUB.

he Malta Film Commission decided to celebrate its film and television industry and organized the first Malta Film Week and the Malta Film Awards, two unique events that aim to solidify a fresh and adaptable brand image to celebrate the success story of Malta’s audiovisual industry. “Our people’s ambition and crew’s ability kept our film industry working, from one generation to another. We are here to celebrate their story,” said Johann Grech, Malta Film Commissioner. “We were always determined to put Malta at the forefront, so it’s time to join forces to continue writing this success story. We want to strengthen our industry because we believe in a sustainable sector that benefits all. We want a worldclass film industry where everyone has the chance to succeed in Malta and beyond”, he added. Malta has a century of history in the filming industry. The first movie that put Malta on the global map was “Gladiator,” shot in 2000 in Fort Ricasoli. After that, other big titles were shot in Malta, such as “Troy” (2004) and “Agora” (2009). Fort Ricasoli was also the set for “Assassin’s Creed” (2016) and “Entebbe” (2018;) and TV shows like “Game of Thrones,” “Julius Caesar” (2002),

 Johann Grech

and “Helen of Troy” (2003) were also partially filmed there. “The site is rich in the history of filmmaking,” Johann Grech said. Recently, Malta has also become the home for dinosaurs due to the last Colin Trevorrow’s film “Jurassic World Dominion.” “For the first time in our history, Malta has found itself in a blockbuster script,” Grech added. Malta plans to build the biggest European hub for the film and arts in Fort Ricasoli. “We will have a film school, sound studios for orchestras, talents, and singers. We want to create areas for special effects, train people in those areas, and keep the sets to last, not just to be used for other productions but also to attract local and foreign tourists to our island. We will build world-class sound stages. We are a small country but a great nation,” Grech stated. Malta also has its Malta Film Studios, one of the most extensive production facilities in the world. Having serviced over 200 feature films, television movies, documentaries & commercials, the installations have an outstanding track record as a reliable and efficient production studio. “We made a base investment of $35 million in our facilities,” Grech said.

Filming locations in Malta

OVERVIEW

Malta Film Studios is renowned for its special effects water facility. It boasts one indoor tank and two large exterior water tanks situated along the coast, enjoying a natural horizon, among the world’s largest. “In 1974, we invested in our first tank of water, which has an infinite horizon and is filled by seawater. It is 102 meters deep, where we can create the perfect storm in just seconds. We are very well known globally for this effect”, Grech expressed. The facility has an experienced team of craftsmen who provide high-quality service. The studio’s vast range of water SFX equipment and professional water SFX crew can operate any form of special effects required, making MFS world-renowned for water-based filming activities. The water tank facilities include wave machines, tip tanks, wind machines, rain towers, water shooters, and smoke machines. FINANCIAL INCENTIVES The Malta Government supports the construction of a world-class film studio, and Malta will have the most extensive water tank in the world. “It will be unique, and it will be the most challenging project for the industry in the years to come,” Grech said. “We are building the infrastructure that the industry needs. The industry is growing every day, creating jobs and opportunities, and I’m sure that we will build successful careers and a sustainable industry in the future years,” he added. Moreover, Malta’s government has recently upgraded the cash rebates for filmmakers and producers, making the financial guidelines more attractive to the audiovisual industry. Productions that satisfy a cultural test can benefit from a rebate of up to 40% of eligible expenditure. Qualifying productions must present a provisional application to the Malta Film Commission, including a detailed projection of the Malta budget for the production. The rebate is given

Water tank in Malta

once filming is complete and on receipt of the audit report. Upon final review by the Commissioner, the cash rebate is forwarded to the qualifying production no later than five months from the date of receipt from shooting expenditures in Malta. Feature films, television films, series, miniseries, animation, documentaries, transmedia, and cross-media productions are eligible for the incentives when they are all or partially produced in Malta. Qualifying expenditure incurred during production in Malta on EU services is suitable for a cash rebate, including the following items: EU below-the-line labor, accommodation, transportation equipment and hire, location fees, catering services, per diems, leasing of offices, computer equipment, props, property, animals, equipment, vehicles, and boats. MALTA FILM AWARDS The Malta Film Commission hosted the first Malta Film Awards, intending to celebrate the appreciation of Malta’s story throughout the years while looking to pass the baton to future generations. The award ceremony was hosted by the globally acclaimed British presenter and comedian David Walliams. “We had over 230 professionals, 265 artists, and local and international talent, working together to make the biggest awards in Malta with the highest standards. It is an important milestone that brings the public and the industry together to celebrate the value of film and TV. We have the vision, and we have the ambition. We are on the march to create a world-class film industry in Malta,” Grech affirmed. By Romina Rodríguez

Scenes from the Malta Film Awards.

INTERVIEW

“THE MAIN CHALLENGE IS FINDING THE RIGHT CONTENT FOR THE RIGHT BUSINESS MODEL” Müge Akar 

MÜGE AKAR, HEAD OF SALES FOR EUROPE, ASIA, AFRICA AT ATV, NARRATES THE CHALLENGES OF HER NEW POSITION AND THE CURRENT PROGRAMMING NEEDS OF THOSE TERRITORIES, WHICH HEAVILY RELY ON TURKISH DRAMA.

üge Akar was recently named Head of Sales for Europe, Asia, Africa at ATV. Managing regions with different content needs and tastes, the executive is expanding the company’s brand through the power of Turkish drama. To describe the challenges and goals of her new position, Akar spoke with Señal News. What are the main challenges of your new position at ATV? “An extensive catalog and three continents to work with is not an easy task. However, Europe has been one of our major and most loyal territories throughout the years. Asia and Africa are rather new markets for Turkish content. Turkish shows are rising as a specific genre, becoming more popular in these regions, and the distribution channels are evolving. So, the main challenge in these territories is finding the right content for the right business model.” How would you define ATV’s positioning in those territories? “ATV is top positioned in European markets, working with biggest TV and OTT platforms. We have deals with Atresmedia, Mediaset, RTL, Nova Broadcasting Group, TV2 Media Group, Sia All Media, Antena TV Group, and Kanal D Romania, to name a few. All our bestseller 22

series such as ‘Hercai,’ ‘Lifeline,’ ‘For My Family,’ and ‘The Ottoman’ have traveled to this region and received top results in local broadcasters.” What are the main programming needs around European broadcasters and platforms? “European clients usually look for long-running and family-orientated dramas. Niche genres such as historical, period, and action-based series also find specific homes.” How have the Asian and African markets evolved for ATV business? “We expanded into Asia and Africa in 2021-2022, improving the number of key clients and countries we have entered so far. Indonesia, Malaysia, India, Pakistan, South Africa, Namibia, Tanzania, Angola, Mozambique, Rwanda, Uganda, Kenya, Zimbabwe, Zambia, Malawi, and Botswana are the countries we work with actively”. What type of Turkish content is more prevalent in each of these territories?

