SEÑAL NEWS 206 | MIPCOM 2023 by Señal News

STREAMING EVOLUTION AND CONTENT DISCOVER Y

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MIPCOM 2023

FOCUS ON ITALY: TRENDS FROM A NEW PRODUCTION HOTSPOT

THE EVOLUTION OF TURKISH CONTENT

#206 ∙ YEAR 23 ∙ OCTOBER 2023

FOCUS ON ITALY

A NEW GLOBAL HOTSPOT Leading local players like Eliseo Entertainment, Lux Vide, Cattleya, Panorama Films, Palomar, Fabula Pictures, and Picomedia discuss the present and future of the Italian content

production industry. Netflix, Amazon, RAI, and Mediaset also embrace new content production strategies in Italy to face the new demands and trends that the country is experiencing.

NEW CHALLENGES FOR CONSUMERS

THE ENDLESS POSSIBILITIES OF AI

A NEW GLOBAL APPROACH

NIELSEN

Filiz Bahmanpour, VP of Product at Gracenote, Nielsen's content solutions business unit, highlights the need for video services of connecting the right viewer to the right content.

BANIJAY RIGHTS

James Townley, Chief Content Officer of Development at Banijay Rights, explains the different ways AI can help in the content production industry.

ITV STUDIOS

Ruth Berry, Managing Director of Global Distribution and Global Entertainment, describes the opportunities of having these two businesses units together.

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SUBSCRIPTION OTT HOMES (IN MILLIONS) Western Europe

North America

100

HOUSEHOLDS TAKING AT LEAST ONE SUBSCRIPTION OTT SERVICE IN WESTERN EUROPE IS SET TO SURPASS NORTH AMERICA NEXT YEAR.

80 60 40 20

43%

120

2015

2016

2017

2018

2019

2020

GLOBAL

2021

2022

2023

2024

2025

OF NETFLIX’S UPCOMING SERIES ARE BEING MADE IN THE UNITED STATES.

-50%

PRIME VIDEO AND DISNEY+ ALSO NOW MAKE FEWER THAN 50% OF THEIR SHOWS IN THE USA.

Streamers have been increasingly targeting international markets for production to satisfy the demands of audiences outside the United States and bolster further growth in regions with the most potential for new customer acquisition.

ITVX REACHED TWO BILLION STREAMS ITVX achieved two key milestones: reaching two billion streams since launch in December 2022 and winning Best On Demand Service at the Edinburgh TV Awards. From January to June this year, ITVX attracted more viewers, with monthly active users (MAUs) up 29% yearly to 12.5 million and up 19% since year-end. The new service is also attracting light viewers, its main target audience, with viewing in that specific demo up 93% across the first six months in 2023. ∙

MARCO CHIMENZ TO JOIN FEDERATION STUDIOS Federation Studios announced a strategic addition to the group’s general management team. Marco Chimenz, ex Co-CEO of Cattleya will join Pascal Breton, founder and CEO, and Lionel Uzan, as the Group’s Co-Managing Director. Chimenz will be joined by his long-time collaborator Joshua Berman, former Head of Business and Legal Affairs at Cattleya, as International Business Affairs Advisor. ∙

TELEPOOL REORGANIZES GLOBAL SCREEN’S EXECUTIVE LEADERSHIP Global content group Telepool announced the reorganization of the executive team at its world sales brand, Global Screen, as Julia Weber, the former Head of Sales and Acquisitions, is leaving the company. Yoko Higuchi-Zitzmann, CEO at Telepool, announced the appointment of Brianne Bonney as Head of TV Sales at Global Screen, starting November 1. Based in Munich, Bonney will lead the Global Screen TV distribution team in its sales efforts across the company’s TV films and series portfolio. She will also directly spearhead TV sales, especially to English speaking territories.∙

GLOBO REVAMPS ITS INTERNATIONAL BUSINESS UNIT Brazil’s Globo restructured its international structure. In charge since 2022, Angela Colla leads a team that seeks new strategic partnerships in content and business models. With the new structure, Rodrigo Nascimento takes over as Head of International Business for Europe, Middle East and Africa; and Gabriel Bonelli arrives at the company as the new Head of International Sales. Moreover, Marcela Parise, who has been working in the International Business area since 2020 as Head of International Marketing, is now also responsible for Customer Success. Earlier this year, Pablo Ghiglione was named Head of International Coproductions. ∙

BRITAIN’S BROADCASTERS JOIN FORCES TO LAUNCH A NEW FREE TV SERVICE Britain’s biggest broadcasters, BBC, ITV, Channel 4 and Channel 5, announced their collaboration on the development of a new free TV service that will deliver live TV over broadband. For the first time for free, British viewers will be able to easily browse and watch live TV channels together with on-demand content streamed straight to their smart TV via the internet. Set for launch in 2024, the new service, called Freely, will be built-in to the next generation of smart TVs and feature a line-up of public service broadcaster content and other free-to-air channels. ∙

BBC STUDIOS TO LAUNCH A NEW GLOBAL ENTERTAINMENT ARM BBC Studios will merge its Entertainment & Music, Factual Entertainment & Events, and International Productions & Formats, and is fully integrating its worldwide network of production bases to create a new Global Entertainment business. The division will also oversee BBC Studios’ network of production bases in Los Angeles, India, Australia, South Africa, and Europe. The new business will be led by Matt Forde, who will assume the role of Managing Director of Global Entertainment. Forde is currently Managing Director for International Productions and Formats, a responsibility he will maintain. ∙

TALPA TRANSITIONS INTO TALPA STUDIOS Talpa, the content powerhouse for non-scripted formats founded by John de Mol, unveiled its new name: Talpa Studios. The rebranding represents a holistic shift in its business approach, focused on creating complete content propositions, from format creation to production and global distribution. With a multidisciplinary Dutch-based production studio, open to international hub productions, creativity is brought to life for platforms and streamers from around the world, the company said. Talpa Studios also has exclusive access rights to premium broadcast and streaming channels in the Netherlands and Germany. ∙

THE FUTURE

O MANCUSO

THE LAST DVD, CHANGE TAKES TIME BY

eptember 29, 2023. The day Netflix shipped its last DVD. It's the end of an era. After a quarter of a century of rentals, the company announced it was shutting its DVD rental business. Besides the nostalgia and disappointment of the few active subscribers, that business certainly had little chance of survival. Last year, the DVD business generated U$D 145.7 million, down 20% year-overyear, representing just 0.5 % of Netflix's total revenue. Yes, it was time to eject. But we are talking of a business that started in 1998. When the streaming world started, nobody understood what

that was, and the DVD revenues were stunning. As a company, Netflix had a vision, but more than everything, they were fearless in embracing that level of change. It is always easy to talk with the Monday newspaper because we heard about the NetflixBlockbuster history a million times, but, in our content industry, the excessive use of the word "change" is leading to a new era where everybody expects new transformations in record times. Do we learn from past experiences? Very little. We all agree about the dramatic change in the media landscape. A big part of the drama is basically an effect of many top companies' actions over the last few years. Netflix's innovation seemed to create a new desperate haunt for the "new big disruption," but as the DVD rental business lived for 25 years, please don't forget that traditional media is still alive and creating revenues.

The industry's appetite for rapid transformation has led to a relentless quest for panaceas, revolutionary solutions that promise overnight success. Will FAST (Free Ad-supported Streaming Television) be the new pay TV? Can addressable advertising surpass traditional ads in revenue generation? Will AI eventually create all our content? These are all valid questions but only sometimes lead to immediate disruption. Change is usually gradual and deliberate. Change is inevitable, but it doesn't need to be quick. Netflix's evolution from DVDs to streaming illustrates this theory. Learning from the past, carefully planning for change, and finding the right balance between innovation and stability are essential for a successful transition. To resume, the farewell to Netflix's DVDs signifies more than just the end of one business model. It serves as a reminder of the evolving nature of the entertainment industry. As we navigate these changes, we should remain mindful of the lessons learned from the past. Change takes time, and while we eagerly anticipate the future, we should also appreciate the enduring value of what has come before. Oh! For those who may have forgotten to return their last DVDs, don't worry. Netflix has said you can keep those. They don't want them.

By Pablo Mancuso

OVERVIEW

FAST BUSINESS, A STRONG OPPORTUNITY IN THE AMERICAS AND WESTERN EUROPE OMDIA'S RECENT DATA SHOWS THE BUSINESS POTENTIAL OF THE FAST BUSINESS IN THESE REGIONS, WITH REACH AND REVENUES TO BOOST IN 2023.

evenues for the FAST business in Latin America and the Caribbean will more than double between 2023 to reach U$D 400 billion, according to Omdia's recent report. Brazil and Mexico will dominate the region's FAST market, combining to take over 85% of revenue over the forecast period. "These two markets were the sole regional focus of Samsung and LG before LG Channels' launch in Argentina, Chile, Colombia, and Peru in March 2023," commented Maria Rua Aguete, Media Research Director at Omdia. "Yet, all Latin America has become a strategic focus for Paramount-owned Pluto TV, with the region accounting for over 40% of Pluto TV's non-US monthly active users (MAUs) in 2023", she added. Meanwhile, a solid Spanishlanguage FAST market in the United States has seen an overspill of FAST channels and services into Latin American markets. "Both Tubi and Roku Channel are active in Mexico, while TelevisaUnivision's ViX is now available across all Spanishspeaking Latin American markets and the United States," Rua Aguete added. The strength of the Spanishlanguage FAST market will mean that Mexico will be the region's fastest-growing FAST market by 2028. High rates of cord-cutting in the region's largest market, Brazil, will boost FAST's share of premium ad-supported online video, but strong AVOD growth will curtail this from 2026 onward. 22

STRONG FAST PRESENCE North America accounts for almost 90% of global FAST revenue. This share is expected to drop as the North American FAST market matures and other regions play catch-up over the forecasted period, but its share will remain above 85% in 2028, when it will reach U$D 11 billion. "While a substantial opportunity for FAST exists in Canada, the United States will continue to account for 97% of North American FAST to 2028," Rua Aguete stated. FAST will take the highest shares of premium video advertising in North America, Western Europe, and Latin America Premium video advertising split by type, by territory, 2028, % of total  Traditional linear TV 0% Canada

 Premium AVOD

Share of advertising revenue

United States United Kingdom Mexico Australia Sweden Chile Brazil Spain Germany Colombia Denmark Rest of Middle East Peru Norway France Argentina Rest of Western Europe Italy Finland South Korea Rest of Latin America & the Caribbean Turkey Netherlands India Rest of Africa Rest of Central & Southern Asia Rest of Eastern Europe Rest of Oceania, Eastern & South-Eastern Asia

 FAST 100%

14% 12% 7% 7% 6% 4% 4% 4% 4% 4% 4% 3% 3% 2% 2% 2% 2% 2% 1% 1% 1% 1% 1% 1% 0% 0% 0% 0% 0%

Multiple factors influence North America's global FAST power and FAST's relatively higher share of its premium video market. First, the historical dominance of cable, rather than terrestrial TV, in the United States means that the impact of cord-cutting and the shift toward online and CTV alternatives has been especially pronounced. Major channel groups have invested heavily in FAST platforms and channels as part of their D2C strategies. Furthermore, the United States has the world's most advanced CTV advertising market in terms of advertiser spend and supporting technologies. High cost-per-mille (CPM) rates make ad-funded business models a more lucrative option than in other emerging regions. THE UK TO LEAD IN EUROPE The European FAST market is and will remain dominated by Western European markets, despite many European sub-regions being hampered by continuing availability, popularity, and regulatory oversight of traditional free linear TV. Western Europe will likely extend its FAST channels strategy. "The UK, where FAST channels still require a TV Licence, will be the largest FAST market in the EMEA region by 2028, reaching U$D 500 million, with ITVX's inclusion of FAST channels helping to boost the market," Rua Aguete affirmed. "Indeed, broadcaster involvement will be a crucial driver for FAST's uptake and revenue, similar to free TVdominated markets," she added. FAST revenues across other EMEA sub-regions will remain suppressed by a combined lack of major FAST platforms availability and CTV ad infrastructure. While some players operate largely region-wide (Rakuten TV) and globally (Plex), major global FAST platforms like Samsung, LG, and Paramount are absent in Eastern Europe, the Middle East, and Africa. Robust connectivity and high CPMs mean the Middle East offers a FAST opportunity, but service availability is currently limited. By Omdia

INTERVIEW

"CONSUMERS FACE DIFFICULTY DECIDING WHAT TO WATCH”  Filiz Bahmanpour

FILIZ BAHMANPOUR, VP OF PRODUCT AT GRACENOTE, THE CONTENT SOLUTIONS BUSINESS UNIT OF NIELSEN, HIGHLIGHTS THE NEED FOR VIDEO SERVICES OF CONNECTING THE RIGHT VIEWER TO THE RIGHT PROGRAM AT THE RIGHT TIME, TO IMPROVE THEIR USER EXPERIENCES.

n its latest "2023 State of Play" report, Nielsen illustrated the surging number of program titles and streaming video services and the resulting challenges for viewers, who now spend 10.5 minutes per session deciding what to watch. Filiz Bahmanpour, VP of Product at Gracenote, Nielsen's content solutions business unit, spoke in depth about this situation with Señal News. As viewers struggle to decide what to watch, has the sheer amount of content become more of a problem or a solution? "The sheer amount of content available today is more of an opportunity in our eyes than anything. Yes, consumers face difficulty deciding what to watch despite so many choices. But because there is something available on streaming or linear TV to suit virtually any taste or mood, it is just a matter of connecting the right viewer to the right program at the right time. If video providers can effectively improve personalization, search, and discovery, they stand to improve the overall user experiences they deliver." 24

How can a platform improve its offer to prevent users from abandoning the viewing session and turning to another activity? "Today, it is critical for platforms to not only attract viewers but retain them for as long as possible. According to Nielsen's ‘2023 State of Play' report, one in five consumers abandoned a viewing session and turned to another activity when they could not easily find something good to watch. That is something platforms are working to prevent at all costs. SVOD services have made significant progress in keeping viewers engaged with programming through personalization powered by rich content metadata and imagery. Now, linear streaming and free on-demand platforms can benefit from better personalization and maximize content consumption and advertising monetization." Platforms seem to be more flexible regarding titles' exclusivity. How will this impact viewers? "With platforms being open to presenting catalog programming in addition to exclusive content, viewers win because they now have a wider range of available options. But this adds complexity to content discovery. Content aggregators have a great opportunity to solve Average time to find something to watch In minutes and seconds 11:16

10:30

7:24

March 2019

October 2022

June 2023

this complexity through universal search capabilities which surface content wherever it is available." Why do you think ad-supported streaming is growing so much? "The video landscape has definitely fragmented with the rise of streaming. As consumers pay for numerous SVOD services to get the TV and movie content they want, they have become more sensitive to the fact that each subscription adds up. Therefore, ad-supported services have gained traction. In particular, FAST offerings have become a major opportunity based on the no-cost, no-commitment model and resonant programming delivered through a linear experience. The video ecosystem is responding to the opportunity." Where is content consumption headed? Will streamers have to change their business model soon? "We are seeing continued interest in frictionless experiences around entertainment programming but also including sports and music, linear and on-demand. From a business standpoint, streaming services need to figure out how to achieve and sustain profitability. Streaming has the ability to combine the best of both worlds: cable's dual revenue streams (subscription and advertising) and digital's ability to bring programmatic capabilities such as personalization to both content and advertising. It is an exciting time for the global media and entertainment industry, and Gracenote's role has never been more critical." By Federico Marzullo

OVERVIEW

TURKISH CONTENT:

KNOWN AS A CONTENT SUPERPOWER, THE TURKISH TV AND OTT MARKET IS EXPERIENCING NEW STRATEGIES FOR GLOBAL AND LOCAL PLAYERS, THE RISE IN POPULARITY OF ITS TITLES, AND NEW OPPORTUNITIES FOR ITS INTERNATIONAL EXPANSION.

"Black Money Love"

AN EVERGREEN LOCAL AND GLOBAL PHENOMENON

fter breaking into the global market more than a decade ago, Turkey is currently recognized worldwide for the quality of its content, which to this day continues to accumulate sales in practically every territory around the world. Although drama is still the strongest genre, there are many Turkish productions that are widely accepted worldwide. Initially more limited to pay TV, it did not take long for Turkish content to make its way through other windows, such as OTT platforms. Nowadays, although pay TV remains popular, subscription video on-demand uptake is steadily rising across all age groups, with consumers spending a significant amount of time viewing content on SVOD in comparison to other markets, with room for further growth, according to data from Ampere Analysis.

