SEÑAL NEWS 192 | MIPCOM 2022

BILLION EUROS WAS THE TOTAL INVESTMENT IN EUROPEAN ORIGINAL PRODUCTION RECORDED IN 2021.

16%

STREAMERS’ SHARE OF INVESTMENT IN EUROPEAN CONTENT GREW RAPIDLY IN 2021.

1/2

NETFLIX HAS MORE THAN HALF OF STREAMERS’ EUROPEAN CONTENT.

SKYSHOWTIME STREAMING SERVICE LAUNCHES IN EUROPE

The new streaming service

SkyShowtime has officially launched across Europe.

The platform now offers a premium offering across Denmark, Finland, Norway, and Sweden for the first time. SkyShowtime will also be available through the following distribution partners across its Nordic markets: Allente, RiksTV, Ruutu, Sappa, Strim, Telenor, Tele2, Telia, Telmore and YouSee from Nuuday, and TV 2 Play. Once launched across more than 20 countries, its apps and content will be available in 18 different languages.

ALON SHTRUZMAN TO LEAVE KESHET’S LEADERSHIP

Alon Shtruzman, CEO of Keshet International, is stepping down from the company by the end of the year after a decade in the role. Shtruzman has led the division since it was launched by Keshet Media Group in 2012. A replacement has not been named and Shtruzman’s next move is not yet known. Under Shtruzman leadership, Keshet International established a global distribution and production infrastructure.

GEBRUEDER BEETZ FILMPRODUKTION BECOMES PART OF LEONINE STUDIOS

Leonine Studios acquired

house

NATPE TO FILE PETITION FOR RESTRUCTURING WITH THE BANKRUPTCY COURT

The National Association of Television Program Executives (NATPE) announced that it will file a court petition to restructure its business affairs with the Bankruptcy Court under Chapter 11 of the Bankruptcy Code. NATPE has been adversely impacted by the COVID pandemic, which prevented NATPE from holding events, which typically generate significant revenue. These cancellations forced NATPE to operate on its financial reserves, which now require it to reorganize the NATPE business structure. Due to the rise of different strains of COVID-19 NATPE was forced to cancel its flagship Conference and Marketplace events in 2021 and 2022.

FEDERATION ENTERTAINMENT REBRANDS AS FEDERATION STUDIOS

With a record volume of productions forecast over the coming months and in order to manage the challenges of its fast expansion, both in France and worldwide, Federation Entertainment will be renamed Federation Studios. Headed by Pascal Breton and co-directed by Lionel Uzan, the company will strengthen its finance

GUILLERMO BORENSZTEIN JOINS TELEVISAUNIVISION’S DISTRIBUTION TEAM

TelevisaUnivision has appointed Guillermo Borensztein as Senior Vice President of International Content Licensing and CoProduction. Based in Miami and reporting jointly to Michael Schwimmer, President of Global Platform Strategy and Revenue, and Pierluigi Gazzolo, President and Chief Transformation Officer, Borensztein will lead content licensing efforts, as well as drive coproduction deals for linear and streaming original content. Borensztein joins TelevisaUnivision from ViacomCBS International Studios, where he led the content sales and co-production business and spearheaded the new film division.∙

team, as well as a strategic addition to its staff in the form of Julie Gualino Daly, who will be working as Group Chief Financial Officer. Gualino Daly will continue building the Group’s Finance function. She will work closely with Benoit Lacombe, the group’s COO, she will actively participate in its financing strategy.

Fox Entertainment will launch Fox Entertainment Global, the company’s newly formed worldwide content sales division. The area will be responsible for further diversifying and monetizing Fox’s rapidly expanding portfolio of owned original programming. Fox Entertainment Global will be responsible for overseeing the international, multi-platform sales and distribution of intellectual property owned and produced by Fox Entertainment and its portfolio of in-house production studios and content acquired from outside producers. The division will be overseen by Fernando Szew, who has been named CEO of Fox Entertainment Global.

OPINION

LET'S WELCOME PAY-TV 2.0, THIS TIME SPONSORED BY THE STREAMING WARS

Instead of writing this column, I could be watching some new content like "The House of the Dragon" (yes, GOT is back!) or "Rings of Power," the first series story from the "Lord of the rings." Two super productions, one of them considered the most expensive show in history. Rings are expensive: almost 750 Million dollars for the first season.

That represents an excellent example of what the streaming wars brought to us: a content fight with big pockets. "GOT" is something special for people like me who were raised during the payTV expansion, where we all wanted to have an HBO premium package activated at home. Although now we can have it directly on B2C platforms, there is something in common with those pay-TV days; we need to wait a week for new episodes, and no more "bingewatching" for big titles.

I decided to keep writing and thought, "What's the hottest news in the last days? I can't take the answer from my head: Ads, ads, ads, and more ads. Advertising seems to be the new Messiah in the streaming landscape. It's a well-known tool for the media legacy companies, and perhaps it's the primary way of selling anything for the last 100 years.

The new Netflix ad-based tier (we already assume they broke a promise) is expected to generate a

quarter of their total revenue from advertising by 2027 in the United States. Online video advertising will generate three times more revenue than SVOD in 2027; no surprise that all major SVOD services want to participate in that growth. Nearly 60% of global Netflix subscribers will be on the ad-supported tier, and this change will happen through a combination of new subscriber acquisition and "downgrading" of existing subscribers to the ad-based tier.

I am happy for them; really, this is excellent news for our industry.

By Pablo Mancuso

was the main difference from the only TV we knew, and that product and that promise were pretty fair; that's why we paid for it. But then, having the best content available wasn't enough. They had to put ads on those channels.

In the beginning, it was just a little, but pay-TV ended up having way too many ads. The original oath was broken, so we didn't want to pay for it anymore.

Wall Street is happier than me about the new Ad-era. What I am concerned about is the possibility of creating some kind of déjà vu process, one we can call pay-TV 2.0

Pay-TV business models have been tested for five decades and still generate a significant amount of money. When they started, it was a premium experience for users; it was the best TV with no ads. That

Probably I am wrong (in fact, I hope so), but there are too

many ingredients here that indicate we are going on a similar path: great weekly content, the need to create new revenues, the explosion of ad-based streaming models, and the simple fact that we are humans and we tend to replicate what did before. So yes, let's welcome pay-TV 2.0! I am sure the 3.0 version will be available soon.

THE FUTURE POTENTIAL OF THE ONLINE VIDEO ADVERTISING MARKET

NEW FINDINGS BY OMDIA INDICATE THAT THIS BUSINESS MODEL WILL ALMOST DOUBLE FROM $190 BILLION IN 2022 TO $362 BILLION IN 2027, WHERE ONLY NETFLIX IS EXPECTED TO GENERATE JUST UNDER A QUARTER OF ITS REVENUE FROM ADVERTISING.

In the next five years, online advertising revenues will almost double from $190 billion in 2022 to $362 billion in 2027, according to the latest research from Omdia. "Netflix is expected to generate just under a quarter of its revenue from advertising by 2027 in the US. With the growth in SVOD expected to increase from $86 billion in 2022 to $118 billion in 2027, it is no surprise that all the major SVOD services, including Netflix, want to participate in that growth," Omdia's Senior Research Director, Maria Rua Aguete, said.

Omdia estimates that by 2027 nearly 60% of global Netflix subscribers will be on the ad-supported tier, and this change will happen through a combination of new subscriber acquisition and "downgrading" of existing subscribers to the ad-tier option.

Ad load and ad formats are major tactical considerations in implementing hybrid models. Omdia expects Netflix to cap in-stream video ad loads and refrain from introducing ads in the user interface to maintain the premium consumer experience, particularly internationally, where hybrid models are not fully established. According to some reports, Netflix intends to keep the ad load below 4 mins per hour. That trend is on par with HBO Max ad load cap but below all other hybrid streamers in the US.

60% of global Netflix subscribers will be on the ad-supported tier

2027

global: Preliminary advertising revenue forecast, $bn

AD VALUE

In the United States, Omdia expects Netflix to balance out ARPU on the hybrid model tier to be roughly equal to premium tier consumer price despite the ad load capping. That strategy will be much more challenging in far less mature international markets with lower CPMs and a smaller pool of premium CTV advertisers. Under this assumption, Omdia expects that Netflix will generate 23% of its US revenue from instream advertising in 2027. Globally, this figure will be significantly lower, around 14%. Although advertising will not displace subscriptions as the primary source of Netflix revenue, the impact of Netflix advertising move on a broader competitive landscape should not be underestimated. Under this revenue model, Netflix will become a formidable CTV ad market player in the United States, fully competitive with other prominent hybrid direct-to-consumer models, such as Hulu, Peacock, and Paramount+.

By Omdia

A BUSINESS MODEL THAT IS GROWING FAST

WITH CONSTANT EVOLUTION IN VIEWERSHIP AND SPENDING, A NEW STREAMING FORMAT HAS EMERGED THAT IS CATCHING THE EYEBALLS OF BOTH CONSUMERS AND ADVERTISERS: FREE AD-SUPPORTED STREAMING TV, ALSO KNOWN AS FAST.

Today's consumer has more places to watch their favorite TV content than ever before. One of the newest ways they watch is on free ad-supported streaming television, also known as FAST, a form of over-the-top (OTT). Companies like Amazon, Peacock, Xumo, Tubi, and Pluto are reaching consumers with news, entertainment, sports, and more in an environment that mimics linear TV and is often built right into a TV manufacturer's interface.

FAST providers are enjoying the most rapid expansion in their history. Pluto TV, launched in early 2014, took six years to reach 16 million monthly active users (MAUs) in the US. It has almost doubled that total in the last two years. Other FAST services have enjoyed similarly explosive growth, including Xumo and The Roku Channel. It is not surprising that such a dynamic market has attracted a host of other FAST services.

TV manufacturers now have built-in FAST services. Three of the top four US smart TV brands (TCL, Samsung, LG, and Vizio) have branded FAST services available from the home screen. Samsung and LG provide access to their FAST services TV Plus and Channels from the home menu bar. Vizio does the same for WatchFree but also dedicates a button on the TV remote. Connected TV (CTV) device manufacturers such as Roku, Amazon Fire TV, and TiVo 4K Stream also have native FAST apps. App providers such as Plex and DistroTV also provide access to vLinear channels.

As Verizon stated in a recent paper, conditions for the rapid expansion of free TV services have become much more favorable in the last several years. Most

homes that want broadband services now have it, and with 82% of US households using at least one SVOD service, virtually all are streaming. In other words, a massive audience is streaming and searching for things to watch online. However, the availability of an audience does not explain why so many are gravitating toward FAST services.

NEW ERA

In today's multiscreen video world, more TV viewers rely on streaming services to discover and watch their favorite video content. For example, US consumers are expected to spend close to six hours per day in 2022 with TV and digital video, two with much of that time devoted to streaming video services, both adsupported and non-ad-supported.

Companies like Xumo, Pluto, Tubi, or Amazon Freevee offer streaming services that also feature linear-style channels, encouraging a lean-back experience that mimics traditional video or cable but in a streaming video format. For advertisers, FAST provides a unique opportunity to reach cord-cutters while they are "scrolling," "channel surfing," and discovering new content, a prospect not possible through ad-free services like Netflix or even from ad-supported ondemand services like Crackle.

As a result of this growth, more premium video publishers are seeing the advantage of creating FAST services to reach and engage with audiences. For example, ABC, Fox, NBC, and CBS now offer FAST news channels, and cable networks like Hallmark Movies, A&E, History, and BBC use FAST channels to reach their audiences. While consumers may land in the FAST sphere without even knowing it, recent Xumo data shows viewers will spend an average of over 100 minutes with FAST video content. Whether viewers are consuming their content on a TV screen, computer, or mobile device, FAST provides them with the convenience of varied content with the nostalgic feeling of surfing through a wide array of personalized channels. Consumers also appreciate that FAST providers typically do not crowd their content with too much advertising.

Moreover, research shows that media plans are most robust when TV is also combined with streaming, including FAST. In fact, in a recent case study analyzing 20,000 multiscreen campaigns, Comcast Advertising found that reach was highest when 20-30% of an advertiser's investment was allocated to streaming. Today, FAST is an increasingly important piece of that streaming allotment, playing an important but complementary role in media plans. To understand the dynamics behind FAST's growth, there are key market participants: streamers, hardware manufacturers, and content providers.

MARK GARNER

E

GARY WOOLF

EVP St r ategic Development, All3media International

“

FAST is a marketplace that is coming to its own in the last three years. From a growth point of view, I think there continues to be a tremendous amount of room for FAST, both in terms of content, audience, territory, and platforms. While the United States has a head start on FAST, I see a tremendous opportunity in global markets. Many have already started to adopt FAST or launch their own FAST platforms. Some are local players, and some are global companies, like Pluto or Samsung. I also see a tremendous number of opportunities regarding monetization of FAST, as advertisers and marketers are beginning to really recognize the value and quality of those audiences."

"I would not describe FAST as 'added value.' I think it is a fast-growing new business opportunity that leverages the assets and infrastructure of existing television content companies. A+E sees FAST as the second coming of cable, or the third version of broadcast, just with greater flexibility, much greater targetability, greater data, and greater reach. On a streaming basis, your reach opportunities are phenomenal, almost unlimited."

"We started FAST three years ago. It was a single channel, and we did not know if that would take off or go anywhere. Today, we have 14 channels, and we will be growing that portfolio in 2023. We started in the United States, and it is our expectation in 2023 or 2024 to extend beyond those US boundaries into markets that have developed FAST and are ready for consumers, advertisers, and marketers. Our footprint will be growing over the next months, and I see many markets across the globe as very promising for FAST, particularly those with strong infrastructure, a strong broadband, and a high degree of viewership on connected TV, which will lead to monetization."

Online video advertising to generate USD 259 billion revenues

2025

“

We see a range of opportunities around FAST. There's the opportunity to launch our own channels around some of our key brands, around specific genres and key talent. We're immensely proud of our 'Midsomer Murders' channel, where we do a lot of work around the curation of that show, working with the team responsible for the Midsomer brand to make this an integral part of the Midsomer family. Other recent launches include 'Homes Under The Hammer' and 'Great British Menu.' We have a further three channels launching before the end of the year, one of which is focused on a key talent for us; and we continue to operate with Cinedigm our reality channel 'So…Real,' and our single brand channel for 'The Only Way Is Essex.' A channel like 'So…Real' is great for opening up opportunities for some great brands that do not have the volume for a single IP channel."

"I think the core work we do around our channels is the curation and turning these channels into experiences for fans, particularly around single IP or single talent. Digital media has been a component of All3Media International's strategy for many years. We've always been at the forefront, from some of the first coproductions between UK producers and the big SVOD players, having our own niche SVOD service, and now launching FAST services."

"I think what's different this time is the need for a new set of skills. As well as the traditional distribution skills of rights management, we are assuming editorial control, creating elements for our channel, and through working with a technology provider, having overall responsibility for our channel feed that plays out 24/7. That meant ensuring we have competency to produce on-air promotions and to work with platforms to build our audiences through bespoke promotion. In FAST, where we are running our own channels, elements that our traditional client base might be responsible for, we become responsible for."

Free video streaming services used by US adults in millons.

SHAUN KEEBLE VP Dig ital, Banijay Rights

“

It's well documented that the US remains the biggest market in the FAST channel space, but other key territories to focus on include the UK and Germany. There's also growth of note in Latin America, where we recently launched our 'MasterChef' Brazil FAST channel, as well as emerging activity in Australia and New Zealand. We recognize that many more platforms are being launched worldwide, and, as a leading distributor, we want to work with those. But it will always be the content itself that will drive decision making, utilizing our strong, existing recognizable IP."

"In September, we launched our first ever-dedicated Banijay-branded general entertainment FAST channel, Horizons: Powered By Banijay, in a landmark move that further extends our reach on free ad-supported services worldwide. Horizons brings more than 200 hours of premium UK content to viewers on Samsung TV Plus UK, LG Channels, and Rakuten and features several series from our 130,000-plus hour catalog, including 'Location, Location, Location,' '8 Out of 10 Cats' and 'Pointless,' as well as drama series 'Gunpowder' and 'The Woman in

White.' This channel features new integrated 'Powered by Banijay' branding, which will now be added to Banijay Rights' entire suite of 15 live FAST channels and close to 50 live streams globally. Horizons builds on our success in the UK global FAST channel market, where earlier this year, we launched our channel brands 'McLeod's Daughters' and 'Deal or No Deal USA' on Samsung TV Plus UK, as well as 'Deal or No Deal,' 'Fear Factor' and 'The Biggest Loser' on LG. Meanwhile, we recently launched a German-dub aggregate channel in Germany, 'Spannung & Emotionen,' which features shows such as 'Peaky Blinders,' 'Broadchurch,' 'Dark Matter,' and 'The Bridge.'"