“Strong dramas, historical series, and shorter series are on demand in general. Since Africa and Asia are very diverse, the content selection is more based on cultural preferences. In some countries such as Malaysia and India, we see a pattern where shorter and lighter dramas are being picked up. Whereas in Africa, stronger titles are on demand.” What specific new shows will you offer at MIPTV? “ATV’s catalog is expanding each season. This MIPTV, we have a great line-up of drama series, suitable for all content demand. ‘Destan,’ the high-end premium historical drama played by Ebru Sahin (Hercai), is the flagship of our new line-up. Moreover, ‘Hidden Wings’ and ‘Lone Wolf’ are brand new series which has just met the local audiences in Turkey. The Turkish adaptation of ‘Your Honor’ is also in our pipeline, and it will be introduced during this MIPTV. It already has earned huge attention from our key markets.” By Diego Alfagemez

OVERVIEW

FRENCH ANIMATION,

A GLOBAL POWER IN A VERY CHALLENGING BUSINESS IN 2020, ANIMATION WAS THE LEADING GENRE SOLD INTERNATIONALLY, WITH 38% OF TOTAL SALES FROM FRANCE. WHILE THE POSITIVE TREND KEEPS GROWING, EXECUTIVES FROM XILAM, CYBER GROUP, MIAM! ANIMATION, TEAMTO, PRINCESS SAM, AND UNIFRANCE ANALYZE THE GENRE’S MOMENTUM AND FLAGSHIP PROJECTS.

rench animation finished 2021 and started 2022 with more than 300 international selections and 34 awards. In 2020, animated programs represented the leading genre sold internationally, with 38% of total sales. To know more about this prolific genre, Señal News spoke with Hervé Michel and Daniela Elstner from Unifrance and leading French distributors such as Xilam Animation, Cyber Group, TeamTO, MIAM! Animation, and Princess Sam about this prolific genre. “Since the beginning of the health crisis, the French animated programs have met the growing demand of foreign broadcasters and platforms for quality content,” highlighted Hervé Michel, Vice-President of Unifrance. At MIPTV, Unifrance will host 45 companies presenting their newest shows. “Our strong presence will demonstrate the energy and diversity of our branch. Along with the determination of our professionals to work together to keep adapting and responding to the sector’s challenges, such as supply and access to commissioning editors and buyers,” said Daniela Elstner, Executive Director of Unifrance.  Hervé Michel Vice-President of Unifrance

Daniela Elstner  Executive Director of Unifrance

“Oggy Oggy”

After the tremendous success of “Gigantosaurus,” Cyber Group Studios features “50/50 Heroes,” a comedy series commissioned by France Télévisions, Disney Germany & CEE and pre-acquired by Discovery Kids Latam and ITV in the UK. “It is a hilarious adventure of siblings’ half-brothers and sisters, who have inherited their grandparents’ superpowers,” Raphaelle Mathieu, SVP, Sales and Acquisitions at Cyber Group Studios, described. “The Case” by Maurizio Forestieri is another highlight of the company. The acclaimed animated movie is set in an Raphaelle Mathieu unknown time and place, SVP, Sales and where a young boy escapes war Acquisitions at with nothing but a dream and a Cyber Group Studios violin case. Another leading player from the French animation scene, Xilam Animation, will launch the CGI hit comedy series “Oggy Oggy.” Free TV rights will open late summer, ideal for the back-to-school season. The French distributor will also introduce “The Adventures of Bernie,” a spin-off of our iconic series “Zig & Sharko” for the first time. “The new series will again be a “The Case”

non-verbal comedy and focusing on one of the brand’s most popular characters, Zig’s sidekick Bernie, who is stranded at the bottom of the sea,” Morgann Favennec, EVP, Distribution at Xilam Animation, stated. Moreover, MIAM! Animation arrives at MIPTV with its first in-house production, “Edmond and Lucy,” commissioned by France TV and HR/ARD for KiKA in Germany and adapted from the best-selling album “Edmond and friends” by Marc Boutavant and Astrid Desbordes. The show has already been presold to SVT (Sweden), RTS (Switzerland), VRT (Belgium), MTVA (Hungary), SYN (Iceland), LTV (Latvia), and TV5Monde

OVERVIEW

(French-speaking worldwide). “We have designed an innovative, competitive, and coherent production pipeline. Producing a show that is nourished by a sustainable narrative concept, in the highest graphic quality and at the same time, reducing our Mélanie Errea Sales and Acquisition environmental impact as much Manager at MIAM! as possible,” Mélanie Errea, Sales and Acquisition Manager at MIAM! Animation, said. Another company project is “The Mini Whats,” one of its most recent acquisitions. Coproduced by Doncvoilà Productions and Silex Films for France Télévisions, this 2D comedy show for young kids (4-8) is based on “Les QuiQuoi,” best-selling albums by Olivier Tallec and Laurent Rivelaygue. Princess Sam Pictures Entertainment Group is also extending the reach of its hit brand “Tara Duncan,” based on Sophie Audouin-Mamikonian bestseller fantasy novels, with a fantasy-adventure series with 300 different characters and high-end quality. Princess Sophie Sam Pictures already has Audouin-Mamikonian Princess Sam more than 40 properties to adapt into animated series or fiction. In addition to expanding the IP “Tara Duncan” through other seasons and spin-offs, Princess Sam Pictures plans to expand the additional IPs from the books of the same bestselling author.

“Tara Duncan”

Finally, TeamTO will showcase “Jade Armor” at MIPTV. The show is an action-adventure comedy where Lan Jun’s life takes an unexpected turn. The company will also launch the fifth season of the comedy Corinne Kouper series “Angelo Rules,” which SVP Development introduces Angelo’s new & Production, Co-founder at TeamTO rival: West Side Academy. Furthermore, the Christmas Special “Angelo” finds himself on Santa’s naughty list and repeatedly gets stuck reliving the day before Christmas in a nightmarish Yuletide time loop.

“Angelo Rules”

THE SEARCH OF GLOBAL SUCCESS French animation brands are consolidated in the global scenario, and programs like “Gigantosaurus,” “Oggy and the Cockroaches,” and “Presto! School of Magic” have been sold over the world. What’s the secret behind these global hits? “Underlying values, ethics, and awareness of our world. We look for series that are relatable to kids. As we talk to our youngsters, we believe we have a responsibility to some extent,” Raphaelle Mathieu stated. “Diversity, equity, and inclusion. There is a need to reflect today’s world in animated productions,” Sophie Audouin-Mamikonian added. “We offer meaningful and daring content. We stand for social cohesion, empathy, solidarity, knowledge, quality family time, and sustainability. To us, each program brings its own little stone to build a better world. The human environment is indeed at the heart of all our projects and our production process,” Mélanie Errea explained. “We always look for something with a character-based story around an issue like the environment,” Corinne Kouper, SVP Development & Production, Co-founder at TeamTO, said. TeamTo has one novel adaptation, “Ninn,” which is family-based with a modern take and not based in a school. “Stories set in a school not always travel so well, especially in Europe,” she added.

OVERVIEW HOW TO STANDOUT? International competition is particularly fierce nowadays, including for French animation, which ranks among the top three globally, along with the United States and Japan. Knowing the main demands of global audiences and offering a robust catalog to international buyers is a sure way to compete. “Comedy goes first. Most of our clients want content that must primarily entertain while having underlying meaning. We put a lot of heart and pride in working on a series where girls have lead roles or visible minorities are put on the front. Environment issues and the awareness of the world we live in are also fundamental,” Raphaelle Mathieu said. Morgann Favennec added that there is a significant demand both from buyers and international audiences for educational content for a preschool audience, which was initially driven by the pandemic and a need to support children while they are at home. It now appears Morgann Favennec EVP, Distribution that the trend has a certain at Xilam Animation potential for the longer term. “Animated comedy shows are also proving to be very popular to provide young audiences with some light relief and escapism,” Favennec stated.