PROPORTION OF CONSUMERS WHO CLAIM TO WATCH FOUR OR MORE HOURS OF SUBSCRIPTION VIDEO ON DEMAND (SVOD) CONTENT DAILY (%)

83% Turkey

11% UK

10% 9% Germany Spain

8% Italy

8% 5% Poland France

Source: Ampere

TURKEY DAILY TIME SPENT VIEWING (SELF-REPORTED MINUTES, 18-64S) 140 120

SHARE OF POPULATION REPORTING SUBSCRIBING TO AT LEAST ONE SVOD SERVICE (Q1 2023)

14% USA

Broadcast

100 80 60 40 20 0

VoD Q1 Q3 Q1 Q3 Q1 Q3 Q1 Q3 Q1 Q3 Q1 Q3 Q1 2017 2017 2017 2017 2017 2017 2017 2017 2017 2017 2017 2017 2023

Source: Ampere Consumer

73% France

77% Germany

82% Italy

83% Turkey

84% Spain

85% UK

Source: Ampere

AVERAGE NUMBER OF SVOD SUBSCRIPTIONS PER SVOD HOME (2023)

1.6 Turkey

1.8 Spain

1.8 Italy

1.9 France

2.1 Germany

2.3 UK

Source: Ampere

Moreover, SVOD viewing time in Turkey keeps increasing rapidly, highlighting the opportunity in the market. In detail, the proportion of consumers who claim to watch four or more hours of SVOD content daily is 17%, even higher than the United States (14%), the UK (11%), or Germany (10%). 26

As in many territories around the world, players like Netflix, Disney+, and Prime Video are the most popular platforms in the country. In terms of catalog size, local services Turkcell TV+ and Tivibu are the most competitive with global streamers, and, like international platforms, are pursuing a varied genre strategy, primarily focused on scripted. Meanwhile, also local players BluTV, Exxen, and Gain have a greater skew towards unscripted genres. TURKEY SHARE OF SVOD SUBSCRIBERS

9% 9% 14%

2% 5% 2%

37% by platform, 2023 10% 12%

Source: Ampere

 Netflix  Disney+  Prime Video  BluTV  TV+  Exxen  belN Connect  GAIN Premium  Tivibu

TURKEY SVODS SUBSCRIBER GROWTH IN 2023 COMPARED WITH 2022 68%

36% 13%

22%

27%

32%

15% -2% -15%

OVERVIEW In search of differentiation, these Turkish platforms are betting on local production, an area in which the main three foreign players in Turkey, Netflix, Disney+ and Prime Video, falter. Despite smaller presence on SVOD, local titles make up significant share of engagement. In fact, almost half (49%) of respondents to a recent Ampere Analysis’ survey, conducted in the first quarter of this year, answered “very often” to watching TV series produced in their own country, a tendency which is particularly high among older demographics in Turkey. TURKEY NUMBER OF TV SHOWS AND MOVIES IN SVOD CATALOGS (JUNE 2023)

2,234

2,021 1,058

Netflix

Turkcell TV+

Tivibu

997

Disney+ Amazon BluTV Prime Video

209

Gain

Exxen

TURKEY: LOCAL SHARE OF TV SHOWS AND MOVIES IN SVOD CATALOGS (JUNE 2023) 64% 45% 28% 16%

16% 5%

Netflix

Turkcell TV+

Tivibu

Disney+ Amazon BluTV Prime Video

Gain

303 284 281 273 270 269 266

Romania USA France Czech Republic Spain Canada

TOP IMPORTED TITLES FROM TÜRKIYE (JUNE 2023) Title

Primary Genre

No. markets exported to

Average international popularity*

Portability Score**

Black Money Love

Crime & Thriller

Dirilis: Ertugrul

Action & Adventure

Winter Sun

Crime & Thriller

Documentary

Romance

Sci-Fi & Fantasy

Romance

Kurt Sevit Ve Şura

Romance

Kiralik Ask

Romance

Siccin 4

Crime & Thriller

Rise of Empires: Ottoman You Knock on My Door The Protector The Magnificent Century

Exxen

LOCALLY-PRODUCED SHARE OF TOP 500 SVOD TITLES 23%

29%

30%

29%

Jun-20

Dec-20

Jun-21

Dec-21

25%

26%

27%

Jun-22

Dec-22

Jun-23

At the same time, a lot of Turkish titles have been performing well in some other territories, such as South America and Spain. Ampere Analysis attributes this success to the fact that drama and romance content aligns well with consumer preferences in these territories. TURKISH PRODUCED CONTENT, AVERAGE POPULARITY* BY MARKET, TOP 10 UAE Egypt Saudi Arabia Spain Argentina Chile Peru Colombia Slovakia Mexico

0.0

0.2

0.4

0.6

SPAIN: TOP* 300 IMPORTED TV SHOWS (MAY 2023) 0.8 rea Ko ia uth b na So olom nti C ge Ar

However, Turkish SVOD overall sees a low percentage of local content compared to European markets. With only 7%, local Turkish content lags behind territories such as the UK (32%), Germany (28%), Spain (17%), Italy (15%), or France (9%). Despite the opportunity, and the importance of local content, global players’ investment remains low: Prime Video locally produced 75 more TV shows and/or movies comparing June 2022 with June 2023, Disney 80 more, and Netflix 56 less.

Dec-19

UAE Germany

Source: Ampere Analytics

29%

Egypt

 Local platform

5,055

2,359

583 565 562

Saudi Arabia

Ja p

an Tur key

Other

 International platform

NUMBER OF IMPORTED TURKISH TITLES (JUNE 2023)

USA

o xic Me

Source: Ampere Analytics

According to Ampere Analysis, international players should take note of the high level of engagement and appeal of Turkish productions. As well as performing well locally, Turkish content is highly exportable, especially to the MENA regions. Hit series “Black Money Love” or “Dirilis: Ertugrul,” for instance, have been licensed to 51 markets so far. 28

The data showed in this report was presented by Ampere Analysis’ Senior Analyst Peter Ingram and Analyst Josh Rustage during the latest “The TV and VOD market in Turkiye” webinar, where the specialists took a look at the Turkish TV and OTT market, comparing the content strategies of both international and local operators. By Federico Marzullo

AVOD? SVOD? FAST?

PRINT + DIGITAL + MOBILE

/senalnews

INTERVIEW

"THE SUCCESS OF TURKISH TV SERIES IS RELATED TO CULTURAL PROXIMITY" PROFESSOR AND DOCTOR ARZU ÖZTÜRKMEN IS AN AUTHORIZED VOICE REGARDING THE GLOBAL EXPANSION OF TURKISH CONTENT. WITH A HISTORICAL PERSPECTIVE, SHE ANALYZES THE PRESENT AND FUTURE OF THIS GENRE.

rzu Öztürkmen is a history professor at Bogaziçi University in Istanbul. Her research embraces oral history, cultural folklore, and performing arts. In addition to several articles about Turkey's cultural history, she published the book "The Delight of Turkish Dizi, Memory, Genre and Politics of Television in Turkey" last year. Señal News spoke with Öztürkmen to understand the phenomenon around Turkish content. The global appeal of Turkish content continues to grow. What are the historical reasons for that phenomenon? "Many researchers relate the success of the dizis (Turkish TV series) to cultural proximity, as the initial interest began in the post-Ottoman era. It started with 'Yabancı Damat' (Foreign Groom, 2004) first in Greece, then spreading to the Balkans, and continued with 'Gümüş' (Nour, 2005) in the Middle East. The cultural proximity argument also works for Central Asia, where the Turkic origins of modern Turkey are rooted. That theory is also true for Latin America since the Latin culture shares many similarities with the Mediterranean culture." What does Turkey have or do differently that makes it a global hotspot for drama? "Another reason for the global appeal of Turkish content is often related to the narrative style that dizis materialized. Dizis are shot in real locations, and their story follows a natural slowness. A musical narration escorts the story. The pace of the narratives offers a real-time acting style that enables talent to pass the feeling of their dialogues. There is also a rising curiosity about the mixed impressions of Turkey. I remember how Alan Parker's 'Midnight Express' (1978) marked Turkey's political image during the 1980s and 1990s. That began to change with the new branding of Istanbul in the 2000s. Dizis brought another visual frame with its different shots of Istanbul and other places around Turkey, together with a new and diverse profile of actors with remarkably different appearances." 30

What new local trends do you recognize for Turkish content, especially around drama? "I believe that the content of the early 2010s made up the new 'Turkish Wave.' Dizis like 'Fatmagül,' 'Aşk-I Memnu,' 'Uçurum,' 'Suskunlar' or 'Kayıp Şehir' had compelling themes from different elements and spots of Turkish society. With the change in the rating system, the dizi industry became very fragile, and producers and networks headed to 'safe' content with a mixture of romance and action. With the entrance of new digital platforms in recent years, we see a strong desire to produce a new type of dizi, also branded as the 'New Generation of Turkish Series.' 'Saygı' and 'Magarsus' are clear examples of that trend. Digital platforms also offer an opportunity for writers to create content dealing with delicate issues in Turkish society, like

“

ANOTHER REASON FOR THE GLOBAL APPEAL OR TURKISH CONTENT IS OFTEN RELATED TO THE NARRATIVE STYLE THAT DIZIS

Arzu Öztürkmen

MATERIALIZED.

”

class, gender, ethnicity, or religion. 'Ethos' and 'Fatma' are also an example of that. A new trend in mainstream television drama is adaptations from 'real-life stories.' The content coming particularly from G. Buğdaycıoğlu, a therapist and writer, offered stories and characters used for prime-time hit series."

Are those trends necessary to keep the international expansion of Turkish content? "Yes, of course. Although digital platforms are watched globally, there is still a strong tradition of watching linear television. Furthermore, today, local audiences in Turkey demand content related to freedom and a sense of humor." By Diego Alfagemez

PRODUCTION

“THERE ARE ENDLESS POSSIBILITIES IN HOW AI AND TECH CAN BE USED” JAMES TOWNLEY, CHIEF CONTENT OFFICER, DEVELOPMENT AT BANIJAY, TALKS ABOUT THE COMPANY'S AI CREATIVE FUND, A NEW OPPORTUNITY FOR PRODUCERS AND LABELS ACROSS 21 TERRITORIES TO SHOWCASE IDEAS USING TECHNOLOGY AND INNOVATION.

couple of weeks ago, Banijay announced the AI Creative Fund, a new opportunity for producers and labels across the company's 21 territories to showcase ideas with technology and innovation at their heart. This new addition to the group's various other creative initiatives aims to fuel and supercharge people and teams to create formats that push the boundaries of creativity using Artificial Intelligence and technology. James Townley, Chief Content Officer, Development at Banijay, discussed this initiative. When and why did you feel it was necessary to enter the world of AI? "At Banijay, we are enthusiastic about innovation generally, and it certainly feels like we are in a new era of technology. We have brilliant producers and creatives across the 21-market footprint, all open to experimenting with new ways of working both behind the camera and as part of the show. Accessing our creative know-how and utilizing the tools available allows us to be a pioneering force in cutting-edge entertainment." Specifically, in which ways can AI help in the production of content? 32

"There are endless possibilities in how AI and tech can be used in partnership with the talent in our industry, and these are constantly evolving and changing. Already, we have seen it used to creatively support formats in ways that are supplementary to revitalizing an existing show or to assist production behind the scenes with the generation of questions for gameshows, for instance. While we continue to scrutinize its use owing to the ethical and rights considerations at play, one thing we do confidently believe is that human creativity will always prevail. This business is built on creative ideas, and that is never going to change." Why do so many people believe AI is more of an enemy than an ally? "It is important to balance things out. Yes, there are apprehensions, but on the whole, we see AI as a new tool for our creatives to use. We absolutely need to be mindful of how AI is used and continually keep abreast of changes and challenges. Firstly, AI systems show a bias towards the white lens, which can allow

further inequalities for marginalized groups, which we have long sought to combat as an industry. Unfortunately, it may take time, much data input, and the direction of many uses before this balances out. Privacy and data can be an issue, too: with AI being used to gather huge amounts of data, we need to question how this data is used. For a business like Banijay and our producers, we need to be very aware of rights issues and IP protection." Are you already implementing AI in other areas of Banijay's business? "On a practical level, as it is a hot topic in the industry, I would assume most people would be exploring how AI is used. We need to experiment and use this tool to better understand its most effective use for us." What is the future of AI in the content industry? "The possibilities are endless, and as AI begins to shape our world, there is an increasing demand for people to create fresh, forward-thinking formats in the technology space. We want to embrace this tech, and our creatives as well, whether that be an idea central to a show or else redefining the production process. Our newly launched AI Creative Fund encourages our talent to explore new ideas, like with all our creative funds available to producers across the Banijay footprint. They are all there to elevate ideas and invest in what our producers do best: innovate and ambitiously create new IP for local audiences with global potential." By Federico Marzullo

INTERVIEW

“BUYERS HAVE MOVED TOWARDS A ‘SINGLE BUY’ MENTALITY”  Ruth Berry

RUTH BERRY, MANAGING DIRECTOR OF GLOBAL DISTRIBUTION AND GLOBAL ENTERTAINMENT AT ITV STUDIOS, DESCRIBES THE OPPORTUNITIES OF HAVING THESE TWO BUSINESSES TOGETHER AND ANALYZES WHY CLIENTS LEAN TO ACQUIRE CONTENT FROM “ONE-STOP SHOPS.”

t the beginning of this year, Ruth Berry, who until then held the role of Managing Director of Global Distribution at ITV Studios, was promoted to lead both of the company’s global commercial divisions. According to the company, bringing together Global Distribution and Global Entertainment under a single leadership team, led by Berry, enables ITV Studios to align more closely with buyers. “Bringing the two businesses together is a great opportunity. We got the finished programming and the formats side of the business into one place, which allows us to do several things. The market has changed a lot in the last years, and I think consolidation means there are fewer buyers. Ultimately, by having our portfolio into one place, hopefully we can fulfill these clients’ needs. I think our buyers have moved towards a ‘single buy’ mentality. They are really looking at how they can acquire more content from ‘one-stop shops,’ and I am really happy to solve all their problems at one go,” Berry told Señal News.

In her new position, Berry leads the distribution and monetization of a catalog of more than 90.000 hours, with 285 unique formats which includes hit titles “Love Island,” “My Mum Your Dad,” “Maternal,” “The Voice” and “Line of Duty.” During a decade with ITV Studios, she has overseen the transformation of predominantly English-language content sales (with a factual specialism), to a global distributor of world-class English and European language drama, alongside an enviable portfolio of high quality nonscripted titles. “Most players are largely moving from linear to nonlinear. With the new structure, which is organized in a regional basis, we can really delve into where the regional audiences are, what are their needs and which are the local trends, as they are very different regarding the territory. Therefore, I think it is about trying to find the best way to understand clients and how we can sell our content to them, while positioning ourselves more meaningfully,” Berry analyzed. NEW TRANSITION In this transition from linear to non-linear many players are experiencing, Berry believes the two worlds are now more intertwined than ever. As an example, she mentioned ITV’s very own streaming service, ITVX, an ad-supported video-on-demand

streaming offer that has reached two billion streams since launch. “ITVX has been really successful, but that is also thanks to our ability to work both in streaming and linear,” she assured. “Linear still can deliver mass audiences in a way no other media can. Advertisers cannot reach 4 or 5 million people live in any other medium, so linear still is really important. Nevertheless, what it is also really important is being able to capture people who view content differently,” Berry commented. Regarding genres, the executive recognizes a greater appetite for dramas, although she also finds a lot of potential in the unscripted side. “Drama has become quite expensive, so clients are testing more non-scripted titles and seeing how that works for them. I think that most of the streaming business has been built around drama, not unscripted programming, so there is still the question around what the appetite of streaming subscribers is to view non-scripted content,” Berry mentioned. “What is becoming quite interesting as well is the relationship between long and short form programming, particularly around brands. We see short form and social media being used to bring people back into the long form shows. There is a bit of an ecosystem, so we need to evolve in that space as well,” Berry concluded. By Diego Alfagemez and Federico Marzullo

DISTRIBUTION

“OUR GOAL IS TO ESTABLISH AMAZON MGM STUDIOS DISTRIBUTION AS A NEW BRAND” CHRIS OTTINGER, HEAD OF WORLDWIDE DISTRIBUTION FOR AMAZON MGM STUDIOS DISTRIBUTION, DESCRIBES THE POTENTIAL OF THE NEW SALES ARM OF AMAZON STUDIOS.

ast May, just in time for the LA Screenings, Amazon Studios presented Amazon MGM Studios Distribution, its brand-new global distribution division that handles Amazon originals and MGM library titles, totaling more than 4,000 film titles and over 17,000 television episodes. At the same time, it was announced that, for the first time, the company would sell content to third parties. At the helm of this division is Chris Ottinger, an industry veteran who led the MGM distribution team for more than a decade and now acts as Head of Worldwide Distribution for Amazon MGM Studios Distribution, reporting to Brad Beale, VP of Worldwide Licensing & Distribution at Amazon and MGM Studios. “Our first goal is to make our Prime Video streaming service as globally successful as possible. At the same time, we aim to be as strong as possible in our third-party distribution. Sometimes, there is a little bit of tension between those two goals, so it is always a challenge. It is tough to know exactly what is the right amount of time that some production should be on Prime Video before we take it to market. We are always balancing revenue expectations with performance on the service, trying to find that sweet spot,” Ottinger told Señal News. “I think it will take years to fully understand what the optimal 36

"Fargo"

windowing is. We are a very datadriven company. We want to make sure that the decisions are informed by data, that we are making the best possible decisions and in the most efficient way. The market is very dynamic right now,” Ottinger added. Amazon Original film titles that this new division distributes include “7500,” “All the Old Knives,” “Bliss,” “Borat Subsequent Moviefilm,” “Coming 2 America,” “I Want You Back,” “The Tender Bar,” “The Tomorrow War,” “The Voyeurs,” and “Without Remorse.” It also manages the sales of the “James Bond,” “Rocky,” and “Creed” franchises, as well as series such as “The Handmaid’s Tale,” “Vikings,” “Fargo,” and the upcoming “Hotel Cocaine.” Logically, the increase in the number and variety of titles he now handles under the Amazon umbrella is a very different challenge for Ottinger than the one he had during his years at MGM. “Definitely, Amazon is a super different company than MGM, and internally, our processes and procedures are very different. I think the best part of this integration is that we

"The Handmaid's Tale"

never had a consistent supply of new programming at MGM, so we were always challenged. Now, the content coming out of the studio is incredible and super consistent. We have a steady stream of content. Our greatest challenge is getting all of that content into our distribution pipeline, which is only an internal operational challenge,” he explained. For Mipcom, Amazon MGM Studios Distribution is preparing a robust offer, with a catalog composed of well-known shows such as “The Handmaid’s Tale” or “Fargo,” as well as new series. “We are preparing a big content push for Mipcom. However, our goal for this market is to establish Amazon MGM Studios Distribution as a new brand. We are not MGM anymore and are not Prime Video: we are a new combined company. Mipcom is the most important TV market, so it is important to have a presence there and quickly become a regular distributor competing with all the other major distributors,” Ottinger concluded. By Federico Marzullo

