LEONINE, IN THE SEARCH OF GLOBAL AUDIENCES
SENAL.TV LLC ∙ 990 BISCAYNE BLVD, SUITE 501, FL, 33132, USA ∙ FREE DISTRIBUTION
NATPE BUDAPEST 2022
GERMANY: A NON-STOP EVOLVING MEDIA INDUSTRY
THE STREAMING MARKET IN EASTERN EUROPE
#189 ∙ YEAR 22 ∙ JUNE 2022
9.000 HOURS OF CONTENT
ITVX WILL OFFER TO VIEWERS, FEATURING NEW SERIES, DOCUMENTARIES, CLASSICS, AND FILMS TO ENJOY WITHOUT A SUBSCRIPTION FEE.
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HOURS OF CONTENT WILL BE AVAILABLE UNDER A SUBSCRIPTION PLAN.
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BOTH RECENT AND CLASSIC US AND UK SHOWS WILL BE AVAILABLE.
ITVX will premiere a collection of top-quality new dramas at launch, which will only be available on the streamer for at least six months before making their debut on ITV channels.
SKYSHOWTIME TAPS THREE KEY SENIOR APPOINTMENTS
PARAMOUNT NAMES EVP OF INTERNATIONAL PRODUCTIONS
SkyShowtime’s CEO Monty Sarhan announced three key senior appointments to the company’s growing executive leadership team. Jon Farrar has been named Head of Programming, Raquel Berzosa has been appointed as Regional General Manager for Iberia, and Richard Thurston joins SkyShowtime as Chief Human Resources Officer. The news comes as the new streaming service prepares for launch, which is planned to begin later this year and then roll out across more than 20 European markets. •
Paramount Global executive Syrinthia Studer has joined Paramount’s Global Content Licensing division as Executive Vice President, International Productions. Under her new role, Struder will oversee content strategy, development and production of local language and micro-budget films for the studio’s new business unit. The label will develop and produce a slate of films to include international local language productions as well as micro-budget films, sourced domestically or internationally. •
APPLE CLOSES A BREAKTHROUGH 10-YEAR DEAL WITH THE MLS Apple and the Major League Soccer (MLS) announced that the Apple TV app will be the exclusive destination to watch every single live MLS match beginning in 2023. This partnership is a historic first for a major professional sports league, and will allow fans around the world to watch all MLS, Leagues Cup, and select MLS Next Pro and MLS Next matches in one place, without any local broadcast blackouts or the need for a traditional pay TV bundle. •
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ITV STUDIOS EXPANDS “I AM A CELEBRITY.... GET ME OUT OF HERE!” ALL3MEDIA CLOSES FIRSTLOOK DEAL WITH DUCK SOUP Independent distributor All3Media International announced an exclusive first-look deal with Duck Soup, following its first commission by Channel 4 for coming-of-age drama “Dance School” (working title). Duck Soup is a collaboration between Bekki Wray-Rogers, Libby Durdy and Jessica Brown Meek, who have produced some of the UK’s best TV drama including the multi-BAFTA award-winning “This is England” TV series and the International Emmy award-winning “Utopia.” Created by Theresa Ikoko and Lisa Holdsworth, “Dance School” follows an eclectic group of dance students as they navigate the intense highs and lows of coming of age in today’s complex world. •
ITV Studios’ popular format, “I am A Celebrity…Get Me Out Of Here!” has been commissioned for the first time in Mexico and French Canada, bringing the number of territories to have commissioned the format to 16. “We are thrilled to see the continuing global expansion of this iconic game show,” Arjan Pomper, MD Global Entertainment, ITV Studios, said. “The format has grown rapidly to 16 countries in the past years and we are proud to have the show airing on Azteca and soon on TVA for the first time,” he added. In Mexico the show is on-air on Azteca produced by Acun, while Canada’s Quebecor Content has commissioned a French-language version, soon to be launched. •
GABRIELLA CARRIERE JOINS FREMANTLE AS HEAD OF STRATEGY Fremantle has appointed Gabriella Carriere as Group Head of Strategy to head up strategy for the production powerhouse, supporting their continued growth, following an already significant year of new partnerships and expansion. Reporting directly to Andrea Scrosati, Group COO and CEO Continental Europe, Carriere will also focus on Fremantle development of new and innovative routes to market, business models and monetisation opportunities. Carriere joins Fremantle from Sky Italia where she held the positions of Sky Wifi Marketing Senior Director, Media and Commercial Partnerships Director and Strategy Director since joining in 2016. •