“The Adventures of Bernie”

“The last trend that we have witnessed is a new appetite for young adults animated shows, which is great since MIAM! Distribution has been investing for the past years in distributing socially engaged programs for pre-teens, teens, and young adults such as ‘Brazen’ and ‘Unsung Women’”, Mélanie Errea described. Moreover, Corinne Kouper has highlighted another trend: the need for comedy for difficult times in the world. “Perhaps including a boy lead as we have seen an increase in girl-leading shows, which needs to be balanced. We always need more projects led by women and BIPOC creators. Definitely a big need there.” 28

APPEALING CONTENT Of course, all distribution companies aim to sell, but how do they choose the best content for their clients? “Broadcasters need more meaningful content, especially about sustainability. At MIAM!, ecology and sustainability are key values and the motor to all our actions,” Mélanie Errea said. Raphaelle Mathieu noted that digital platforms tend to look for more serialized content and do not necessarily want many seasons. Furthermore, linear channels usually focus more on 52x11 shows, where comedy is always present. “However, things are evolving, and linear broadcasters started to evaluate serialized content. It’s only the beginning”, she expressed. “We often see linear channels and digital platforms concentrating on big and well-established brands, new seasons or sequels of existing shows, or series with probed commercial potential,” Morgann Favennec said. “We’re also seeing linear channels and digital platforms influencing each other as they evolve. Today, traditional broadcasters are now more open to serialized content and shorter formats. At the same time, platforms are focused on securing the best performing shows from linear TV,” Favennec highlighted, in a similar view as Mathieu. Sophie Audouin-Mamikonian admitted that there is more demand for programs with strong leading female characters, stories that connect to the audience’s daily lives, and scenarios that include creativity, caring, and courage. “Some digital channels are taking a few more risks, testing their brand’s limits a bit,” said Corinne Kouper. One example is CBC Gem from Canada, with shows like “Pen15,” which would not sit comfortably on their free to air channel. “I am also interested to see how streaming platforms like HBO Max have gone into a ‘one episode a week’ model, which will work great for our girl action series ‘Jade Armor.’ ‘Vox Machina’ is also premiering three episodes per week. It definitely feels like ‘everything old is new again’,” Kouper appointed. By Romina Rodríguez

DIGITAL

THE CHALLENGE OF BUILDING A WORLD-CLASS STREAMING EXPERIENCE MICHAEL CERDÁ, EVP OF PRODUCT & ENGINEERING STREAMING AT TELEVISAUNIVISION, TALKS ABOUT THE TECHNOLOGY BEHIND THE COMPANY’S NEW STREAMING PLATFORM AND REMARKS ON THE IMPORTANCE OF THE USER EXPERIENCE.

ast February, TelevisaUnivision unveiled its upcoming Spanishlanguage streaming service, ViX. The platform, which officially launched its AVOD version on March 31, aims to be the world’s largest Spanish-language streaming service, offering thousands of hours of entertainment, sports, and news. The two-tier service includes a free AVOD product, ViX, launched with 100 channels and a VOD experience. The SVOD option, ViX+, with premium content including originals and exclusive soccer, will launch in the second half of 2022. Such a robust project required a significant investment in technology, which is why TelevisaUnivision was especially careful with the technological development of both tiers. “We built a video streaming technology from the ground up. We are bringing together a world-class streaming experience. We knew that this had to be a consumer experience that works. We had to make sure our apps launched quickly, where people can find something to watch easily,” Michael Cerdá, Executive Vice President, Product & Engineering – Streaming at TelevisaUnivision, told Señal News. Before the launch, the company carried out an exhaustive survey of its target audience to better understand the tastes and consumption habits of the Hispanic viewers. “We went into people’s homes, had conversations, and showed prototypes. We learned, for 30

example, that sometimes they are overwhelmed by the so many things they find in streaming services. When you get people too many options, they do not know what to choose, or they take longer to do it. Being simple and aggregating content into certain categories could help. For instance, if people just want to watch a movie, we have a category called ‘Movies’ and a movie channel, rather than making them scroll through hundred films,” Cerdá said. According to the executive, on-screen representation is also a crucial factor. “Another fascinating thing we learned by talking to people is that they want to see themselves, their families, and their lives in a streaming service. In ViX, everything is produced in Spanish, so they will get what they want from us. They will identify with the stories, as we are delivering on what people told us,” he assured. Furthermore, Cerdá explained that a large part of its target audience wants to discover what to watch in a more linear way, where they can browse channels. However, a large part of that audience also wants to see specific content, such as soccer or films. “Part of the art and the science of

 Michael Cerdá

this is having both VOD and linear content co-existing and making it easily accessible,” he commented. Although Cerdá believes that the “content is king” phrase is still accurate, he gives equal importance to the user experience in terms of a streaming service’s success. “A lot comes down to content discovery, finding what you want to watch quickly, and picking up where you left off if you need to stop watching and come back later. Also, the recommendations you get after watching something you like. All of those things are super important,” he remarked. After the launch of the AVOD option on March 31 and ahead of the premiere of the SVOD version, Cerdá anticipates a promising future for this new great bet from TelevisaUnivision. “ViX will probably be the fastest-growing streaming service around. We have much experience from the three other streaming services that we have built, and we are going to be migrating all of those audiences into ViX. It will be the mothership of streaming for TelevisaUnivision. It is very significant, and we are bringing all together,” the executive concluded. By Federico Marzullo

PRODUCTION

PARAMOUNT+ BETS STRONGLY ON ORIGINAL PRODUCTIONS

ast month, Paramount+ held its first Paramount+ Forum for Latin America in Buenos Aires, Argentina. During this exclusive event, new titles such as “El Primero de Nosotros,” “Medusa,” “Los Enviados,” “Bosé,” “At Midnight,” “Graduados,” “Amor es Amor,” “The Offer,” “Super Pumped,” and the long-awaited “Halo” were officially presented in the region. The renowned presenter Alejandro “Marley” Wiebe, star of the Paramount+ original “Marley & Mirko,” hosted the event. “We are celebrating the first year of Paramount+ and everything that is coming thanks to our global and also local content. We have the passion of creators from Latin America and especially from Argentina,” JC Acosta, President of International Studios & Networks Southern Europe, Latin America, Middle East & Africa, said during the presentation.

“When we launched Paramount+, we set out to revolutionize the industry, marking such a big change that it involved putting all forces of our content to make this platform a true mountain of entertainment. Since then, it has not stopped growing. We have more than 8.000 hours of content, hundreds of blockbuster movies, and more than 10.000 episodes

of series. For this mountain to be really attractive, we have to have the best talent and content, intimately linked to an emotional bond,” Darío Turovelzky, General Director of ViacomCBS for the Southern Cone and Senior Vice President of Global Content, added. One of the most recognized figures who participated in the

THE STREAMING PLATFORM HELD ITS FIRST PARAMOUNT+ FORUM FOR LATIN AMERICA IN BUENOS AIRES, ARGENTINA, WHERE IT PRESENTED SOME OF ITS NEW CONTENT. DIRECTORS JUAN JOSÉ CAMPANELLA AND ARIEL WINOGRAD TALK ABOUT THEIR LATEST PROJECTS.