INTERVIEW

 Beatrız Cea Okan

BEATRIZ CEA OKAN, VP AND HEAD OF SALES AND ACQUISITIONS AT INTER MEDYA, DEFINES THE COMPANY'S STRATEGY FOR INTERNATIONAL COPRODUCTIONS.

urkey's Inter Medya has clearly established a strategy for global coproductions. With ongoing deals with Telemundo Global Studios and Caracol, the company is now searching for new projects that help diversify its content portfolio. Señal News spoke with Beatrız Cea Okan, VP and Head of Sales and Acquisitions at Inter Medya, to describe that strategy. How would you describe Inter Medya's coproduction strategy? "Inter Medya is currently working not only on its distribution business but also on creating coproduction opportunities. For coproductions, our primary goal is to expand our global presence, collaborating with production companies from different countries to produce new content. We aim to participate in coproductions across various genres, including drama, romantic

"COPRODUCTION REPRESENTS A HIGHLY ADVANTAGEOUS BUSINESS MODEL" comedies, and daily dramas. Our focus is on establishing enduring strategic partnerships with key players in the industry, nurturing relationships that can pave the way for future coproduction ventures." Why are coproductions crucial to Inter Medya's global expansion? "Coproduction has a crucial importance, where we are placing a significant effort. The undeniable global success of Turkish productions cannot be overlooked. As a 32-year-old company specializing in the international distribution of Turkish dramas, we possess profound insights into the viewing habits of international audiences. We leverage this know-how to develop coproduction projects to their fullest advantage and have seen remarkable results. Coproduction, particularly regarding intellectual property rights, represents a highly advantageous business model. It helps us to diversify our content portfolio by partnering with global business partners. "Blue Cage" That diversity allows us to offer a broader array of content. Coproductions provide invaluable insights

into the dynamics and trends of diverse markets. That knowledge is essential for tailoring content and distribution strategies to effectively meet specific regions' unique needs." What must a project have to consider a coproduction deal? "It's crucial that the story appeals to universal values and that the narratives center around love and family. Of course, the cast is equally important. Having actors recognized and beloved provides an advantage in marketing both before and during the broadcast. Audiences in a specific region would be delighted to watch familiar faces. From a commercial standpoint, all parties involved should share the same creative vision and goals for the project. It's essential to define each party's contributions and responsibilities clearly. The specific requirements for a coproduction deal may vary depending on the nature of the project and the countries involved. Straightforward deals, shared vision, and effective collaboration are crucial to consider when entering a coproduction deal." What are Inter Medya’s ideal partners for a coproduction? "Anyone who shares our enthusiasm and motivation is our ideal partner. We hope to collaborate on coproductions with anyone who shares the same excitement and drive. We have already started working on this model in various other countries. We hope to share more details very soon.” By Diego Alfagemez

INTERVIEW

“OUR STRATEGY FOCUSES ON NURTURING PARTNERSHIPS” PATRICK PHELAN, DIRECTOR OF WORLD SALES LEONINE STUDIOS, DESCRIBES THE COMPANY'S SALES AND WINDOWING STRATEGY WHILE HIGHLIGHTING NEW DRAMA LAUNCHES FOR MIPCOM.

eonine Studios, leading Germany's independent content house, describes itself as a one-stop shop for premium content. The company produces, distributes, and licenses fiction and non-fiction formats worldwide. Señal News spoke to Patrick Phelan, Director of World Sales, to describe Leonine's strategy regarding sales and windowing. How would you describe Leonine's global sales strategy? "Our global sales strategy revolves around capitalizing on the appetite for high-profile international productions, both English-language and local. That offers unique storytelling and an exciting new look. We prioritize combining compelling narratives with the renowned talent behind and in the camera. As a company, we maintain a broad outlook on content and stories, actively seeking the right fit for our portfolio, whether it be an in-house project, an international coproduction, or one originating from a third party. If a story resonates with us, we are eager to fully support it and drive its success in the global market. We aim to cater to the global audience's evergrowing interest by leveraging the universal appeal of high-quality 40

 Patrick Phelan

international productions. Our strategy focuses on nurturing partnerships, exploring diverse content offerings, and delivering captivating narratives that resonate with viewers worldwide." What is the market potential for Leonine's dramas? "Our Australian thriller series 'Troppo' is based on the highly popular 'Crimson Lake' novel series written by New York Times best-selling author Candice Fox. The eight-part, one-hour series takes us right into a criminal case in the wilds of tropical Far North Queensland. 'Troppo' premiered on ABC Australia and is a Freevee US Original, and has been sold, among others, to

"'Bonn"

Canal+ in France, AMC in Central and Eastern Europe, Viaplay in Scandinavia, as well as Amazon Freevee in Germany and the UK. Due to its success, a second season, again eight-part, one-hour, based on another Crimson Lake Novel, 'Redemption Point,' was greenlighted. It is in its final stages

of post-production, looking to be deliverable by the end of 2023. Furthermore, 'Bonn' is a six-part political thriller that focuses on a young woman struggling to find her place in a male-dominated society in the 1950s and the political tug-of-war between Germany's rivaling intelligence services. The series premiered on Germany's ARD in January 2023 and was very successful in its linear broadcasting and on the VOD platform ARD Mediathek. This show has been sold to MTVA in Hungary, RTV Slovenia, RTP Portugal, and SBS Australia, among others." What is your windowing strategy? "Selling different windows in many territories seems to have disappeared. You are lucky if you can get a pan-regional pay TV deal, and after a 9-12 months holdback, a fair amount of single countries within that pan-region pick up free TV rights. What is more likely is to sell non-exclusive SVOD windows in the same territory, within a similar license period, and sell linear TV rights. Everyone is looking for that one piece for themselves, that exclusivity. At the end of the day, you must develop one specific strategy for each title, as you never know what will work best for each show. There is no guaranteed window structure, so it is more about knowing what your clients need and what they could be looking for in the future, then staying in constant communication with them to know when the time is right and for which genre." By Diego Alfagemez and Federico Marzullo

OVERVIEW

STRENGTHS AND GLOBAL POTENTIAL OF ITALIAN ORIGINAL CONTENT LOCAL PLAYERS LIKE ELISEO ENTERTAINMENT, LUX VIDE, CATTLEYA, PANORAMA FILMS, PALOMAR, FABULA PICTURES, AND PICOMEDIA GATHERED IN THE SECOND EDITION OF THE AUDIO-VISUAL PRODUCERS SUMMIT TO DISCUSS THE PRESENT AND FUTURE OF THE ITALIAN CONTENT PRODUCTION INDUSTRY.

eading Italian producers from Eliseo Entertainment, Lux Vide, Cattleya, Panorama Films, Palomar, Fabula Pictures, and Picomedia have gathered in the second edition of the Audio-Visual Producers Summit. This meeting aims to be a bridge between Europe and the United States. Local players have discussed similarities and differences between both territories and highlighted their challenges as independent producers. "The European independent production system is perhaps less efficient than the American, less close to the public, but it is characterized by a great effort to maintain plurality,"

RICCARDO TOZZI

Co-Founder and President of Cattleya

Riccardo Tozzi, Co-Founder and President of Cattleya, said. His company is behind international hits such as "Gomorra" and "Suburra." Tozzi indicated that the digital revolution and significant production volume growth have characterized the European industry. "Now, this phase seems to be an exhaustion, but it is clear that

there is a wave of influx and that things will have to find support. The current landscape has mainly produced positive effects in Europe. There is growth of local and European production in each country, and it has also been a qualitative evolution, an increase in the variety of supply," Tozzi explained.

LUCA BARBARESCHI Founder and Artistic Director of Eliseo Entertainment

Luca Barbareschi, Founder and Artistic Director of Eliseo Entertainment, producer of "The Palace" and the original film "The Penitent," criticized the acquisition of Italian production companies by big European studios. "In recent years, Italy has been the target of acquisitions; we have sold the country's main assets. The few, like us, that remain independent have to fight against a complicated system," he stated. Barbareschi also said that Italy has to create an industry where Italian independent producers must have priority. "Italians have creativity and intelligence, with extraordinary actors, directors, and screenwriters. The

tax credit mechanism and finances aids of Mediaset or RAI must consider the independent players," Barbareschi stated.

LUCA BERNABEI CEO of Lux Vide

Concerning the foreign approach to Italian producers, Luca Bernabei, Lux Vide's CEO ("Devils," "Leonardo," and "Blanca"), referred to the recent acquisition of the company by Fremantle. "The deal of Lux Vide and Fremantle has not de-naturalized us and made us different. We have continued with our goal to bring premium content to the market. We have remained independent in our job," he remarked. Bernabei also referred to the Italian audiovisual industry and affirmed that local networks are still essential in that ecosystem. "RAI and Mediaset's productions allow independent Italian producers to maintain their profits and sell content worldwide," he said.

FINANCIAL MODELS One hot topic Italian independent producers discussed was how to find more significant budgets to produce content. Marco Chimenz, former Co-CEO of Cattleya and recently name Co-Managing Director of Federation Studios, asserted that the current production and financial model has structural problems. "Streamers are cutting back expenses and, in some cases, they're fine with taking only one territory or region, leaving second window sales for distribution," Chimenz stated. "That landscape is very interesting for producers because we have the expertise and mentality to go around the world putting together financing pieces," he added.

MARCO CHIMENZ

Fromer Co-CEO of Cattleya, recently named Co-Mnaging Director of Federation Studios

Nicolas Serra, CEO of Palomar, described that in the last eight years, Italian companies have successfully produced international shows in English, a progress that also increased the local industry's reputation. The producer behind "That Dirty Black Bag" advised that Italian companies should aim for a more efficient financial model. "Everything starts with a strong idea with great talent to develop it with a local commissioner, which can be a free TV or a pay TV player. You reach a point where you have around 5060% of the financing budget, including tax credits. After that, it is still crucial to go to the global market, looking for pre-sales, but you would be already in a very competitive position," Serra explained.

NICOLAS SERRA CEO of Palomar

Italian producers Fabula Pictures and Picomedia discussed developing and producing new content designed for global audiences, targeting traditional players and digital platforms. "Developing and producing an excellent series for a global audience is extremely complicated," Nicola De Angelis, co-CEO and 43

OVERVIEW

NICOLA DE ANGELIS

Co-CEO and Head of Development and International Coproduction at Fabula Pictures

Head of Development and International Coproduction at Fabula Pictures, said. "Today, a local show can become global thanks to technology, platforms, and all the changes happening around our business, which is not simple to describe," he added. The "Baby" series producer highlighted the importance of connecting with global audiences. "We need to tell stories of people and real human disgrace. The best way to understand audiences is to be within them, not only in the bubble of our business environment. It is imperative to focus on audiences more than the show itself. Producing a global show from the Italian and European perspective is difficult because we tend to confuse co-produce with globalize," De Angelis added.

ROBERTO SESSA

Founder, Co-Owner, and CEO of Picomedia

Moreover, Roberto Sessa, Founder, Co-Owner, and CEO of Picomedia, indicated the business model of the "Mare Fuori" series. "It is very interesting because the show became successful on its second window, Netflix. Its first window on linear television was okay, but then the boost came from Netflix. The show stayed for 31 weeks at Netflix's top position as the most watched show in Italy," he described.

FINANCIAL INCENTIVES Italy offers the "Cinema and Audiovisual Fund," established by MiC - Ministry of Culture. The fund distributes various contributions provided by the local Cinema Law. "The main incentives are automatic contributions, selective contributions, and tax credit," said Cristina Priarone, President of Italian Film Commissions. In 2022, 498 new films were distributed in Italian cinemas, of which 251 were local productions or coproductions, reaching a market share of 50.4%, according to the FonteCinetel's "I dati del Mercato Cinematografico 2022". The numbers for 2023, so far, confirm the trend. "In cinemas, however, more Italian films are in the top 20 than in the last successful year, 2019. Also, the Italian industry had six films competing in Venice this year, which is an excellent indicator," Priarone described. The President of the Italian Film Commissions also commented that global players dominate the local film business and that some streaming giants, like Netflix, Disney+, and Prime Video, have changed the local industry's rules. "Italian cinema can look beyond its own country and create synergies with the international industry, which is looking to invest in the icons of 'Made in Italy,'" Priarone expressed. "Although the competition in the cinema and audiovisual supply chain is extreme, the Italian creative and production capacities are indisputable, and Italy is certainly among the most sought-after countries for content and talent. Italy can offer a high level of crews and a new generation of young authors already working with foreign countries. In addition, the Italian audiovisual industry has become increasingly international, with a greater capacity to develop products suitable for foreign distribution, thanks to the creation of new companies with multinational catalogs. Italy also has specific support instruments such as the film distribution fund for non-national distributors of Italian projects and the fund for minority coproductions. Both funds can be mixed up with local tax incentives and automatic contributions," Priarone added. Coproductions of Italian films between 2017 and 2020 attracted almost 100 million euros of revenue, more than double compared to the previous four years. "There were around 233 coproductions during that period, mainly with France and Germany, and 19 involving nonEuropean countries," Priarone detailed. By Romina Rodriguez

INTERVIEW

"RAI BECAME AN ESSENTIAL PUBLIC SERVICE FOR ALL AUDIENCES"  Maria Pia Ammirati

MARIA PIA AMMIRATI, HEAD OF DRAMA AT RAI FICTION, DETAILS THE STRATEGY OF THE ITALIAN COMPANY, WITH SOLID DOMESTIC PRODUCTIONS AND NEW INTERNATIONAL TITLES COPRODUCED THROUGH THE ALLIANCE.

ai Fiction titles are synonymous with Rai Originals. The strategy of the Italian company is based on a solid production of Italian titles for the domestic market. "A little part of this production pipeline aspires to go out from Italian borders and reach international audiences," explained Maria Pia Ammirati, Head of Drama of Rai Fiction, in an exclusive interview with Señal News. Thinking of Italian audiences, Rai Fiction is looking for Italian titles coming from independent producers. "It's essential to look at new products, for example, content for young adults or coming of age products. We have different types of distribution: from linear TV channels to our digital platform RaiPlay so that we can reach many types of audiences," indicated Ammirati. 46

Rai Fiction's primary mission is to help the development of Italian producers. Therefore, the company constantly seeks new content embracing all genres. "We are the most important producer in Italy since we develop 74% of the country's audiovisual industry. We are leaders in production volume for series and TV movies in Italy," Ammirati stated. "GLOCAL" CONTENT To become "glocal," Rai is part of The Alliance, an organism created by public broadcasters ZDF (Germany), France Television (France), and Rai (Italy) to produce high-quality content that can compete with global digital platforms. "We have the same cultural mission: to create titles for Europe together and reach the

international market," Ammirati said. The European Alliance has already produced nine highlevel television series, ranging between adventure, thriller, and science fiction genres. Currently, it is producing a new title, "The Kollective," an investigative series conceived by Leonardo Fasoli, Maddalena Ravagli ("Gomorra The series") and Femke Wolting ("Submarine)," which deals with relevant issues such as the spread of fake news, the attack on European democracy, and the freedom of the press. "It's a challenging title, but we are very proud to put together our cultures, ideas, and identities," she added. Facts have proven that linear TV is declining in several markets, with young generations being the most difficult to reach through linear services. For that reason, broadcasters had to create different strategies to bring back the audiences they lost. Some years ago, Rai launched RaiPlay, an AVOD platform with a significant catalog. "RaiPlay now is important in Italy, and we have different audiences, including some targets we had lost in the past," Ammirati recognized. "We're living in a very new era, a digital era, and I think that Rai, a public service, became an essential public service for all audiences, young, adult, senior people, and also for children, which we reach through our platform RaiPlay Yoyo. We reach all audiences in Italy," Ammirati concluded. By Romina Rodríguez

INTERVIEW

"OUR FICTION HAS THE POWER TO MOVE THE AUDIENCES" DANIELE CESARANO, HEAD OF DRAMA AT MEDIASET ITALY, EXPLAINS WHY GENERALIST TV NEEDS TO KNOW ITS AUDIENCE AND PRODUCE SHOWS WITH A STRONG LOCAL APPEAL.