CBBC AND BBC FOUR TO STOP AIRING AS LINEAR BROADCAST CHANNELS The BBC has plans to stop airing CBBC and BBC Four as traditional broadcast channels. The company’s Director-General, Tim Davie, announced that the content of these networks will continue to be produced and made available for online platforms. This means they would only be available on BBC iPlayer. Furthermore, Davie added that the corporation’s two news channels – one for the UK and another one for world audiences – will be merged into one. The newly merged news channel will mean a single, 24-hour broadcast, simply called BBC News, serving UK and international audiences. •
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OPINION
PASSWORD SHARING FOR STREAMING SERVICES: A NEW VILLAIN TO FIGHT
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nsurprisingly, the entertainment industry loses billions in revenue every year, a loss previously credited almost exclusively to the piracy of films and series. The problem found fertile ground with streaming sales: as more and more studios and production companies launched their own services, the costumer either made choices, limited by income, or fell for tempting and unsafe and unreliable promotions. Recently, however, password sharing has been a cause of concern. What was once tolerated and even considered beneficial to business, by increasing the popularity of the brand and the service, arousing public interest and, potentially, being able to add up in number of signatures, is now revealed as a new villain for the streamers. The shift in perception is because there is a point where competition starts to limit growth and profitability. In this sense, password sharing has started to have such a huge impact on this ability to get new subscriptions that the industry has realized what will be a new tipping point if it waits longer to act. Nagra estimates that there are 30 million individuals in nine million households subscribing to a pirated service just in the United States. With the password sharing, the conservative projection of lost revenue in 2024 is estimated by market research and consulting firm Parks Associates at 12.5 billion. 6
The stacking of signatures, more costly for the consumer, meant that pirates soon detected the opportunity to exploit casual password sharing by stealing and hijacking credentials or setting up their own streaming service with illegal content.
By Tim Pearson, Vice President, Solution Marketing at Nagra
The sharing market also favored the proliferation of illegal credential sales marketplaces, reducing subscription revenue aimed at financing original content productions by streamers. In the parallel market, streaming subscriptions such as Netflix, HBO Max, and Disney+ cost up to $1.00, at today’s exchange rate, something about $5.00. Faced with unfair competition, the streaming subscriber base does not grow as it could, harming revenue as much as the resources allocated to each new, exclusive, and attractive production, whose investments are always significant.
TECHNOLOGY AVAILABLE To stop the sharing of passwords between family and friends, Netflix is validating a test in some Latin American countries, which consists of sending a verification code each time access is made through an IP different from the one usually used by the subscriber. Once the verification is done, the IP address is registered, and the same process becomes necessary each time the IP changes. The strategy is to make it difficult to access the platform in different locations, turning sharing into a true “via-crucis”. On the other hand, to fight pirates, content owners and service providers strive to cover every new security gap that opens up, without that means unprotecting another important feature. Such versatility of pirates requires a holistic approach on what to do and how to turn the consumer into a regular subscriber, considering the best return on investment from antipiracy strategies. Among the main tools used to combat copyright infringement are the watermark - which can identify the origin of piracy -, cyber security, streaming protection, device protection and anti-piracy services. Many companies have some of these services, some have all them. Such tools help keep the business viable for longer. Not thinking about how to make this structure work together is leaving money on the table.
OVERVIEW
EASTERN EUROPE: +240 STREAMING SERVICES AVAILABLE IN THE REGION BB MEDIA, GLOBAL MEDIA & ENTERTAINMENT DATA SCIENCE COMPANY, ANALYZES THE EASTERN EUROPE REGION, WHERE IT HAS FOUND +240 STREAMING PLATFORMS, AND WHERE +104K UNIQUE TITLES CAN BE FOUND.