Paramount+ Forum was the renowned director, screenwriter, and Oscar winner Juan José Campanella, who is in charge of the production of “Los Enviados,” a Paramount+ original series that is premiering its second season this year. Mostly known for his film work, Campenella spoke with Señal News and explained why he currently finds it more attractive to work for streaming platforms. “For fiction, I prefer platforms to broadcast TV because you gain creative freedom depth, and you do not have to be permanently aware of the ratings. In narrative terms, making a series for streaming is also much better. First of all, streaming does not have any advertising cut. Oddly enough, building a moment of suspense five times per chapter adds tension and does not allow the script to perform smoothly because it requires forcing

Juan José Campanella

PRODUCTION

Paramount+ team during the presentation in Buenos Aires

moments. Secondly, streaming does not require a specific duration, which means that you do not have to add or cut parts just to meet an exact duration time,” Campanella analyzed. The Argentine director admits that standing out is more difficult with more content and platforms everywhere. “However, the good thing is that there is time for word of mouth to work, something that television did not offer before because the broadcast of a program ended, and it was never seen again. With the platforms, that also changed because the work remains,” Campanella added. Another of Paramount+’s outstanding productions is “El Gerente,” the first original Paramount+ film shot in Argentina, which Ariel Winograd will direct. “Making a film to be shown in movie theaters or through a platform does not create conflicts for me; the important thing is to continue making films. It is clear

Masterchef cast

that making a film for a platform is still strange, but I really appreciate when these types of possibilities arise,” Winograd told Señal News. “’The Manager’ is my first film for a platform, and the truth is that I am working in the same way as if it were for cinemas. It is great that the platforms bet on continuing to make movies and series. Moreover, it is awesome that I’ll be the director of the first Paramount+ film,” Winograd added. During the event, actress Soledad Villamil and director Jazmín Stuart presented “Medusa,” a police film that is being produced in Argentina. Moreover, Benjamín Vicuña, Paola Krum, Luciano Castro, Jorgelina Aruzzi, Damián de Santo and Mercedes Funes described “El Primero de Nosotros,” the first fiction produced by VIS for the LatAm Sur Hub. The series

already available on Paramount+ and premiered locally in Argentina on Telefe. Regarding non-Spanish language originals, JC Acosta and Turovelzky also introduced “Halo,” a series based on the iconic Xbox franchise, shows such as “Super Pumped,” “The Offer,” and kids’ programming, with the next season of “Kamp Koral,” and “Paw Patrol: The Movie.” The event ended with a few words from Turovelzky, who offered a trailer that allowed him to reveal some of the premium content available or soon to be released on the platform. The slate includes docurealities, movies, documentaries, series of all genres, and shows for all audiences. By Aldo Bianchi & Federico Marzullo

Marlely & Mirko

DISTRIBUTION

A NEW BRAND, THE SAME COMMITMENT TO CONTENT FRED BURCKSEN, PRESIDENT AND CEO OF ZDF STUDIOS, DESCRIBES THE CONCEPT BEHIND THE COMPANY’S NEW NAME AND CLARIFIES HOW THIS NEW BRAND COMES WITH DIFFERENT POSITIONING AND PRODUCTION OBJECTIVES.

DF Enterprises has rebranded as ZDF Studios, as it was announced last February by Fred Burcksen, its President and CEO. The company was founded in 1993 to distribute and purchase content for ZDF. Together with its subsidiaries and affiliates, ZDF Enterprises is responsible for national and international media productions, from initial concept and development to production and marketing, offering its services to public and private television broadcasters, independent producers, streaming platforms, and other global clients. “It is important for us and for our shareholder ZDF to express exactly what we are today. On the one hand, we are a large licensing company selling, co-producing, and buying rights. On the other hand, we are a major production group, a studio responsible for national and international productions,” Fred Burcksen stated. Since it was established, ZDF Enterprises has significantly expanded ZDF Group. With creativity, originality, and efficiency, the company has become a significant player in the fiction and non-fiction arena. The new name, ZDF Studios, indicates a new era as a media industry company. “The new name fits our business model much better and reflects our production and marketing expertise. Under the new brand ZDF Studios we’ll be able to bring our network of 36

affiliated companies even closer together. With consolidated sales of around €240 million, we’re one of the largest rights distributors in Europe,” Burcksen added. Under the new name, ZDF Studios will launch various fresh-

to-the-market titles at MIPTV covering drama, wildlife, natural history, documentaries, and kids. In addition to this, the drama series “Dear Vivi” is part of the official selection of MIPDrama 2022. Moreover, the wildlife documentary “The Margay and Me” is one of the six finalists from 111 submissions from 79 companies in 27 different countries for the MIPDoc Project Pitch. “The past 12 months have been very productive for us as a studio and for our partners. Our diverse range of entertaining titles have links to several countries, giving them an international appeal. Production teams have been busy filming in locations such as Canada, Spain, Belgium, France, Germany, and throughout

the beautiful continent of Africa, delivering first-class content that we are proud to represent at MIPTV,” Burcksen described. ZDF Studios’ first slate kicks off with a variety of new dramas. Chicho Ibáñez Serrador’s “Stories to Stay Awake” is one of them, with the legendary horror series that revolutionized Spain’s TV in the 60s. The show was produced by Prointel, Isla Audiovisual, and ViacomCBS for Spanish Broadcaster RTVE. Moreover, ZDF will showcase “White Night,” produced by Pixcom for Radio Canada. Set in the 1970s and the modern-day, the title is an emotional family saga interwoven with a murder mystery as two sisters and their brother struggle to cope with an imbalance of power wielded by a person who is no longer alive. “ZDF Studios if conformed by around 30 subsidiaries and affiliated companies. Our partners are public and private television broadcasters, independent producers, streaming platforms, and many others. Teamed up with our network and shareholder we are today one of the largest media groups in Europe,” Burcksen stated. “We cordially invite everybody with good ideas to talk to us or our production companies about any creative projects and developments and how to finance and make them possible,” he added. By Diego Alfagemez

OVERVIEW

UKRAINE UNITES AT MIPTV, LOOKING FORWARD TO PEACE THE LEADING UKRAINIAN BROADCASTERS, MEDIA GROUPS, AND CREATIVE POWERHOUSES WILL UNITE THEIR EFFORTS TO SUPPORT THE COUNTRY’S STRUGGLE FOR FREEDOM. THE AGENDA WILL INCLUDE A UKRAINIAN NATIONAL STAND, A DEDICATED PANEL, AND A COMPREHENSIVE DELEGATES LIST.

t MIPTV, the leading Ukrainian broadcasters, media groups, and creative powerhouses united their efforts to support the country’s struggle for freedom, defending the democratic values and human rights of all the civilized world. “We attend MIPTV with a heavy heart. Our Ukraine is at war. Yet, TV is a crucial power in any situation, and now when times are dark, we have to work even harder. At the market, we will continue selling our high-quality content to our existing and new partners and discussing coproduction opportunities for when the war is over. We look for new ways to cooperate with the world. Our expectations are high, and we expect no less than support and wiliness of TV channels, platforms, and production companies around the world to open up and join us in our work and mutual development,” Iryna Chernyak, Director of Content Iryna Chernyak, Director of Content Acquisition and Monetization department at Ukraine TV Channel

Acquisition and Monetization department at Ukraine TV Channel stated. Thanks to the support of RX Global, the country’s joint activities in Cannes will include the Ukrainian National Stand (R7L19), a panel discussion as a part of the official conference program (April 4th), and a comprehensive delegates list. “The 1+1 Media Group is always pleased to join MIPTV because one 38