 Daniele Cesarano

lthough Mediaset Italy is today focused on entertainment, Daniele Cesarano, Head of Drama at the company, works to find those IPs that can move the audiences. "Knowing my viewer, I know more or less what genre to work on," he explained in an exclusive interview with Señal News. The executive revealed that Mediaset is currently working on various titles and genres such as family drama, family crime, and crime, where he clarified that the language used by generalist TV is always reasonably linked to its audience. "Therefore, it's quite conservative as a language. Linguistic innovation is difficult to happen today through linear or generalist TV because they have a consolidated audience, so we try to make a product that moves the audience in their language," he added. About the main challenges of generalist TV today, Cesarano was very concrete. "Money. The main challenge of generalist TV is finding resources to make a great product," he mentioned while explaining some strategies to get it. Mediaset can produce a local and robust product with the support of advertising, can 48

co-produced as it did with "Bardot" alongside France Télévision and Federation Studios, or can sign an agreement with digital platforms as it did with "Viola Come il Mare," which is on Netflix after being aired on Mediaset. "We have discovered that platforms are looking for the same things we are: famous casts and mainstream storytelling. It's not simple because the problem is the money," he asserted. NEW MODELS In conversation with Señal News, Cesarano reviewed the evolution of the international co-production business model and mentioned that years ago, the model was what the industry called "European Pudding": putting together three countries with actors from all those territories. "That model didn't work. After that came another idea: English-speaking players wanted to produce fiction in Italy, so we made a coproduction. It also didn't work because the narrative had a purely English point of view. You can do it all in Italy, but it's very English; it was hard for my local audience in Italy," he noted. Then, it was clearly understood that the local content must become "glocal," with a solid national identity. "Apart from some big brands, like 'I Medici,' 'Leonardo,' 'Sissi' or 'Bardot,' that

we keep looking for and try to coproduce, we make a local product in Italian, with a strong Italian identity, and we hope that the story can go beyond and reach other territories," Cesarano commented. The executive mentioned that the type of products that have more possibilities to travel are procedural dramas with a live concept like "DOC," "Blanca" (both from LUX Vide), or "Morgane, Detective Geniale." "All products are totally mainstream, wide as generalist TV, where the narrative makes the audience travel. We keep looking for that stuff, though we struggle to find it," he concluded. By Romina Rodriguez

DISTRIBUTION

A NEW GLOBAL BRIDGE FOR ITALIAN STORIES TARAK BEN AMMAR, OWNER OF EAGLE PICTURES, AND ROBERTO PROIA, EXECUTIVE DIRECTOR OF THEATRICAL DISTRIBUTION AND PRODUCTIONS AT THE COMPANY, EXPLAIN THE NEW COMPANY'S DEAL WITH SONY AND ANTICIPATE ITS NEW ORIGINAL MOVIES AND TV SERIES.

ast year, Italian production and distribution company Eagle Pictures sealed an essential agreement with Sony, becoming the exclusive distributor of Sony's movies in Italy. Eagle now distributes high-budget films like "Lyle-Lyle Crocodile," which premiered last year in Italy as "Il talento di Mr. Crocodile," or "Equalizer 3" with

TARAK BEN AMMAR

Denzel Washington and Dakota Fanning. "Sony creates a list of important projects that they are about to produce and offer Eagle the possibility of co-financing, co-producing, and being co-owner of important IPs, that in other cases Eagle alone could never have access," commented Tarak Ben Ammar, Owner of Eagle Pictures. Moreover, Sony will globally distribute small Italian projects ranging from 5 million to 20 million euros, like "Dampyr," which Eagle Pictures developed with Bonelli Entertainment and Brandon Box. "In the deal with Sony, there are some Italian language coproductions," commented Roberto Proia, Executive Director 50

of Theatrical Distribution and Productions at Eagle Pictures. The first coproduction between Eagle and Sony was the romantic comedy "Hotspot - Amore Senza Rete," directed by Giulio Manfredonia. "Eagle sold the IP to Sony, and they will remake the film in Brazil, Spain, Mexico, and Portugal. The deal with Sony opens a new bridge for Italian stories and language to travel to America and vice versa," he asserted. NEW PROJECTS Eagle Picture is currently working on its second coproduction with Sony, a remake of the Spanish thriller "El Cuerpo," starring Belen Rueda. "We started shoting in October under the direction of Vincenzo Alfieri and with an amazing cast," Proia anticipated. Regarding Eagle Originals, next year, the company will start the production of a new film based on the true story of Andrea Spezzacatena, the teenager who was nicknamed "il ragazzo dai pantaloni rosa," who killed himself due to the bullying he suffered at school. "It was a huge media case in Italy. We did the screenplay with the boy's mother, and we're still looking for a female director for the film. It is a compelling story,

and a French production company wants to do it with us because the phenomenon of cyberbullying has grown a lot internationally. It will be a beneficial film. It's one of the rare possibilities where we can make a difference for someone, even if it's entertaining," Proia stated. Eagle Pictures is also embarking on TV series with two new launches. The company finished

ROBERTO PROIA

its first series with Rai Fiction called "Gloria," with Sabrina Ferilli in the leading role and directed by Fausto Brizziand. It will be released in February on Rai 1. The second TV project is with Prime Video, and it's based on three films that Eagle Pictures produced three years ago: "Sul più Bello," "Ancora più Bello," and "Sempre più Bello." "These three films are all over the world on Netflix, and Prime Video has purchased the rights for the television series so that it will be on the platform at the beginning of 2024. We start shooting in September with the same cast," Proia commented. By Romina Rodriguez

PRODUCTION

SPOTLIGHT ON ITALY: THE STRATEGY OF THE KEY PLAYERS

ore productions, new financing schemes, and business models are some of the current issues that are constantly changing the audiovisual industry in Italy. Tini Andreatta, VP of Italian Original Series at Netflix Italy; Giovanni Bossetti, Manager Unscripted and Doc Series at Netflix Italy; Filippo Rizzello, Creative Executive at Netflix Italy; Davide Nardini, Head of Scripted at Amazon Originals; Maria Pia Ammirati, Head of Drama at Rai Fiction; and Daniele Cesarano, Head of Drama at Mediaset, describe the current trends and challenges of this market.

Authenticity, contemporaneity, and diversification

he fall of language barriers and the success of "glocal" content are two trends created by digital platforms and globally promoted by Netflix. The film "È stata la Mano di Dio," "Suburra" series, and the animations "Zerocalcare" and "Questo Mondo Non Mi Renderà Cattivo" are examples of that trend. "It is a miracle that Italian shows dubbed in English or subtitled can travel to the United States, allowing us to spread our language and culture. What surprises me the most about Netflix is its unique business model based on the possibility of producing original content; it's part of its DNA," said Tini Andreatta, VP of Italian Original Series at Netflix Italy. Andreatta also alluded to Netflix's editorial line and stressed that the stories the platform develops are loaded with Italian authenticity. "These stories spread our culture, history, and geographical locations. Moreover, we address authenticity through contemporaneity, showing the country as it really is and not falling into stereotypes. We create shows that represent all Italy's faces, which is fundamental for diversification," she explained. Giovanni Furthermore, Bossetti, Filippo Rizzello, Tini Andreatta & Filippo Rizzello Creative Executive at 52

NETFLIX, AMAZON, RAI, AND MEDIASET ARE EMBRACING NEW CONTENT PRODUCTION STRATEGIES IN ITALY, TO FACE THE NEW DEMANDS AND TRENDS THAT THE COUNTRY HAS EXPERIENCED IN THE RECENT YEARS.

Netflix Italy, revealed that when the company chooses a local story, it considers two crucial elements: the place and theme. "We seek to highlight and renew the traditions of each place but also show their contradictions. We look for identity places that not only serve as a background to the stories but also become a character in itself," Rizzello said. "It is essential to question the viewer about deep themes that touch them closely with the story," he added. Netflix has already announced new Italian series for next year, such as "Supersex." "This title allowed us to create a story of extreme modernity, with a very contemporary narrative that is the division between desire and affection," Rizzello highlighted. Finally, Giovanni Bossetti, Manager of Unscripted and Doc Series at Netflix Italy, stated that the unscripted genre is receiving much attention now. "Netflix has changed the factual genre not only because it makes new productions but because they are entertaining," Bossetti highlighted.

From Italy to the world

fter great success with unscripted Italian projects like the comedy show "LOL," the cooking travelogue "Dinner Club," the docu-reality series "The Ferragnez," and the Italian versions of "Celebrity Hunted," Amazon Originals Italy has created, in the last two years, a new space for scripted projects. "We started with the crime drama 'Bang Bang Baby,' the young adult coming-of-age drama 'Prisma,' but mainly through the dark mafia comedy "The Bad Guy.' We are trying to reach a wider audience," explained Davide Nardini, Head of Scripted at Amazon Originals. Amazon's strategy in Italy is based on two models. The first comprises projects with local topics that target local audiences, like the brand-new series "Gigolo Per Caso" and the comedy "No Activity: Niente da Segnalare." "In this model, we enter vast spaces of genres with great casts, where we also use cast-based projects as much as possible," Nardini said. The second business model is based on local projects that can reach a global audience, where Amazon Italy is working

on the spy series "Citadel Diana." "It's Davide a very ambitious Nardini project based on its American genesis, and we are attempting to build a franchise from scratch with a new IP in Italy," he added. Nardini also highlighted that Amazon Italy is betting on projects with young talents, such as Mattia Carrano ("Prisma"), and he pointed out that the company wants to build stable relationships with talent. "We need to think in the availability of the spaces we have, intending to build a path, not always a one-shot project," he expressed. Lastly, Nardini mentioned "Costiera," an international action-drama co-produced by Amazon Studios and Luca Bernabei for Lux Vide. "Costiera" is the first Italian Original series to be shot in English and produced in Italy. "It is a great addition to our catalog and includes a very ambitious cast," he said.

Fiction: 400 yearly hours of production

ublic service Rai plays a vital role in the Italian audiovisual industry, where it currently produces 400 hours a year. "We produce about 120 primetime content per year. The expansion of the Italian market was made by broadcasters and networks, but mainly by digital platforms, which has put us in a situation of great confrontation," Maria Pia Ammirati, Head of Drama at Rai Fiction, explained. "We produce television daily, but the big digital players pushed us because they produce with a lot of money and resources we don't have. Production costs are one of the issues on our tables because the market has grown so much in the last few years. The digital players had invested too much and forced the broadcasters to deal with new production costs that are not always sustainable," she added. In contrast, Ammirati admitted that the digital players helped Rai to recover younger audiences, and she mentioned the example of "Mare Fuori," which has reached over 120 million views on Rai Play. "Digital platforms are bringing us a new audience: young people who had completely left Maria Pia Rai, who no longer Ammirati watch television, and who, somehow, came back to us," said Ammirati. The executive also mentioned Italian original productions

that remained in the domestic market for years, like "Don Matteo" (Lux Vide), and Italian titles that have traveled and reached international success, like "Doc" (Lux Vide), the first Italian title sold and adapted abroad, or "L'amica Geniale," a series produced by Wildside, Fandango and The Apartment with Umedia and Mowe for Rai Fiction, HBO and TIMvision. "'L'amica Geniale' success is the result of a great deal with HBO, but also of an amazing partnership with excellent writers, screenwriters, and directors, who have been able to adapt a movie to make a television show," Ammirati remarked.

Fiction volume and new audiences

aniele Cesarano, Head of Drama at Mediaset, reviewed Daniele Cesarano the last five years since he assumed his role. "When I arrived at the company, I had the idea of creating a fan base for fiction productions to broadcast in primetime. In recent years, we managed to stabilize both the production volume and the audience," Cesarano stated. The executive also anticipated that Mediaset will produce ten long serial fiction this year. "These shows have a potential for emotional entertainment for the viewer. We know our audiences, the genres we must develop, and I'll look forward to products that can engage them," Cesarano affirmed. The executive also mentioned that Mediaset's editorial identity is focused on generalist television, which clarifies the types of products that fit with the company. "Innovation in generalist television is very complicated, and risks must be measured. Having a stable production volume allows us to create a crucial audience base. Rai has already done it, and little by little, Mediaset is doing it too," Cesarano assured. A clear example of that strategy is the agreement between Mediaset and Amazon to distribute "Made in Italy" and the deal with Netflix to produce new Italian films. "When we started the conversation, it was very complicated because they were aiming at different audiences than ours. Finally, we discovered that we were looking for the same things: great casts, light comedies, and mainstream storytelling, so we will be able to share new projects," Cesarano described. By Romina Rodriguez

INTERVIEW

"TABII AIMS TO ESTABLISH ITSELF AS THE LEADING STREAMING PLATFORM FOR TURKISH CONTENT" ELIF TATOĞLU, TABII’S DIRECTOR OF BRAND & MARKETING, DESCRIBES THE THE STRATEGY BEHIND TRT’S NEW STREAMING PLATFORM, LAUNCHED LAST MAY IN TURKEY WITH MORE THAN 30 ORIGINAL SERIES AND 15,000 HOURS OF CONTENT.

urkey's TRT had its first broadcast in 1968. Since then, it has reached millions of viewers through 18 TV networks, 17 radio stations, and 41 languages and dialects. Now, the company has launched its own streaming platform, Tabii. Señal News spoke with Elif Tatoğlu, Tabii's Director of Brand & Marketing, to describe the concept and business strategy of the service. How did tabii's concept and business model become a reality for TRT's content strategy? "Tabii is a new global streaming service that offers a wide range of high-quality, family-friendly, and value-based content. Built on TRT's award-winning and globally acclaimed storytelling, Tabii will enable us to showcase Turkey's best productions globally while embracing a new subscriptionbased business model. In addition to TRT productions, Tabii also offers exclusive originals and licensed content, dubbed and 54

subtitled in multiple languages. By adding this new platform to our network, we aim to reach a younger audience in Turkey who have adopted a more digital approach to content consumption and enable international audiences to access

our highly demanded content more easily and effectively." What is the platform's local content strategy in Turkey? "Tabii was launched in Turkey last May with a line-up of more than 30 original series ranging from beloved historical figures to superheroes' struggles against global disasters, action-packed productions to dystopian dramas, animations for kids to entertaining content for young adults. On top of its exclusive originals, all seasons and episodes of TRT's legacy flagship shows like 'Resurrection: Ertuğrul,' 'The Innocents' and 'Barbaros: The Sword of the Mediterranean' can be watched on demand on Tabii along with the latest episodes of current popular TRT series such as 'An Anatolian Tale' and 'What May Come.' The platform will also offer content from TRT's kids' channel Çocuk. In addition, TRT Channels' live programming, including news and sports, can be streamed on Tabii."

INTERVIEW

How will that offer be available internationally? "Audiences can discover a vast selection of entertaining content in various genres, including action, period, drama, sci-fi, comedy, mystery, romantic comedy, and thriller. Tabii offers 15,000 hours of content in Turkey and aims to reach 5,000 hours internationally at the end of its first year. Globally, Tabii has undertaken one of the most ambitious projects, aiming to establish itself as the leading streaming platform for Turkish content in multiple languages. We will initiate our beta version in select markets during the last quarter of the year, followed by a broader launch in the first one of 2024. In the initial phase, our marketing efforts will focus on the MENA region, with other markets to follow later in 2024." What genres and stories are the main focus for Tabii? "Tabii's slogan is 'Stories That Bond Us,' and aims to find common ground through shared narratives and use those stories as a catalyst to build relationships, foster understanding, and strengthen global communities. Tabii is committed to using storytelling to unite people across cultures. We are influenced by stories of different cultures worldwide; stories of love, bravery, empathy, and triumph, creating inspiring storylines that reflect our audience's collective humanity. With the introduction of Tabii, our strategy is to lead Turkey's streaming business. We aspire to rank among the top 5 global streaming providers and serve as the primary digital platform for Turkish content worldwide." How will Tabii reinforce TRT's presence around the world? "Global demand for Turkish content has been increasing exponentially in the last ten years, and as the 56

"Global demand for Turkish content has been increasing exponentially in the last ten years, and as the world witnesses this exponential demand surge, we find ourselves at a pivotal moment."

like Mipcom and aim to form B2B partnerships with telcos, local OTT players, and pay TV operators."

world witnesses this exponential demand surge, we find ourselves at a pivotal moment. Viewing experiences are shifting, and the digital landscape emerges as the new arena, transforming and connecting viewers. TRT is a well-established brand, and in this dynamic landscape, Tabii emerges as a trailblazing force, producing culturally relevant content for users who are overlooked by the mainstream media. Aligned with our tagline 'A Fairer World is Possible,' Tabii's content will have a global impact. We now reach a much larger audience, sharing our culture and traditional values and telling authentic stories of largely underrepresented communities." What are Tabii's next international expansion objectives for events like Mipcom? "In the initial phase, our marketing efforts will focus on the MENA region, and English, Spanish, and Urdu speaking markets will be added later in 2024. We seek potential cooperation opportunities by promoting our brands and content at global events

How do you analyze the global demand for Turkish content? "Turkish content has transcended boundaries and captured the imagination of audiences across the globe. Spanning 190 countries, the allure of Turkish storytelling has reached over 800 million viewers, captivating audiences in Europe, the Middle East, Central Asia, Africa, and Latin America. Turkish TV series and movies are among the most demanded content in the entertainment industry. This success has propelled Turkey to the forefront of content distribution, standing proudly as the second-largest exporter after the United States. Over the years, TRT's shows have cheered local viewers and made a mark internationally. One example is 'Resurrection Ertugrul,' which has already collected over 12 billion global views, transcending borders and languages to become a true global blockbuster. With Tabii, we aim to build upon the winning formula of producing high-quality content that all families across different generations can enjoy." By Diego Alfagemez

INTERVIEW

“URBAN,” A UNIQUE APPROACH FOR YOUNG ADULTS ANA BUSTAMANTE, GENERAL DIRECTOR AT MEDITERRANEO, AND JOTA ACEYTUNO, EXECUTIVE PRODUCER OF “URBAN”, DESCRIBE THE POTENTIAL OF THIS DRAMA LAUNCH FOR MIPCOM, WHICH MIXES A YOUNG-ADULT STORY WITH AN INSPIRATIONAL MUSIC LIFE TRIP.  Ana Bustamante

rban" is Mediterraneo's drama bet for 2023. A six-part series produced by Alea Media, starring María Pedraza, Bernardo Flores, and Asia Ortega, it is a young-adult drama that relates the story of two girls from opposite worlds embarking on an inspirational music life trip, trying to follow their dreams and find their essence. Ana Bustamante, General Director at Mediterraneo, and Jota Aceytuno, Executive Producer Of "Urban," spoke with Señal News and described the show's global potential. How would you describe the unique characteristics of "Urban"? JA: "The series concept arises from a reflection on failure. Today, we are accustomed to seeing talent shows that seek unpolished gems among thousands of aspirants to propel their professional careers forward. But what happens to those who receive a 'no' as an answer? That's where the soul of 'Urban' resides. The series narrates the failures, ups, and downs of a group of people who, despite everything, pursue their dreams and aspirations, even though they repeatedly collide with the wall of reality. We spend most of our lives looking up to successful people and turning them into role models, setting impossible goals to achieve. Failure, at least as a starting point, is much more familiar and interesting. It's a good place to begin building. That's how 'Urban' begins: with three failures, each in their way, that will cross paths." How will this show appeal to global audiences? AB: "'Urban' is an extraordinary series with a unique approach. First, because it's targeted to young adults, which is still one of the most relevant audiences to captivate. Moreover, 'Urban' is a relatable series without filters about a teenage friendship, showcasing realistic troubles with urban music as a background. Its natural style makes it relatable for the audience, who will feel close to the characters and their experiences. The series also has an appealing cast for the international market, including recognized faces from the Spanish industry with successful titles in their track. Maria Pedraza is one of the most significant assets, as she is one of the trendiest actresses in Spain. Bernardo Flores and Asia Otega completes a spectacular cast.” 58

What is the value of music in this new production? JA: "It is the vehicle of the series, the place they escape from and want to reach. In one way or another, each of the three protagonists has a turbulent and aspirational relationship with music. We conceived the series with a clear premise: the only music that can be heard is the one playing in the scenes. Only the songs the series' characters sing or listen can be heard. There is no incidental music. We have sought realism, the truth within each moment. It has been essential to have the trust and talent of our lead trio, together with Víctor Elías and Jaime Vaquero, the series' composers, who have created an impressive original soundtrack." How would you describe the experience of working together with Alea Media and Prime Video for this project? AB: "Our relationship with Prime Video is extraordinary. We work closely with the acquisition department to explore different business synergies and develop a 'win-win' model for both parties. We are constantly trying to improve, evaluating the window exploitation possibilities for each title. In this case, the project was conceived from a necessity of the platform in young-adult content. We decided to develop 'Urban' as an exclusive title for them. For all, content's success is essential both in linear, on Mediaset's channels, and on the digital window. Therefore, there's an absolute implication of all of us in every step of the process." JA: "In creating and producing a series, it is essential to have good travel partners. Working with a great platform like Prime Video has been a real pleasure and a stroke of luck. Now, I only hope that 'Urban' can have the life we all hope for and that the audience embraces and enjoys it." Por Diego Alfagemez

 Ana Bustamante (Mediterraneo), Ricardo Cabornero (Prime

Video), Fernardo Flores, Asia Ortega, Maria Pedraza, Jota Aceytuno (Alea Media) & Arantxa Écija (Mediaset España).