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B Media monitors over 3,000 streaming services across 234 countries, their prices, plans, bundles, and commercial offers. Plus, all their libraries of movies and series, including normalized metadata. Multiscreens+ | Content Pulse monitors the content available on streaming platforms and their standardized metadata. With this service, BB Media is currently able to survey 45 countries in the European continent. Referring to Eastern Europe it was possible to identify +240 streaming services, available at a regional level. Moreover, +104K unique titles were detected on these services, of which 80,623 titles correspond to movies and 24,356 titles to series. Notably, 12,446 titles were released in 2022 so far. Poland, Russian Federation and Czech Republic are the top three countries of Eastern Europe that have more available content. At an international level, more than 76K original productions from Europe were identified in +2880 streaming services. When analyzing the libraries of each country around the world, United States, Germany, United 8
ESTERN EUROPE PRODUCTIONS TRAVELLING OVERSEAS
1,829
1,754
1,681
1,676
buyers are licensing
buyers are licensing
buyers are licensing
buyers are licensing
38,657
45,978
17,371
27,103
total movies & series (3,300 unique titles)
total movies & series (3,377 unique titles)
produced in
UKRAINE
total movies & series (716 unique titles)
total movies & series (1,448 unique titles)
produced in
produced in
produced in
RUSSIA
HUNGARY
TURKEY
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Kingdom, Canada, and France were determined as the ones with the largest European content offer. The top five countries in this continent where content from Europe is offered are United Kingdom, Germany, France, Austria, and Switzerland. FOCUS ON THE CEE When it comes to SVOD streaming services with unique titles licensed and produced in Eastern Europe, Kion was identified as the service with more content, with a total of 12,212 titles available in Russia. This service is followed by Megogo, featuring a total of 11,955 titles in four countries. And closing the top 3 services is Ivi, which has a total of 10,410 titles, also in Russia. As for the most watched titles by the Eastern Europe people, “The Batman” is in the lead, with Poland being the country that has this
movie on more platforms (six OTTs). “Everything Everywhere All at Once” comes secondly, and is only available on Okko, in Russia. Lastly, “Top Gun: Maverick” is available only on iTunes in Bulgaria, Czech Republic, Hungary and Slovakia. Moreover, BB Media’s service Multiscreens+ | Prices, Plans & Bundles analyses the prices, plans, commercial alliances, offers, devices and functionalities of all streaming platforms. With this service it was identified that HBO GO is the OTT with more alliances in Eastern Europe, with 29 commercial partnerships. Netflix takes the second place with 14 commercial partnerships, and Megogo takes the third place, with five commercial partnerships. But neither of these three services provide any offers or free trails. By Diego Alfagemez, based on BB data
INTERVIEW
“IF THE STORY IS GREAT, WE WANT TO GET BEHIND IT” PATRICK PHELAN, DIRECTOR OF WORLD SALES AT LEONINE STUDIOS, DESCRIBES THE CURRENT DEMANDS FOR HIGH-END DRAMA, AND HOW THE COMPANY IS SEARCHING AND INVESTING ON TITLES THAT CAN REACH GLOBAL AUDIENCES.
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eonine Studios is expanding in the global drama arena with titles that embrace great production quality and original stories. To describe that positioning, Señal News spoke with Patrick Phelan, Director of World Sales at the company. How would you define Leonine Studios’ acquisitions and sales strategy? What are the current demands of global clients? “In general, we are open to a big variety of content and stories, it just has to be the right fit, both for us as a company and for the producer, be it an in-house project or one coming from a third party. Current demand seems to be on the lighter drama side. Escapism is still in demand and female characters are at the forefront. If the story is great, we want to get behind it.” What new shows are you launching for the summer season that starts with NATPE Budapest? “We are launching three fresh and intriguing new series at NATPE Budapest. First, there is the sixpart one-hour series ‘Herzogpark,’ which comes from the production “Herzogpark”
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Patrick Phelan
