35 minute read
for LatAm and Spain
from Mipcom 2020
by TodotvMedia
ECCHO RIGHTS LAUNCHES THREE HIT TURKISH DRAMAS AT MIPCOM
Lisa Wegscheider, Sales Executive at Eccho Rights for LatAm and Spain
Lisa Wegscheider, Sales Executive at Eccho Rights for Latin America and Spain, spoke to ttv about the new slate of Turkish dramas the company is presenting at Mipcom Online+.
By Gonzalo Larrea
@GonzaloLarrea glarrea@todotv.tv
In addition to its vast catalog of Turkish dramas, Korean content and European series, Eccho Rights is ready to attend a new, unique edition of Mipcom with a strong lineup of new titles from Turkey.
The three new Turkish dramas the company will be presenting in October are currently leading the ratings’ race in Turkey, making them a guarantee for success for international screens.
The first title is the drama ‘The Red Room’, produced by OMG Pictures for TV8 in Turkey. The series premiered on Friday, September 4 as a ratings’ leader in the AB and ABC segments, with a 19% share. The following week it led the ratings overall on all demos.
“It is a series that we have high expectations for, because it has been a brutal success in ratings. In addition, we believe that it is a special series, because it talks about the wounds that we all have, about things that have happened to us in the past and how they influence our present and future and sometimes we are not even aware,” said Lisa Wegscheider, Sales Executive at Eccho Rights for Latin America and Spain and part of the team led by Barbora Suster.
‘The Red Room’ is based on the real experiences of the famous psychiatrist and writer Gülseren Budayıcıoğlu and focuses on the stories of her patients and the dramas experienced by her team of therapists in real life. It stars Binnur Kaya, Tülin Özen, Burak Sevinç, Meriç Aral, and Halit Özgür Sarı, while being directed by Cem Karcı. According to Wegscheider, the series takes place in a psychologist office shared by five therapists.
“And the story combines a plot throughout the season, which are the conflicts within the office. And then there are cases that begin and end, which are not resolved in a single episode, but rather in several,” she explained.
The second big new title is ‘My home, My Destiny’, another OGM Pictures production for TV8, on the air since last December 25th.
The Red Room Drama
My Home, My Destiny Drama
“We are already seeing that there is a passionate community of fans of this addictive love story. And in Turkey it is having a lot of success on TV8. In fact, it had been the most successful drama in the history of TV8 until ‘The Red Room’ arrived. We have very good expectations and we have already closed several agreements”, he assured.
“In Latin America we have already received several offers and we are in negotiations. We will surely announce the first agreements shortly,” she added.
Starring Demet Özdemir (‘Daydreamer’) and İbrahim Çelikkol (‘Iffet’), the series tells the story of Zeynep, a girl born into a humble home with few opportunities. Her luck will change when the wealthy family where her mother works as a cleaner offers to adopt the girl. Years later Zeynep becomes an intelligent, educated and beautiful young woman who will marry a man of high society.
However, Zeynep decides to return to her birth home, where she rediscovers various lessons and surprises and meets the love of her life.
The third big show for Mipcom is ‘Legacy’, which premiered on September 7 on Kanal 7. “It’s a daily drama from producers Karamel Yapim, who specialize in daily dramas like ‘The Promise’ and ‘Prisoner of Love’. We have been looking forward to it because we believe it is a very strong bet that can become a long-running hit for our clients,” Wegscheider said.
Like many Turkish daily dramas, it centers on the story of a child. “It is very similar to other stories that have worked super well like ‘Elif’ or ‘Wounded Birds’, so we are very happy with this release. The production quality is spectacular and the first week has worked great. We are projecting 255 episodes. We are sure that it is a very good bet for customers,” she said.
Archive Titles Continue To Sell
In addition to these three new series, the executive pointed out that this year and given the particular situation experienced, buyers are asking more than ever about catalog titles, especially dubbed ones.
And there are three that continue to attract attention: ‘Cennet’, ‘Wounded Birds’ and ‘The Promise’.