INTERVIEW

“OUR FOCUS REMAINS AROUND IMPROVEMENT AND ADAPTATION TO INDUSTRY CHANGES”  Ramazan Yirmibeşoğlu

RAMAZAN YIRMIBEŞOĞLU, CEO AND FOUNDER OF RAYA GROUP, HIGHLIGHTS THE ACCOMPLISHMENTS AND NEW GOALS OF THE GLOBAL DISTRIBUTION COMPANY, WHICH CELEBRATES ITS TENTH ANNIVERSARY.

n 2023, Raya Group celebrates its tenth anniversary in the international content arena. Ramazan Yirmibeşoğlu, CEO and Founder of the company, spoke with Señal News and described the achievements and challenges from the past ten years. How would you describe the evolution of Raya Group during its first ten years in the market? "From 2013, we've come a long way. When we started, concepts like the market for the Turkish series were just emerging, and we learned both by trial and error, paving the way and learning to walk that path. There's still much more to learn. In the era we live in, everything changes and develops very quickly, and to stay in the flow of our industry, we're constantly researching the world's regions and sociological structures, markets, newly emerging content, channels, and VOD platforms. The main goal of our company is to position the content we have in our catalog in the right place and gain the trust of our customers. We value every customer. Raya Group Distribution is celebrating its tenth anniversary this year, and our goal is to continue providing excellent service to our existing customers, 60

achievements will continue to grow exponentially in the coming years."

expanding the market, and gaining the trust of new customers to expand our customer portfolio, just like in previous years." What are the main achievements of the company during this decade? "As a distribution company, our first and foremost achievement lies in our sales numbers. Since 2013, we have successfully sold over 30,000 hours of content, marking a significant milestone in our journey. Over the past decade, we have expanded our team and strategically assigned sales managers to oversee each global region. This approach has enabled our team to gain invaluable experience and insights into the unique content preferences of various territories." How does the company adapt to a constantly changing industry? “Regarding technology, we have invested in state-of-the-art cloud technologies to enhance our storage capabilities. This investment has empowered us to deliver content swiftly, often within remarkably short timeframes. Our focus remains on continuous self-improvement and adaptation to industry changes. We are committed to learning, adapting, and achieving even better sales figures year after year. Raya Group boasts a highly skilled team, and we are confident that our

What business models have Raya Group developed in these years? "In the beginning, it was a try-andlearn method. With the growth of Turkish content, we adapt all our workflow. We are working on various production projects with our sister company, Silver Entertainment. For now, we have shot five different rom-com movies and broadcasted those on different global screens, including Netflix. There will be new announcements soon; stay tuned." How do you analyze the global demand for Turkish content? "TV series production has shown significant growth in Turkey over the years. A major secret of Turkish dramas lies in their easily relatable emotional elements that resonate with almost every culture. Common themes in these narratives often include rural-to-urban migration, domestic violence, arranged marriages, rich-poor conflicts, urbanization dilemmas, and family values, reflecting societal changes. These topics let viewers empathize with the characters and take them on an emotional journey. The challenges, joys, and disappointments experienced by the characters evoke emotional responses from the audience, drawing them into the story. By reflecting Turkish culture, these series captivate the audience and remain timeless by staying relevant to the ever-changing dynamics." By Diego Alfagemez

PRODUCTION

 DEENY KAPLAN

THE LANGUAGE TRANSLATION, DUBBING, SUBTITLING, AND MEDIA SERVICES COMPANY OPENED A NEW HUB IN MADRID, WHICH ALLOWS ITS CLIENTS FROM EUROPE AND THE MIDDLE EAST TO WORK WITH A 24-HOUR STUDIO FACILITY. DEENY KAPLAN, EXECUTIVE VICE PRESIDENT, AND MAX WYNEN, VP OF GLOBAL OPERATIONS, EXPLAIN THE ADVANTAGES OF THIS NEW DEVELOPMENT.

SPAIN, THE KITCHEN'S STRATEGIC HUB THAT LINKS EUROPE AND THE MIDDLE EAST

mmy Award Winning language translation, dubbing, subtitling, and media services studio The Kitchen opened a new hub in Madrid, The Kitchen Spain, allowing its European and Middle Eastern clients to work with a 24-hour facility to develop their projects. The company has chosen the city of Madrid as a strategic point to connect with the rest of the world. "It is very easy to travel within a couple of hours to almost anywhere in Europe or the Middle East," affirmed Deeny Kaplan, Executive Vice President of The Kitchen. "We want to be there for our clients 24 hours, so we will catalyze all the traffic that we have through Europe and on all our clients in Asia," added Max Wynen, VP Global Operations of the company. The Kitchen has built a vast studio for its new Spanish hub. Currently, it has three mixing suites capable of doing stereo 5.1 and a Dolby Atmos home for 7.1 mix. "We'll have two dubbing suites to start with, but because of the studio's size, there's room for ten more. It's that big," Kaplan stood out. "We also 62

expect to do a lot more interaction with our clients and our studios throughout Europe in the Middle East, so we'll have much room for visitors to work if they need to. Security-wise, The Kitchen Spain is badged with TPN gold, which is a higher level than just TPN," she added. MULTI-LANGUAGE CHALLENGES The Kitchen has been providing Castilian language services for seven years. "We work for many different clients, and for us, it's one of our core languages. We are very busy in the Castilian, so when I say we have the dub suites there, it's basically for our Castilian language teams," Kaplan stated. "The Castilian market dubs everything because they have a law where they are almost obliged to dub everything into Castilian Spanish. So, it's not just dubbing for platforms or international clients. Everything is a possibility for us. Our main goal is not just to work with our usual clients but also with many of the local companies that need to dub here," Wynen highlighted. "The first thing we're trying to achieve is quality and

Madrid

 MAX WYNEN

consistency in all our products. We work every day to deliver every project on time and always have good news," he continued. The Kitchen launched its new European hub last October 13th, led by Max Wynen and Alexis Cardenas, VP of International Sales. The Kitchen also added a new member to its sales team: the ex-Paramount executive Estefania Liberatore. "She'll be handling a lot of the Scandinavian countries, as well as Argentina, and we're also looking to have a couple more foreign salespeople," Kaplan anticipated. "Having our new hub ready for Mipcom is very important to us because of what's going on in the industry," said Kaplan. The Executive Vice President of The Kitchen also mentioned the recent strikes in Hollywood and how that affects the company. "The good part is that the SAG-AFTRA actor rules say that dubbing is allowed by all the actors, so we can still use the talent, and that's not just in the States, but that's anywhere. That's awesome," she indicated while mentioning the exponential growth of the FAST Channels, that created a new opportunity to add more services for The Kitchen's clients. By Romina Rodríguez

PRODUCTION

“THE NEED FOR LOCALIZATION IS JUST AS STRONG AS IT HAS ALWAYS BEEN” MARK HOWORTH, VSI GROUP CEO, DISCUSSES THE CURRENT LANDSCAPE OF THE DUBBING AND SUBTITLING INDUSTRY, THE CLIENT’S NEEDS FOR FASTER TURNAROUNDS, AND THE INCORPORATION OF TECHNOLOGY AND AUTOMATION INTO THE WORKFLOW.

he growth of streaming services has increased the appetite for high-quality media localization, with more pressure on the supply chain due to shorter release windows for content. At the same time, streaming platforms have slowly changed their strategy, focusing less on increasing their subscriber bases and more on profits. Therefore, they became more selective about what is localized and how. That is when a company like VSI comes into the picture. With over three decades of experience, it is one of the world’s most sought-after localization providers, with a global presence, multiple facilities, and coverage of more than 80 languages. Its premise is simple: to help the client take their content globally by ensuring the localized version resonates in every market and safeguarding the integrity of the original. “If you are a studio launching a new TV series or a movie, you will be interested in making it available in as many countries as possible. Interestingly, if you are spending a lot of money on the project, the cost of dubbing and subtitling is very small compared to all the other costs that go into creating it. We understand our customers are now focused on profitability for their streaming platforms. But that really has very little impact on the overall attractiveness of the localization industry. As long as new content is being created, there will always be a need for localization. And much new content is still being created,” Mark Howorth, Group CEO of VSI, told Señal News. Howorth believes this overall focus on streaming profitability is actually a healthy one for the dubbing and subtitling industry. But another critical area comes into play: the efficiency of the service providers. “The need for localization is just as strong as it has always been, but the focus on profitability means that our customers will start moving towards the larger, more efficient localization companies. In the past, a client had to 64

contact numerous vendors in different territories to get dubbing or subtitling services in multiple languages. Now, you can call VSI, and with one phone call, we can get you any language combination,” he assured. This convenience when contracting the service and the speed of deliverables is what differentiates VSI in times when, in addition to efficiency, localization must be as fast as possible. “There is not a magic button for localization. Technology helps, but when you localize something, you do not just drop files into a computer, and another language comes out. There is a very large creative process, and clients must plan ahead. While our customers have an eye on their streaming service bottom lines, in the localization context, shrinking turnaround times is top of mind compared to any temporary volume decreases or the normal pressure on our prices,” Howorth explained. NEW CONTEXT With more than 30 years in the industry, many things have changed since VSI was founded. New technological developments help streamline processes but do not replace people. For Howorth, the human factor will always be above any technological advance. “Our goal is to use technology to do what we need to do fast, but also to make sure that we are still doing it right. We must be careful because, at the end of the day, what we do is still an art form and very human-based. We know how good AI is, and it is evident that it is a tool for saving time and money, but we still need to have human involvement throughout the workflow,” he mentioned. According to Howorth, one thing that differentiates VSI from most competitors is its massive network of studios and focus on high quality. “If we say we are going to handle your localization, we do not give it to a third-party studio. We do it ourselves, and our customers seem to prefer that. And ensuring the quality of output has always been at the center of our approach. After all, if you serve a gourmet meal on paper plates, it does not have the same impact. As a company, we typically focus on doing highend episodic content that clients want to ensure is done well. The kind of show people are talking about when they come to work on Monday morning,” he concluded. By Federico Marzullo

DISTRIBUTION

CONTENT THAT CATERS TO A DIVERSE RANGE OF AUDIENCE INTERESTS ARMIN LUTTENBERGER, HEAD OF DEPARTMENT CONTENT SALES INTERNATIONAL AT ORF ENTERPRISES, DESCRIBES THE NEW OUTSTANDING DRAMA, BLUE-CHIP HISTORY, NATURE DOCUMENTARIES, FACTUAL DOCS, AND CULTURE TITLES THAT BLEND THE VAST OFFER OF THE INTERNATIONAL DISTRIBUTOR.

"secret India"

RF's "Universum History" is celebrating its tenth anniversary. During that time, it has been telling the story of humankind in exciting documentaries based on the latest scientific findings, with high-quality re-enacted segments and often taking a female perspective, since those had been written primarily by men for a long time. "The highquality history films can seamlessly follow the success of ORF's 'Universum' nature films and have been a staple in our catalog ever since the inception of the blue-chip strand," said Armin Luttenberger, Head of Department Content Sales International at ORF Enterprise. The distributor's 2023 fall line-up covers dark and lesser-known chapters of European history like "Pride and Persecution," "Maria Theresa's Dark Side," or "Death Trap Mallorca - Joy and Sorrow in Exile." "Our content portfolio not only includes drama highlights but also encompasses blue-chip history and nature documentaries, factual docs, as well as a selection of culture titles, allowing us to cater to a diverse range of audience interests," affirmed Luttenberger. 66

"Kafka"

"School of Champions"

"Universum Nature" is another blue-chip brand from ORF, and fans of premium documentaries can expect six brand-new hours highlights projects, one of them being "Untamed Vietnam Wilderness Reborn," which tells the stories of the wildlife of Vietnam. Furthermore, "Secret India - The Real Jungle Book" explores the real-life counterparts to Rudyard Kipling's iconic characters from "The Jungle Book" in India's wildlife, and in "Nicobar Islands - A Monkey's Long Tale," the filmmaker takes up the challenge of exploring the archipelago in the Indian Ocean. NEW LAUNCHES ORF Enterprise is committed to offering high-quality content to longtime buyers with a substantial output from various genres. One of those launches is "Kafka," a co-production by ORF and ARD, scheduled for the one-hundredth anniversary of the novelist's death. Moreover, ORF will launch "School of Champions," which tells the stories of first-year students at a prestigious ski academy. "With the first season of 'School of Champions' and the 'Kafka'

event series, we introduce two titles with outstanding production value to the market, showcasing our commitment to high-quality content," Luttenberger added. "School of Champions," an ORF/ BR/SRF co-production, is set to premiere in early 2024 and marks the creative collaboration of young filmmakers, an established Austrian production company with three public broadcasters. "Our international engagement is a pivotal part of our strategy, and our participation in events like Mipcom reaffirms this commitment. As usual, we are actively working to establish and strengthen partnerships with international partners and buyers," Luttenberger said. "We are thrilled to announce that ORF has already committed to producing a second season of 'School of Champions.' As the global distributor of the show, we can offer an attractive package," he added. "Both titles are an attractive addition to our scripted catalog, which offers a wide range from TV movies to long-running series, which have proven to be loved by global audiences. In parallel, our collaboration with Austrian producers and promotion of Austria's new incentive system, FISAplus, exemplifies our dedication to the local industry. These initiatives are a testament to our desire to foster collaborations and explore new opportunities for future projects," Luttenberger concluded. By Romina Rodríguez

INTERVIEW

"WE HAVE TAILOR-MADE SOLUTIONS TO SATISFY EVERY CLIENT'S NEEDS"  Asli Serim

ASLI SERIM, HEAD OF INTERNATIONAL SALES AT CALINOS ENTERTAINMENT, ANALYZES THE GLOBAL DEMAND FOR TURKISH DRAMA AND HIGHLIGHTS THE POTENTIAL OF “FARAH” IN THAT CONTEXT.

alinos Entertainment will have a busy Mipcom featuring Turkish productions like "Farah" and "EGO" together with "Adela," "Indefensible," "Alert Squad," and six Serbian series from its global content offer. Señal News spoke with Asli Serim, Head of International Sales at the company, to describe the potential of these titles. How would you describe Calinos' current international sales objectives? "Calinos Entertainment's mission is to spread joy to global audiences, to make them 'enjoy the drama.' Our distribution strategy is to enhance Calinos drama titles' presence on every platform. Therefore, we're creating tailor-made solutions to satisfy every client's needs." What was the buyer's feedback about the launch of "Farah"? "Primarily, 'Farah' has been sold to countries in the CEE, CIS, and MENA regions, and negotiations are ongoing with several countries in Latin America. Now, Feyyaz Duman, Hatice Aslan, and Sera Kutlubey will accompany Engin Akyurek, Demet Ozdemir, Firat Tanis, and Rastin Pakhanad in the second season of 'Farah' for more tears, betrayals, heartbreaks but, mainly, more love." 68

What is the global potential for "Indefensible"? "Produced by Pixcom in collaboration with Quebecor Content, 'Indefensible' has been awarded by the Academy of Canadian Cinema and TV as the 'Best Daily Serie' at the 38th Prix Gémeaux Awards, and has been shortlisted for the Content Innovation Awards in the 'Best New Scripted Series – NonEnglish' category. It's a long-lasting, successful crime drama, with a third season confirmed by TVA Canada."