"We are a platform-agnostic business and will continue to be. FAST channels haven't changed our strategy per se but do add shelf life to our existing titles in our expansive catalog. This whole new world has helped us to bring in a new school of talent, including schedulers, analysts, and editors, something we are fully embracing."

Changes in viewership for Pluto TV and Netflix throughout the week

BETH ANDERSON G M FAST, BBC Studios

“

The beauty of FAST is that it has a low barrier to entry with no paywalls, creating an inclusive environment for all audiences to come together and explore and find content. With this easy access comes increased audience attention and demand for content."

"With BBC's 100th anniversary this year, BBC Studios is uniquely positioned to build and curate FAST and AVOD channels that deliver highly engaged audiences. Major wins include unleashing fan-favorite British brands to a previously untapped audience through deals with Pluto, Amazon Freevee, The Roku Channel, Samsung TV Plus, and Xumo, among others. We launched the 'Top Gear' FAST channel on Samsung and Plex."

"In the past 12 months, we have doubled FAST and AVOD channel distribution from BBC Studios, more than doubled FAST, and AVOD audience reach for BBC content in the US year over year, and we are now looking at where we can iterate, refine, and selectively expand. We have multiple ecosystems allowing us to act globally and think locally, and our usage data allows us to listen to consumers in each region and deliver impactful content."

US connected TV ad spending, 2019 - 2024 billons, % change, and % of total media ad spending.

DAVID SMYTH CEO, Beyond Rights

“

The television industry is always in flux and constantly evolving to take advantage of new technology and changing consumer behavior. FAST channels are doing both successfully and can provide new revenue streams for distributors, especially those with sizeable and cross-genre catalogs like Beyond Rights. As the FAST world grows and more consumers engage, perhaps recently put off by the rising subscriptions on SVODs and the cost-ofliving crisis in many territories, it is now becoming a meaningful revenue opportunity."

"We have recently announced a partnership with OTTera, which will see us launch several FAST channels globally, probably a mix of Beyond branded channels and IP-based channels around some of the long-running, volume franchises we have in our catalog. Earlier this year, we launched our collaboration with Insight TV to create Beyond branded blocks on its InWonder channel, and we have now extended this relationship to include a much wider selection of content. We have also recently signed a deal with Samsung to create IP-led FAST

channels and are currently exploring several other opportunities around the world that can readily work alongside our current FAST activities."

"For distributors, if we are to be successful, it's vital that our strategy reflects and evolves with the changing media landscape, ensuring we can effectively monetize new opportunities as they arise. Beyond has always looked to evolve in line with industry developments, so at one level, our work in the FAST space fits neatly with our existing strategy. However, this innovation in the consumer space is changing our ability to reach and respond to them directly. So, we are now aligning direct consumer behavior more closely with our content acquisition and subsequent distribution strategy than ever before."

“

FAST business means international growth. OTT streaming is in its nascent stages outside of the US. FAST, while growing quickly, is nowhere near critical mass. Penetration of markets where local broadcast stations have a strong presence will be the next frontier. Moreover, it is advertising innovation. There is a constant cycle of innovation in the CTV ad space. SSAI (server-side ad insertion) on FAST channels provides an opportunity for greater targeting capabilities than in most formats and especially linear TV. Further, there are opportunities to innovate ad formats, whether that's been experimenting with shorter ads, adding QR codes, or leveraging banners."

"The ability to provide free content to audiences in a new format is the greatest added value. While linear channels are not new by any means, the technical infrastructure of FAST allows us to provide a bettercurated experience, including programming stunts and marathons based on current events in the zeitgeist. Our single IP channels offer an opportunity for enthusiasts to binge their favorite content 24/7. We anticipate other innovations in the future. Put simply; the opportunity to serve our audience in a more curated and customized way without the cable TV costs drives engagement and therefore growth and value."

"FAST business changed FilmRise's global strategy in recognizing the high levels of engagement on FAST channels in the US. It's been especially important to FilmRise to include FAST channels as part of our go-to-market strategy in new territories. While local broadcasters are more entrenched globally and adsupported streaming is still in its nascent stages outside the US, FilmRise must provide a familiar viewing experience, the linear experience, as cordcutting proliferates globally."

DANIEL GAGLIARDI

VP Digital Distribution and Business Development, FilmRise

JENS RICHTER

Fremantle International

“It is undeniable that FAST is attracting users. There are many potential reasons: SVOD saturation, subscription fatigue, penetration of connected TVs, easy discoverability, reasonable ad-loads, and value proposition (free). One thing we know is that FAST is here to stay. It is a big market in the US and is growing stronger, with several platforms having already reached the $1bn revenue mark per year. We plan to have a dozen FAST channels up and running in the US by the end of 2022. In addition to the US, we believe that international growth will be a big opportunity for us. Thanks to our fully localized content, the editorial curation of our channels, and our marketing and promotion firepower, we can become a truly global player in the FAST industry."

We have been working hard on the creation of successful FAST channels. In addition to massive hits like 'Baywatch,' 'BUZZR,' 'The Price Is Right,' and 'Supermarket Sweep,' we have recently launched 'The Jamie Oliver Channel,' with over 300 hours of renowned chef Jamie Oliver's programming; 'Combining Chop' N Chat,' 'Travelogues' and seasonal specials. We expect to launch additional great channels in the next 12 months, both in the US and Internationally (UK, Germany, Australia, France, Italy, Spain, and others). Our channels are credible linear channels, with editorial curation, attention to detail, and a range of high-quality creativity."

"FAST is increasingly becoming a relevant revenue stream in Fremantle distribution's business, changing our strategy in several ways. On data: FAST allows us to access a large amount of structured data on content consumption. We then feed this information to different teams involved in the channel creation and other parts of the company. It creates an efficient cycle of communication and powerful crosscollaboration. Regarding advertising, we are keen to explore different business models (Inventory share, Revenue Share, Hybrid), and we are in the driver's seat to positively affect revenues by excelling at curation, marketing, and data analysis. Finally, are brands: in addition to single title channels, we are creating new FAST channel brands that we believe will be valuable both in the short and long term."

PATRICK RIVET

EO, Thema

“

The growing opportunity for Thema is to monetize our overflow content, not only entertainment but also sports, by crafting FAST channels that can live along with our pay-TV offer. Any media company of any size can monetize its content by licensing it to a FAST service provider. In contrast, some large media production and distribution companies, like Thema, have developed or acquired their own FAST video platforms to monetize media assets better."

"We recently launched three FAST channels. Vive Kanal D Drama offers Turkish drama series, a popular category much acclaimed by audiences, including a careful selection of hits from Kanal D Drama to the FAST digital market. It is now available on Roku Channel's 'Espacio Latino.' It is also available on Samsung TV Plus in Mexico and on Canela TV. The second channel is Vivaldi, curated by Mezzo and distributed by Thema, offering an extensive, carefully curated collection of the most exclusive programming. It is available on The Roku Channel, Plex, LG, and other CTV platforms. Finally, ITV Deportes is a FAST channel in Spanish dedicated to Mexico's most popular sports and includes exciting analysis and comments from experts in each sport. It is available on The Roku Channel and Canela TV in the US."

"In the post-pandemic world, high inflation rates are putting the squeeze on household budgets, causing a noticeable increase in cord-cutting. Consumers love the idea of having a TV-like viewing experience for free, except for maintaining an Internet connection. Moreover, FAST platforms offer a similar viewing experience with no monthly fees and can be accessed on any device. Another advantage is access to niche, branded, and original content. FAST service platforms seek to broaden their appeal for audiences by acquiring niche, branded content to stream on their platforms."

Most consumers want ad-suppotted streaming services

Source:

VIVEK LATH

M anaging Director, GoQuest Media

“

The foundation of the FAST channel business is to solve the 'Selection Dilemma' of users. There is so much content to consume through various platforms with competitive pricing that it becomes an endless search for what to watch next. We see an immense opportunity to monetize long tail or library content. Also, niche content categories can be monetized on FAST. While broadcast television is on a decline, the linear nature does provide stickiness for many content categories, and replicating that on FAST is where we see significant growth opportunities. I would say that FAST will accelerate cord cutting much faster than VOD did."

"For content owners, we think the added value of this business model is the ease of creating channels in any country. Earlier, if you wanted to launch a linear broadcast channel, it would take millions of dollars in capex, tech, and distribution. The investment to launch one FAST channel is less than $10k. There is no betteradded value when the cost of setting up is almost nothing. Launch and experiment because the cost of failure is not as high. For viewers, it's free, easy to access, handpicked and curated content, and puts zero cognitive load while deciding what to watch."

"The FAST business has significantly changed our global strategy. Our primary mission is to squeeze every bit of monetization from the content we represent. B2B licensing is constrained by the buyers' capital allocation, focus, and overall capacity. FAST allows us to break through this monetization ceiling. It also allows us to build our own audience thesis and test them. Advertisingsupported models such as FAST or YouTube are something we are betting on in the next eighteen months."

GRAHAM HAIGH

creating channel vehicles that will be a key component of our distribution business, offering us flexibility in how we get our content in front of consumers across different windows."

Initially, we see this as a business model to exploit our huge library of 90,000 hours of content and get this in front of consumers and super fans of shows such as 'Hell's Kitchen,' 'Come Dine With Me,' 'Murdoch Mysteries,' and more. It's clearly a growing sector, and we're thinking about this with a long-term view of

“

HAYMI BEHAR

"We have recently launched a 'Come Dine With Me' channel with Samsung in the UK and have a couple more channel launches planned around that franchise. In general terms, we are looking at another four to six launches globally in 2022 and then have plans for further new channels in 2023, distributed across multiple territories and platforms. We have a clear strategy that falls into three buckets of single IP ('Hell's Kitchen' and 'Come Dine'), genre channels, for example, Storylands (Non-English Language Drama) or Our World (Natural History, Wildlife), and broader plays in the general entertainment (ITV Choice) and drama spaces."

especially when the content is free. FAST is currently the fastest-growing streaming tier, but there's also so much demand for it from audiences worldwide and much potential in businesses, content providers, and advertisers."

“

As more and more people are turning to digital TV platforms to consume content, FAST has quickly gained a foothold in the market. Various research shows that around 3/4 of viewers don't mind seeing relevant advertising during TV watching,

"We have two channels on many platforms, such as Samsung TV Plus, Freevee, Pluto TV, and Rakuten TV. We are also working with some platforms to create specially curated channels for their audience. Finally, we have four more FAST channels coming down the pipeline. Our highly sought-after channels are Filmstream and Fashionstream, which broadcast critically acclaimed classics, independent movies, and the latest from the fashion world plus lifestyle content."

By Diego Alfagemez

EV P, G lobal Business Development & Digital Distribution, ITV Studios

CMO & CDO, SPI International

INTER MEDYA, 30 YEARS OF GROWTH IN THE CONTENT BUSINESS

In 2022, Inter Medya celebrates a significant milestone: 30 years in the international content business. The company's achievements during these years are many: an established name in the distribution arena, more than 150 countries reached with its content, and the creation of its own production label. Can Okan, Founder and CEO; and Ahmet Ziyalar, President and COO, spoke with Señal News and recounted the company's history, challenges, and goals.

WHAT DOES IT MEAN TO YOU, NOT ONLY FROM A BUSINESS PERSPECTIVE, THAT INTER MEDYA REACHES ITS 30 TH ANNIVERSARY?

CO: "I am so proud! It makes me very happy to have reached this point in a business that I have worked so hard and devotedly. We are celebrating our 30th anniversary with a growing team that carries Turkish content to more than 150 countries."

AZ: "I think being a 30-year-old company is not easy! It is our greatest wish to have many more successful years with the pride and happiness of being a company that brings Turkish culture to the world."

CAN OKAN, FOUNDER AND CEO; AND AHMET ZIYALAR, PRESIDENT AND COO, RECOUNT THE UNIQUE PATH THE TURKISH COMPANY EXPERIENCED IN THE PAST 30 YEARS, CHARACTERIZED BY CONSTANT EVOLUTION AND DIVERSIFICATION.

HOW DO YOU REMEMBER THE COMPANY'S FIRST DAYS, AND WHAT WERE THE MOST SIGNIFICANT CHALLENGES DURING THAT TIME?

CO: "When Inter Medya was first established, it was a company that brought content from abroad to Turkey. We handled all the work with a team of two people. Today, we are 35 people and still growing. Over time and in parallel with the worldwide success of Turkish content, the nature of our work has changed, and we started to bring Turkish content to the international market. Political and economic problems arise in different countries. Of course, that impacts countries' purchasing power, but despite all these difficult times, our content sales have not lost momentum. Likewise, during the pandemic, there was great uncertainty for everyone, and production became very difficult. Moreover, all exhibitions were canceled, and everything moved to digital. Those times were perhaps the most difficult we experienced. Despite that, we overcame these times even stronger, got used to the new order quickly, and internalized our business model. Our sales continued to increase and grow."

keep up with today's technology. They have different perspectives, which is a great inspiration for us. Together with them, we discover other worlds and keep ourselves up to date. We encourage them to convey their thoughts and ideas to us as much as possible. After all, two heads are better than one! Inter Medya is more than just a corporate company; it is a team that operates like a family. We take care of this culture in our internal management. We see it as a contribution to Inter Medya and our industry."

CAN OKAN

WHAT ARE THE MOST SIGNIFICANT MILESTONES THAT INTER MEDYA REACHED DURING THE PAST THIRTY YEARS?

CO: "At Inter Medya's first years, its basic market structure remained more or less the same but soon found itself operating both inbound and outbound. Beginning in 2001, Inter Medya expanded its range to cover the Central and Eastern European markets, Russia and the CIS countries, Central Asia, and the Baltic. From 2007, the Middle East and North Africa started to show great interest in Turkish content. At the beginning of 2014, Inter Medya licensed Turkish Dramas to Spanish-speaking TV channels in the United States and 21 countries in Latin America. After that, the demand from those countries never decreased. In 2020, following the popularity of online streaming platforms, we launched the 'New Generation Turkish Series' and acquired the representation rights of several successful mini-series. In 2021, Inter Medya created Inter Yapım, an independent production company aiming to produce high-quality content for local and international digital platforms. These are the important milestones we can count in general."

HOW WOULD YOU DESCRIBE THE INSPIRATION AND HELP YOU RECEIVED FROM ALL INTER MEDYA'S TEAM?

AZ: "We have a young and very dynamic team with knowledge of different cultures and a global vision. They follow global trends from various sources and

AHMET ZIYALAR

HOW DO YOU EVALUATE THE PROGRESSION OF THE CONTENT BUSINESS IN THE PAST DECADES?

CO: "In today's world, I think that content could be the fastest developing and growing business.

Especially with the

pandemic, the expected momentum was gained earlier, and our industry experienced a boom in production and consumption. The content industry has made great progress in quantity and quality."

WHAT WILL BE THE GOALS AND DREAMS FOR THE FOLLOWING YEARS OF INTER MEDYA?

CO: "Of course, our biggest goal is to continuously improve our content catalog and not to leave a country where we don't deliver Turkish content. In addition, we want to consolidate the production journey we started last year by signing big projects."

AZ: "As Can said, our biggest goal is to keep our catalog up to date and diverse and to maintain an offer that meets the demands of all our customers. In addition, our greatest wish and dream is to create productions that will stream on local and international platforms with our new initiative Inter Yapım."

By Diego Alfagemez

PARAMOUNT+ AND PLUTO TV, A PERFECT SVOD & AVOD MATCH

MARCO NOBILI, EVP, INTERNATIONAL GENERAL MANAGER OF PARAMOUNT+, AND OLIVIER JOLLET, EVP, INTERNATIONAL GENERAL MANAGER OF PLUTO TV, DESCRIBE THE COMPANY'S STRATEGY FOR BOTH SERVICES AND ITS GLOBAL EXPANSION PLANS.

In the midst of the streaming war, where the number of platforms is growing every day, and the content available to consumers is almost unlimited, offering a solid and attractive product is not easy. In the case of Paramount, the company found a recipe that worked out well and that many other players are now looking to emulate: offering a premium subscription-based platform (Paramount+) and another based on advertising (Pluto TV). To learn more about this approach and talk about the global expansion plans for both services, Señal News interviewed Marco Nobili, Executive Vice President, International General Manager of Paramount+, and Olivier Jollet, Executive Vice President, International General Manager of Pluto TV.

What role does streaming play in the company's overall strategy? Nobili: "Streaming is key to Paramount's global strategy. We have found success in accelerating this strategy by using a marketby-market approach, allowing us to expand into new markets quickly and economically. With 6.8 million net subscriber additions last quarter, Paramount+ has established itself as one of the

fastest-growing brands due in part to our global expansion efforts. We most recently saw successful launches in both the UK and Italy, and we look forward to continued growth as we enter 45 markets by year-end, including France, Germany, Switzerland, and Austria." Jollet: "Through this market-bymarket approach, we are not only accelerating our paid streaming presence but also our presence in the ad-supported market. Pluto TV continues to scale its market share and expand its content offering in global markets. We have grown Pluto TV's monthly active users to nearly 70 million and secured its lead as the number-one free adsupported streaming TV service, with more than 1.000 channels globally through more than 425 content partners."