Inna Filipova, Head of Sales at 1+1 Media

of the group’s tasks is to produce content that appeals to global audiences. We hope that our projects will be of interest to the media community. We are bringing ready-made TV bestsellers of the region and new interesting and unexpected stories with great potential to become international hits,” Inna Filipova, Head of Sales at 1+1 Media, said. “In addition, all Ukrainian companies require the world community’s support as never before. Thus, we hope that our stand, representing our products, will gather a large audience. This year, we are coming up with an important mission: Ukraine needs help in this cynical and brutal war unleashed by Russia. Ukraine needs unprecedented attention, which is not about compassion, but about the intentions to do more and act precisely and prudently. Ukraine needs a victory,” Filipova added. All the international media community is invited to collaborate with Ukraine, as despite the dramatic circumstances, the market is ready to keep and strengthen its position in the global industry. Ukraine has all the capabilities, experience,

Kateryna Shevelyuk, Head of Fiction Production Department at STB

and talent proven by multiple international sales, traveling formats hits, and solid partnerships with key players worldwide. “Our team is coming to MIPTV intending to attract more attention to Ukraine. The country has an outstanding media industry; we are a strong player with high production levels, creative talent, and opportunities. MIPTV is the ideal place to pitch our new shows, present new series, and drum up interest for coproduction and cooperation. Now is the moment. More than ever, we are open to strategic partnerships; we need support from our existing and future partners. We have to stand up for Ukraine,” Kateryna Shevelyuk, Head of Fiction Production Department at STB, explained. “Our ambition at MIPTV this time is Victoria Yarmoshchuk, CEO at FILM.UA Group and Head of Ukrainian Motion Picture Association

to join the forces of the Ukrainian industry to unite Europe. We feel that the European industry, especially CEE countries, is underestimated in the global market. Only united we can stand. We learned this lesson in the recent month, and we want to share our vision with the world. We will talk about possible Eastern European alliances and a special acquisition fund for Ukrainian content during our panel. Also, our distribution team will provide unique content relevant to the situation in Ukraine, such as ‘And There Will be People’ drama series,” Victoria Yarmoshchuk, CEO at FILM.UA Group and Head of Ukrainian Motion Picture Association, stated. By Romina Rodriguez & Diego Alfagemez

OVERVIEW

CONTENT FROM SPAIN, A GROWING TREND IN EUROPE SPANISH PRODUCTION IS A GLOBAL SENSATION, BUT THE SPECIFIC DEMAND IN EUROPE HAS GROWN IN THE PAST TWO YEARS. EXECUTIVES OF THE LEADING COMPANIES ATTENDING MIPTV EXPLAIN THEIR BUSINESS APPROACHES.

“If we talk about content opportunities, Europe is undeniably a unique region with a vast contrast depending on each geographic area. The dissonant technological penetration in the territories ANA BUSTAMANTE, GENERAL DIRECTOR brings forth numerous opportunities in the diverse areas of content exploitation: traditional Free TV channels, major pay-TV companies, and an infinite number of OTT streaming services. Therefore, buyers’ needs are diverse and divergent; there is an invaluable richness in terms of available windows for each type of content. Fiction has always been our mainstay in the territory, as Europe is a wide-open region for international dramas. Titles such as “El Principe,” “I Know Who You Are,” or “Truth” had a fantastic reach in both western and eastern Europe. Apart from that, we see increasing needs relying on outstanding production levels. Last but not least, globalization

ROBERT FONOLLOSA, CEO & MANAGING DIRECTOR

eñal News tried to discover the specific new programming needs for European clients and how the Spanish distributors are handling their sales strategies in terms of windowing in this territory. For that reason, executives of the leading companies attending MIPTV explain their business approaches.

led to the creation of captivating stories with a universal perspective. For that reason, we realized the importance of shows with international appeal, not only as a must for finished products but also based on the growing interest in format rights for local adaptations. We have several formats optioned in the region. ‘Marriage Scenes’ continues its successful broadcast in France and Greece, ‘Pepe’s Beach Bar’ will arrive in Hungary through TV2. “Truth” and “I Know who you are” are in very advanced conversations to reach the Greek market.” “In the last years, we have experienced a change in how media players operate, especially referring to the business models. Big major VOD platforms tend to require all-rights and be very restrictive in exploiting each title, which normally limits the life cycle of the series. Following that trend, we are increasingly seeing most VOD players requiring more and more territories. It is a great chance to reach global audiences and turn a title into a worldwide mainstream. In our case, we are partnering a lot with OTT platforms to premiere our fiction series and a diverse batch of non-fiction titles. We are now luckily experiencing a moment with enough room for every kind of content. Unquestionably, the arrival of new targeted channels and platforms has contributed to this framework change”.

“We are focused on the documentaries side, where I notice an intact interest in history and wildlife productions. Perhaps, there is an increasing demand for science and true crime titles. Or strategy today aims to establish direct contact with each window and find out what each of those companies needs. We always work with tailor-made proposals”.

OVERVIEW

“Our experience tells us that the European clients like and demand amazing new and different stories. That’s what MIGUEL GARCÍA, we present at this MIPTV: great SALES DIRECTOR high-end series such as ‘Cardo,’ the new drama production of Javier Calvo and Javier Ambrossi, creators of ‘Veneno.’ We will also offer ‘The Age of Anger’ starring the young talent Manu Ríos and based on the best-seller of the same name by Nando López. Finally, we will showcase the hilarious comedy ‘Two Years And One Day,’ a series about a comedian sentenced to prison for a joke that has offended someone he shouldn’t have. They all have the Atresmedia Series seal, which guarantees these shows’ quality and success.” “At Atresmedia International Sales, we always prepare a specific strategy for each market and territory. Although all our titles have an international appeal, we always adapt our content according to the needs and interests of each client and region. We also sell our catalog to all types of clients: big players, linear channels, or new platforms. We try to reach the largest possible audience.”

“Many of our European freeTV clients ask us for great entertainment formats that have been successful in their CARLOS GARDE, home country. That’s why we MANAGING DIRECTOR are promoting ‘El Desafío’ or ‘El Hormiguero’ in new markets. Drama series perform great in different windows: platforms, thematic pay-tv channels, and even free-TV. We just closed several deals for our Portuguese-produced telenovelas, which also meet the European quota required by many of our clients.” “We try to have productions in our catalog that meet the needs of the different types of clients and windows that exist in the region. We have shows that are clearly platform products and others that are more of a free-TV title. We also have very niche products that are aimed at particular thematic channels. We are in constant contact with both clients and producers, and we try to make sure that the products we bring to the market are what the clients are looking for.” 42

“Although we see that the main needs of our clients do not change, we are noticing a higher demand for an optimistic tone. Nowadays, kids need optimism to be reassured of what’s going on around them. They have JUDIT FOZ POVILL, learned new words, like HEAD OF MEDIA SALES pandemic, and realize the world’s violence nowadays. Helping children find the inner confidence they need to give sense to the world and achieve their goals is what we try to do with ‘Tilly, The Power Within,’ our first original IP. Another trend in the growing streaming consumption is that more product is needed to cover different targets and niches, like purpose-driven preschool content or animation for adults. At the same time, there’s an age compression for which kids consume programs initially built for an adult audience.” “Our strategy aims to offer our brands the best media exposure related to our targets. Our ideal sequence is to secure the TV content on the best kids’ pay-TV channels, both local and multi-territory. Then, we guarantee its highest and broader visibility on free-TV to each brand. We care a lot that the content is also present in many OTT platforms as possible, as we know that our audience is there. We are following this strategy for our purpose-driven preschool content hit ‘Milo,’ proving to be a success in Europe, where we secured partnerships in almost every country. We have also closed a pan-regional deal in Latin America, where the series will be launched on linear and digital in all countries, including Brazil.”