What other new titles will you offer in Cannes? "In addition to 'Indefensible,' another awarded Pixcom drama, 'Alertes - Alert Squad, will be part of our phenomenal catalog. The three-season-long crime drama has been awarded 'Best Annual Drama' last season at the 38th Prix Gémeaux Awards. Furthermore, we have added six award-winning Serbian series to our global catalog. Produced by TS Media powered by Telekom Srbija, we will showcase 'Tycoon,' 'The Clan,' 'No Trespassing,' 'The Only Way Out,' 'The Name of People,' and 'The Well.'” How do you analyze the global demand for Turkish content? "Turkish dramas continue to entertain audiences around five continents, and we can say they are more popular than ever. Most current on-air dramas have become a global trend before being sold internationally. For example, 'Farah' was a global phenomenon before its

international launch. Global viewers on different social platforms also praised it. That also happened on Dizilah, a community-driven platform dedicated to fans of Turkish dramas. Since 2019, they have organized the 'Dizilah Güzel Awards' targeted to those fans. This year, 'Farah' was awarded in three categories: 'Best New Series,' 'Best Cast Ensemble,' and 'Best Child Actor.' These awards reflect the Turkish drama's success in terms of stories and casts. In addition, 'Farah' supports women's empowerment and is led by globally acclaimed Demet Ozdemir. She was awarded 'The International Best Actress' at the 21st Kineo Awards in Venice. Also, Engin Akyurek won the 'Best Actor Award Winner of 2015' at the International Emmy Awards and Seoul Drama Awards." How do you analyze the global expansion of "Forbidden Fruit"? "The show had its grand ending after six successful seasons in Turkey as one of the country's history's long-lasting dramas. Its global distribution replicated 'Forbidden Fruit's' local success. Awarded as the 'Best Fiction Premiere in a Decade' on Atresmedia's Antena 3 in Spain, 'Pecado Original' is listed as part of the successful content that helped the network to stay 16 months as the local ratings leader. 'Forbidden Fruit' has been sold to Bolivia, Chile, Costa Rica, the Dominican Republic, Ecuador, El Salvador, Guatemala, Honduras, Nicaragua, Poland, Puerto Rico, and the United States. So, it will be one of the top-selling Turkish dramas ever.” By Diego Alfagemez

EVENTS

UNIFRANCE RENDEZ VOUS BIARRITZ, AN OPENING-SEASON MARKET TO DISCOVER FRENCH CONTENT MORE THAN 50 FRENCH DISTRIBUTORS WELCOMED 200 INTERNATIONAL BUYERS FROM MORE THAN 40 COUNTRIES TO SHOWCASE MORE THAN 1000 SHOWS FROM ALL GENRES AVAILABLE AT THE EVENT'S SCREENING ROOMS. SARAH HEMAR, DIRECTOR OF AUDIOVISUAL AT UNIFRANCE, AND THE KEY FRENCH PLAYERS DESCRIBE WHAT FRANCE OFFERS TO THE WORLD.

eñal News attended the Unifrance Rendez-Vous in Biarritz for the first time. The 29th edition of the event was held from September 3 to 7 and had the participation of 58 French companies that welcomed 200 international buyers from more than 40 countries. "Apart from enjoying the beautiful location and great food that Biarritz offers, global buyers have worked very efficiently due to our all-inclusive formula that allows them to be together in a specified location from morning to evening and have lunches and dinners, allowing more human connection and the exchange of

Daniela Elstner and Sarah Hemar (Unifrance), Randall Broman (Mediawan Rights), Cécile Lacoue (CNC) and Gilles Pélisson (Unifrance)

experiences, which is very valuable," asserted Sarah Hemar, Director of Audiovisual at Unifrance. One distinct element of Unifrance Rendez-Vous was the dedicated Screening Rooms where global buyers had access to over 1000 shows from all genres. "It is a real differentiator because buyers have time. They are isolated and dedicated and can review content and discuss it later in a lunch or dinner with other buyers," Hemar added. Regarding buyers, 16.5% of companies attending the Rendez-Vous were doing so for the first time. As a result, attendance at the event is on the rise, becoming a catalyst for new collaborations. Biarritz was the perfect scenario to present new French content. Studiocanal has featured the biopic "Lagerfeld: Ambitions," produced by KM Production. France TV Distribution hosted the screening of the third season of the comedy "Parliament" with the presence of its creator and director, Noé Debré, and actors Xavier Lacaille and Liz Kingsman. "I feel fortunate to have had the opportunity to present 'Parliament' to global buyers. We always hope to see our creations travel, and Unifrance gives us the means to do so," commented Debré.

"Parliament," from France TV Distribution

EVENTS "France TV Distribution is a long-standing partner of the Unifrance Rendez-Vous. It's an ideal moment, therefore, to present the third season of 'Parliament,' with a screening of previously unseen episodes and a gala dinner presented in the company of the creative team. It was packed with laughs and a good mood for everyone," added Catherine Bernard, DGA of France TV Distribution. The series produced by Cinétevé and Studio Hamburg Serienwerft is a massive success in France, and the first two seasons were already sold to Topic streamer, as well as players in Malaysia, the Czech Republic, and Switzerland. Moreover, Film & Picture presented the fiction "All This I Will Give to You," based on a Dolores Redondo novel, with the author's presence. Xilam Animation organized a cocktail under the title "Sea, Sport, and Fun!" where assistants discovered three animation series: "Athleticus," "Karate Sheep," and "Zig & Sharko." FRENCH CONTENT EXPORTS In Unifrance Rendez-Vous in Biarritz, the National Center for Cinema and the Moving Image (CNC) and Unifrance released their annual report on the export of French TV programs. There, they announced that in 2022 sales of French TV programs soared to an unprecedented level of €214.8 million, an increase of 15.4% over 2021. This rise can be attributed to the growing international appeal of French programs, combined with a more favorable environment as the effects of the pandemic gradually subside and professional markets regain strength. Nonetheless, overall figures for French TV exports, including sales, presales, and coproduction contributions, decreased by 15% compared to the record year of 2021, reaching €319.6 million. This decline can be explained by a fall in foreign presales

(down 50.3% against 2021) and coproduction investments (down 38.4% against 2021), following the peak year of 2021. Revenue derived from the export of French programs to foreign platforms continued to rise, accounting for 43.1% of export earnings in 2022 (33.5% in 2021 and 4.6 % in 2013). However, linear broadcasters (television networks) remain the leading buyers of French TV content: TV rights accounted for 49.1% of total program sales in 2022, a percentage that remains stable compared to 2021 (49.8%) but which has declined significantly over the past decade (84.1% in 2013). French drama programs achieved their highest-ever sales in 2022, reaching €80.7 million, representing a hike of 40.9% over 2021, and ranking as the leading export genre for the first time since 1999, when statistics based on the genre were first monitored, accounting for 37.6% of total sales. Documentaries also experienced a strong rebound in 2022 after a challenging year in 2021 (up 32.1%), registering €48.6 million in international sales. In contrast, sales of animations fell back in 2022 for the second consecutive year, reaching €57.6 million (down 5.3% compared to 2021). The geographical distribution of sales of French TV programs in 2022 was similar to that of 2021. Western Europe remained the primary purchasing region, registering €87.3 million (up 8.4% compared to 2021) and accounting for 40.7% of global revenue, the lowest level recorded. North America takes second place in 2022, with €29.1 million (up 24.5% and a market share of 13.5%), followed by the Asia/Oceania region, with €16.5 million (up 11.6 % and a market share of 7.7%). Finally, sales to Central and Eastern Europe amounted to €10.2 million (4.7% of the market). In 2022, for the first time, the USA was the leading export market for French TV, with €19.2 million in sales, thanks to a string of exceptionally substantial deals, including the "HIP" format. Germany was the second biggest buyer of French TV content, with sales reaching €14.2 million, closely followed by the United Kingdom, with €14.1 million. By Romina Rodriguez

OVERVIEW

FICTION, FRANCE'S MOST EXPORTED GENRE IN 2022 FOR THE FIRST TIME, FICTION CONTENT HAS TRAVELED MORE THAN ANIMATION OR ANY OTHER GENRE. FRENCH DISTRIBUTORS EXPLAIN THIS TREND AND HIGHLIGHT THEIR MOST IMPORTANT TITLES FOR MIPCOM.

nifrance and CNC revealed a sharp increase in fiction shows sales during 2022, reaching a historically high level (€80.7m, +40.9% vs. 2021). Fiction was the most exported genre for the first time, ahead of animation, reaching a record market share for the genre (37.6% of total sales). The international success of French fiction was driven by several significant sales and a wide variety of genres and programs like "The Bureau," "Vortex," and "Women at War." In 2022, that success continued with French procedural TV series, in particular in Spain and Italy with "Candice Renoir," "Tandem," "Tropiques Criminels," and also with historical dramas such as "Marie-Antoinette," or young adult dramas like "Chair Tendre," or series with strong female characters such as "Women at War" and "HPI –High Potential." Furthermore, the French industry saw a consolidation of foreign adaptations of local IPs, like "The Bureau" and "HPI" in the USA.

"French fiction is trendy in France, achieving top ratings ahead of feature films, American or European fiction, even though 74

Virginie Boireaux

Moreover, Virginie Boireaux, Managing Director at Have A Good On (HAGO), highlights that audiences are getting used to global shows, where fiction is the most diverse genre, aiming at almost all targets. "It makes sense that fiction is now the most exported genre. French shows have been very innovative in the past few years, with titles that became

Marie Laure Hébrard

they are sometimes produced with higher budgets," explained Marie Laure Hébrard, CEO at Film & Picture. "Consequently, national broadcasters decided to order more projects and improve quality. As a result, we offer our international clients a large variety of fiction in all genres. Global buyers find it attractive and are buying more titles, gathering excellent ratings. For that reason, they come back for more," Hébrard affirmed.

great hits locally and proved to be very appealing to viewers worldwide," said Katia Sol, Cofounder of Oble. "Genre's diversity is a strength for French fiction, with ambitious period dramas, relatable comedies, and some gripping but also light crime procedural dramas. International audiences have discovered more French shows thanks to streamers but also linear broadcasters and their digital platforms. French touch and creativity have hooked them," she admitted.

OVERVIEW

Guillaume Pommier

Guillaume Pommier, Co-Head of Distribution at Federation Studios, affirmed that last year's global distribution of French fiction was led mainly by two IPs: "The Bureau," from Federation, and "HPI," from Newen. "We see more and more clients being interested in French TV series, whether it's an early stage at a prefinancing level or a finished tape. There's a huge variety of channels and platforms willing to acquire foreign content; notably, French is one of those," he admitted.

NEW PROJECTS Film & Picture has 95% of its catalog dedicated to fiction, and it is currently offering one outstanding project, "All This I Will Give to You," based on a book by Spanish writer Dolores Redondo. "The book was translated into 22 languages. This is its first adaptation, and it is being shot in a beautiful location in the South of France," commented Hébrard. 76

"The book is a page-turner, a family saga. The characters are fascinating, and the story is very appealing, with many cliffhangers. It has all the ingredients of a gripping story: love, hate, crimes, revealed secrets, surprises, jealousy, money, and heritage issues," she described. Fiction also represents most of HAGO's catalog, and the company is currently promoting the series "LT-21", the first collaboration of the French distributor with the producers Emma Javaux (Une Fille Production) and Alain Attal (Trésor Productions). "The series is exceptional because it is a dystopian thriller in a 30' format, which is uncommon. This choice of episode length, surprising at first, is perfect for the series as the rhythm is very steady, and the balance along all eight episodes is completely perfect. It is the kind of series you can binge-watch without even noticing," Boireaux said. "The series' themes (pandemic, love, family) are accurate. The virus' symptoms are not graphic but quite frightening. The cast is immaculate, and the writing and directing of Melisa Godet is great," she added.

Furthermore, Oble's catalog is 100% fiction. "We are strongly convinced by the power of fiction to truly entertain and also change mindsets when it comes to global challenges," Katia Sol said. The company is promoting "The Plague," a prime-time miniseries for France 2. "It is a modern adaptation set in the very near future (2030) of 'The Plague' from the Nobel-prize winner Albert Camus, produced by Siècle Productions and written by Georges-Marc Benamou and Gilles Taurand," she commented. The title

is directed by Antoine Garceau ("Call My Agent"), and Frédéric Pierrot ("In Treatment") is playing Dr. Rieux. "'The Plague' mirrors many of today's challenges and how ordinary people can rise and react under the worst circumstances. The series raises massive psychological questions and shows much humanity, making it inspirational for many people across the globe, regardless of their culture and origins," Sol concluded.

Katia Sol

Fiction is also the primary genre for Federation's global offer. The French company highlights the "Follow" and "Vigilantes" series. "They are both the first productions of Victoire d'Aboville, producer at Bonne Pioche Stories. 'Follow' was awarded as 'Best Series' at La Rochelle, and 'Vigilantes' was incredibly well received by the market," Pommier stated. "Follow," produced for 13ème Rue channel in France, is a miniseries in the vein of "The Silence of the Lambs," but with a modern touch, while "Vigilante," produced for M6, is a procedural with Éric Cantona. "Both titles demonstrate that our line-up is eclectic so we can address the different needs of all our clients," Pommier declared. "We are already in advanced negotiations on both titles, which is a great sign after only a month since we launched them," he added. By Romina Rodríguez

INTERVIEW

"WE PRODUCE 20 TO 25 ORIGINAL FILMS EACH YEAR"  Scott Kirkpatrick

SCOTT KIRKPATRICK, EVP, DISTRIBUTION & CO-PRODUCTIONS AT NICELY ENTERTAINMENT, DETAILS THE GROWTH POTENTIAL FOR THE FEELGOOD MOVIE GENRE AND EXPLAINS ITS IMPACT ON GLOBAL AUDIENCES.

icely Entertainment is focused on remain as a boutique producer and distributor of feel-good TV movies, while exploring alternative genres and looking into expansion in the VOD arena. Scott Kirkpatrick, EVP, Distribution & Co-Productions at the company, spoke with Señal News to describe its strategy.

content verticals. From a business perspective, we're actively seeking to expand and diversify our portfolio. We have three Nicely original series in our catalog: 'Dive Club' and 'Gymnastics Academy' for Netflix and 'The Christmas Checklist' for Canada's CBC. 'Lace' is our fourth-managed TV property, and we aim to land this series with various territories and potentially open the door to format opportunities."

How do you analyze the growth potential for the feelgood movie genre? "Feel-good TV movies have been a strong content vertical for decades. I don't see that changing anytime soon because audiences consistently seek out feel-good content. As a company, we produce 20 to 25 original films each year in the feel-good TV movie space. We work closely with our clients and truly listen to what audiences resonate with (via ratings, social media comments, etc.). It is not just a US genre of focus either; feel-good content resonates globally. As a company, building on 'inspirational,' 'cozy,' and 'feel-good' has been good for us and is certainly something we'll continue to expand on. Two of our latest Romance movies, 'One Perfect Match' and 'Romance at the Vineyard,' are perfect examples of our continued expansion into this space.”

The company also co-produced "A Christmas Frequency" with Dawn's Light Media. How would you describe this experience? "It was a fantastic experience, and we're working on a few other projects. What's very important to note about 'A Christmas Frequency' is its featured talent, Denise Richards, who played a leading role. Elevating talent has been a strategic growth goal for Nicely since the beginning, and we're now making that happen. We also have Ashlee Simpson playing a leading role in another Nicely film that'll premiere this Christmas season. 'A Christmas Frequency' will be premiering on Hulu on November 1st in the United States and will also be available for transactional on Apple, GooglePlay, and Vudu. We've also closed various international deals, including Foxtel in Australia. Mainstream talent and a pivot toward more elevated content are two things the market can expect from Nicely moving forward."

What specific demands does this genre satisfy? "We focus on female-driven cozy/feel-good TV movies. Although our Christmas films perform better in some regions of the world than others, our evergreen romance of feel-good stories sell very well globally. A film like 'A Royal in Paradise,' broadcasted in the United States early in 2023, has been streamed and aired by partners worldwide. The story is quite standard in the genre, with a fresh take, but the escapism, love story, and splash of fantasy make for a fun and universally sought-after story. Great stories transcend borders." Nicely has acquired global rights to AMC's "Lace." What is the international potential of this title? "There is always a home for TV series. Whether as finished tape or as format opportunities, managing the IP of a major US broadcaster's property holds weight internationally. Although 'Lace' is edgier than other Nicely Entertainment content, it still focuses on strong female characters and showcases that, as a company, we're open to pushing the envelope and exploring new 78

What business models would you like to explore at Mipcom and develop in the short and mid-term? "We're not reinventing the wheel. We enjoy working in the cozy, feel-good TV movie space, and it will continue to be our focus. Our strategic aim is to elevate our content offerings by adding star power. Also, we are opening up to alternative genres outside of romance and Christmas romance, as evidenced by our disaster/adventure film 'Super Icyclone' and our mystery film 'The Abigail Mysteries.' The core focus on Nicely Entertainment, as a brand, is to remain as a boutique, feel-good TV movies company, even if we choose to dabble in alternative genres. The expansion into VOD is also crucial for us. We're taking on a much more direct management over our VOD rights to maximize revenues. It's a huge growth sector, especially ad-supported forms of VOD in Latin America and Europe. These are our short-term and longterm targets." By Diego Alfagemez

INTERVIEW

"ESCAPADE HAS BEEN FOCUSING ON SECURING REPRESENTATION IN ALL REGIONS" NATALIE LAWLEY, MANAGING DIRECTOR AT ESCAPADE MEDIA, DESCRIBES THE COMPANY'S EXPANSION STRATEGY AND ANTICIPATES THEIR OBJECTIVES FOR NEXT YEAR.