How do you feel the company's SVOD and AVOD offerings complement each other?

Nobili: "Our mix of streaming options allows us to cater to various audiences based on their preferred viewing experience. On Paramount+, viewers are given the opportunity to choose from a vast content library of blockbuster movies, hit TV shows, and new originals that span Paramount's portfolio of iconic brands."

Jollet: "Pluto TV delivers a wide range of content spanning categories including movies and television, news & opinion, sports, comedy, reality, crime, classic TV, game shows, explore, gaming & anime, music, 'En Español,' kids, and more. While we do not have any original content, we do have original channels, a variety of which are dedicated solely to popular Paramount IP, allowing audiences to enjoy iconic titles from 'SpongeBob' to 'CSI' to 'Star Trek.'"

How do you stand out from the rest in a streaming market overcrowded with platforms?

Nobili: "We are at a different growth phase and have a fundamentally different approach than the legacy streamers. We have a diversified playbook with

 Marco Nobili

 Olivier Jollet

Paramount+ as part of our strong portfolio of direct-to-consumer, broadcast video-on-demand, ad-based video-on-demand, free ad-supported streaming TV, pay channels, and free-toair networks, all of which have an established base of viewers. Our experience in successfully running all aspects of this vast portfolio gives us a huge advantage over our competitors. We also have found value in establishing distribution partnerships and growing the global accessibility of Paramount+, as illustrated in our recent multi-year distribution agreement with Sky in the UK, Ireland, Italy, Germany, and Austria. We make it easy for audiences around the world to access great entertainment. From fan-favorite films to new original series, we are committed to delivering an expansive selection of cannot-miss entertainment for fans of all ages."

Would Paramount consider implementing a model that somehow combines all the company’s streaming platforms?

Jollet: "Paramount is a handful of companies with a content pipeline that can lead in all segments of the global entertainment market. Our mix of free and paid streaming options has been at the heart of our strategy from the start, offering viewers the freedom to choose the plan that is right for them. We also have seen that consumers want

both a lean back and a lean forward experience, and through our powerful ecosystem, we are able to cater to both viewing experiences."

When it comes to producing or acquiring content, what is Paramount's strategy for shaping the programming offer of both Paramount+ and Pluto TV?

Nobili: "At Paramount, we expect to grow our global direct-toconsumer expense to over US$6 billion in 2024, allowing us to continue to produce quality content both globally and locally. We know audiences have big expectations, and we have something for everyone, from blockbusters to new star-studded originals to iconic shows with the stars we know and love. As our service expands globally, we will continue to invest in local content, allowing us to expand our pipeline of premium intentional originals and cater to an array of audiences. With 12 studios creating content locally around the world, we plan to greenlight 150 international originals by 2025 while continuing to draw viewers in with highly anticipated original series, movies, and sports. From global to local content, we truly provide a mountain of entertainment for all fans everywhere."

Jollet: "Pluto TV creates a unique and curated experience in each market, offering premium content packaged into channels

programmed by local teams. We combine our team's expertise in content genres and streaming data to make informed and intentional decisions when acquiring content and launching new channels."

What are your future plans regarding Paramount's streaming expansion?

Nobili: "We remain focused on expanding Paramount+ on a global scale, bringing international blockbuster hits such as 'Top Gun: Maverick,' and original series such as 'Tulsa King' and '1923' to audiences around the world. With the service launching in France, Germany, Switzerland, and Austria in December, Paramount+ will be available in more than 45 markets globally by the end of the year. Beyond 2022, we look forward to debuting the service in India next year while continuing to deliver incredible value to our subscribers."

Jollet: "Expanding Pluto TV internationally is critical to Paramount's overall streaming strategy. We plan on continuing to leverage our distribution partnerships to introduce Pluto TV in new markets, with our next launch set for December 1 in Canada, where the service will debut with its most robust content offering to date with more than 100 unique, curated channels and over 20.000 hours of content."

By Federico Marzullo

MULTICULTURAL CONTENT IS HERE TO STAY

EXECUT IVES FROM LEADING PRODUCTION AND DISTRIBUTION COMPANIES HIGHLIGHT THE VALUE OF INCLUSION AND REPRESENTATION IN THE CONTENT MEDIA LANDSCAPE, WHERE AUDIENCES SEEK CONTENT THAT SPEAKS TO THEIR CULTURE AND EXPERIENCES IN A RELATABLE WAY.

One of the biggest challenges that media brands face today is their diversity efforts. Many traditional and mainstream media companies have started to be more thoughtful about building cultural, racial, ethnic, and lifestyle diversity into their content. Building awareness and driving viewership of any new shows will require paying attention to inclusion and representation, both on and out of the screen.

Liz Soriano

Christian Vesper

Preside nt of Global Drama at Fremantle

“Inclusion and representation have become essential. The large American platforms have mandated it across projects, and we are finding more insistence upon it globally. Even without the mandates, it makes both creative and commercial sense. Talent, behind and in front of the camera, is what we all look for, and of course, inclusion is key in finding that talent.

“Latinx, LGBTQIA+, Gen Z, or Millennial audiences seek content that speaks to their culture and experiences in a relatable way. I think we all like to see something of ourselves reflected in the stories that are told, and for too long, those stories were rather narrowly prescribed, not necessarily intentionally, but still didn’t connect with everybody. Now the audience expects and deserves to see those.”

“I think there is a that reinforces the value of programming that helps to differentiate the broadcaster/ streamer and attract more niche audiences. It is always tough to predict what audiences want and what constitutes a niche. I’m not sure that they want just a niche; better to have shown that they transcend to a big audience and are distinct and specific. As an industry, we still need to get out of old habits (hiring the same writers, crew, cast, etc.) and broaden our point of view. But it is key to the future to do so.”

Seni or Vice President, International Programming, A+E Networks

“I

do fully believe that consumers of content are looking for shows that will entertain them but also shows they can relate to who they are. Those of us that are in the global part of the entertainment business recognize that diversity means a broad set of identities. Diversity and inclusion are necessary to consider when you create content, and if you are a platform that plays content, then you have to make sure that is on your service or channel.”

“We have a corporate mission to ensure that diversity, equity, and inclusion is an aspect that runs around our entire business. When you look at some of our top shows that not only continue to do well on our linear networks but also have become popular on streaming platforms, you will find titles like ‘The Lincoln Lawyer,’ which came out of A+E Studios and completely represents a diverse cast. We also have several unscripted series like ‘The Secret of Skinwalker Ranch’ that also reflects diverse characters, which is authentic.”

“In response to the fact that global audiences seek these expanded narratives that represent the diversity of people from all over the world and their cultures, we are reflecting that in content that has risen in popularity and all different platforms. The

Karina Etchison

Inte rnational Sales, Keshet International

‘niche’ target audiences (‘Squid Games,’ ‘Stockholm,’ and ‘Narcos’), which have all gone on to be enjoyed by massive mainstream audiences around the world.”

“P

eople want to see themselves on screen. That said, shows like ‘The A Word*,’ which was picked up by HBO Globosat in Latin America, and its spin-off ‘Ralph & Katie’ are not only successful because they feature a family dealing with autism or LGBTQi characters and actors with Downs’ Syndrome. They are loved because, at their heart, they are entertaining, relatable dramas that are joyfully uplifting to watch.”

“It is human nature to want to see ourselves on screen, and our lived experiences brought to life there too. As an industry, I believe we are responsible for representing all members of our society fairly and positively in both scripted and non-scripted shows. By doing this, we have the power to challenge preconceptions and change long-held stereotypes for the better. I’m excited about our upcoming period drama ‘Cuba Libre,’ the extraordinary biopic of Annie Silva Pais, a very progressive Portuguese woman who abandoned her family to follow her political beliefs and support the Cuban revolution, changing the course of many people’s lives along the way.”

“There are so many trends to support the value of diversity and inclusion. Whether it’s the proliferation of competitive reality shows focusing on particular skills or interests like make-up artists, glass-blowing, or dating formats featuring only LGBTQIAi contestants. However, plenty of shows have reached well beyond their original

“At Keshet International, we love distributing local language content from all over the world. Our current slate has dramas from Portugal, Iceland, Israel, Sweden, and Japan. From our experience, the story comes first because great content knows no boundaries. Our Norwegian comedy-drama ‘Pørni’ was picked up across Latin America by HBO and is a great example of this.”

Alberto Fernández

Dig ital Content Director, RTVE

biggest challenge is bringing creators and their work into the ecosystem. In other words, to support, empower and hire talent behind the camera for those shows. We have to stop looking into the regular places where we want the content to come from and how we want it to be produced, and we need to celebrate and support content creators that they themselves are diverse. Without those authentic voices behind, you cannot create an authentic, diverse program, series, or movie.”

“A+E is working to improve in the area of overall diversity, and something that we are trying to support, echo, and voice within the industry. For example, we are very proud that we were among the founders of the Mipcom Cannes Diversify TV Awards, a long-time celebration of diverse content.”

“T

he so-called ‘conquest of spaces’ has become one of the main demands for new audiences, and knowing how to deal with it properly is key for content generators and broadcasters. This process goes two ways: firstly, in having a faithful representation of the diversity in which young people live and coexist, who naturally accept realities that in another era would be conflictive. Secondly, in de-dramatizing these realities, looking at them face to face and connecting them with universal narratives that can make general public sympathize with.”

“The main revolution in content production in recent years is how these audiences have managed to subvert the semiotics of the stories we consume. To do this, you have to see the evolution of Disney, the great shaper of global values for children and adolescents. The way in which their shows deal with issues such as mental health, sexual orientation, ethnic origin, or even economic power relations has changed radically in the last ten years. Not only that, but diverse audiences also demand that they must be the protagonists of their stories, not a quota for minorities within a product that is aimed at all audiences.”

“The main challenge lies in the effect of the process I have described above: to prevent differentiation from ending in polarization. There is a risk that diverse content generates a dynamic of action-reaction between diverse and hegemonic audiences. In that sense, I believe that this process has a lot to do with the emergence of certain political discourses that take advantage of this environment to deepen division and confrontation. The production of diverse content should be a way to democratize our societies and improve dialogue and acceptance of others, which is why it is key that, while content is produced and developed from new points of view, the door is always left open to everyone.”

By Diego Alfagemez

“WE HAVE THE SCALE AND FLEXIBILITY TO DELIVER INDIVIDUALLY TAILORED DISTRIBUTION STRATEGIES”

SABRINA AYALA, SVP OF SALES, FRANCE, ITALY, IBERIA, AND LATIN AMERICA AT CINEFLIX RIGHTS, EXPLAINS THE COMPANY'S STRATEGY AND GOALS

AFTER CELEBRATING ITS 20TH ANNIVERSARY.

Cineflix Rights is celebrating its 20 th anniversary in 2022 as one of the UK's largest independent distributors. Sabrina Ayala, SVP of Sales, France, Italy, Iberia, and Latin America at the distributor, explains the company's strategy and goals after its first two decades.

What is Cineflix Rights’ strategy when it comes to shaping its catalog?

"We aim to ensure we have something for every audience sector and taste, so our catalog is packed with stand-out scripted content and big stars, alongside factual shows spanning multiple genres. We are constantly refreshing our slate with new content from some of the world's most creative producers to ensure there is always something new for our buyers, plus returning seasons of existing favorites."

What projects are you interested in getting involved in? What business model works best for Cineflix Rights?

"We work with producer partners in various ways and use a suite of innovative financing options: from acquiring a format for production in

the United States or Canada; prebuying distribution rights; or coming on board as a co-production partner at an early stage. Our objectives are always the same: to provide the finances and expertise to help our partners create high-quality shows which have the potential to become long-running brands for the international market, maximizing the return on their IP."

Do the demands of the clients vary greatly depending on the region?

"Some territories have restrictions on content, some are more partial to limited premium series, and others are looking for volume with multiple seasons of longer-length series, but in general, everyone wants a good story. And that is what our Mipcom slate delivers, whether that is our new drama 'Last King

How is the process of choosing the ideal partner for each project?

"Our position as the UK's largest truly independent producer means we have the scale and flexibility to deliver individually tailored distribution strategies for each show. We can source the best content from creatives worldwide and are not tied in with any particular platform when it comes to selling it so that we can provide the best options to our buyers. We can offer a wide range of content from premium dramas starring big Hollywood talent to platforms looking for noisy content to draw in viewers, through to long-running factual hits spanning multiple genres including true crime, property, and lifestyle, science, and history to buyers who are looking for volume shows that deliver audience recognition and loyalty."

How was Cineflix's performance in 2022, and what are the next goals?

"Patrick Aryee's Wild World"

of The Cross' or the new season of 'Irvine Welsh's Crime.' Our premium factual content is also strong on storytelling, with titles such as 'Patrick Aryee's Wild World.'"

"We have had a great year. We are building our catalog of high-profile hit dramas with big talent attached; and adding returning seasons of some of the world's biggest, longest-running factual brands. Moreover, this Fall, Cineflix Rights is celebrating its 20 th anniversary, which is an opportunity to accelerate growth and consolidate our unique position in the market. As we look forward, we will continue to increase our growth in scripted, build our slate of movies, and expand our digital activity."

By Federico Marzullo

 Sabrina Ayala

“CONTENT INTERNATIONALIZATION IS IN OUR DNA”

Marta Ezpeleta

MARTA EZPELETA, GM OF DISTRIBUTION, COPRODUCTIONS, ACQUISITIONS, AND INTERNATIONAL OFFICES AT THE MEDIAPRO STUDIO, HIGHLIGHT THE BUSINESS VALUE OF THE CORRECT EXPLOITATION OF CONTENT AND HOW THEY MANAGE THEIR WINDOWING STRATEGY.

The Mediapro Studio's international distribution strategy features a vast array of productions and partnerships worldwide. With new shows launching at Mipcom, the company will try to expand its global footprint. Marta Ezpeleta, GM of Distribution, Coproductions, Acquisitions, and International Offices at The Mediapro Studio, talked with Señal News about these plans.

What defines The Mediapro Studio's international content distribution strategy?

"The main criteria is the content itself, quality content. We always seek a wide variety of content in which all genres and targets are represented to respond to our client's needs worldwide. Our job is to constantly converse with all of them and stay updated on what they are looking for. For The Mediapro Studio Distribution, achieving optimal exploitation of all our content in each market and territory is essential, based on the best agreement and sales strategy. Therefore, it is equally vital that the content reaches the client that makes more sense. We like to attend to them in their success, go hand in hand and be a partner that follows up with all our support, from marketing and press, in the launches for their linear channels and platforms. We seek to consolidate longterm relationships. Content

internationalization is in our DNA. An excellent example of expressing our strategy can be summed up with 'The Head,' a series whose first season has been sold in more than 90 countries. The second season will begin its journey to the international market at Mipcom."

What value does The Mediapro Studio assign to its original productions' global expansion?

"For The Mediapro Studio, all productions are equally important and have very high-quality standards. Our goal is to achieve excellence in every one of them, whatever the genre, for all types of audiences and clients. That

"All productions are equally important and have very high-quality standards. Our goal is to achieve excellence in every one of them."

footprint is inherent in all the phases of our work. It begins with creation, development, and production and finishes with its distribution. That said, our main challenge is self-demand. It allows us to reach those quality standards and offer the best possible content. Another fundamental challenge involves the ability to adapt to an environment that we face daily and that changes at breakneck speed."

What feedback do you have from the market about Mediapro's original slate?

"It is very positive. We are constantly analyzing and reflecting on how we do things and how we can improve them. Clients continue to trust us and see us as a creator and provider of quality content. Proof of this is that the series that we released, perform everywhere. A recent example is the premiere of "Iosi, el Espía Arrepentido" on Amazon. It has been a massive success, led by the Mediapro team in Argentina. Another example is the recent premiere of "Hunting Ava Bravo," a film starring Kate del Castillo, produced by our office in the United States, and Wild Sheep Content, Erik Barmack's company. It was released on Roku in the United States and Amazon in Latin America."

How do you evaluate Mediapor's strategic alliances?

"As part of the internationalization of the content we produce, strategic alliances are part of our essence. In fact, three of the most relevant announcements of 2021-2022 have come from these alliances. One is the agreement with TelevisaUnivision to produce content for VIX, from which the series "Las Pelotaris 1926" and "Cenizas de la Gloria" emerged. Other partnerships have been signed with the Turkish production company Medyapim for creating content in Spanish and with Penélope Cruz to launch the production company Moonlyon. That spirit of internationalizing everything we do is the same that has led the group to incorporate El Terrat production company and, recently, Erik Barmack's production company based in Los Angeles. Both have the mission of producing content for the whole world. We want to partner with the best talent."

How do the new initiatives with TikTok and Snapchat work?