By Diego Alfagemez

INTERVIEW

“THE SPANISH INDUSTRY IS EXPERIENCING A NEW GOLDEN AGE”  Esther Agraso

ast year, the Spanish production house Plano a Plano announced the incorporation of Esther Agraso as Director of its International Area, giving her the responsibility of promoting the company’s presence outside the local territory. During an interview with Señal News, Agraso commented about her first months in its new role, described the group’s strategy, and analyzed the current landscape of the Spanish audiovisual industry. What projects is Plano a Plano currently working on right now? “We are working on several coproduction projects with top-level international partners. We are also developing two science fiction series, a family drama, an action drama show, and a compelling literary IP linked to sports, all with partners from territories like France, the United Kingdom, Germany, Brazil, and Mexico. In this highly competitive fiction production market, we want to ally ourselves with the best and produce stories that travel globally.” How would you describe your first months of work in the company? “Very positive; I am soaking up a bit of all the projects and getting to know the team, which is fantastic. We have a commitment to talent, it is a fantastic place to work. We have been making progress in our co-production projects in these first months. I also traveled to 44

ESTHER AGRASO, DIRECTOR OF THE INTERNATIONAL AREA FROM PLANO A PLANO, COMMENTS ABOUT HER FIRST MONTHS IN ITS NEW ROLE, DESCRIBES THE GROUP’S STRATEGY, AND ANALYZES THE CURRENT LANDSCAPE OF THE SPANISH AUDIOVISUAL INDUSTRY. some of the most relevant markets to expand the agenda of partners and contacts.” What is the strategy of the new international area? “At the national level, in Spain, we are very consolidated, so we focus on the internationalization of our brand. We work with new talent from various territories to expand our partner’s portfolio. The idea is to undertake more ambitious projects. International coproductions allow us to associate, finance, and carry out larger projects, which would otherwise be more complicated. At the same time, we want to be flexible to other models in which we can retain the IP. It has been beneficial for us to have produced series in recent years that are among the most viewed or sold worldwide. That’s a great cover letter.” What types of alliances or partners are you looking for? “We look for top-level partners that complement us, that contribute something that we do not have, such as distribution, financing, access to certain talents, or a window. It is important to harmoniously combine our roles and have the same business “Valeria”

vision. Co-productions are very long processes, so it might be a problem if you are not aligned and committed to your partner.” How do you see the current landscape of the audiovisual production business in Spain? “The Spanish audiovisual industry is experiencing a new golden age. We produce great stories that travel internationally and are among the most viewed on all major platforms. We have moderate production budgets and very attractive tax incentives. Last year, Spain produced 55 series, which is outrageous. The sector has become very professional, and there is currently a very relevant industry.” What do you think a film or series must have to succeed in the local and international markets? “There is an evident and global commitment to IPs. Aside from these IPs, we are committed to original ideas, which is the industry’s basis. We have our own productions such as ‘Toy Boy,’ ‘El Príncipe’ or ‘Desaparecidos’. We are in a market that produces a lot of content. There is fierce competition, so we have to do it very well and offer a fantastic product at all levels because we target to a very educated audience, who consumes a lot and demands more quality. You have to live up to what that audience expects.” By Federico Marzullo

DISTRIBUTION

CONTENT WITH A DISTINCT POINT OF DIFFERENCE NATALIE LAWLEY, MANAGING DIRECTOR AT ESCAPADE MEDIA, DESCRIBES THE COMPANY’S STRONG REPUTATION FOR SECURING WORLDWIDE PRE-SALES AND COMMISSIONS AND HIGHLIGHTS ITS STRATEGIES TO MAINTAIN A SOLID POSITION IN A CROWDED INTERNATIONAL ARENA.

“Hacking Evolution: Lionfish”

nternational distribution and content development company Escapade Media specializes in premium dramas, kids’ content, and factual programming with a distinct point of difference. “Our mission is to present unique and fresh content that resonates with global audiences and underlines our ambition to work with partners and creative teams developing strong and diverse projects at their core,” Natalie Lawley, Managing Director at Escapade Media, told Señal News. Escapade’s strong reputation securing pre-sales and commissions has allowed the company to be involved in a collection of premium content delivering over the next 12-18 months. Escapade Media is different from other distributors in its finished programming strategy. “We focus on commercial content with a very distinct point of difference. We also develop content and look to come on board as early as possible, working with companies from across the globe and developing original content in-house,” Lawley explained. Escapade is launching several new titles this spring at MIPTV 2022. One of them is “Inside Trauma,” a brand-new generation of some of Australia’s finest 46

medical professionals who are tested to their physical and mental limits. Their goal is to join the elite Australian Medical Assistance Team (AUSMAT). Escapade was the co-producer on PBS’s commissioned documentary from Orange Frame, “Hacking Evolution: Lionfish.” Danni Washington, an engaging science communicator with a background in marine biology, takes audiences on a journey into the story of the lionfish and the more profound scientific questions that explore what it means to be invasive, non-native, or native from a greater evolutionary perspective. Moreover, “Breakaway Femmes” tells, for the first time, the story of women participating in the Tour de France alongside the men’s race. Ultimately their race was canceled, and their heroic ladies have been almost forgotten. The show wants to highlight that there has never “Inside Trauma”

 Natalie Lawley

been a more poignant time to celebrate these women’s achievements and inspire future women to ride the Tour de France. GLOBAL MARKET IN MIND Escapade focuses very heavily on generating revenue from overseas. Part of their evaluation to create the perfect slate for global buyers is to ensure that the content appeals to the international market. “Escapade has a very experienced worldwide network of consultants that provide invaluable feedback on all titles. LUK e.s. has worked with Escapade for over six years and provides exceptional service across all Escapade’s titles. It also enables the company to secure early investment from buyers for our development projects,” Lawley stated. Escapade’s distribution strategy in 2022 focuses on pre-sales. “In securing pre-sales, we can close the finance side and offer the more comprehensive premium completed content to the marketplace. Escapade offers three new factual series and two new drama series at MIPTV,” Lawley concluded. By Romina Rodríguez

MIPTV HIGHLIGHTS

INTERVIEW

“WE ALWAYS AIM TO BUILD UP LONG-LASTING BRANDS” MARTIN KRIEGER, CEO OF STUDIO 100 MEDIA, DESCRIBES THE COMPANY’S PRODUCTION FOCUS WHILE DISCUSSING THE POTENTIAL OF ITS MOST POPULAR BRANDS AND THE CURRENT DEMANDS OF ITS CLIENTS. franchise potential at the same time. Leveraging our brands through licensing, merchandising, stage shows, and theme parks is part of the DNA of the Studio 100 Group.”