company of Bad Banks and just premiered on RTL’s streaming service RTL+. The dramedy takes a look through the keyhole into the seemingly picture-perfect lives of five very different women living in a super posh neighborhood. At the same time, new to our line-up is the Australian thriller series ‘Troppo.’ The show premiered on ABC Australia and is a freevee US Original. Finally, ‘Bonn’ is a six-part political thriller that focuses on a young woman who struggles to find her own place in a male-dominated society in the 1950s and the political tug-of-war between Germany’s two rivaling intelligence services. The series was created by multi award-winning filmmaker Claudia Garde and stars an acclaimed cast including Mercedes Müller and Max Riemelt. ‘Bonn’ will premiere on the German network ARD in 2023.” What is the global potential of AGC Television’s “Troppo”? “It has all the ingredients to resonate with audiences worldwide. It’s based on a known brand, comes from an award-winning team, features internationally known actors and takes us to exotic locations: The series is based on the highly popular Crimson Lake novels that are printed in 15 languages and were written by New York Times best-selling author Candice Fox. The production quality and the locations are unique. It takes viewers on a trip into the wilds of tropical Far North Queensland into a dense character-driven eight-part thriller series created and written by award-winning filmmaker Yolanda Ramke, who co-directed
with acclaimed directors Jocelyn Moorehouse, Catherine Millar, Ben Howling and Grant Brown. The cast is internationally well-known and includes, among others, Thomas Jane, Nicole Chamoun, Radha Mitchell and David Lyons”. How do you analyze the global demand for high-end international drama? “The appetite for high-profile international productions is big. This applies to English-language productions as well as local productions, which often offer an exotic and exciting new look and unique storytelling. The package is still key though and a great story combined with great names behind and in front of the camera is the key to success.” Leonine Studios had just picked up worldwide distribution rights for “The Seed.” What are the expectations around this show? “’The Seed’ touches on a topic that is as relevant as it is fascinating and has the potential to resonate with audiences around the world. ‘The Global Seed Vault,’ the backup hard drive of global nutrition, is the backdrop for this six-part Englishlanguage thriller series coming from the makers of ‘Spy City’. It’s a high-profile international co-production between NRK in Norway, Odeon Fiction and ARD in Germany, and MIA Film in the Czech Republic. It started shooting at the end of May at original locations in Spitsbergen (Norway) and features a renowned international cast including Heino Ferch, Ingrid Bolsø Berdal, Rainer Bock, Jonathan Berlin, Seumas Sargent, Erik Madsen, and Friederike Becht.” By Diego Alfagemez
OVERVIEW
THE NON-STOP EVOLUTION OF THE GERMAN PAY TV AND DIGITAL VIDEO INDUSTRY GERMANY’S PAY-TV MARKET DECLINED FOR A SECOND CONSECUTIVE YEAR IN 2021, WITH ITS WORST RATE TO DATE. THE COUNTRY’S MAIN TELCOS, DEUTSCHE TELEKOM, VODAFONE, AND SKY DEUTSCHLAND HAVE DIFFERENT APPROACHES FOR A NEW BUSINESS ERA. Pay TV and OTT video subscriptions in Germany, 2017-27 Pay TV
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ccording to Omdia’s recent data, Germany’s pay-tv market declined for a second consecutive year in 2021, with subscriptions down by 459.855, its worst rate of decline to date. On the other hand, OTT subscriptions continued to thrive, with 5 million more subscribers added to reach 45.7 million customers. Deutsche Telekom, Vodafone, and Sky Deutschland, three of the leading telco players in the country, are developing new strategies to cope with a non-stop evolving industry.
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DEUTSCHE TELEKOM · PAY TV AND THE ROLLOUT OF FTTH
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with MagentaSport added to Sky Q and MagentaTV added to Apple TV 4K box. It also enhanced many of the deals it had signed in 2020, with Disney+ and RTL+ bundled together with Magenta on various pay-TV offers. Indeed, the latter paid off spectacularly for RTL+ in the first quarter of 2022, with the OTT provider growing its customer base by 84.6% to reach 3.172 million subscribers: a clear demonstration that OTT players benefit as much as pay-TV services in such partnerships. Although Deutsche Telekom’s investment in the country’s sports competitions is comparatively low in comparison to its two main rivals in Sports, DAZN and Sky, MagentaSports service does hold two of the country’s top league competitions (Deutsche Eishockey Liga, Basketball Bundesliga) and several lower league leagues (3. Liga, Euroleague, Oberliga), making it a vital service for a small number of sports fans.