"In line with what I mentioned about the vertiginous change that our industry is experiencing, platforms like TikTok and Snapchats are valuable because it is where people share content. It is a space that The Mediapro Studio not only takes into consideration and gives relevance.

We also have a training and talent recruitment program called The Mediapro Studio Labs. It is an initiative aimed at new creators to get to know them and give them the space to create that content. This year, we have already closed its second edition, receiving more than 1,300 projects in the analysis, review, and selection phase. That is the importance we give to these platforms, to the point of wanting to attract those that voices, listen to them, and if it makes sense, develop their projects within the studio."

What will be the new launches of Mediapro for Mipcom?

"Our catalog is extensive and varied, but 'Las Pelotaris 1926' will be one of the year's series. I would also highlight 'UPA Next,' a series produced by Globomedia for Atresplayer that will be available internationally, and the second season of 'The Head,' co-produced with Hulu Japan. Of course, it's not the only thing we'll have because we're back with the second season of 'Express,' a production we did for Starz in Spain and Latin America, starring Maggie Civantos. We will also have 'The Paradise 2,' a coproduction with Reelmedia, and new titles such as 'Las Bravas FC,' starring Mauricio Ochmann. We will give all these productions the place they deserve."

By Aldo Bianchi

"As part of the internationalization of the content we produce, strategic alliances are part of our essence. In fact, three of the most relevant announcements of 2021-2022 have come from these alliances."

"The

“TO BE A PART OF THE CULTURAL GLOBALIZATION HAS BEEN GREAT FUN"

2022 will be a year to remember for Eccho Rights. First, investment and coproduction outfit Night Train Media has fully acquired the company, that is celebrating its tenth anniversary. To recap Eccho Rights’ history, Señal News spoke with Fredrik af Malmborg, its CEO.

What does it mean for the company to celebrate its first tenth anniversary?

"It has been great fun to challenge existing assumptions and to see the breakthrough of new series. It has allowed us to build an amazing team of 40 people in five offices worldwide. Personally, I clearly remember when we were about to launch 'Ezel' in Chile, and 'expert' friends called and expressed worries that it was almost irresponsible to launch this kind of content in Latin America. We had the same warnings when we launched 'The End' on SVT in Sweden. I believe we have contributed to challenge the old assumption that series from one country never will work in another. To be a part of this cultural globalization has been great fun."

What are the company's most significant milestones?

"The development of Eccho Rights in the last ten years has been amazing, a lot of fun and progress. In 2012, we launched our first breakthrough Turkish hit series, 'Ezel,' and soon after, we brought the first daily series from

Turkey, 'Elif,' which was a smash hit globally. Then we launched our slate of Nordic series, and just two years ago, we launched our UK office with six English language series launches this year. To build a company like this, going from just three people to the present team of 40, has been a great experience."

What role does Eccho Rights’ team have in the growth of the company?

in popular culture in the last teen years. A new hit can come from anywhere, and more and more media companies, not just Netflix, have built success on this. Even though we are now doing more and more series in English, the truth is that a well-produced drama in any language may be a global hit.”

What will be Eccho Rights’ goals for the next ten years?

"I believe the next big change is for producers to work with companies like us to build a profitable business by combining normal licensing with direct-to-consumer operations. That will allow producers to keep IP and to develop new and very interesting programming slates, also in high-budget shows. Our goal is to help producers to build such series and to launch them powerfully. If this can be combined with a strong creative development team, first-class distribution, financing operations, and marketing investments, we can build a really powerful model."

Golden Boy

“To recruit great people and to see them grow is very rewarding on a personal level. I believe we have taken team building rather seriously; combining fun and hard work is important. We trust people and see them grow. Then you get a lot of support back. It is also fun to mix people from different cultures and to make them understand that the future is not just a series from their home countries but a blend of influences from around the world. It is still very true that if you get inspiration and understanding of other cultures, you grow as a professional. Central in our development has been the belief that independent producers are the ideal form for TV productions, and they should not be packed into big corporate organizations but be given the tools they need to succeed, but with better terms."

How do you evaluate the evolution of the content business?

“The unexpected success of Turkish drama is a very interesting sign of globalization in the taste

Eccho Rights is now part of Night Train Media. How will this new structure open a new era for the company?

"Night Train Media is a perfect home for Eccho. We have a very skilled financing and development team and a sister company in factual distribution in the group. With some additional investments, we can build the dream company for the future."

By Diego Alfagemez

 Fredrik af Malmborg

ECCHO RIGHTS IS CELEBRATING ITS TENTH ANNIVERSARY, AND FREDRIK AF MALMBORG, CEO, RECOUNTS THE COMPANY'S FIRST STEPS, AND HIGHLIGHTS ITS FUTURE BUSINESS OBJECTIVES.

MISTCO MOVES INTO THE COPRODUCTION ARENA

 AYSEGUL TUZUN, MANAGING DIRECTOR AT MISTCO, DETAILS THE NEW STRATEGY OF THE COMPANY, WHICH WILL LAUNCH NEW ORIGINAL IPS AT CANNES THAT RESPOND TO THE HIGH GLOBAL DEMAND FOR TURKISH DRAMA.

For several years, Mistco has been representing the TRT catalog globally, which will continue to do on an exclusive basis. At Mipcom, the Turkish company will have a huge launch: its own IP, "Bahar" ("Kader Oyunları"), along with the brand new TRT series "The Secret of An Angel ("Cennetin Çocukları"). In addition, Mistco will present another new brand new drama, "The Hunter."

"Until this year, our only focus was to distribute our catalog in the best way possible. In 2022 we have decided to move one step forward and started to work on our first coproduction with US Yapım, which is the creator of internationally successful dramas such as 'Hold My Hand,' 'Melek,' 'Blackboard,' and 'Between Us,'" Aysegul Tuzun, Managing Director at Mistco, stated.

As Tuzun stated, even though any genre from Turkey is well-accepted by international audiences, there is still a huge demand for traditional

Turkish dramas. The two new titles of the company are perfect matches with that trend. "Bahar" (100x45'), co-produced by Mıstco and Üs Yapım, is the story of a young girl who is struggling to keep the goodness inside despite all darkness around. After witnessing the murder of her father, she is trying to prove that Aysun (her stepmother) committed the murder. Furthermore, the love between Bahar and Demir, who met just days before the murder, grows daily but becomes even more impossible since Aysun (her stepmother) is obsessively attached to Demir and determined to win Demir at any cost.

Furthermore, “The Secret Of An Angel” stars Alp Navruz (Hold My Hand) and İrem Helvacıoğlu

(Lifeline). The series is about a family whose members see their lives changed abruptly by a tragedy. Cennet, who was exposed to domestic violence for years by her husband, Yılmaz, gets sick and is hospitalized. While being treated, she sees a lawyer's number (Zeynep) on the hospital window and calls her for help. She gives her a letter to be opened after she dies.

This letter will not only bring Zeynep and Halil, the eldest son of Cennet but also cause conflict between the siblings. "The Secret of An Angel" is about the struggle of all women who are victims of domestic violence worldwide and also offers romance through the love story between Zeynep and Halil.

Mistco will also showcase "The Shadow Team" at Mipcom, which now enters its third season, featuring Murat Yıldırım. The Turkish distributor will also highlight new seasons of "The Great Seljuks: Alparslan," a title that has been sold to over 40 countries, including a recent sale to Israel. Moreover, "An Anatolian Tale," the highest-rated drama of the last three years, will return to Cannes looking for more international expansion.

By Diego Alfagemez

TUBI, THE AVOD KEY PLAYER THAT SUPERSIZES VIEWERS

ADAM LEWINSON, CHIEF CONTENT OFFICER OF TUBI, TALKS ABOUT THE PLATFORM'S EXPANSION IN LATIN AMERICA, WHERE IT RECENTLY LAUNCHED IN COSTA RICA, ECUADOR, EL SALVADOR, GUATEMALA, AND PANAMA.

In August, streaming service Tubi announced the expansion of its footprint in Latin America with launches in Costa Rica, Ecuador, El Salvador, Guatemala, and Panama. These five new territories joined Tubi's offering in Mexico, where the AVOD platform debuted in 2020. "Tubi is one of the dominant free streaming platforms across North America. In 2020 we launched in Mexico, and we already see stellar success. Over time we realized we wanted to expand deeper into Latin America, so that is why we decided to launch in these five new territories. We are bringing our playbook for free ad-supported streaming in each of these countries. We are here to supersize viewers with a massive library," Adam Lewinson, Chief Content Officer of Tubi, told Señal News.

Popular movies, including "The Green Hornet," "Hellboy," "American Psycho," "Gridiron Gang," "Snatch," "Machete," "Hook," "The Other Guys," "The House Bunny," "The Social Network," "Obsessed," and "La Bamba," as well as TV series including "L.A.'s Finest" and "Masters of Sex," are streaming for free on Tubi in all five new territories. Additionally, regionallyproduced TV series will soon be available, including Mexico's "Bienvenida Realidad," "Atrapada," and "El Sexo Débil," as well as local versions of popular series such as "The Nanny," "Bewitched," and "Married with Children."

Content localization is a crucial aspect of Tubi's global roll-out strategy. "In any country we launch, we are very focused on localizing the product and the content offering. If you look at Tubi in the United States, Canada, Mexico, or Guatemala, they are all different by design. Obviously, the app and its content are in Spanish in these five new Latin American countries. It is a mix of regionally produced titles with Hollywood and other foreign content dubbed in Spanish. The experience feels precise and localized," Lewinson assured.

According to the executive, also extremely important is to know the Latin American audience, which he defined as "highly engaged."

To achieve that, Tubi is using performance data that reveals, for example, that over the last year in Mexico, the streamer has seen total viewing time grow 60% year-overyear and Total Viewers increase 40% year-over-year.

STATE OF STREAMING

Lewinson also analyzed the current general state of streaming, which he believes "offers the advantage to super-serve whatever people are looking to watch, democratizing content." However, he noted that consumers are starting to feel overwhelmed with all the available streaming platforms available to choose from, and, at the same time, they end up being a big budget for consumers.

"Tubi has been in the free adsupported business since day one. It actually started as an ad-tech platform. Nowadays, there is so much subscription fatigue with all these streaming services, which cost a lot of money. Eventually, people look at their credit cards and wonder if they are worth it, so they start cutting. That is why now all these services are adding advertising. Ultimately, we see a validation of what we were always confident about: free television is the right business model. The history of television has been on our side, as it has been predominantly free and adsupported. The perception has changed, as streaming is now seen as the paid tier. Viewers will, of course, pay for it if they get what they want. For most TV viewers, things are getting back to normal, and they are very comfortable with the business model of free streaming ad-supported," he concluded.

By Federico Marzullo

 Adam Lewinson

“ IN ANY COUNTRY WE LAUNCH, WE ARE VERY FOCUSED ON LOCALIZING THE PRODUCT AND CONTENT WE OFFER."

“WE ARE COMMITTED TO A MODEL OF COEXISTENCE THAT IS GIVING GREAT RESULTS”

ANA BUSTAMANTE, GENERAL DIRECTOR OF MEDITERRÁNEO MEDIASET ESPAÑA GROUP, EXPLAINS THE DIVERSIFIED STRATEGY OF THE COMPANY, WHICH DOES NOT ESTABLISH A SINGLE DISTRIBUTION BUSINESS MODEL.

Mediterráneo Mediaset España Group operates in various business segments while analyzing new strategic alliances, both at the level of co-production and distribution with OTT platforms. Speaking to Señal News, Ana Bustamante, General Director of Mediterráneo Mediaset España Group, explained the critical factors of the company’s strategy.

What criteria define Mediterraneo's international distribution strategy?

“We have a diversified strategy, which does not establish a single distribution model. On the one hand, the content is the main differentiating element; since each title has characteristics that make it more suitable for a certain type of channel or platform, it does not have to work in a generalized way. On the other hand, the territories and their cultural factors define what type of product can be offered in each region. Hence, the importance of evaluating each title, each territory, and each client, to offer content that adjusts to individual needs. In this sense, our comedy brands are very successful in territories such as Greece, where we are celebrating the 10 th anniversary of the production of the local version of ‘Marriage Scenes’ on the Alpha TV channel. Other brands from our fiction catalog have been adapted and broadcast on Greek channels, such as ‘El Chiringuito de Pepe’ or ‘La Que Se Avecina.’ The latter, along with ‘El Pueblo,’ are two titles that have also been very successful in Bulgaria”.

How would you define that scenario in the Americas?

“In the Americas, the demand is mostly focused on dramatic series. An example is ‘Mothers: Love and Life’ and ‘The Devil’s Watches,’ which have several closed windows in the region, such as Peacock in the USA, and Directv, and Claro Video for Latin America. We have an extensive catalog. Since the birth of our subsidiary, we do not only offer fiction produced by Mediaset España. We are also incorporating other genres such as ‘Sapo, SA Memorias de un ladrón,’ a true biographical crime premiered exclusively on Prime Video Spain that will also be broadcasted on our free-TV channels. We are also promoting the biographical sports docuseries ‘Ángel Nieto: Cuatro Vidas,’ a portrait in four episodes of one of the most important figures in world motorcycling. Moreover, ‘Nude Sweet’ is a documentary series released this year about a famous influencer in more than 65 countries. It is gratifying and enriching to incorporate all kinds of genres, honoring our goal of offering diversified content for all tastes. This model allows us to reach all types of windows.”

"Ángel Nieto: Cuatro Vidas"

"Sapo,

ladrón"

What attributes do you consider fundamental when choosing the projects to produce?

“At Mediaset España, the production of original content prevails. This year the successful fiction ‘Entrevías’ has stood out, while well-established brands are maintained, such as ‘La Que Se Avecina,’ ‘El Pueblo’ or ‘Madres: Amor y Vida,’ among others. Regarding the attributes, two factors are considered: on the one hand, that they are contents suitable for free-TV and, on the other, the profitability of the product. We value this profitability not only with the broadcast on our channels but also with the sale, both to platforms and traditional television channels, in Spain and abroad. For many years we have been committed to this model of coexistence that is giving us great results”.

"El Escándalo"

"It's My Night"

How do you evaluate the group's strategic alliances with OTT platforms at the co-production and distribution levels?

“We evaluate all kinds of combinations. In recent years we have made co-production agreements, as is the case of the ‘Los Relojes del Diablo’ series, a Picomedia production in collaboration with RAI, or ‘Lejos de ti,’ a Cross Productions production in collaboration with RTI. Since the birth of Mediterráneo, we have strengthened our alliance with the main platforms on the national and international scene. Mediterráneo’s relationship with all platforms is very fluid, but Prime

Video is undoubtedly one of our main allies. Over the last few years, our collaboration has allowed us to jointly explore different business models with great success, highlighting among them the exclusive premieres of titles before the free-to-air broadcast on the Mediaset España group’s channels. Throughout this year, it has exclusively premiered the new seasons of ‘Madres’ and ‘Desaparecidos: la Serie,’ as well as several documentary genres titles such as ‘En la Corte del Principito,’ ‘Angel Nieto, Cuatro Vidas’ and ‘Sapo, SA Memorias de un ladrón,’ the most recent premiere of the platform. They will soon premiere the docuseries’ Dulceida al Desnudo’. All these productions are carried out by production companies Unicorn Content, Supersport, or Mandarina Producciones, among others. We also have an excellent relationship with Netflix, which we started a few years ago with the acquisition of the series ‘Vivir Sin Permiso’ worldwide. Recently, the success, both on Mediaset and Netflix, of the series ‘Entrevías’ stood out. This series managed to be the leader in its free-to-air broadcast on Telecinco with its two broadcast seasons and extrapolated its popularity to the digital environment. On Netflix, the premiere of the first season was positioned for three consecutive weeks as the most watched series among non-English speaking productions on this platform, adding a cumulative total of 138 million hours watched and ranking among the Top 10 series most viewed in 75 countries. This scenario confirms that the series produced for free-to-air television can also achieve great success on free-TV. Disney+ also opted for our series ‘Besos al Aire’ as the first Spanish fiction premiered exclusively on the platform, acquiring the rights for Europe, Africa, and Latin America. With HBO Max we developed titles like ‘Patria’ (Alea Media), ‘Dolores: la Verdad Sobre el Caso Wanninkhof” (Unicorn TV), or the recently released ‘Salvar Al Rey’ (Mandarina Productions). All three titles have had great success with critics and audiences. ‘Salvar Al Rey’ is the most viewed original content in Spanish on the platform, just behind ‘The House of the Dragon.’ The main objective lies in offering interesting stories and content for the different windows and being very agile and flexible when looking for the most convenient broadcast formula at each moment and project.”

By Aldo Bianchi

GROWTH AND EVOLUTION OF CONECTA FICTION

THE TRADITIONAL FICTION CO-PRODUCTION EVENT HAS ADDED THE ENTERTAINMENT BUSINESS TO ITS SIXTH EDITION, GATHERING 728 ACCREDITED PROFESSIONALS FROM 31 COUNTRIES IN AMERICA AND EUROPE.