 Martin Krieger

stablished in 1996, Studio 100 is a TV production company with a clear goal: producing engaging content that is entertaining and educational for today’s children and their parents. Speaking to Señal News, Martin Krieger, CEO of Studio 100 Media, described the company’s main focus in terms of production, discussed the potential of its most popular brands, and analyzed the current demands of its clients. What is Studio 100 Media’s strategy for shaping its catalog? “Most of our shows and movies are produced or co-produced by one of our studios worldwide. They all bring different perspectives and strengths to the table. That strategy provides a constant inspiration and output of content. Everything we are green-lighting for production, co-investment, or where we come on board as a distributor must tick all the editorial boxes of outstanding kids and family entertainment. Additionally, it should ideally have 48

What is your main focus in terms of production? “Our focus is both movies and series, always with an eye on what additional content we can create for digital exploitation to promote the brand and then keep up the momentum. We are constantly monitoring the funding landscape, mainly in Europe and Australia/ NZ, to ensure that we offer talent and co-production partners the right setup. Also, North America is obviously of very high interest to us. We gained a foothold there a couple of years ago by acquiring Little Airplane Productions in New York and our Studio 100 USA/Flying Bark office in Los Angeles.”

What is the potential of properties such as “Maya the Bee,” “Mia and Me,” “100% Wolf,” “FriendZSpace,” “SeaBelievers,” and “Vegesaurs”? “‘Maya the Bee’ and ‘Mia and me’ are essential and established IPs for us for which we are constantly creating new content. We will be launching new theatrical features of both brands this year (the new ‘Maya’ movie already launched in a couple of territories), and a fourth season of ‘Mia and me’ will be completed

“Vegesaurs” (20x5’): vegetable and fruit-shaped dinosaurs address and teach relatable themes for preschoolers such as mealtimes, sharing, and friendship. “SeaBelievers” (52x11’): the very first ECO-tainment show. Each episode leads kids on an ECO-adventure to save the ocean and the environment. “FriendZSpace” (52x11’): a hilarious comedy series created to help kids to understand and celebrate diversity and differences in all the ways possible.

in 2022. ‘100% Wolf’ is currently very successful in more than 80 countries, and we have started production on its second season, which will be delivered in 2023. We always aim to build up long-lasting brands and create experiences beyond audiovisual content. Our brand-new project ‘Vegesaurs’ is a great example of this strategy.” What are buyers demanding right now? “They are looking for exciting new stories, but new content based on existing brands is also in high demand. Every new show or movie must meet a couple of preconditions, such as diversity and inclusion. No matter what we bring to our audiences, we aim to build long-lasting brands. All of them must have a clear USP not only for the buyers and for us as a studio but most importantly for our target audience, which is what we are hoping to achieve with ‘Vegesaurs,’ ‘FriendZSpace’ and ‘SeaBelievers.’ All three shows represent great entertainment, convey important and positive messages, and have franchise potential at the same time. More than ever, the demand for good entertainment and making people laugh is needed.” By Federico Marzullo

DISTRIBUTION

RELIABLE BRANDS FOR KIDS WITH AN ENTERTAINING AND PEACEFUL BACKGROUND

FRANCESCO MANFIO, CO-FOUNDER AND CEO GRUPPO ALCUNI, AND SERGIO MANFIO, CO-FOUNDER AND CREATIVE DIRECTOR OF THE COMPANY, ANTICIPATE ITS NEW LINEUP FOR MIPTV AND HIGHLIGHT A PEACE MESSAGE FOR KIDS ALL AROUND THE WORLD.

t’s been three years since the last in-person MIPTV, and for Gruppo Alcuni, it’s crucial to restart physical participation again in media markets. “We’re quite happy to be returning to Cannes for MIPTV. Our expectations are high considering that we have many new series we can’t wait to share with buyers,” Francesco Manfio, co-founder and CEO Gruppo Alcuni, told Señal News. One of the highlights of Gruppo Alcuni for the market will be “Vlady&Mirò,” a series co-produced with RAI Ragazzi. “We’re fond about it since we enjoyed the challenge of producing pure comedy without dialogue,” Sergio Manfio, co-founder and Creative Director Gruppo, stated. The plotline is totally surreal: a bear and a raccoon are in a cave, ready to go into hibernation. As soon as the bear falls asleep, he starts snoring, so for the entire winter season (26 episodes), the raccoon will have to come up with a thousand (insane, brilliant, dangerous, and hilarious) ways to wake him up. Also with RAI Ragazzi as a co-producer, Gruppo Alcuni will be previewing the new “Mini Pet Pals Mini Pet Pals Start School” series, where six pets are involved in early school experiences. “It’s a welcoming and homey kind of school, where they actively engage in learning-by-doing through curiosity, creativity, and adventures,” Sergio Manfio described. After the success of the first 50

series, the Italian company will also be showcasing the first episodes of “Leo da Vinci 2.” The show is a journey that young Leo da Vinci and his friends take on the trail of the King of Seilan’s famous ruby. “For these new adventures of the young

Francesco Manfio

Sergio Manfio

Tuscan genius, it was great to have our first team enthusiastically back together again: RAI Ragazzi, Cosmos Maya, and Hessischer Rundfunk/ ARD/KiKA. I want to congratulate KiKA on its 25 years of success and to wish Astrid Plenk, the Managing and Programming Director, and Sebastian Debertin, the Head of International Content Acquisitions, all the best in their valuable work and mission,” Manfio said. NEW PATHS Gruppo Alcuni is in the preproduction stage for three new series: “Adventure at the MUSE’um,” “Mini Pet Pals and Mini Dinos,” and “The Black Diamond Race.” “Adventure at the MUSE’um” is a collaboration with the MUSE Museum, the science museum in Trento, and the Trentino Film Commission. The show talks about science to youngsters in a fun and innovative way. The two main characters, Anna and Gabriele, will

“Vlady&Mirò”

go on a fantastic journey through a space-time portal searching for a scientist apparently lost in another dimension. “This series is also particularly challenging to produce since it mixes live-action with animation,” Francesco Manfio described. Gruppo Alcuni’s distribution strategies are closely tied to their production ones. The company is currently working on productions for new targets (preadolescents and tweens), which open them to new markets. WORKING FOR PEACE In the face of the terrible moment humanity is experiencing with a global pandemic and a war, children are the most affected. “It’s essential to talk to kids about what’s going on so that they don’t end up being startled by information that hasn’t been adequately filtered for their comprehension. We should also give them a simple and clear vision for the future, which is what we’re attempting to do by reviving ‘Cartoons for Peace.’ A future where the only possible direction is through education towards solidarity and cooperation. In other words, peace,” Sergio Manfio stated. “‘Cartoons for Peace’ is produced with 20 cartoons based on storyboards from children all over the world. It is free and available for all networks interested in airing it,” Francesco Manfio added. By Romina Rodriguez