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Unlike most major pay-TV operators in Western Europe, Deutsche Telekom did not see a fall in subscriptions in 2021, growing by 3.5% to reach 3.7 million customers. Its resistance to this prevailing trend in pay-TV declines was due primarily to its ability to cross-sell its platform offers across its multiplay service. Indeed, its strong broadband growth drove much of this pay-TV uptake, with many customers signing up to its broadband service specifically for its robust bandwidth and competitive price offers while also getting pay-TV as an added incentive. Although growth in its broadband services played a critical role in its pay-TV uptake, Deutsche Telekom’s core pay-TV features also significantly contributed to its customer uptake in 2021. It was no more evident than its OTT partnerships, which bundle some of the country’s top OTT services, including Netflix, Disney+, and DAZN, with its Magenta TV service, boosting the appeal of its pay-TV service even further. In 2021, Deutsche Telekom added even more partnerships to its portfolio, signing deals with Apple TV+ and Sky Ticket. Its deal with Sky was particularly notable as it allows to market and bill Sky Tickets on its service for the first time, demonstrating a further willingness to work in alliance with its pay-TV competitors against the growing threat from its OTT competitors. These deals also saw Deutsche Telekom streaming services added to its partners’ set-top boxes,
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VODAFONE · PAY-TV DECLINE AND SERVICE INTEGRATION Vodafone’s pay-TV subscriber base declined for another consecutive year in 2021, with customers down by 1.9% (254,000). Its revenue base, in contrast, continued to increase, with profits up by 11% to reach 3.2 billion. Both short-term and long-term issues account for the decline in Vodafone’s 2021 pay-TV base, with the thenongoing effects of the COVID-19 pandemic reducing its retail activity in the first half of the. Also, a decline in broadband growth, brought on by complications resulting from compliance with new telco legislation and the cancellation of bulk contracts, led to a decrease in subscribers. New OTT players’ continuous growth and launches have led to less take-up of their TV services. A prime focus for Vodafone over the past two years has been integrating its cable service, Unitymedia, which it acquired in 2019. In February 2020, the brand switched to Vodafone, followed by network coupling and the standardization of its products. In the second half of 2020, it harmonized its TV portfolio, expanded its partnership deal with DAZN, and converted Unitymedia’s Horizon customers to its GigaTV STB service in 2021. Despite continual declines in its TV base, Vodafone implemented several initiatives to boost its TV subscriptions in late 2020. These include two new deals with DAZN, which saw the OTT service added to
its GigaTV service and integrated into its TV bill, and a contract with Apple, which made its GigaTV service available to Apple’s customers on Apple TV’s 4K. These initiatives continued in 2021, with Vodafone signing two more OTT partnerships with the newly launched OTT service RTL+ and the yet-to-be-released Discovery+. Vodafone also signed a deal with Facebook in 2021, making it the first telco provider in Europe to include the social network’s streaming service Facebook Watch on a set-top box. Alongside these partnerships, Vodafone enhanced its bundled offer in Q4 2021, offering a GigaTV tariff that includes Netflix, with a proposal that costs two euros less than a standard subscription. Vodafone expanded its partnership with Amazon Prime in Q4 2021, integrating the streaming service on its GigaTV set-top boxes for the first time. Unlike its competitor Sky, Vodafone has been more comfortable as an aggregator and telco than a producer of original content, preferring, with a wealth of content available, to focus on finding the right content instead. Indeed, with its distribution platform available to all broadcasters and content providers and long-term contracts players such as ARD, ZDF, RTL, and Netflix, Vodafone prefers to be the source of great content rather than the creator of it.
SKY DEUTSCHLAND · OTT PARTNERSHIPS AND LOCAL CONTENT Sky saw a substantial decline in its subscriber base in 2021, with a 1.4% (-44,000) to 3.1 million subscribers. On the other hand, its revenue base rose by 5.9%, returning to its average growth following a COVID-19-affected period that caused sports cancellations throughout most of 2020. The most significant factor in its recent subscriber decline was the loss of critical sports competitions and leagues to its competitor DAZN, including losing the rights to the entire Champions League in August 2020 and the Bundesliga Sunday games in June 2020. Growth from the top three OTT players in Germany also took a toll on the company in 2021, with the wide variety of premium content on these services drawing people to cut the cord and move towards the cheaper OTT services. Sky has, however, implemented several strategies to retain and grow its company in recent years. One particularly active area is aggregation, with the company signing seven new partnership deals since 2020, including RTL, Disney+, DAZN, and Apple TV+. Moreover, it has also begun to implement several other partnerships with competitors such as Netflix for its pay-TV offers, DAZN linear channels to its channel service, and adding its Sky Ticket service on many of its pay-TV competitors’ platforms. The increased focus on its TV content was made particularly apparent following the setting up of Sky