ustralian sales company Escapade Media arrives at Mipcom with new drama projects and sports titles, just in time for the Olympics 2024. Natalie Lawley, Managing Director of the company, described these launches and analyzed the audiovisual landscape and its impact on the distributor. Escapade Media has expanded its reach through deals with distributors like Surreal TV in France or Daydreamer in the CEE Region. What are the results of these agreements? Are you planning to continue with this strategy? "Escapade has been focusing on securing representation in all regions. In addition to Charo Penedo from Surreal TV and Ute Cichoki from Daydreamers, we have hired Anthony Appell to take care of Scandinavia and take over the US clients I have been handling. As we expand with different partnerships, it's key for our company to ensure the content is represented across all territories. We will continue this strategy until Escapade has representation worldwide." Many hot topics are shaping the content industry today, like the Hollywood strike, AI, postpandemic effects, the war, and 80

the growth of the AVOD and FAST businesses. Any of these themes have directly affected Escapade's strategy? "Yes, all of the above have impacted Escapade in different ways. We are an industry that is affected by many various events and shifts across the world. The critical point for Escapade is how we handle each event to ensure that, as an independent company, we are able to sustain our business. As such, we have concluded some FAST channel deals, but overall, we must be mindful of our actions and choices and support our clients worldwide." What are the main launches that you will promote this season? "One of them is the 'Portobello Road' drama, where the venerable Portobello Road company is on the verge of collapse. Owner Penny must dance between creditors, egos, and her desires to keep the music playing. But when that guitar hits the crowd, all her problems float away. With Executive Producer Eric Clapton, 'Portobello Road' paints the musical world of 1970s London true to the reality of those who lived it. Another title is the drama 'Debriefing The President.' That title tells about the capture, interrogation, and execution of Saddam Hussain, based on the extraordinary memoir of the CIA analyst John Nixon, who found and questioned him in the desert. John is tasked with

finding actionable intelligence about insurgents, but when Saddam opens up, he begins to see a much more complex picture, which draws the Iraq invasion's purpose and efficacy into question. Finally, we will offer factual titles like 'Rose Gold' and 'For the Love of Pets,' narrated by Jai Courtney. A heart-warming series offering fascinating and entertaining insights into the world of people and pets inside this organization at a unique time when pet ownership has never been higher." Is Escapade Media involved in the production of any new projects? "Yes, we have just reached an agreement with Storyfirst to bring their new projects to the international marketplace. We have premium new drama projects for Mipcom. We are also bringing many new non-scripted projects to Mipcom, including some excellent sports projects in time for the Olympics 2024." How would you describe Escapade's main achievements in 2023 and your main goals for 2024? "It has been an excellent year for the company. We have concluded key sales in the US, the UK, and other territories that have enabled subsequent series to be produced. Our agreement with Storyfirst allows Escapade to use its expertise and skills and take prestigious content into the market for commissions, pre-sales, and financing. We look forward to closing deals on all our projects at and after the market." By Romina Rodriguez

INTERVIEW

"OGM PICTURES' INCREASED PRODUCTION OUTPUT DROVE OUR EXPANSION"

 Ekin Koyuncu

year ago, OGM Pictures, one of the leading Turkish production companies, launched its global distribution arm, OGM Universe, to directly distribute its local and international projects. Señal News spoke with Ekin Koyuncu, Global Distribution & Partnership Director at OGM Universe, to understand the strategy and goals of the company in a very competitive international market. How would you define the global expansion of the company since its launch? "In 2023, OGM Universe embarked on a global expansion initiative by introducing our brand-new titles to international markets. OGM Pictures' increased production output drove that expansion. We began our journey with two primetime and one daytime series in the past year, and we are continuing with three fresh titles this season. With a short period in the global arena, we can offer a wide range of content today. Our goal is to strengthen our position in the competitive international market. We also seek long-term collaborations, explore different revenue streams, and attract a diverse audience." What is the international potential for a drama like "Stickman"? "The first season of 'Stickman' was one of the most talkedabout TV series for Turkish and international audiences on social 82

EKIN KOYUNCU, GLOBAL DISTRIBUTION & PARTNERSHIP DIRECTOR AT OGM UNIVERSE, THE DISTRIBUTION ARM OF TURKISH PRODUCER OGM PICTURES, DETAILS THE ACCOMPLISHMENTS AND GOALS OF THE COMPANY IN THE INTERNATIONAL INDUSTRY. media. In the second season, as the plot thickens, secrets will be revealed, alliances will be tested, and unexpected twists will keep you guessing until the end. The title has already been licensed to Russia, Macedonia, Israel, Albania, and Bangladesh. Hopefully, we will announce new deals soon. Given its unexpected nature and strong cast, this title is an excellent fit for streaming platforms. It could also introduce valuable diversity to broadcast programming." What will be the next expansion step for Turkish content? "Recent years have seen a rise in global demand for Turkish content, which can be attributed to several key factors. Turkish TV series and films have garnered significant attention and viewership worldwide. One of the primary reasons behind this demand is

"Stickman"

"Miracle of Love"

that Turkish shows consistently maintain high-quality production levels. Turkish dramas are globally known for their compelling storytelling, top-notch production values, and skilled actors. As a result of these factors, Turkish content has gained a reputation for excellence, attracting a wide range of viewers. Additionally, Turkish content often balances universal themes and unique cultural elements. This blend allows viewers from various cultural backgrounds to connect with the stories and characters, fostering curiosity and cultural exchange. Strong storylines, which often include romance, drama, and suspense, resonate with viewers emotionally. This emotional engagement has been a driving force behind Turkish dramas' popularity, especially among international audiences. In conclusion, global demand for Turkish content reflects quality, cultural appeal, accessibility, and enthusiastic fan engagement. This phenomenon continues evolving, and Turkish content producers and distributors are well-positioned to capitalize on the growing interest of international audiences." By Diego Alfagemez

DISTRIBUTION

ACTF, 400 HOURS OF CONTENT SCREENED ACROSS THE WORLD

 "Kangaroo Beach"

 "Crazy Fun Park"

 "Built to Survive"

THE AUSTRALIAN CHILDREN'S TELEVISION FOUNDATION (ACTF) DISTRIBUTES WORLD-CLASS LIVE-ACTION, ANIMATED, AND FACTUAL CONTENT FOR EVERY DEMOGRAPHIC, FROM PRESCHOOLERS TO YOUNG ADULTS.

our animal friends training to be lifeguards on the idyllic Kangaroo Beach, a fun park haunted by mischievous teenage ghouls, two best friends dealing with the dreams and challenges of childhood, and an adventurer and wildlife aficionado discovering what wild animals do to survive in their harsh environment: there's something for every audience in the extensive Australian Children's Television Foundation (ACTF) catalog. The Australian Children's Television Foundation distributes world-class live-action, animated, and factual content for every demographic, from preschoolers to young adults. ACTF'S portfolio boasts more than 60 series, movies, and telemovies, with over 400 hours of content screened worldwide. For the preschool audience, "Kangaroo Beach" is a funfilled animated series about the adventures of four young animal friends training with their lifeguard heroes. Every day is an action-packed adventure for the furry friends as they prepare to be lifeguards, exploring the sea, rivers, and rock pools while 84

empowering viewers with an imperative message about water safety in every story. "There's lots of fun, lots of adventure, and watersafety awareness and guidance in every episode," Cheeky Little Media's Executive Producer Patrick Edgerton stated. "We developed 'Kangaroo Beach' in response to

the fact that drowning is one of the leading causes of child mortality globally. We wanted to create a show that was entertainment first and foremost but also provided crucial water safety messages," he added. Furthermore, teenagers will be enchanted by "Crazy Fun Park," a brand-new live-action horrorcomedy series about two best friends so close that even death can't keep them apart. When Mapplethorpe is killed at an eerie abandoned theme park, his spirit lives on, and his best friend Chester returns each night to see him and

 "Barrumbi Kids"

the other undead teenagers who haunt the fun park. "It's a unique show about boyhood friendship and dealing with growing up and moving apart from each other, but also loss and grief. It's a fun show to watch, with moments of beautiful depth. People who love 'Stranger Things' will love this," said producer Joanna Werner. For 6- to 12-year-olds, "Barrumbi Kids" is a coming-of-age adventure series about two best friends, Tomias and Dahlia, growing up together in the country, dealing with the dreams and challenges of childhood in a remote Northern Territory community. Produced by Ambience Entertainment and Tamarind Tree Pictures, "Barrumbi Kids" explores the universal themes of friendship and change, all in a unique and vibrant Australian setting. Finally, in the factual adventure series "Built to Survive," host Phil Breslin gets close to the world's most unique creatures to reveal the ultimate survivors of Australia's most extreme habitats. Produced by Butter Media, "Built to Survive" features engaging demonstrations with creatures to reveal their tricks and techniques to survive in their specific environments. With this new Mipcom slate, ACTF has shows that will engage, inspire, and entertain, no matter the age group and genre. By Romina Rodriguez

DISTRIBUTION

Sergio Manfio & Francesco Manfio

"GRUPPO ALCUNI IS GROWING IN ITS PRODUCTION AND DISTRIBUTION EFFORTS"

ITALIAN COMPANY'S CO-FOUNDERS, FRANCESCO AND SERGIO MANFIO, DETAIL THE MAIN TITLES THEY ARE PROMOTING FOR DIFFERENT TARGETS AND EXPLAIN HOW THEIR TRAINING SCHOOL HELP THEM TO FIND NEW ANIMATION TALENTS.

rothers Francesco and Sergio Manfio are the founders of Gruppo Alcuni. Sergio has just been awarded "Best Director for the Animated Series" for "Leo da Vinci" at the 2023 New York Animation Film Awards (NYAFA). "I'm very grateful for this award, which is a testament to the great work of the wonderful team that worked on the show's first season," Sergio Manfio said. "Leo da Vinci" focuses on the action-packed adventures of 15-year-old boy genius Leonardo da Vinci during that extraordinary time in his life under the wing of the Medici family in early Renaissance Florence. After the series' success, Leo's adventures will continue beyond its first season. "We're just putting the finishing touches to 'Leo da Vinci 2', the new season dedicated to the adventures of the Tuscan genius and his friends. Like the first season, it will have 52 episodes of 13 minutes and is co-produced with Rai Kids, HR, ARD, and Cosmos Maya," commented Francesco Manfio. "We are confident that 'Leo da Vinci 2' will confirm the excellent ratings of the first season, which has been distributed worldwide. We will showcase the new episodes at our Mipcom booth," he added. 86

Furthermore, Gruppo Alcuni will also present at Mipcom its brandnew series, "Mini Pet Pals & Mini Dinos," co-produced with Rai Kids. "The Mini Pet Pals meet a group of cute Mini Dinosaurs, which brings the total number of episodes for the series to 260," Francesco Manfio stated. "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. Different lifestyles, habits, games, and ways of thinking surprise Mini Pet Pals and Mini Dinos. Fighting the urge to try and convince others that their idea is best, they all learn the true value of diversity," Sergio commented. Both "Leo da Vinci" and "Mini Pet Pals" are aimed at kids and preschool targets, respectively, where Gruppo Alcuni has much experience, having produced many series for them. But today, the company is also working on other targets. "Gruppo Alcuni is growing both in its production and distribution efforts, so it is key for us to expand our content to include other target audiences," Francesco Manfio said. "We are also focusing

on this because we believe that the content available for some age groups is scarce, and therefore, we should produce series for older kids," Sergio Manfio added. NEW TALENTS Gruppo Alcuni established a school to train new talents in animation. "Those who apply to work at our studios are enthusiastic but often complain about the lack of schools where they can develop their skills before entering a workplace," Sergio Manfio said. "That is precisely why we founded 'Cartoon Artist' with the Autonomous Province of Trento, the Trentino Film Commission, and the Artigianelli Institute. It's a course that gives 20 young people each year the opportunity to improve their skills in animation. Thanks to these courses, finding new talent has become easier," Francesco Manfio added. The executive affirmed that there are challenges with new technologies impacting the way they think about animation production. "Creativity is definitely intuition, fun, and the ability to evoke wonder, but it is first and foremost a means of providing our young audiences with the tools to go beyond stereotypes and embrace change, to learn how to listen, and to recognize mistakes. In short, to develop their creative thinking abilities," Sergio Manfio stated. By Romina Rodriguez

INTERVIEW

"WE WANT TO EXPAND OUR BUSINESS ON A LARGER SCALE" PABLO LACROIX, DIGITAL DIRECTOR AT EL REINO INFANTIL, EXPLAINS THE INTERNATIONAL SUCCESS OF ICONIC IPS SUCH AS "LA GRANJA DE ZENÓN" AND "BICHI KIDS," AND HIGHLIGHTS THE GLOBAL POTENTIAL OF ITS LAUNCHES FOR MIPCOM.

l Reino Infantil network has over 225 million subscribers on YouTube, including the most-viewed Spanish channel in the world, with 60 million subscribers. Its popular IPs like "La Granja de Zenón" and "Bichi Kids" are globally well-known. Pablo Lacroix, Digital Director at El Reino Infantil, spoke with Señal News and described the strategy that enabled the company to be a referent in the kids' content industry. How would you describe the company's business strategy to expand its global footprint? "Our objective is to expand our business on a larger scale, seeking to grow through new business opportunities. El Reino Infantil is expanding in the United States, Spain, and Europe in general, plus Latin America, because we offer a catalog available in ten languages. That offer features iconic series like 'Zenon the Farmer,' 'Bichikids,' 'Zoo Songs,' and 'Super Gero,' our liveaction show. We have partnered with Roku and Kidoodle in the United States and Pluto TV in Spain and the United States. In Spain, we distribute our content on public broadcasters like RTVE's Clan TV, and we launched 'El Gran Baile en la Granja' on Kinepolis theaters, one of the most important film companies in the region. In November, we will premiere a spin-off in coproduction with Warner Bros. Discovery, 'Bartolito, una Aventura Emplumada,' for HBO Max Spain. Growth in these main markets 88

is part of our strategy, further expanding the internationalization of El Reino Infantil." El Reino Infantil developed new content for flagship IPs "La Granja de Zenón" and "Bichi Kids." How would you define these new launches? "'La Granja de Zenón' and 'Bichikids' are two of our most iconic and popular IPs, with enormous potential due to their growth in the United States, Canada, Australia, UK, and Latin America, with a huge focus on Mexico and Brazil. The shows are also popular in Spain and the rest of the world, with the new launch in India. We handle ten language versions for these properties. We are working on music and more storytelling on the development of the characters, with themes linked to the universe of each IP. We increased the volume and production quality for these IPs because we understand that investment in

content will allow us to increase audiences, opening the way to greater opportunities in strategic markets and new businesses. All expansion efforts aim to leverage our

 Pablo Lacroix

business and consumer products to continue working on audience monetization." Are you developing new IPs? "Yes, 'Pili Pilota' and 'Wadoo' are the two new IPs owned by El Reino Infantil. We offer those titles to find new business opportunities with strategic partners distributing content in consolidated markets. 'Pili Pilota' shows a girl with an adventurous spirit who discovers a wonderful world when she visits her grandfather, a former aviator. Inspired by his stories and objects from past adventures, Pili embarks on imaginative journeys with her toys that magically come to life. 'Wadoo' is an energetic little dragon who leads a group of extraordinary friends on exciting adventures of self-discovery and teamwork to explore the wild." What is your acquisition strategy to increment your content catalog? "Alliances with partners such as PGS Company for the distribution of 'Momonsters,' or Mediatoon for 'Garfield' and 'Lingokids,' allowed us to build audiences in our channels' universe. More than 25 thirdparty IPs are part of our network because we have multilingual channels that ensure audiences can access the content they love in their preferred language. Additionally, as part of the expansion strategy, we are launching our Hindi channel with key regional partners." By Romina Rodriguez

PRODUCTION

“CANARIAS ADAPTS TO THE NEEDS OF ANY PRODUCTION”

Rubén Zarauza

RUBÉN ZARAUZA, PRESIDENT OF THE CLUSTER AUDIOVISUAL DE LAS ISLAS CANARIAS AND DIRECTOR OF AMUSE STUDIOS, TALKS ABOUT THE TAX INCENTIVES FOR FILM PRODUCTION AND AUDIOVISUAL PROJECTS IN THE CANARY ISLANDS, WHICH CAN REACH UP TO 54%.

or some years now, the Canary Islands have become one of the most chosen and attractive destinations for filming international productions, and this is mainly due to the implementation of one of the most powerful tax incentives for film production and audiovisual projects in Europe: those who wish to shoot their projects in the Canary Islands can benefit from a deduction of up to 54% of their costs. “A couple of years ago, maybe, an option like this was interesting, but now, in the midst of so much economic uncertainty, it is almost mandatory. When you look in detail the budget you end up getting thanks to this tax incentive, the viability can be clearly seen, and the greenlight is achieved much easier,” commented Rubén Zarauza, President of the Cluster Audiovisual de las Islas Canarias and Director of Amuse Studios, a subsidiary of the French animation production company Amuse Animation. In 2015, the new Economic and Fiscal Regime of the Canary Islands (REF, by its acronym in Spanish) was approved, influencing tax advantages for audiovisual 90

productions in the Autonomous Community of the Canary Islands. That regime was established in relation to the geographical remoteness of the Islands with the rest of the Spanish territory, aiming to promote the economic and social development of the archipelago, offering extremely advantageous fiscal conditions for audiovisual production. Regarding peninsular conditions, the Economic and Fiscal Regime of the Canary Islands increases the deductions from the Corporate Tax Law for audiovisual productions by 20 percentage points and the limits by 80%. That means the incentive for foreign and Spanish productions in the Canary Islands means a 45-50% deduction, which can increase to 54% for the first million euros. The two incentives have a return limit of €36 million for feature films and €18 million per

episode for series. “Production in the Canary Islands has grown exponentially thanks to this incentive. Without it, we only had local production, and now the Canary Islands have become an international production hub. The projects are bigger, and the number of productions continues to grow. Even though we were coming from a pandemic, productions in 2022 have grown significantly compared to 2021, and for 2023, we expect even more filming,” Zarauza said. The demand for audiovisual content has only grown in recent years. In 2018, for example, 79 productions were filmed, generating €60 million in revenue. In 2019, the number increased to 122 productions and €48 million. In 2020, despite the pandemic, 80 productions were shot, totaling €28 million. In 2021, the figure escalated again to 155 productions and €98 million. Lastly, in 2022, 164 shows were filmed in the Islands, breaking a new record. Beyond the economic incentive, Zarauza believes that are other reasons to make the Canary Islands an attractive destination. “First, we have many qualified professionals. The weather is also good because the daylight hours allow for more filming time if you want to shoot outside. There are even natural spaces that allow producers to replicate what Mars or a jungle could be like. We have seen productions of all kinds here, so I think Canarias adapts to the needs of any production,” he assured. By Federico Marzullo