DISTRIBUTION

HISTORICAL DRAMAS BEATING WORLDWIDE RECORDS AFTER ITS HIT PROJECT “EKATERINA,” RUSSIA TELEVISION AND RADIO CONTINUES TO OFFER HIGH-END DRAMAS SUCH AS “ELIZAVETA.” JULIA MATYASH, DIRECTOR OF SOVTELEXPORT, THE DISTRIBUTION BRANCH OF THE COMPANY, EXPLAINS WHY THIS NEW HISTORICAL SERIES WILL KEEP VIEWERS ON THE EDGE OF THEIR SEATS. Julia Matyash 

istorical accuracy, an intriguing plot, gorgeous costumes, fantastic sceneries, and brilliant performances from a young cast are the main ingredients of the new Russia Television and Radio hit “Elizaveta.” The show is a historical series in a genre of adventure drama about Peter the Great’s daughter’s ascension to the throne. Viewers will witness the representation of historical figures’ lives, actions, and fights that will particularly appeal to younger audiences. “The series will surely

keep viewers on the edge of their seats,” Julia Matyash, Director of Sovtelexport, told Señal News. “’Elizaveta’ is a story of growth. We don’t see a reasonable and mature empress, but a young, carefree girl who falls in love and gets obsessed with clothes and balls. She is only starting her way to becoming the great ruler of a large Empire,” Matyash added. Period dramas and adaptations of classics are an essential part of the content offered by Sovtelexport, and both are performing very well on the international stage. “Series about monarchs’ lives are very popular and demanded at all times. Every generation wants to know the history of its own country and the world in general,” Matyash stated. Russia Television and Radio hit project “Ekaterina” also reflects that trend. The three seasons of the series were a huge success worldwide, having been sold to 104 countries. “We think that ‘Elizaveta’ has all the chances to be even more successful than ‘Ekaterina,’ Matyash said. NEW SHOWS Russia Television and Radio also offers new projects such as “The Stenographer,” where love, history, and spy plot lines masterfully twist. It is a 30-year story of a girl from an orphanage who becomes a government stenographer and gets involuntarily

involved in international espionage. “This fascinating drama is full of head-spinning plot twists, passionate love and is perfect for family viewing,” Matyash described. Moreover, the modern moving drama “Elsa’s Land,” about 70-year-old Leonid and Elsa, is another highlight title from the Russian company. Their families disapprove of their love, leading to a tense confrontation between generations. Leonid and Elsa’s relationship crucially affects their children, who turn out to be way more conservative than their elderly parents. “Along with our new TV series ‘Elizaveta’ and ‘The Stenographer,’ the projects offer is complemented by fresh up-to-date documentaries on such popular topics as science, nature, travel, and history. We expect that the quality of our content and variety of themes will spark buyers’ interest,” Matyash said. In 2022, Russia Television and Radio is looking forward to continuing the successful distribution worldwide and strengthening its relationships with global partners. “New TV companies and streaming platforms appear every day, and they all seek fresh new content. We are constantly searching for high-quality titles to fill our catalog, which allows us to meet every buyer’s needs and demands,” Matyash concluded. By Romina Rodríguez

INTERVIEW

“EXPANDING OUR REACH IN THE DIGITAL SPACE IS KEY TO OUR DISTRIBUTION STRATEGY”  Jessica Reilly

JESSICA REILLY, HEAD OF SALES AND ACQUISITIONS AT ESPRESSO MEDIA INTERNATIONAL, ANALYSES THE RAPID ESCALATION OF THE DISTRIBUTOR IN THE DIGITAL ARENA AND DETAILS THE HIGHLIGHTS FOR MIPTV 2022.

ith 21 years of experience, Espresso Media International has earned a place in the content distribution arena with a vast catalog of documentaries, factual entertainment, and lifestyle content. Jessica Reilly, Head of Sales and Acquisitions, spoke with Señal News about the company’s distribution strategies with digital partners and its committed collaboration with producers.

What are Espresso Media International’s highlights for MIPTV? “We are proud to be presenting a dynamic new slate of high-end and award-winning documentaries and factual programs at MIPTV. Key highlights from our new content include Nadia Tass’ ‘Oleg,’ narrated by Brian Cox, a unique and timely feature documentary about Soviet superstar and defector Oleg Vidov. We also have ‘The Scent of Fear,’ 54

narrated by acclaimed BAFTAwinning British actress Sophie Okonedo, which takes audiences on a first-hand cinematic journey across the globe, meeting those who enjoy fear and those who feel paralyzed by it. Another key highlight is the trailblazing and heart-warming ‘Art & Pep,’ an inspiring love story about civil rights leaders Art Johnston and Pepe Peña. Meanwhile, ‘The Human Trial’ is an epic quest to cure an invisible yet life-threatening disease, type 1 diabetes. It has recently premiered on Movistar+.” What must a show have to be part of Espresso’s catalog? “We pride ourselves on being a broad-church factual distributor and work across a wide array of genres, styles, and formats to fulfill the needs of our international client base. It’s important that the programming we take has high production values, has an international scope, is informative or entertaining, and is topical; feeding into the cultural zeitgeist or telling us something new about the world.”

How do you manage the ongoing work dynamic with producers? “Espresso is involved with projects at all stages of development. In addition to distributing finished content, we proactively work with producers on several projects each year to source international coproduction partners and pre-sales and act as EP’s on certain projects.” The company has reached several deals with partners like Tubi, Peacock, and Pluto TV. What is your strategy for the digital arena? “We are seeing a huge rise in our VOD revenue and expect this to rapidly increase over the next few years as audiences shift to even more digital consumption. Expanding our reach in the digital space is key to our distribution strategy. We are working with large players such as Netflix, Amazon, Roku, and Crackle, but we have also forged fantastic partnerships with genre-specific platforms such as History Hit, Extreme International, and Marquee TV.” What is the potential for docs and factual entertainment? “We have seen a growing demand for documentaries and factual entertainment from our clients, with a huge rise in demand from VOD platforms and new dedicated documentary channels. There is a particular increase in demand for social issues programming, whether environment or stories focusing on marginalized communities.” By Romina Rodríguez

INSIGHTS TO UNDERSTAND CURRENT AND FUTURE TRENDS

RESEARCH

THE HIGHLY PENETRATED OTT MARKET IN THE NORDIC REGION SVOD SUBSCRIPTIONS IN THE NORDICS HBO Max/Discovery+ Discovery+

OTT VIEWERS THE NORDICS VS WESTERN EUROPE

Netflix

Viaplay

By Country, 2021. % of digital video viewers

Disney+

HBO Max

6 5

Norway

78.9%

Denmark

78.1% 75.0%

Sweden

4 3 2

73.7%

Finland

73.0% 68.2%

France

66.8%

Netherlands

2018

2019

2020

2021

2022

2023

64.0%

Spain

62.6%

Germany

Source: Ampere Analysis

46.3%

Italy

MONTHLY COST OF CONTENT FOR SVOD HOUSEHOLDS IN THE NORDICS

65.9%

Western Europe Source: eMarketer

Q3 2020 (EUR) 1,000 TITLES

1,000 HOURS

€ 3.65

€ 0.82

Source: Ampere Analysis

€ 3.74

€ 0.82

€ 3.93

€ 0.85

€ 5.03

€ 1.10

Note: Calculations are based on subscription OTT prices in Q3 2020 and do not account for indirect third-party subscriptions or subscriptions obtained through discounted streaming bundles.

SHARE OF CONTENT PRODUCED IN THE NORDICS Local

72.6%

Other Western Europe

CATALOGUE COMPARISON HBO VS DISCOVERY+, BY GENRE IN SWEDEN Entertainment Children & Family Documentary

Reality

Sci-Fi & Fantasy

Crime & Thriller

Drama

Comedy

Other

100%

80%

60%

Global

100%

40%

20%

0% Netflix Source: Mediavision

Disney+

HBO

Prime Video

HBO

Source: Ampere Analysis

Discovery+

HBO Max/Discovery+