Six years have passed between a small and boutique event in Santiago de Compostela and the latest and largest edition of Conecta Fiction in Toledo, Castilla de la Mancha. The market has shown a significant evolution and growth, not only in attendants but also in activities.

The 2022 edition of Conecta has added the entertainment business to its agenda, gathering 728 accredited professionals from 31 countries in America and Europe. “70% of the participants were Spanish, and the presence of European and American participants was very balanced, with the United States, France, Argentina, Italy, the United Kingdom, and Portugal being the countries with the most significant number of representatives”, Geraldine Gonard, Director of Conecta Fiction & Entertainment, described.

Another big step in the last Conecta edition was the new pitching sessions. The event awarded 14 individual awards to the winning projects of the five pitching categories: Copro Series (series and short-form series), High-End Series (high-budget projects), Docudrama Series (dramatized documentaries), Feelgood Formats (original entertainment formats with a “feel good” component) and Pitch Clips (call by ALMA-Spanish scriptwriters guild).

winners

Caracol Studios (Portugal)

Zona Mixta (Spain)

(Spain)

(Lebanon)

Moreover, Conecta Fiction & Entertainment was the perfect stage for the Star+'s “Santa Evita” premiere, produced by Non Stop in collaboration with Ventanarosa. The 7-episode series starring Natalia Oreiro, Ernesto Alterio, Diego Velázquez, Francesc Orella, and Darío Grandinetti follows the intriguing story of Eva Perón’s embalmed body after her death. The series is based on Tomas Ely Martinez’s novel and premiered on Star+ last July.

//// COUNTRY FOCUS

Conecta Fiction & Entertainment has given full prominence to Spain as the focus country of the event’s sixth edition. Cristina Morales, Deputy Director-General for the Organisation of Audiovisual Communication Services of the Ministry of Economic Affairs and Digital Transformation, highlighted the fundamental role of the Spain Audiovisual Hub of Europe plan as a driving force for the audiovisual industry, described as a “strategic sector of the national economy.” She also referred to the General Audiovisual Communication Law, voted in the Spanish Senate, as a “necessary update of the regulatory framework to the current situation, which aims to promote independent production.”

On the other hand, Gloria Saló from GECA talked about the globalization of Spanish content. “The fiction genre continues to enjoy a good moment of quality and quantity. 78% of this content is released on platforms, 15% on television, and the rest on other screens. Thriller and suspense are the most consumed genres, followed by comedy and family dramas,” she stated. Regarding entertainment, Saló commented that it is the primary loss linear TV has in Spain but added that the platforms are also premiering programs of this genre.

WHAT'S NEXT

Conecta Fiction & Entertainment will have a second edition in Toledo. The organizers confirmed that Palacio de Congresos El Greco will gather producers, scriptwriters, distributors, TV channels, platforms, talent, and institutions next year. Likewise, returning to the classic Conecta formula, a European and an American country will be chosen as Focus Countries. In 2023, Mexico and Poland will be in the spotlight, with their respective industries, content, and talent.

By Romina Rodríguez

“Santa Evita” team.

EMILIA NUCCIO, VICE PRESIDENT, INTERNATIONAL CONTENT SALES AT FILMRISE, REVISITS THE EVOLUTION OF THE US FILM AND TELEVISION STUDIO AND OPERATOR OF THE FILMRISE STREAMING NETWORK AND MENTIONS THE HIGHLIGHTS FOR MIPCOM.

“FILMRISE IS BECOMING A GLOBALLY RECOGNIZED AND WELL-KNOWN BRAND

How would you describe FilmRise's acquisition strategy?

have the long-running medical series

FilmRise, the film and television studio and operator of the FilmRise Streaming Network, is experiencing steady global growth while offering a vast catalog for all broadcast and digital media. Emilia Nuccio, Vice President, International Content Sales of the company, describes the current strategy of the company.

What kind of stories do you choose to develop as originals?

"We're focused on building upon our success in true crime content and expanding our digital native offerings, working with top online content creators who are expanding into streaming. Some of our outstanding titles that deliver audience and monetization for our clients are 'Unsolved Mysteries,' 'Forensic Files,' 'Bloodline Detectives,' and 'Marry Meet Murder.' Our library also consists of highly proven and recognizable content with classic movies and series."

"Our strategy continues to be identifying, licensing, and creating highly streamable content across multiple genres for our partners and O&O. We have relationships with content owners worldwide, and FilmRise is a top choice for producers and content creators who want their content widely distributed in the US and around the world via AVOD platforms and FAST channels. Since August 2020, FilmRise has been at the forefront in producing innovative programming from highly successful online talent."

What kind of digital talent has the potential to be part of FilmRise offer?

"We have our finger on the pulse in the digital-native space. As the clear leader in this space, we will continue to identify and sign online superstars. We will also continue to expand into branded categories such as our recent acquisition of Lorne Michael's 'Above Average' comedy series and the 'Gotham' comedy brands, as well as the anime space with partners such as 'Rooster Teeth.'"

What will be the new highlights for Mipcom?

"Highlights include the reality series 'Cheaters,' one of the longest running and most bingeable series in American television. Moreover, we will offer the new feature film 'MVP,' whose message is universal: journeys, emotions, the need for love, and connectivity. We will also

'Dr. G. Medical Examiner', America's version of a very popular talent who totally engages the audience in understanding the intricacies of the crimes committed."

What other different business goals do you have for Mipcom this year?

"We want to expand our AVOD and FAST channels distribution footprint and strengthen relationships with broadcasters and SVOD platforms worldwide. We are very proud of the brand recognition that we have achieved in the USA and Canada and wish to engage with partners worldwide who will benefit from our vast library with diverse rights. We have a brand new booth at Riviera Hall, and we are always open and looking for new partners."

From your vast catalog, what genres are more in demand today?

"We have found classic television programs and series such as 'Highway to Heaven' and 'The Dick Van Dyke Show,' are very popular. Family content, action movies, and highly addictive true crime series such as 'Forensic Files' are always very well received. As we expand, FilmRise is continually becoming a more recognized and wellknown brand worldwide, allowing us to acquire more content via our analytics program, which guarantees audience success and monetization. We expect clients will see us as a one-stop shop and a company where relationships matter and we care for the client above all."

By Romina Rodriguez

 Emilia Nuccio

NEM DUBROVNIK, A MEETING POINT FOR BUSINESS OPPORTUNITIES

THE MARKET HAS SHOWN AGAIN THE POTENTIAL OF EAST AND CENTRAL EUROPE AND THE NEW LANDSCAPE THAT THE NEW AUDIOVISUAL CROATIAN LAW HAS CREATED IN THE COUNTRY AND THE WHOLE REGION.

The ninth edition of NEM Dubrovnik was the perfect platform to discuss new trends, strategies, and changes in the international TV industry in the CEE region. As a global trend, the new role of operators in content production was pointed out. “Operators are active producers and financers, intending to have their own original content,” Guy Bisson from Ampere Analysis stated. “Telefonica now has 143 originals productions, of which 126 have already been released. Moreover, the group has recently

launched its international distributional division,” he added.

In the same line, Maria Valenzuela, General Manager at Movistar Plus+ International Division, affirmed that the first pillar of the company is content. “We are cautious and dedicated to the content. The audience is the second pillar; we have to surprise them. The third pillar is select the content, picking unique ideas. When you want to launch a project, you have to believe in it; the idea has to be international, and it has

to be content that will change everything,” she said.

The main trend in the pay-TV sector is the collaboration with the streamers. Executives from BBC Studios, AMC, Croatian Telecom, Cyfrowy Polsat, and CCO Bulsatcom have agreed that the pay-TV market in the region is still strong. Nevertheless, they have to seal alliances with streaming platforms and offer the best-packaged content for their clients. “For BBC, local content is significant, but the quality is even more relevant,”

Maria Valenzuela, General Manager at Movistar Plus+ International Division

Nina Obuljen Koržinek, Minister of Culture and Media

Laura

for the all the audiovisual industry,” she said. The Minister has also referred to the Croatian financial incentives. “They have been growing year by year in the country, benefiting local productions and professionals,” she added.

said Zbigniew Pruski, Commercial Director, Central & Eastern Europe, BBC Studios. “We are focused on the best shows. We produce content and invest in IPs. How people consume the content is secondary to us. pay-TV is strong in Central Europe, and we believe it will remain the main window where people will consume content,” he affirmed.

CROATIAN NEW REGULATION

Croatia has new legislative regulations about electronic media that will impact local operators, streaming platforms, national televisions and audiovisual professionals. The Minister of Culture and Media of Croatia, Nina Obuljen Koržinek, expressed that European content is one of the cornerstones of Croatian legislation. “We recognize the importance of the European productions for the diversity and

NEW SERIES

NEM Dubrovnik was the spotlight for new content from ZDF Studios, Beta Film, and Telekom Srbija. ZDF introduced its new Spanish “Boundless” miniseries centered around the revolutionary explorer Ferdinand Magellan. The show follows the first epic voyage that changed man’s world perception. “Such an iconic discoverer and seafarer like Magellan is in itself a brand,” Robert Franke, Vice President of Drama at ZDF Studios, explained. The high-production series premiered on Prime Video last June and was filmed in the Dominican Republic, Basque Country, Madrid, and Seville.

Beta Film premiered the new Ukrainian period drama “Cardamom Coffee,” based on a bestselling book by Natalia Hurnytska. “I’m thrilled that the world will be able to see how beautiful our culture is with the help of this series,” said

Laura Sampedro Gutierrez (Atresmedia)

Olena Lavrenyuk, leading actress and producer of the series.

“The premiere was great. We reached 7.4 million people, especially with the first and last episodes, which were emotionally intense,” Asia Bataieva, Head of International Sales and Co-Productions at StarLight Media Group, stated.

Finally, Telekom Srbija presented the latest projects the Serbian operator is currently working on: “Golden Boy” and “Walking With a Lion.” “We are glad that viewers from the region love and appreciate the stories we bring to life. What we want to highlight is that, thanks to the vision and efforts of our CEO, Vladimir Lučić, we have sold our content internationally. It’s now available to millions of viewers “, said Jasmina Lakobrija, Head of Production at Telekom Srbija.

By Romina Rodríguez

Rocio Cachero Bermudez (Mediaset)

Katerina Vyshnevska (FILM UA)

Maria Rua Aguete (Omdia)

Laura Ghisiglieri

Telekom

Fabrizia Palazzo & Maria Valenzuela (Movistar Plus+)

THE COMPANY`S SIXTH WORLDWIDE STUDIO IS A STATE-OF-THE-ART FACILITY LOCATED IN BARRA DA TIJUCA, RIO DE JANEIRO. LILIAM HERNANDEZ, CEO, AND GEMA LOPEZ, COO OF THE COMPANY, DESCRIBE THE NEW EXPANSION MILESTONE.

On the year of its 10 th anniversary, Universal Cinergia opened its sixth worldwide facility in Rio de Janeiro, increasing its dubbing capacity in Brazilian Portuguese to 120 hours weekly. Located in the audiovisual hub "Polo Rio Cine & Vídeo" in Barra da Tijuca, the 1,200 square meters (12,900 sq feet) state-of-the-art studios are housed in a 4-story building with ten recording suites, two recording studios for theatrical, two remote recording studios, as well as five Mixing suites 7.4.2. "Opening new studios in the year that marks our tenth anniversary is a major accomplishment for us, considering that we are coming out of a pandemic after a couple of years of extreme adversity where we all had to adapt to a new reality," Liliam Hernandez, CEO at Universal Cinergia, said. "Opening a new studio after two years of the pandemic is a major accomplishment for us; it makes us proud. The facilities are spectacular, with state-ofthe-art studios and technology. It increases our capacity for Brazilian Portuguese dubbing so we can take on more projects in Brazil," Hernandez added.

Liliam Hernandez and Gema Lopez (COO) hosted a cocktail party in August to celebrate the occasion with the presence of clients, partners, press, and collaborators.

PRODUCTION UNIVERSAL CINERGIA OPENS NEW STUDIOS IN RIO DE JANEIRO

Cinergia also has studios in São Paulo, Mexico City, Paris, Valencia, and Miami, home of the company's headquarters. "At our tenthanniversary party earlier this year, we announced the launch in Rio, fulfilling that commitment. That could only be achieved with the support of my business partner and loyal friend Gema Lopez, who has always shared my vision of international expansion," Hernandez said.

The Rio studios are headed by Beatriz Rodriguez, a young and talented professional who brings her expertise in the technical side of the business, contributing with fresh and innovative ideas, not only operationally, but also in the architecture of the facilities, which were built to provide a comfortable yet productive work environment, with areas for work and relaxation. "I am honored to join Liliam and Gema in this journey, and I am sure this is the beginning of many big projects and even more growth in the coming years," Rodriguez said.

"We realized an increasing demand for Brazilian Portuguese dubbing, so we jumped at the opportunity. The Rio studios will work with global clients coming from the UK, Turkey, Germany, Italy, and France. Brazilian Portuguese has increased a lot thanks to the expansion of OTT platforms. Some of the clients that will work with the Rio studio are WarnerMedia,

Discovery, All3Media, Cineflix, Sony, and NBC,"

Hernandez stated.

Actively working with clients across multiple regions - North America, Latin America, Europe, Asia, and Africa, Universal Cinergia is the studio that paved the way for dubbing Turkish telenovelas into Spanish and currently provides dubbing services to the majority of Turkish content companies.

"We have come a long way since the company's inception ten years ago, and we could not have done it without the support of our clients, who have trusted in us all these years," Gema Lopez added.

"The past couple of years have taught us to adapt and adopt new working methods, with remote recording being incorporated into our operations. The key is to balance this hybrid working model so that costs are streamlined and production stays on track and on time. Managing multiple studios in multiple cities requires our 24-hour attention, working across several different time zones," she added.

The United States, Brazil, and Mexico facilities are TPN assessed.

"Teamwork, perseverance, and commitment to excellence are the pillars of our company culture. Having our clients refer our company to their clients is a testament to our quality services and impeccable reputation. We look forward to the next years of expanding even further. The sky is the limit," Lopez concluded.

By Diego Alfagemez

 Universal Cinergia team in Rio de Janeiro

“WE ARE EMBRACING VOLUME PACKAGES WITH GENERALLY SHORTER LICENSE PERIODS”

LISA KRAMER, PRESIDENT OF INTERNATIONAL TV LICENSING AT PARAMOUNT GLOBAL CONTENT DISTRIBUTION, DESCRIBES HOW THE COMPANY MANAGES ITS SALES AND WINDOWING STRATEGY TO ENSURE A ROBUST LICENSING BUSINESS.

Paramount Global Content Distribution is embracing a strategy that balances its corporate streaming efforts while building its third-party licensing business. Señal News spoke with Lisa Kramer, President of International TV Licensing at the company, to describe how Paramount has consolidated many brands and genres, and created a one-stop shop for buyers.

What is the current global distribution strategy of Paramount?

"Paramount Global Content Distribution continues to strike a balance in supporting our corporate streaming efforts while building our third-party licensing business. We have managed to achieve this by consolidating all

Paramount Global's many brands and genres under Paramount Global Content Distribution, which creates a formidable one-stop shop for licensees."

How do you manage your windowing approach, considering that the company has its own streaming windows?

"In those regions where Paramount+ has launched, you will find first windows on key premium programming including Showtime and Paramount+ brands and theatrical features. Outside of these brands, we continue to license first windows of CBS content and key content from third-party producers, such as MRC, to the market at large, including global streamers, regional pay-TV, SVOD, or broadcast. Pluto TV allows us to showcase our deep bench of library content and world-class brands."

How has the streaming boom changed Paramount's content distribution strategy?

What characteristics must a show have today to be successful in the distribution arena?

“Shows need to be relatable and entertaining to the viewers. Paramount Global Content Distribution distributes content that covers every genre from drama to comedy, documentaries, formats, and international co-productions.”

What will be the company's new launches for Mipcom?

"Fire Country"

"Paramount is at the forefront of streaming with Paramount+ and Pluto, which thereby causes us to bifurcate our distribution strategy to ensure we are fueling our streaming services while maintaining a robust licensing business. But in general terms, the streaming boom has provided more licensing opportunities for our content which is helpful given the size and breadth of our catalog. Whether free-TV, Basic or streaming, we are embracing volume packages with generally shorter license periods."

"Some of our highlights for Mipcom include 'Fire Country,' 'Poker Face,' and 'Colin from Accounts.' 'Fire Country' is a drama series with powerful characters and a procedural element set against a life and death backdrop that will resonate with viewers around the globe. The series is inspired by star and executive producer Max Thieriot's experiences growing up in Northern California fire country. 'Poker Face' is a cinematic crime procedural series with a twist. It is the first television series by director Rian Johnson, starring Natasha Lyonne. Finally is our Australian co-production, 'Colin from Accounts' from CBS Studios. The charming duo, Patrick Brammall and Harriet Dyer, star and executive produce the series."