Studios in 2019, with the company also around the same time producing several highly-rated local shows such as “Das Boot” and “Der Pass.” In 2021, Sky announced to double its content spend, reaching £1billion a year by 2024, and produce over 60 German and international Sky Originals by the end of 2022. These include a range of new original series such as “Autobahn,” “Tender Hearts,” and “Chameleon.” In the OTT area, Sky’s parent company, Comcast, launched a new OTT service, Peacock, available via Sky Q, Sky Ticket, and Sky’s entertainment packages. Sky’s investment in local content could not have come at a more critical time for the company, with the lack of local content seriously putting it at a disadvantage, particularly once its content distribution deal with HBO has expired. The company had initially been quite early in the game for content investment. Still, it seemed to fall behind for several reasons, including a lack of investment, too much focus on sports content, and not promoting its originals as effectively as its rivals. Despite this, Sky does not intend to match the same levels of investment as its rivals, with the company stating that it would not be possible to produce as much, even if it would like to. Its partnerships with other licensors will remain essential to stay competitive. By Omdia
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INTERVIEW
Mirjam Strasser
MIRJAM STRASSER, HEAD OF SALES & ACQUISITIONS AT AUTENTIC DISTRIBUTION, EXPLAINS HOW THE COMPANY GETS INVOLVED IN DIFFERENT PROJECTS AND ANTICIPATES ITS MAIN GOALS FOR THE REST OF THE YEAR.
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actual and documentary producer and distributor, Autentic, focuses on a broad portfolio ranging from wildlife, nature, science, and technology to history and travel. Mirjam Strasser, Head of Sales & Acquisitions at the company, reveals how and why Autentic gets involved in several projects and points out the highlights of their catalog. What is Autentic’s current production and acquisition strategy? “We always extensively evaluate how we can support the projects in the best way, be it as a co-production partner, a co-financier, or as a sales partner. For programs we produce or co-produce within our production unit, we are always looking for unknown stories suitable for an international audience, preferably serial projects. We can support financially and editorially with our in-house production unit, so we consult intensively on which form of support makes the most sense for each project. It is important for us to understand our partners’ needs and remain in intensive dialogue with them. For distribution, we are increasingly looking for projects that fit broadcast TV slots and are suitable for streamers and FAST channels. Currently high in demand 14
“WE EXTENSIVELY EVALUATE HOW WE CAN SUPPORT THE PROJECTS IN THE BEST WAY” are wildlife and conservation titles referring to the climate crisis, saving endangered species, and a peaceful coexistence of humans and animals. We are also looking for current affairs titles about the ongoing space race, the Russian War against Ukraine, and films about trade relations. Travel programs are also still in demand, as well as factual entertainment series. We have also acquired true-crime titles, a genre that we had not covered before. We are constantly looking for history titles, especially ancient history and science, or pop-science series.” What features should a project for you to be involved with it? “When we get involved as a co-financier, the title should not only have strong global potential but also deal with topics that are still unknown, or deal with a new angle of a well-known topic. Serial projects are particularly interesting, but feature docs are also experiencing a new boom. As we secure exclusive rights and territories through co-financing, it is also crucial for us to have rights for as many territories as possible. The projects we cofinance must already have other partners’ commitments secured.” What are the current highlights from Autentic’s catalog? “From our in-house production department, the crime science series ‘Inside the Mind of a Con Artist’
“White Winter”
is one of the titles that stand out the most. Another highlight is our latest travel doc, ‘World’s Most Punctual Train - Japan’s Shinkansen.’ Another travel gem is ‘Cambodia – Land of Enchanted Temples and Floating Villages.’ We are particularly excited about two nature and wildlife programs from our brand-new summer slate. ‘White Winter –A Season on the Northern Alpine Rim’ revels in fairytale backdrops and tells various nature stories of the animals that survive the cold season. Moreover, ‘Wild Prairie Man’ is an intimate portrait of wildlife photographer James Page and Grasslands National Park in Canada. Another highlight is the documentary ‘Qatar - Between Boomtown and Burqa,’ showing a more nuanced picture of the emirate, just in time for the FIFA World Cup.” What are the pending goals for 2022? “We are always looking for the best content to curate for our partner. We plan to increase our financing activities in 2022 and beyond, to get into projects early, whether as a co-producer or co-financier. At the same time, we are also looking specifically for readymade programs to guarantee our customers a steady flow of great documentaries”. By Romina Rodriguez