DISTRIBUTION

SPANISH TV INDUSTRY STAYS AHEAD OF GLOBAL CONTENT DEMAND

ince "Money Heist" contributed to making Spain's content highly visible, this globally acclaimed juggernaut has been followed by a wave of international successes, including "Élite," "Valeria," "Welcome to Eden," "30 Coins" or "My Fault," among others. These hits owe their existence to a new and dynamic generation of screenwriters, producers, and distributors establishing themselves in the global market. Meanwhile, audiences are eagerly awaiting news of comebacks and new releases. Spanish TV actors and directors have gained popularity on the international stage, and global players are actively recruiting and consolidating talent from Spain. Between now and 2025, the Spanish audiovisual industry aspires to consolidate its position further

thanks to the firm commitment of the Spanish government through its Spain Audiovisual Hub of Europe Plan, which aims to boost national audiovisual production and attract international investment and talent. As a result, the country's TV industry is exploring the rising demand with a less timid approach and a more daring mindset regarding what can be accomplished. Spanish companies are acutely aware of the competitive landscape, actively networking to forge international partnerships. In this context, the role of Audiovisual from Spain becomes essential. The brand, which unifies and fosters Spanish companies at international events, plays a pivotal role in supporting international expansion and promotion of both brands and content while also organizing beneficial networking activities for

AUDIOVISUAL FROM SPAIN'S PRESENCE AT MIPCOM WILL BE DIVIDED INTO TWO SPACES LOCATED IN RIVIERA AND THE SEAVIEW PRODUCERS HUB, WHERE SEVERAL NETWORKING AND MATCHMAKING INITIATIVES WILL BE HOSTED DURING THE MARKET.

its companies. Behind this brand is ICEX Spain Trade & Investment, a public entity that operates under the Ministry of Industry, Trade and Tourism of Spain. Audiovisual from Spain's presence at Mipcom 2023 is divided into two spaces located in Riviera (R7.J11) and the Seaview Producers Hub (Riviera 9), where several networking and matchmaking initiatives will be hosted during the market. These activities include the first edition of the Spain Brand New Content - Breakfast (Tuesday, 17th, 8:30 am - 10 am), a by-invitation event for international buyers. By Diego Alfagemez

MIPCOM HIGHLIGHTS

FROM SPAIN

ANIMA KITCHENT “Lea & Pop” • 26 x 5' • Kids Animation ARTICO DISTRIBUTION "The Sun's Kingdoms / Los Reinos del Sol" • 1 x 80' • Doc Feature

HAMPA STUDIO “Rancid Ranch / Granja Rancia” • 52 x 11' • Kids Animation

ATRESMEDIA TELEVISION "Tramps / Zorras" • 8 x 30' • Dramedy

INSIDE CONTENT “Hope!” • 6 x 50' • Doc series

FEELSALES "The Last Night of Sandra M. / La Última Noche de Sandra M." • Feature Film, 87' • Drama

LINGOKIDS “Baby Bot Series / La Serie de Baby Bot” • 13 x 5' • Kids Animation

FILM FACTORY ENTERTAINMENT “Free Falling / Caída Libre” • Feature Film • Drama FILMAX “Superthings Rivals of Kaboom Kazoom Power” • 52 x 7' • Kids Animation 92

MEDIACREST “17 KHZ” • 7 x 50' • Thriller (in dev.)

MORGANA STUDIOS “Baoverse” • 26 x 11' • Kids Animation ONZA DISTRIBUTION “Allende, the 1,000 Days / Los Mil Días de Allende” • 4 x 50' • Drama, biopic PURO STUDIO "The Children's Kingdom / El Reino Infantil" • Kids Animation

MEDITERRANEO MEDIASET ESPAÑA GROUP “Urban” • 6 x 50' • Young Adults Drama

WILD STORIES DISTRIBUTION "Wild Andalusia. The Iberian Lynx Land / Andalucía Salvaje. La Tierra del Lince Ibérico" • 2 x 52' • Doc series

MONDO TV STUDIOS “Agent 203” • 26 x 22' • Kids Animation

ZONA MIXTA “Lion City” • 2 x 52' • Doc series

OVERVIEW

TEN YEARS OF NEM DUBROVNIK, WITH ITS BIGGEST EDITION EVER THE TENTH EDITION OF THE CEE-FOCUSED EVENT FEATURED 12 KEYNOTES, 60 SPEAKERS AND EXCLUSIVE SCREENINGS FROM MAJOR PLAYERS SUCH AS BBC STUDIOS AND DISNEY.

he beautiful Croatian city of Dubrovnik hosted a special edition of NEM this year. The CEEfocused event celebrated its tenth anniversary with its most significant edition, featuring 12 keynotes, 60 speakers, and exclusive screenings of major players such as BBC Studios, Lionsgate, and Disney. "2023 is a great year for NEM and Mediavision. From the first edition until today, we have experienced numerous memorable moments that have put the wind in our sails for creating new, even better moments," said Sanja Božić Ljubičić, Owner of Mediavision and creator of the New Europe Market brand (NEM Dubrovnik and NEM Zagreb). "The last decade has brought drastic transformations for the TV industry, and NEM Dubrovnik followed that development, so did NEM Zagreb as a winter edition," she added. The keynotes were essential to NEM's program, featuring brands like Sony Pictures Television, United

Lionsgate

Telekom Srbija

Sanja Božić Ljubičić

Movistar Plus

Group, Movistar Plus+ International, Deutsche Telekom, Warner Bros. Discovery, SkyShowtime, CME, Beta Film, and Viaplay Group. Sony Pictures Television's Mark Young featured four new shows that were launched at LA Screenings: "The Killing Kind," "The Winter King," "Ten Pound Poms," and "Twisted Metal." Moreover, Warner Bros. Discovery's Jamie Cooke referred to Max's streaming strategy for Central Europe. "We are in a great place in the region because we offer a mix of global content cover and localized content," he stated. Furthermore, Vanda Rapti from Viaplay mentioned that the company is one of the top streamers in the northern countries with Nordic storytelling, while Maria Valenzuela, from Movistar Plus+ International, said that Movistar Plus+ produces between eight and nine TV series annually. "Having an international arm is important to communicate what we do globally," she added.

BBC Studios

Sony Pictures

OVERVIEW

SCREENINGS AND SHOWCASES NEM Dubrovnik was also the perfect spot for presenting Lionsgate's new content, including "Burning Girls," a UK production available on Paramount internationally and on Roku in the United States. The company also presented "Northern Lights," a drama that will be available on TG4 and ZDF; the eight-episode drama "Gray;" and "Pistol," a UK production available on Hulu. Lionsgate also launched "Gaslit," a drama available on Starz; "Swimming with Sharks," a thriller drama for The Roku Channel; "Nacho," a Spanish series produced in Spain by Atresmedia; "Wong & Winchester," a Canadian production available on CITYTV, and the docuseries "Paul T Goldman," available on Peacock. Jasmina Lakobrija from Telekom Srbija shared a panel with María García-Castrillón-Argüelles from Dopamine, the writer Fernando Sancristobal, Marina Williams from Asacha Media Group, and Esther Agraso from Plano a Plano to talk about "Cicatriz" ("Scar"), an ambition coproduction between Spain and Serbia. Asacha Media Group has joined Plano a Plano, and Dopamine to work on this ambitious new series, which will hit screens through a strategic alliance with AMG. "'Cicatriz' is a fast-paced thriller drama of eight episodes with all the ingredients to connect audiences worldwide," Agraso highlighted. Moreover, Beta Film's Moritz von Kruedener referred to the epic drama series "Rise of the Raven." "It's a highlevel budget production with ORF as co-producer," he mentioned. The National Film Institute of Hungary and Beta finance the ten-hour epic series, which Serendipity Point Films, Twin Media, HG Media, MR Film, and Beta produce. Co-producers are Hungary's TV2 Network, which will broadcast the show in Hungary and Slovenia, and co-producer ORF, which will air it in Austria. The BBC Studios Showcase introduced new productions such as "Prehistoric Planet," a BBC Studios Natural History Unit production for Apple TV+; "His Dark Materials," a Bad Wolf coproduction for BBC and HBO, "I May Destroy You," a Various Artists and Falkna coproduction for BBC and HBO; "Time," a BBC Studios drama production for BBC; "Black Ops," a BBC Studios Comedy Production and Mondo Deluxe for BBC One; "Stath Lets Flats," a Roughcut Television/Little productions for Channel 4; and "Happy Valley", a Lookout Point coproduction or BBC and AMC. Finally, The Walt Disney Company featured new shows like the drama "Tracker," produced by 20 th Television for CBS in the United States; the crime drama thriller "Culprits," produced by Character 7 for Disney+ and Hulu; "Death and Other Details," produced by ABC Signature for Hulu; and "Class of '09," produced by FX Productions for Hulu. By Romina Rodríguez

Muge Akar and Sena Kul (ATV)

Andre Santos Silva and Carlota Vieira (SIC)

Gokge Aydagdu and Ebru Ozhan (TRT Sales)

Nathalie Delomel and Charles Prast (tmContent Group)

Aleksandra Kazmieruk (TVP)

Laura Sampedro (Atresmedia)

PHOTOGALLERY

Ben Packwood (ALL3MEDIA)

Emilia Nuccio (FILMRISE), Francesca Ibañez (CESCA FILMS)

Gözde Dinç Özcan, Muge Akar, Sena Kul (ATV)

Jesus Iriepar (CARACOL), Tatjana Saudet (SAUDET MEDIA)

Sinem Alışkan, Hasret Özcan (INTER MEDYA)

Gema Lopez, Liliam Hernandez (UNIVERSAL CINERGIA), Ofelya Tovmasyan, Rakesh Vasani (GOQUEST)

Manyot Sandhu (ZEE)

NATPE BUDAPEST 2023

Debkumar Dasgupta (MERZIGO), Ignacio Barrera (MAS ROS MEDIA)

Martina Raicheva, Nelly Stoynova (NOVA), Sinem Alışkan, Hasret Özcan (INTER MEDYA), Desislava Zheleva (NOVA)

Burak Akdere, Uras Isik (TRT)

Murat Yavan, Tayfur Sonkaya (HACIYATMAZ)

Keerthana Anand (NH STUDIOZ) & Smirti Chandel (ONE LIFE STUDIOS)

Çağla Menderes, Canan Koca (KANAL D)

Asli Serim Guliyev (CALINOS)

Laura Sampedro Gutierrez (ATRESMEDIA)

Aysegul Tuzun (MISTCO)

Patrick Phelan (LEONINE)

Jose Escalante, Carlos Documet (LATIN MEDIA)

CONTENT BUDAPEST,

EVENTS

 Hannah Walsh, Siméon Mirzayantz,

Jack Davison and Alex Cameron

 David Ciaramella

 Patrick Phelan and Fiona Weber (LEONINE STUDIOS)

 Claudia Sahab and Patricia Porto (TELEVISAUNIVISION)

 Guilherme Jordao (GLOBO)

100

A NEW DATE TO DISCUSS TRENDS FOR THE CEE REGION THE EVENT ORGANIZED BY C21 IN HUNGARY AIMED TO BOOST NEW PROGRAMMING RELATIONSHIPS ACROSS CENTRAL AND EASTERN EUROPE AND CONNECT FRESH CREATIVITY WITH INTERNATIONAL PARTNERS.

ast June, C21 organized the first edition of Content Budapest, a new market to boost new programming relationships across Central and Eastern Europe and connect fresh creativity with international partners. During two days, leading industry analysts showed the latest data from the region, highlighting defining shows, trends, and genres. Hannah Walsh, Research Manager at Ampere Analysis, affirmed that content spending is set to see the lowest growth in over a decade in 2023, but Central and Eastern Europe will see the second-highest increase in spending across the globe, driven by global streaming services that invest in original local content. Regarding content trends and genres in the CEE region, Walsh expressed a high demand for dramas in linear channels, among romantic, crime, contemporary, and comedy genres. In the VOD sector, crime dramas are the top-demanded content, followed by comedy, romantic and modern dramas. "Linear TV television in the CEE region is still alive, with SVOD growth slowing down and AVOD opportunities emerging. The key takeaway for Easter Europe in the future is sustainable growth through optimum windowing. The region is open to foreign content. The success of this content peaked at 20% of the top 10 best audiences in 2021," Siméon Mirzayantz, Regional Business Manager for CEEMEA & Southern Europe at Glance – Médiamétrie, stated. Alex Cameron, Media Industry Consultant at Parrot Analytics, explored the current content trends and stood out the rising demand for local shows. "A five-year look at the global share of demand by genre illustrates a shift of genre

EVENTS

 Ignacio Barrera (MASROS MEDIA)

and Anna Scheitzach (BIG MEDIA)

 Samantha Wong (ZOLAND ANIMATION)

preferences over time. There are increases in the share of demand since 2018 primarily from animation (gains in anime, losses in animated comedies), documentary, and kids genres, while reality and comedy are decreasing," he said. Moreover, David Ciaramella, Head of Communications at K7 Media, mentioned the top nine most-adapted scripted formats in the CEE region. The list is headed by the crime series "Your Honor" (Yes Studios), with seven new versions aired, followed by "Liar" (All3media) and "No Activity" (WBITTVP/MassMedia Format) with six adaptations; "Call my Agent" (France TV Distribution) and "Dear Daddies" (Paramount Global) with five; and "Der Lehrer" (Sony Pictures Television), "Doctor Foster" (BBC Studios) and "La Familia" (Armoza Formats), all with four adaptations. In terms of genres, comedy is the most adapted content between 2022 and 2023, followed by crime, thriller, comedy, drama, romance, family, telenovela, and relationships. Ciaramella also mentioned that the UK is at the top of the list of format creators by adaptations, followed by Israel, South Korea, the USA, Turkey, Argentina, and Japan. In the unscripted formats arena, Ciaramella also highlighted the most adapted entertainment formats in the CEE region: "The Masked Singer" (MBC/Fremantle) with nine versions; "The Traitors" (All3media) with seven; "The Bridge" (Banijay) and "Sort Your Life Out" (All3Media) with six adaptations; followed by "Married at First Sight" (Red Arrow Studios International) and "Masterchef" (Banijay) with five adaptations. By Romina Rodriguez

 Evgeniy Drachov and Kateryna Nahorna (FILM UA)

 James Mill (HAT TRICK INTERNATIONAL)

 Izabela Piotrowska (DUCKTV)

102

 Elisabetta Muratori and Natalia Chekh (RAICOM)

 Corina Slavila (ATELIER DE FILM)

 Paloma García Cuesta (CARACOL)

PHOTOGALLERY

Barbora Suster & Violeta Trincado (ECCHO RIGHTS)

Brendan Fitzgerald (SONY) & Juan Manuel Guimeráns (SPAIN FILM COMMISSION)

CONECTA 2023 WAWA meeting at Conecta Fiction

Opening Gala

Geraldine Gonard

Miguel Salvat, Miguel Matin, Joana Pastrana & Anton Lofer ("TIME ZONE")

Sebastian Vives (PARAMOUNT) & Angela Suarez (TIS PRODUCTIONS)

104

Presentation Game Show "Time Zone"

Luciano Molina (PLAYMAKERS), Luisa Padilla (RMVISTAR), Juan Pablo Morales (NUEVOS MEDIOS) & Camino De Valcárcel (DOPAMINE)

Estefanía Liberatore, Alexis Cardenas (THE KITCHEN) & Daniel Bort (OMNI MEDIA ARTS)

Marta Manzano & Joana Carrion (TESSEO)

Rebeca Aguilar (MOVISTAR), Enrique Fernández Gallano, Miguel Garcia Sánchez (ATRESMEDIA) & Lorena Molloy (MOVISTAR)

María Rua Aguete (OMDIA), Gonzalo Pastor (WEBEDIA) & Marta Vazgo

Pavlo Cherepin (UNITED HEROES) & Pablo Ghiglione (GLOBO)

Awards Gala

105

INSIGHTS TO UNDERSTAND CURRENT AND FUTURE TRENDS

RESEARCH

UK CONTENT DISTRIBUTION INDUSTRY TOTAL PRODUCER REVENUES IN THE UK TOTAL REVENUES

£ millions **CAGR (%) 2017-2022

4,500 3,944

4,000

119

3,500

3,330

3,000 2,500 2,000 1,500 1,000 500 0

2,500 2,170 2,130 2,172 225

193

167

384

389

542

1,561

1,549

1,463

2009

2010

2011

200 533

2,612 236 488

2,522 179

2,664 2,586 2,740 134

484

684

3,004

136

100

1,618

952

1,251

962

802

725

104

2,875

159

110

3,251

Total

7.6

Non-TV revenue

1.7

International TV revenue

15.1

UK TV revenue

3.8

1,887

1,859

1,846

1,779

1,828

1,883

1,943

2012

2013

2014

2015

2016

2017

2018

2019

2,196

2,207

2021

2022

1,687

2020

£ millions

70%

CAGR (%) 2017-2022

1,800 1,600

962

1,000 800

684 542

600

200 0

384

389

101

128

533

136

248

217

2009

2010

174

488

484

152

167

364

324

301

289

2011

2012

2013

2014

211

725

802

468

2015

2016

549

2017

2018

Other

80%

Factual Factual Entertainment

60% Entertainment 40%

20%

106

Drama

2016

2017

200

Secondary rights

6.7

Int. sales of finished programmes

(2.7)

Primary international commissions (including subsidiaries)

19.7

952 220

835

704

Children's

2015

98.5

1,320

Lifestyle

2014

Other international

671

2019

2020

2021

2022

In 2022 the top programme genres in terms of overall spend were:

100%

2013

190

988

% of spend on producers

2012

14.5

1,089

218

213

430

204

214

VALUE OF ALL UK COMMISSIONS, BY GENRE

2011

Total

1,251

1,200

400

1,618 62

1,400

reaching £1,618m and representing a return to the levels of growth predicted pre-pandemic.

2010

in 2022 reaching their highest ever level of £3,944m.

INTERNATIONAL TV REVENUES, BY BUSINESS MODEL

increased

2009

21.3%

1,089

1,766

INTERNATIONAL REVENUES

increased

2018

2019

2020

2021

2022

37% 27% 14% DRAMA

ENTERTAINMENT

FACTUAL ENTERTAINMENT