By Fidel Orantes

“ORIGINAL STORYTELLING IS A PROVEN WAY TO STAND OUT”

FILIPPA WALLESTAM, VIAPLAY GROUP CHIEF CONTENT OFFICER, EXPLAINS THE COMPANY'S DNA WHEN IT COMES TO ORIGINAL PROGRAMMING AND HIGHLIGHTS HOW THE NORDIC FLAVOR MIXES WITH THE GLOBAL APPEAL THAT EVERY HIGH-END PRODUCTION SHOULD HAVE.

While content travels better than ever, Viaplay will premiere at least 70 Originals this year. Señal News spoke with Filippa Wallestam, Viaplay Group Chief Content Officer, to describe the company's focus and production pipeline.

What is the strategy behind Viaplay's original content?

"The streaming industry is evolving quickly and becoming more competitive every day. Offering viewers something unique has never been so important, and original storytelling is a proven way to stand out. That's one of the key reasons Viaplay will premiere at least 70 Originals this year. At the same time, we see how content travels better than ever. A great Nordic show can now find an appreciative global audience. It is a further reason for us to invest in original content since we can use it as a spearhead for Viaplay's ongoing international expansion."

What projects are you interested in getting involved in? How would you define Viaplay's DNA?

"Our DNA is unique storytelling from unique storytellers. We work both with major names like Lasse Hallström and Lars von Trier and upcoming voices. When it comes to projects, our priorities

vary between countries since Viaplay's position differs in each. In our newest European markets like Poland and the Netherlands, we're building up our capacities as content commissioners, so our initial focus is on established genres such as crime drama and reality. In the Nordic countries, on the other hand, we're ready to take more risks with our storytelling. But at all times, our Viaplay DNA remains the same."

How do you articulate the local Nordic flavor and the global appeal that every production should have?

"We're in an interesting position in the Nordic region where we don't always need to balance the local and the global. The Nordic style resonates in so many places with so many people, whether they have a connection with the region or not. It's a way of telling stories we all recognize: psychological depth, a certain mood, and even a specific type of light. I would say it's perfectly possible to do it in any language, and we're exploring how to blend Nordic and local flavors in our new markets."

What trends do you observe in the global content arena?

"One area that is growing very quickly is sports documentaries. High-level sport is all about dramatic moments

and big personalities, which makes them a storytelling goldmine. Investing in this genre content for a major sports streamer like Viaplay also builds interest around our rights portfolio. We've announced partnerships with Max Verstappen and Erling Haaland to create exclusive documentaries. Given the sporting success both are enjoying, the timing has been spot-on."

What is the local and international appeal of "Call Me Dad"?

"'Call Me Dad' is a sharp and warm contemporary comedy with a very talented cast, including Alex Høgh Andersen ('Vikings'), Magnus Haugaard ('Guilt'), and Ellen Hillingsø ('The Bridge'). The show's appeal lies in combining entertainment with broader questions about how we treat one another today. It's the type of production we want to keep making in Denmark, which today is a market where we see some challenges regarding regulatory certainty and a fair playing field."

What programming needs you observe before commissioning the real-life drama "Roombeek"? "'Roombeek' is a four-part scripted series about one of the biggest disasters in recent Dutch history: the Enschede fireworks warehouse explosion in May 2000. It will be a sensitive and high-quality production that looks beyond the headlines to show some of the human lives affected by a tragic event. Viaplay's Dutch scripted slate is growing quickly, and as in all our markets, we are committed to working with both established and upcoming local talents to tell compelling stories that can attract a broad audience."

By Diego Alfagemez

 Filippa Wallestam

Headquartered in Salzburg, Austria, Red Bull Studios is a global media entity focused on creating premium quality, entertainment-first content that speaks to the Red Bull brand philosophy of "originality, inspiration, and aspiration." Bernadette McDaid, Global Head at Red Bull Studios, explained this approach and described the company's DNA.

What is Red Bull Studios' focus on creating original content?

"We have a very clear focus which is to tell emotionally compelling, relatable stories that are inspirational and aspirational with global appeal. We are comfortable taking risks and will continue to create prestigious documentary programming such as 'The Real Mo Farah' that we believe the world needs to see."

What is your strategy regarding funding and production?

"Operating under umbrella company Red Bull Media House as a stand-alone legal entity, Red Bull Studios is an independent TV and film studio focused on brand-free premium content from both the world of sports and far beyond for the commercial marketplace. We fund, greenlight, develop, coproduce and distribute prestige content. We make and represent high-end narrative documentaries,

"WE ARE COMFORTABLE TAKING RISKS"

BERNADETTE MCDAID, GLOBAL HEAD AT RED BULL STUDIOS, EXPLAINS THE COMPANY'S FOCUS ON CREATING PREMIUM QUALITY, ENTERTAINMENT-FIRST CONTENT THAT SPEAKS TO THE RED BULL BRAND PHILOSOPHY OF "ORIGINALITY, INSPIRATION, AND ASPIRATION."

features and docuseries, and formats with ambition and scale for the global market. We commission projects from the ground up –from development funding to full production financing and have the ability to deficit finance projects that deliver to our editorial remit of 'extraordinary people with extraordinary stories.'"

What kind of clients are you interested in working with?

"As a 'story first' company, Red Bull Studios works with producers to tell human-centric stories that are relatable and compelling, stories that inspire and resonate globally. We are completely platformagnostic and flexible, so we can partner on projects with best-inclass talent, producers, networks, and platforms throughout the world. Our multi-award-winning commissioning team operates out of our headquarters in Austria and offices in the US and UK. We develop ideas in-house to seed out to production companies, and we also take on board third-party ideas from producers for projects that we will ultimately co-produce."

"The Real Mo Farah"

What new shows are you going to launch at Mipcom?

"We will continue to distribute 'The Real Mo Farah,' a fascinating 59' documentary film produced by Atomized Studios in association with BBC for Red Bull Studios. This feature tells a timeless human story of strength over adversity as one of the world's most successful track athletes and much-loved heroes, Sir Mo Farah, seeks to discover the facts behind the truth he has kept hidden for 30 years. We also have a strong line-up of exceptional unscripted content already in the pipe, such as 'The Moment,' directed by Tom Jennings of 1895 Films."

What are Red Bull Studios' short, medium, and long-term goals?

"We are passionate about the programming we are involved with. Our short, medium, and long-term goal is the same: to continue to greenlight and co-create programming that matters, that has strong global appeal, and ensures that stories that need to be told are available and accessible to as wide a global audience as possible."

By Federico Marzullo

Bernadette McDaid

"The Moment"

CONTENT FROM SPAIN, AN ESSENTIAL STOP FOR BUYERS

AUDIOVISUAL FROM SPAIN IS THE BRAND FOR THE INTERNATIONAL PROMOTION OF SPANISH COMPANIES IN THE MOVIES AND TV CONTENT MARKET. AGAIN, MIPCOM WILL BE THE SPOTLIGHT FOR NEW PRODUCTIONS COMING FROM THIS HOT MARKET THIS YEAR.

It is not a new trend. Spain is one of the leading content producers and features some of the most popular shows available on global platforms and broadcasters. Mipcom 2022 will be the occasion for new launches and returning seasons, and Spanish IPs will be again in the spotlight.

ATRESMEDIA

Miguel García, Sales Director

“‘Upa Next’ is one of our most eagerly awaited products, the return of ‘UPA Dance,’ one of Atresmedia’s most successful national and international franchises. Regarding sales, there is great interest, and it is very well received in the sector, which is why the first pre-sales are already being closed. Moreover, ‘Heridas’ is a very attractive product, the Spanish production of the very successful Japanese format famous for its Turkish adaptation. We are working on new deals that we will announce soon.”

now is a cult classic in European independent cinema. The series is also directed by Balaguero, one of the most well-known genre directors on the Spanish and European scene and the original movie’s writer. Balaguero also wrote and directed “REC,” the most successful saga in Spanish genre history. Joining him at the helm is Pau Freixas, the renowned director, producer, and scriptwriter of some of Filmax’s leading TV series and writer of ‘The Red Band Society’ and ‘I Know Who You Are.’”

MEDITERRÁNEO

Ana Bustamente, Director General

“The importance of ‘Wrong Side of the Tracks’ resides in approaching fundamental issues like the generational gap, the coexistence of different cultures, the human values, and the transitions of today’s society. These singularities created a unique and highquality product, highly appealing to worldwide audiences. After its initial broadcast in Mediaset España free-TV channel Telecinco, the captivating story between the grumpy hardware dealer and his granddaughter has successfully premiered worldwide through an SVOD platform. Furthermore, 'Secret Obsession' is a disruptive, provocative, and defiant series. A groundbreaking project with a strong identity and a singular character, mainly based on an intense plot in terms of strong emotions and complex characters full of different nuances.”

FILMAX

Ivan Diaz, Head of International

“We are presenting ‘The Nameless,’ a new series adaptation from the original film, which was directed by Jaume Balaguero in 1999 and

ONZA ENTERTAINMENT

Carlos Garde, Managing Director

“‘Motel Valkirias’ is a coproduction between Spain and Portugal, aimed for the international market. We have started the pre-sales process in some territories of Europe and Latin America, and it has recently been acquired by a major platform for the Iberia territory. Moreover, with the third season now airing, ‘Crimes’ is the most watched true crime series in the history of Spanish television. The first international deals will be announced shortly.”

DISTRIBUTION

MEDIACREST

Daniel Domenjó, Executive Director

“We are bringing ‘Who Is My Human?’ to Mipcom. The show is a contest built with all the elements of guessing games but with an innovative component: the dogs will talk and introduce themselves to present the clues to the contestants, adding humor through their fake voice-overs. ‘Who is my Human’ is the perfect fusion between entertainment and fiction. Moreover, ‘House Of Dreams’ is pure reality, but it goes far beyond in terms of contestants. It’s a perfect genre fusion from start to finish, and the first reality show with a bible of characters.”

ZETA STUDIOS

Xavi Toll, Head of Scripted Development

“We are presenting ‘The Chauffeur’s Son,’ a political thriller based on a bestseller about Alfons Quintà, a Catalan Roger Ailes, a legendary

journalist who founded the Catalan public broadcaster. He was a powerful man who rubbed shoulders with important politicians and a sexual harasser who killed his wife. A universal story about the media and abuses of power. The story is based on real facts, and its origin comes from a bestseller that was an international success. Therefore, we are sure that our project has enough potential to have an impact beyond the national territory.”

WILD STORIES

Pablo Alemán, Head of International Sales “‘Hot Life Africa’ is an ambitious wildlife series shot in 4K that portrays the struggle for survival under the extreme heat of five iconic African predators: lion, leopard, cheetah, wild dog, and caracal. Survival in the African savanna is a daily challenge for all animals, but hunting means fighting against the elements when temperatures go up, and water is scarce. Climate change has exacerbated the challenge. The series contains amazing and dramatic footage of animal behavior never filmed before.”

INFLUX ANIMATION

Angélica García Beltrán, Administrator

“Aimed at a young audience, ‘Johnny Sinclair: Ghost Hunter’ is the spin-off of the cult franchise ‘John Sinclair: Ghost Hunter,’ with over 250 million sold dreadful penny novellas, over 6 million sold novels, 200 radio play episodes, first published in 1973, endorsed by Jason Dark, the mastermind author behind ‘John Sinclair.’ The first novel was launched in 2017, with three novels released to date and over 100,000 sold copies. The novelist Sabine Städing is also known for her supernatural children’s book series 'Magnolia Steel' and 'Petronella Applesauce,' which is being adapted into an animated TV series for ZDF.”

ZONA MIXTA

Robert Fonollosa, CEO & Managing Director

“Our show 'The Most Spectacular Robberies' mixes documentary with fiction, illustrating the stories of the most spectacular robberies with extensive re-enactments, which turns the project into small true crime films. It has the added value of Hovik Keuchkerian, internationally known for his participation as Bogotá in the well-known series 'Money Heist'. Moreover, 'The Dream Team' is a particularly attractive project because it describes the unknown story of a dangerous gang of robbers who carried out their actions as if they were in movie sequences.”

ARTICO

Carlos Sevillano, CEO

“We have a new documentary feature about the biggest active volcano in the Atlantic Ocean. After the volcano’s recent eruption in the neighbor island of La Palma, there is a growing interest to understand those huge geological wonders.”

HAMPA

Álvaro García, Executive Producer

“We have a new show, ‘Melbits,' which is still in development and based on a videogame available for Play Station, Nintendo, PC, and Android. The first toys around the IP have already been manufactured”.

By Diego Alfagemez

UNIFRANCE RENDEZ-VOUS, A TRIUMPHANT RETURN TO A PHYSICAL MARKET

THE FRENCH AUDIOVISUAL INDUSTRY SHOWCASE

ORGANIZED BY UNIFRANCE WAS HELD IN BIARRITZ LAST SEPTEMBER AND GATHERED MORE THAN 250 BUYERS FROM 47 COUNTRIES.

Unifrance Rendez-Vous returned to Biarritz in a thriving physical market, the first under the new entity Unifrance, now encompassing the French cinema and television industry. Sixty-two exhibiting French companies showcased their new content at an event with more than 250 buyers from 47 countries.

Fiction, animation, documentary, live shows, and entertainment were the main genres of the more than 1,000 shows featured during the event. "An efficient formula is that buyers can come to the market and watch the content, and then they can have lunch and dinner together, exchange and talk about the series, films, or documentaries they've just seen," Daniela Elstner, Executive Director at Unifrance, told Señal News.

One of the new additions to this year's event was the screening of "The King's Favorite," the latest historical series directed by Josée Dayan and commercialized by France TV

"The King’s Favorite"

Distribution. Actors Isabelle Adjani, Hugo Becker, Virginie Ledoyen, director, producer Josée Dayan, and associate producer Gaspard de Chavagnac (Passion Films) participated in the premiere.

BUYERS' VIEW

Brazilian public television TV Cultura attended Unifrance Rendez-Vous looking for kids' content, factual series, documentaries, and feature films.

"The production quality of French animations is amazing. We have great examples on TV Cultura, such as 'Tin Tin' and 'Babar,' and

recently with 'Molang' and 'Kid & Cats.' French animations caught two different generations. Furthermore, French movies, mainly soft comedies, perform very well; they know how to capture the audience through the balance between drama and fun," Fabiana Batagini Quinteiro, Production Coordination at TV Cultura, said.

Fabiana Batagini Quinteiro, Production Coordination at TV Cultura

Also from Brazil, Natalia Amarante Furtado from Canal Curta! affirmed that they are looking for exciting new projects for international coproductions from countries

Daniela Elstner, Josée Dayan, Isabelle Adjani, Hugo Becker and Virginie Ledoyen

Daniela Elstner, Executive Director at Unifrance

with which Brazil has bilateral audiovisual agreements. "Also, we are interested in already produced content that fits in with our five main themes of interest: music, arts, cinema, knowledge, and society," she stated. France is the leading licensing country for Canal Curta!, which acquires more than 20 hours of French content yearly on great names in the world's arts and culture, and documentaries on history and politics. "Participating in Rendez Vous in person was a great experience, especially after a long period of online meetings. It is a very welcoming and fruitful market to discover new content that aligns with our programming," Amarante Furtado said.

the impact of the pandemic on business, but demand for content remained very high worldwide.

Given this context, export of French audiovisual shows (sales, pre-sales, and investment in coproduction) recorded a unique peak, with a total of €375.9 million (up 6% compared to 2020), thereby setting a new all-time record, which was in 2020.

million, and a market share of 19.8%. Documentary distribution companies have been particularly hard hit by delivery delays due to the pandemic, with postponed shoots and stoppages in post-production.

WESTERN EUROPE: MAIN BUYERS

Spanish channel ¡Hola TV! also participated in Unifrance Rendez-Vous, looking for lifestyle content, celebrities' biographies, and fashion documentaries.

"France offers our audience this kind of content the same way we produce our programs. It's the European point of view our audience loves. France offers glamour, sophistication, and trends; it perfectly matches our programming strategy and DNA," Adolfo Álvarez Rivas, Content Director at Hola TV, explained.

Adolfo Álvarez Rivas, Content Director at ¡Hola TV!

These results are due to the growth in foreign investment in French production: foreign presales are up 30.5% and, for the first time, have gone over the €100 million mark (€101.5). Foreign contribution to coproduction is also up 10.2% for a total of €88.4 million (the highest since 2003, at €111.5).

Pre-sales have risen sharply, notably for drama, reaching €45.5 million (2.4 times that of 2020). Animation remains the leading genre for pre-sales at €47 million (down 7.2%), and documentaries are up 12% to €8.8 million.

French shows remained high in sales, at €186.1 million (down 5.5% from 2020). More specifically, sales of drama series are up 21.8% to €57.3 million (the secondhighest level ever, after the record 63.7m € set in 2017), representing 30.8% of all sales.

The geographical distribution of French content sales has shown little, if any, change compared to 2020. Western Europe is still the most significant purchasing region for French shows, with sales of €80.6 million (down 7.4%), representing 43.3% of global earnings (the lowest share to date), which reflects the trend of diversifying export territories. North America is in second place, with sales of €23.3 million (down 7.8%, a 12.5% market share), followed by Asia/Oceania with €14.7 million (down 10.9%, a 7.9% market share). Finally, sales to Central and Eastern Europe remain stable at €11.8 million (a 6.4% market share). Worldwide rights sales have stabilized above €40 million for the third consecutive year, at €41.1 million, a 22.1% of total exports.

FRENCH EXPORT RECORD

For the 28th edition of the Unifrance Rendez-Vous, the CNC and Unifrance released their annual report on the export of French audiovisual production. In 2021, exporters of audiovisual content were still feeling

Animation sales have fallen 18.5% to €60.8 million, a drop carried by several large companies, but this essentially appears to be a short-term trend linked to the cyclical nature of animation. The genre is still the most significant chunk of the market share exports, with 32.7%.

Finally, sales of documentary shows are down 20.1% to €36.8

Revenue from French content on international platforms shows consistent growth, representing 33.5% of all export revenue in 2021. The VOD market is, however, still in transition, with signs of rationalization in buying. Nevertheless, new opportunities exist to expand French content around the emerging AVOD (Advertising Video on Demand) and FAST (Free Ad-Supported Streaming TV) platforms.

By Romina Rodriguez

Natalia Amarante Furtado Canal Curta!

A REFERENCE FOR DOCUMENTARIES AND FICTION

THE ITALIAN COMPANY

FOUNDED BY MAITE BULGARI ATTENDS MIPCOM WITH A CATALOG FULL OF BRANDNEW DOCUMENTARIES AND DOCU-SERIES THAT APPEAL TO WORLDWIDE AUDIENCES.

Garbo Produzioni is an Italian production company owned and founded by Maite Bulgari. It also has a Spanish branch, Garbo Stories, based in Madrid. Garbo has recently acquired a relevant stake in Onza Entertainment in order to create a future strategic alliance and a global partnership with this production and distribution company.

The company is attending Mipcom with a comprehensive proposal of documentaries and docu-series. "One key feature we have is the exclusive access to our protagonists' lives," Maite Bulgari explained to Señal News. Such exclusivity is presented in the new documentary about the famous musical opera pop trio "Il Volo," which shows their road to success against all expectations.

"Additionally, our docu-series about Flavio Briatore presents a charismatic and controversial Italian entrepreneur. Hence, Garbo guarantees that same unique access to the entrepreneur's private and public life during his ventures throughout France, the UK, the Emirates, and Italy in the coming months", Bulgari added.

Moreover, Garbo is also presenting the biographical documentary "Pope Francis: The story of Jorge Bergoglio," just in time for the tenth anniversary of the pontificate. "Our goal is to establish international coproductions between Europe and Latin America, but our focus is also on the distribution of these strong, attractive projects," Bulgari affirmed.

Garbo will also showcase a docuseries with unpublished archives called "Paper Porn," a production based on the book by Gianni Passavini. It is a very seductive Italian story about journalism, freedom, and civil rights.

NEW CHALLENGES

Constantly hunting for new stories, Garbo explores reality to find new and unprecedented points of view, not only through documentaries. Regarding fiction, Garbo is raising an eclectic and captivating slate that explores several genres and languages to capture all nuances of reality and gratify the audience. Amid its most recent projects, "Le Ragazze del Futuro" is now in advanced development. "It is a brilliant period melodrama set in the '50s, in a quite unique town in Northern Italy. It tells the story of three strong women and their search for happiness and independence," Bulgari described.

The series adaptation of Giorgio Faletti's "The Killer in my Eyes" is also now in development, and British writer Caleb Ranson ("Around the world in 80 days") is composing the story. "We don't have any barriers or prejudices, as our production pipeline shows. We embrace completely different subjects, ranging from music to civil rights, from crime to social issues, including entertainment," she concluded.

By Romina Rodriguez

 Maite Bulgari

niPetPals"

GLOBAL IPS THAT LEAD TO GROWTH IN DIFFERENT BUSINESS AREAS

GRUPPO ALCUNI IS EXPERIENCING GROWTH IN BOTH ITS PRODUCTION AND DISTRIBUTION BUSINESSES. FOUNDERS, SERGIO AND FRANCESCO MANFIO, DISCUSS DIFFERENT ASPECTS OF THE ANIMATION INDUSTRY, ANALYZING THE CREATIVE POINT OF VIEW AND ITS GLOBAL SALES STRATEGY.

Italian animation studio Gruppo Alcuni is participating in Mipcom with new animated titles. Speaking with Señal News, its founders, brothers Sergio and Francesco Manfio, anticipate those shows and analyze the current scenario of the animation production business.

How does the current political and economic situation affects the animation production of Gruppo Alcuni?

FM: “We are experiencing a very challenging global moment, impacting almost all production areas. Fortunately, creative industries, such as ours, are suffering less as they are not directly affected by the shortage of raw materials. As a matter of fact, despite the current situation, I would say that Gruppo Alcuni is growing in all its business fields.”

What new series will you launch at Mipcom?

FM: “We will be showcasing many new animated titles at Mipcom, like ‘Leo da Vinci 2,’ a new season dedicated to the adventures of the Tuscan genius and his friends. Like the previous season, it has 52 13-minute episodes and is co-produced with Rai Kids, HR, ARD, and Cosmos Maya. We are confident that ‘Leo da Vinci 2’ will confirm the excellent ratings of the first season, which was globally distributed.”

Will you show any updates for your 'Mini Pet Pals' brand?

FM: "Yes! We have completed production on 'Mini Pet Pals Start School,' which we will present at Mipcom. In this fourth series, Top Hat, Diva, Pio, Nameless, Moby, and Holly start their school adventure, where they learn while having fun, doing theater, playing music, and going to museums. We are also in production with our brand-new series 'Mini Pet Pals & Mini Dinos', once again co-produced with Rai Kids, where the Mini Pet Pals meet a group of cute Mini Dinosaurs."

What will happen when the Mini Pet Pals meet the Mini Dinos?

SM: "Beyond the idea of having our 'Mini Pet Pals' enter a mysterious cave that takes them to the hidden world of the 'Mini Dinos,' the series is about the meeting of two worlds that, at first glance, seem to have very little in common. They appear to be complete opposites. The different lifestyles, habits, games, and ways of thinking surprise both 'Mini Pet Pals' and 'Mini Dinos.' While trying to convince others that their idea is best, they all learn the true value of diversity."

"Leo da Vinci" and "Mini Pet Pals" are aimed at kids and pre-school, respectively. Are you working on any project aimed at other targets?

FM: "Yes, it is critical for us to expand our content to include other target audiences. An example is 'Gateway 66,' a brand-new animation/live-action production that is a perfect blend of adventure and science, thanks to the help of the science team from MUSE, the Trento Science Museum. For older girls and boys, we are working on 'The Black Diamond Race,' a series about an extraordinary car race set between Europe and India in 1929."

Gruppo Alcuni established a school to train new talents in animation. How does that project evolve?

FM: "We founded 'Cartoon Artist' in collaboration with the Autonomous Province of Trento, the Trentino Film Commission, and the Artigianelli Institute. It's a course that gives about 20 young people the opportunity each year to improve their skills in the field of animation. Thanks to these courses, finding new talent to integrate with our existing staff at Gruppo Alcuni and Green Ink Animation has become less of an effort."

SM: "We are always looking for new talent, but those who apply to our studios and are enthusiastic about animation often complain about the lack of schools where they can develop their skills."

By Romina Rodríguez

FRANCESCO

"THE AVOD MARKET HAS GREAT POTENTIAL, AND WE HAVE MANY OPPORTUNITIES"

YIGIT DOGAN CELIK, CHAIRMAN AT MERZIGO, DESCRIBES THE COMPANY'S GLOBAL APPROACH, WHICH HELPS LEADING ENTERTAINMENT BRANDS TO GROW THEIR AVOD BUSINESS, FIND NEW AUDIENCES AND INCREASE THEIR REVENUE STREAMS.

Merzigo is a leading cuttingedge technology company that has developed digital tools to provide various innovative services to broadcasters, producers, and distributors. Its pioneering approach to channel creation and management is gaining interest in the international arena, where it is now helping numerous leading entertainment brands to grow their AVOD business, find new audiences, and increase revenue streams. Señal News spoke with Yıgıt Dogan Celık, Chaırman at Merzıgo, who explained the company's new global approach.

What global business opportunity are you trying to embrace with Merzigo's focus?

"With our experience in technology and infrastructure, we are one of the top global players in monetization. We continue to work with our clients in the Americas, Europe, MENA, and Asia markets and aim to expand our global clients to become the leader in the AVOD market. We have our strategies set for these goals as well."

What are the plans to launch Merzigo's AVOD OTT platform in Turkey?

"Başlat is set to launch in January 2023 in Turkey on the web, mobile,

and Smart TVs. Başlat will offer audiences an innovative and unique viewing experience as viewers can access premium content and original productions for free."

What are Merzigo's international strategy and business goals?

"Our short-term goal is to strengthen our presence in the Americas, Europe, MENA, and Asia. We are also gaining new clients for our business expertise, video monetization. We are set to launch our new AVOD OTT platform in Turkey to provide the audiences with a fresh and unique viewing experience. Our mid-term goal is to increase our investments in our FAST channels, expand our market presence, and keep Merzigo in the lead."

What is the potential of the AVOD market?

"The AVOD market has great potential, and we have many opportunities. With Merzigo's global presence and content library with thousands of titles, we can offer premium content to viewers for free. That is the greatest advantage and potential of the AVOD market. The most important issues are the viewers' video consumption habits and piracy. At Merzigo, we can fight against the piracy issue with our original software, overcoming the viewers' habit of pirating content and encouraging people to watch the shows they love on a legal and free platform. We think we will get a

great market share by overcoming this challenge."

Will the company's technology help clients maximize their income?

"We believe in human power and technology union to make our investment decisions accordingly.

As one of the biggest YouTube companies in Europe employmentwise, we provide our team with the highest-grade investments in technology and try to get as much efficiency out of it. Our applications specialized for YouTube, SEO, geographical restrictions, and analysis are some of our prioritized investments, while we also have live-protection software. Thanks to our tools, we provide our partners with security, strategic analysis, and feasibility studies."

What tools are Merzigo offering to speed up monetization processes and avoid piracy?

"We offer our partners the ability to analyze, a 24/7 online employment source, and dynamic technology. We have our own software, and thanks to this CMS, we can continuously track our content, providing high-grade protection against piracy. Also, we categorize data and reports to our partners while researching and improving how the content is presented. We track the channels in our system 24/7, analyze the covers, titles, and SEO information of the videos with A/B tests and automatically apply the necessary changes. We can maximize clicks and revenue with all these tools."

By Diego Alfagemez

Dogan Celık

"WE HAVE A FORWARD-THINKING VISION AND A FOCUS ON MULTIPLE POTENTIAL POSSIBILITIES"

Maria Bonaria Fois

MARIA BONARIA FOIS, CEO OF MONDO TV STUDIOS, TELLS HOW THE COMPANY IS DIVERSIFYING ITS BUSINESS STRATEGY IN TERMS OF PRODUCTION, DISTRIBUTION, AND NEW OPPORTUNITIES.

across several areas, but we are always looking at ways to grow our income and continue to control and develop the value chain of our content. At the same time, we have a forward-thinking vision and a focus on multiple potential possibilities: a 360º business execution. Commissions for pre-production or animation production in our Tenerife studio are the projects we are registering the highest volume of business. We have just published our results for the first half of 2022, and it's clear that Mondo TV Studios' animation service stands out as a recurring revenue engine. For this period, it represents 40.13% of turnover".

What is the strategy to grow after such impressive results?

MB Producciones, and RTVE, with the participation of RAI Kids."

What is the most attractive business model today?

"In terms of diversification, we are also developing content for an adult target audience. Two very promising projects in particular, both of which involve Spain and Italy, have solid international potential. We're hoping to make a formal announcement about these shows soon."

Mondo TV Studios will have a very active Mipcom. The company will showcase titles like "MeteoHeroes," "Nina & Olga," "Monster Loving Maniacs," "Agent," and "One Love." Furthermore, the company is developing an expansion strategy focused on a more diversified business. Señal News spoke with Maria Bonaria Fois, CEO of Mondo TV Studios, who detailed that plan.

How is Mondo TV Studios diversifying its business? "One of our main objectives is to diversify our income sources and business lines. Right now, we have a fairly balanced range

"We want to build and make this business even stronger. We aim to position ourselves as an international benchmark for 2D and 3D CGI animation. We have a highly specialized team of artists in each production phase. We are also organized in a way that allows us to work highly efficiently on several projects simultaneously, thus satisfying the needs of many international clients."

How do you manage your distribution strategy in this scenario?

"Distribution remains a key line of business for our company; that's both the distribution of our content and third-party content. We have a strong reputation and an excellent team. The production area is another pillar of our business; creating original IPs is part of our heritage. One good example is 'Annie & Carola,' a coproduction with Mondo TV S.p.A,

What is the strategy to position as a production hub for high-end animation and live action?

"We have presence throughout the entire production value chain. It's important for us to control the quality of the content we produce in each phase of any project; this is a valuable differentiator for the company. At the same time, we are part of a well-recognized Group with strong synergies. That helps us enormously when developing our international strategy."

What specific new trends do you observe in the kids' content arena?

"Providing the content that people demand in multiple formats, for numerous screens and platforms is a challenge, but it's also a growth opportunity. That's why we are looking at diversifying our activity within audiovisual content to adapt to the industry's changing needs, for example, with video games."

By Diego Alfagemez

"One Love"

"Agent"

CARLOS BIERN DESCRIBES

THE CHALLENGES OF HIS NEW POSITION AS CONTENT AND DISTRIBUTION DIRECTOR OF THE KIDS & FAMILY DIVISION OF DEAPLANETA AND TALKS ABOUT THE COMPANY’S PLANS FOR THE FUTURE.

"DEAPLANETA HAS A GREAT NAME AND RECOGNITION IN CREATING BRANDS"

Last July, Spanish producer and distributor DeAPlaneta Entertainment appointed Carlos Biern as Content and Distribution Director of the kids & family division. Speaking to Señal News, Biern described the challenges of this new position, explained the strengths of DeAPlaneta's team, and discussed the company's future plans.

What responsibilities and challenges do you have in your new position? "DeAPlaneta has grown. It is no longer a publisher and a distributor. It has a great name, awards, and recognition in creating brands, with successes in all targets and markets, especially in Europe and the Spanish and Portuguese-speaking markets. The responsibility is to go a little further, entering more productions every year. The challenge is to work on targets, formats, markets, and ways of financing that had not been explored before."

What kind of partners are you interested in working with, and how?

"Most children's and youth projects

end up coming to DeAPlaneta because of our specialization. Our job is to identify them as soon as possible. We filter the best ones and work with the producers in the development area to connect with audiences, the licensing, and the digital industries. We have ongoing projects with studios and creators worldwide, and there is much work to do from the production side to connect with teenagers, children, and their parents."

What is DeAPlaneta's potential in the international arena?

"Our team. Few companies in our sector have as much experience in taking properties to another level, in merchandising and product, as well as in the digital and interactive area. Our team has done it for all targets in different markets and media. I love being part of this team and learning from them daily."

Which markets are you interested in expanding, and through which windows?

How do you see the children's and animation segment nowadays?

"These are times when one wonders if it is necessary to make a film to collect money from the box office or perhaps to promote characters. Moreover, we wonder if it is better to spend years looking for a way to finance a 52x15' series with TV or platforms or to directly seek financing from the community, which will dedicate hours to enjoy and generate benefits with characters faster. What is certain is that technology in production, and its use in the audience and the global market, is on our side compared to other genres and that the format no longer has a better duration or medium to guarantee to reach the audience."

"We are leaders in the Latin American, Southern European, and Eastern European markets. Our next step is the recent opening of an office in Germany and the connection with the big Asian and North American markets. We are convinced that there is a lot of talent and projects in which we can contribute, granting not only our financing but also the value of our experience."

What are your short and long-term goals in DeAPlaneta?

"In the next three years, we plan to start and finance almost 30 projects for children and youth. Our animation, interactive, or even fiction studios are all those that contribute something unique in design or in the way we tell stories. Working with brands and characters in the interactive sector is also a reality, and we are prepared to walk confidently in everything that lies ahead for the next five years on the path of the metaverse."

By Federico Marzullo

Carlos Biern

LOCALIZATION SOLUTIONS THAT CAN TRANSLATE CULTURES

THE LA-BASED DUBBING STUDIO HAS EVOLVED DURING THE LAST EIGHT YEARS, BECOMING A REFERENT IN THE INTERNATIONAL BUSINESS. ANDREI ZINCA, PRESIDENT OF THE COMPANY, DESCRIBES THAT EXPANSION.

Eight years ago, English dubbing was limited to animation. At that time, Voxx Studios opened its doors in Los Angeles with the daring project to create a hub where foreign talent could flock to pursue their Hollywood dream and work in their native language. “We trained engineers, actors, directors, and producers who shared our passion and mission,” Andrei Zinca, President at Voxx Studios, remembered. Initially, the company had two recording studios, one for English and another for Brazilian Portuguese. “During the following two years, we added eight recording studios. Hundreds of LA-based crew and talent found a home at Voxx, producing thousands of hours in Neutral Spanish, French, German, Italian, Japanese, Mandarin, Korean, and Armenian, besides English and Brazilian Portuguese, Zinca described.

Today, Voxx Studios is stronger than ever. “Our 10,000 square feet facilities feature eleven recording studios. We work with dubbing, ADR, original voice animation, vocals, and instrumental recordings projects there. We have stereo,

5.1, 7.1, and Atmos mixing (including surround sound for music mixing); and a large venue available for concerts, screenings, professional workshops, seminars, and livestreamed productions of various shows”, Zinca stated. “We have built a strong network of trusted partners worldwide that truly gives us the ability to have a voice for any language, even for Lugbara (spoken in a certain region of Uganda) or Kannada (one of the many languages spoken in India),” he added.

NEW APPOINTMENT

Voxx’s owners are experienced filmmakers, producers, and actors from Europe and Latin America.

“Our team gives Voxx the ability to understand better and emulate the creative process of the original production, finding the best creative localization solutions that, beyond words, translate cultures, mentalities, and most importantly, humor,” Zinca said. This year, coming out of the pandemic, Voxx Studios restructured its team and welcomed back Danubia Farias as its new General Manager.

“Danubia started at Voxx as a junior script supervisor and moved on to lead producer before joining a multi-national dubbing company. She has returned to Voxx. Her experience will guide us expanding into new markets. Her positive and strategic thinking, excellent team leadership, and a strong emphasis on organizational structure are already improving customer relationships, delivering

a higher quality product, and building the Voxx Studios of the future,” Zinca said. Since Danubia’s incorporation, Voxx has expanded its language portfolio for volume orders, incorporating Eastern European languages for the platforms that started their services to these territories. “We are proud and grateful for the quality of programs our clients trust us. We continue to grow with our language package offerings, both in dubbing and subtitling, supporting our client’s growth in various territories in Europe and Asia. And we love hosting the many celebrities who record original voices for animation series in our state-of-the-art facility,” Zinca described.

NEW GOALS

Besides celebrating a total return to what Mipcom has always been for the entertainment industry, Voxx has its own objectives for the market. “We are looking to solidify and expand our partnership with localization studios around the world, explore co-production possibilities with animation studios, and collaboration formulas with distributors, combining our distribution network with our ability to localize content,” Zinca concluded.

By Romina Rodríguez

Danubia Farias

A HIGH LANDMARK IN THE DIGITAL WORLD

Juan Ignacio Sixto, and Pablo Lacroix

EL REINO INFANTIL, THE FIRST CHANNEL IN SPANISH TO REACH THE 50 MILLION SUBSCRIBERS MILESTONE ON YOUTUBE, ATTENDS MIPCOM WITH MORE ORIGINAL CONTENT, NEW TALENT, AND GREAT GLOBAL ALLIANCES. THE COMPANY'S EXECUTIVES DEBATE THE PERFECT STRATEGIES TO REACH SUCCESS.

El Reino Infantil reached a new milestone: it surpassed the landmark of 50 million subscribers, consolidating its global position as the leading Spanish-speaking YouTube channel in the world. The digital children's content network attends Mipcom with more original content, new talent, and significant global alliances in the streaming world. "The first half of 2022 meant a great leap in the quality of productions, consumer products, and new records for the company. In May, the spin-off of 'La Granja de Zenón,' 'La Granja A Rodar,' was launched in Spanish and English on YouTube, with the first series of toys that sold out in Spain. In July, the special for HBO Max and Cartoonito, 'Bartolito, a Feathered Adventure' was released, entering the TOP 10 ranking of the Warner Bros. Discovery platform", Pablo Lacroix, Digital Director at El Reino Infantil, told Señal News.

"Throughout the first semester, content collections were launched on VIX, TelevisaUnivision, and Prime in Latin America, Europe, and the United States. Those deals involved the development of an e-commerce platform, with official stores in Mexico, Spain, and the US Hispanic market", Lacroix added.

More news are on the way for the second half of 2022 and 2023. "We are excited for the arrival of 'La Granja de Zenón,' 'Bichikids,' and 'Canciones del Zoo' on Netflix in the US Hispanic, Spain, Latin America, and Brazil. In the last quarter of the year, our new live-action format for preschoolers will seek to become a global franchise, featuring Mexican talent Ger Otero ('Art Attack')," Juan Ignacio Sixto, Global Head of Kids at El Reino Infantil, explained. With constant evolution and growth, the main original IPs "La Granja de Zenón," "Bichikids," "Canciones del Zoo," "La Familia Blu," and "Paco el Marinero" will also have many new features by 2023 with a pipeline that continues to add projects and proposals.

Regarding production, El Reino Infantil attends Mipcom as part of the constant search for content that completes its global expansion. "We are looking for ideas and shows that share

both the company's vision and its animation quality," Ylka Tapia, Content Acquisition Partnerships Manager at El Reino Infantil, said.

With the strength of its IPs and the firm expansion in Europe, El Reino Infantil also seeks to increase its wide range of consumer products to continue adding to its more than 60 licenses that include 600 products such as back-to-school, toys, books, school supplies, clothing, and bazaar. The company also continues to add new IPs in all markets: "Gigantosaurus," "Pucca," "Hello Kitty," "Sing With Mocas," "Mick the chef," "Hop Hop the owl," and "Sing with Leo & Bernard." These shows were incorporated into El Reino's programming, including "LoolooKids," "Cleo & Cuquin," "Lea & Pop," "True & the Rainbow Kingdom," and "Shark Academy."

THE NEXT MILESTONE

With an average of 130 million daily video views and content developed in nine languages (Spanish, English, Russian, Portuguese, Italian, Korean, German, French, and Romanian), El Reino Infantil is about to reach 200 million subscribers on YouTube with all its channels. "With a great bet on digital content and the enthusiasm of the new generations, El Reino Infantil continues to consolidate itself on the main digital platforms. We keep bringing interactive experiences and theater shows in Latin America and Europe that have already surpassed more than 1 million viewers", Lacroix concluded.

By Romina Rodríguez

TRT SALES IS BACK IN THE DISTRIBUTION GAME

Mipcom will be the market where TRT resumes its global distribution activity, featuring a large variety of content suitable for all types of demand. Besides producing some of the highest-rated drama series in Turkey, TRT is also a content hub for documentaries, kids’ content, and TV movies. The company’s catalog is expanding every year by adding new hits. “First of all, we’re thrilled to announce that the TRT Sales team is back in the game! TRT is Turkey’s only public broadcaster and has been the leading content creator, whether it’s dramas, movies, animations, or documentaries. We are grateful for the interest shown in our productions locally and globally. Along with our distribution partner, we are eager to ensure that we will reach audiences worldwide both with our old and new content,” Mustafa Ilbeyli, Head of Advertising and Sales at TRT, stated.

After a long break, TRT Sales is returning to the market, and Mipcom will be the opportunity to find

new opportunities and meet up with partners to introduce the company’s new content. “We’re coming to Mipcom with two brand new dramas, ‘Secrets of an Angel’ and ‘The Hunter.’ ‘Secrets of an Angel’ tells the story of a woman who got married at a very young age and suffered violence from her husband. Her secrets are brought to light by her children after her death. The pilot of the story is moving and has many twists and conflicts. There is a new trend in Turkey for psychological and human drama. We are sure ‘Secrets of an angel’ will bring success and be one of our wellreceived dramas,” Ilbeyli said.

Moreover, “The Hunter” is an action series that presents the story of ten talented soldiers and their struggles to protect their homeland against their enemies in a very enthralling way, leaving the audience breathless. “Even though those two titles have not been aired yet, they have already started creating huge global interest. We’re already talking with some of our partners about our new titles and cannot wait to share our new deals with you soon. We want to make sure that the whole world has access to this great content,” Ilbeyli concluded. •

DUBBING, AN ESSENTIAL TOOL FOR GETTING INTO A STORY

Born in the TV music business, the Milanese company Nexus TV has evolved into a very dynamic company for dubbing TV series, film, animation, and documentaries. Amongst its more essential clients are Mediaset and Sky. Mattia Fioravanti, Communications Manager of Nexus TV, leads the company with its CEO, Fabio Gregorio, managing a tight-knit and determined team of young people. Currently, Nexus has five dubbing rooms, three 5.1 mix rooms, a Dolby Atmos HE room, and two video editing rooms. The facility is also TPN assessed.

“In the past year, we dubbed many movies and TV series. Largely on behalf of the world’s leading streaming entertainment service, Netflix. Meeting this fantastic company was a big opportunity for us. In addition to our Italian television dubbing, voice-over, and animation projects, as a participant in Netflix’s NP3 Program, we have had the honor of working with fascinating titles like ‘The Crown,’ ‘Emily in Paris,’ ‘Cobra Kai,’ and many more,” Fioravanti stated.

The executive affirmed that dubbing helps audiences get into the story. “Whether you don’t know Mattia Fioravanti foreign languages or just want to enjoy the movie in complete peace, you are free to choose the original language, your language, or even others,” Fioravanti explained. He also described how the company approaches the scripts. “Respect is the key, respect toward who made the original version, avoiding distorting the work. The viewer should feel like he is watching and listening in real-time. If they notice something, if they see our ‘deceit,’ that means something went wrong. Somehow, we work hard to be fantastic liars,” he said.

Considering the future, Nexus TV pretends to consolidate and increase its young workforce and broaden its client portfolio. “We are trying to intercept young people from outside Europe and secondgeneration Italians. In short: doing dubbing, to do dubbing, to do it well,” he concluded.

Mustafa Ilbeyli

"PERIOD DRAMA 'ELIZAVETA' IS THE GEM OF OUR CATALOG"

SAM GALANOV, CEO AT SENEMEDIA, HIGHLIGHTS THE RUSSIAN SHOWS THAT THE COMPANY WILL REPRESENT AT MIPCOM AND ANTICIPATES THE FUTURE BUSINESS GOALS OF THE COMPANY.

Global distributor SENEmedia will be representing premium Russian titles at Mipcom. Sam Galanov, CEO of the company, details its revamped content offer and analyses the demand for Russian shows worldwide.

How would you define 2022 for Russia TV and Radio's content?

"I would say that 2022 was still challenging, as many companies were recovering from the hardships of the past couple years due to the many Covid restrictions we all had to deal with. However, it is evident that the market is coming back on track and it is great to see that the content industry has new and exciting projects to offer to global partners."

What are the main highlights in terms of international content sales?

"Over the past few decades, the world has become multi-cultural, and it has a strong demand for content from this broad and rich cultural storehouse of international entertainment programming. At SENEmedia, that is what we intend to highlight at Mipcom".

What are the latest global alliances that you sealed in the international arena?

"Since the pandemic, media companies remain unsure of their budgets and contents quotas. Hence, they select content topics and their quality more

carefully. Due to the rapid growth of streaming services, there are new global opportunities for digital rights distribution. The new services do not compete with major players but look for programs unlike the ones offered by the leading platforms. Speaking of genres, dramas, shows for women, and period titles are on the top of the list. Action films with a special focus on detective and mystical stories are also in demand."

What titles will you launch at Mipcom?

"We are glad to present trendy and big-budget TV series for wide audiences. The gorgeous period drama 'Elizaveta' is definitely the gem of our catalog. It is an exciting adventure drama about the crown princess facing dangers, court intrigues, poisoning, and evil plots on her way to becoming the Empress. Moreover, the chilling historical thriller 'The Blood Widow' follows the story of a cruel noblewoman who became Russia's first female serial killer. We will also present the high-end drama 'On the Edge,' based on the true story of three young women who ended

up in a terrorist camp and tried to escape. Finally, we have 'The Son,' a detective drama that tells a story about mother love, a woman who is not giving up on finding her lost son."

What business objectives have you designed for Mipcom this year?

"First, we want to reestablish contact with our old partners, and we are also looking forward to meeting and establishing new partnerships. We hope and desire to reignite the market with exciting new content."

Will you attend any other global events in 2022?

"Definitely MipCancun, where we look forward to bringing our content and building new relationships."

What does Latin America and the US Hispanic mean within the international strategy of Russia TV and Radio?

"Latin America is one of the fastest growing markets, with high interest in period dramas and melodramas. The content we are presenting meets all those demands."

By Romina Rodríguez

Sam Galanov

LA SCREENINGS 2022

Francisco Villanueva (Somos), Javier Olivera, Mariano Mosca (Canal 4 Uruguay) & Mariana Villanueva (Somos)

Maria Ibarra (Blue Ant International)

Alejandro Carballo (Telefilms) & Ana Nuñez (Disney)

Marcelo Tamburri (WBD), Alejandro Carballo (Telefilms) & Pablo Iacovello (Amazon)

Maria Luz Zucchella (Stardust), Patricia Jasin (WBD) & María Perez Campi (Dori Media)

Roy Ashton (Gersh Agency), Mercedes Feü (Paramount), Jerry Rodriguez (Banijay) & Sandra Smester (TV Azteca)

Sibel Levendoğlu & Beatriz Cea Okan (Inter Medya)

Frank Scheuermann (Banijay) Gustavo Grossman, Manuel Trancon & Andres Mendoza (WBD)

Luisa Orrego (Zebracom) & Agustín Fabregues (GlowStar)

Gonzalo Fiure (Disney), Michelle Wasserman (Banijay) & Santiago De Cárolis (Disney)

Jimmy Van Der Heyden (CDC) & Fabiola Flores (SPIRAL)

Guillermo Sierra & Erika VogtLowell (HITN)

Darío Turovelzky (Paramount) & Tomás Yankelevich (Warner Discovery)

Enrique Cuscó & Eddy Ruiz (A+E)

Elisa Aquino (Universal Cinergia), Sera Kaynak, Julia Berkoz (Saran Media), Ozlem Ozsumbul (Madd), Liliam Hernandez (Universal Cinergia), Karina Arbizu (TCS), Ates Ince (Madd) & Gabriela Rodriguez (Honduras)

Mercedes Feü (Paramount), José Badini (AMC), Analía Pollero (Warner Discovery) & Rosario Cosentino (Paramount)

Eduardo "Coco" Fernandez (ARTEAR), Ivania Zamora, Michelle Wasserman (Banijay), Mercedes Feü (Paramount), Silvana D'Angelo (GlowStar) & Guillermo Pendino (Paramount) Nelson & Victor Sato (Sato)

Ana María Barreto (Telecolombia), Karen Juliao (Caracol) & Eugenia Velez (RCN)

Miguel Somoza (Sabbatical), Henry Zakka & César Díaz (7A Media)

Telefilms team at LA Screenings

Paramount team and talents at their screening

Asli Serim Guliyev (Calinos)

Sinem Alışkan, Hasret Özcan & Pelin Koray (Inter Medya)

Ofelya Tovmasyan, Vivek Lath & Mikaela Perez (Go Quest)

Felicia Holst & Handan Ozkubat (Eccho Rights)

Julian Althaus & Laura Beacall (Autentic)

Marei Bruckmann & Mirela Nastase (ZDF Studios)

Salmi Gambarova, Alaa Elabasy & Ozlem Ozssumbul (Madd) Rebeca Fernández Rodriguez (Atresmedia)

Esra Ercan & Sera Kaynak (Saran)

Arnaud Trottier & Victor Ukmar (Red Arrow)

NATPE BUDAPEST

Helge Kohnen (Global Screen) Laura Forniello (Onza Distribution) Aysegul Tuzun & Mahmut Ipsirli (Mistco)

Paloma Garcia & Jesus Iriepar (CARACOL)

Maria Valenzuela (Movistar Plus+ International) Ben Packwood (All3media)

Pitch & Play Ceremony at Natpe Budapest

YLE Screening at NATPE Budapest

Olga Slisarenko (1+1), Natalya Gerovska (STARLIGHT), Iryna Cheryak (Ukraine TV), Victoria Yaromschuk (Filmua) & Natalia Romanels (Suspline)

Martin Plaizer & Sylvie van der Loop (ITV Studios)

PRIME

DAILY

NETFLIX

PRIME VIDEO

TICKET

13.4%

2021 32.6% 19.1% 13.8%