“’Wounded Birds’ in both Colombia and Mexico was programmed as ‘Elif’s successor and it is working very well. In Colombia it is even in its final stretch, I think it will end in November. And ‘Cennet’ is doing very well too. Right now it is airing in Mexico and ended in Uruguay and US Hispanic, where it was first in ratings with its final episode on Telemundo,” she explained.
“And ‘The Promise’ we have just closed it in another territory and we are still waiting for its premiere in Latin America, but it is already closed in 11 territories and I think that when it opens it will explode even more. We are convinced that many more agreements will be reached because it is the series that is working the best in Turkey on a daily basis and is starting its third season with Kanal 7”, she concluded.
Kerim Emrah Turna, Executive Director of Kanal D International “THE MARKET WILL EVOLVE IN A DIFFERENT DIRECTION”
Kerim Emrah Turna, executive director of Kanal D International, spoke to ttv about how he believes the TV industry will evolve following the Covid-19 pandemic, the company’s relationship with Latin America and its promising future with Spain.
ByPina Mezzera jmezzera
Afew weeks ahead of the start of the most challenging edition of Mipcom, the TV industry’s biggest annual market, Kerim Emrah Turna, Executive Director of Kanal D International, spoke to ttv about his expectations for the one-of-a-kind market and his outlook on Turkish content’s current popularity in key markets.
In a previous interview back in May, you told us Q1 2020 had been amazing for
Kanal D. What about Q2? Yes, as I said back then, Q1 was amazing for us. Actually, we were able to reach our targets easier than we thought. globally. And I guess we had a great success in that regard. We were able to understand the needs of our clients. We were able to respond very quickly in order to feed those needs. And thanks to our open communication with our clients, we have evolved the organization into a new era.
So in the second quarter, I was imagining a decreased demand due to broadcasters’ need to figure out the situation, whether they would be able to produce or not, whether they would be able to keep advertisement on their screens, and so on. But in spite of the all those problems, they continued demanding content, both in means of finished content, formats sales, and of course our own brand Kanal D Drama.
What are your plans for this unique Mipcom edition? Are you going to participate
in Mipcom Online+? Yes, we will be attending Mipcom Online+ and thanks to the great know-how that Reed Midem has, I guess this will probably be the most successful online market. Since March, most of the market and exhibition companies were switching to online markets, but unfortunately, not everyone was so successful. I hope that Mipcom Online+ will be successful.
I have seen some small examples of what the tool will look like, and from what I have seen so far, it will be better than all the other online markets that I’ve seen so far. Therefore, my expectation is very high for Mipcom Online+. I also believe that this will allow us to have more meetings with our clients and access them easier. So it will be more efficient for us, and I hope that it will be also more efficient for the buyers.
efficient and successful, things will evolve in a different direction. But, of course, I totally believe in face to face physical meetings.
What do you mean by a “different direction”? Do you think there will be fewer
markets? Yes, I do. Globally, there are a lot of markets, a lot more than needed. But somehow, the market conditions force you to be there, to attend all of them, not always with the best outcome in terms of investment. So therefore, I guess it will be affecting our financial side on an efficient way. If this Mipcom Online+ edition is successful, it will be affecting us positively.
Which titles will Kanal D be presenting
at Mipcom? As you know, we’re not only a distribution company. Kanal D International is the global business arm of a huge media company. Therefore, we represent not only Kanal D, but also other brands like, for example, CNN Turkey or teve2, which is our sister channel, and our production companies as well. So we have a very broad catalog.
I guess we are one of the luckiest distribution companies from Turkey. Since we are feeding our channel, we are getting a lot of new titles for our distribution company.
’New Life’ is one of them. This is one of our precious drama titles. It is very exciting for us. We have already aired two episodes so far. I’m really excited about this title. It has a lot of drama elements in the story, it’s a brilliant title.
’Hekimoğlu’ is the title that we launched the previous season and now we are airing the second season. It is also a very exciting story and exciting title, which is a remake of ‘Dr House’.
And one of the new titles that we have launched during the summer season, which was very hard because we started production during Covid-19, is ‘Romance Next Door’. It is a romantic comedy.
And in addition to those fresh titles, we will have other new titles in the upcoming period. In addition to that, we also have a huge, huge library that we already have distributed all over the world.
Is Latin America still a fruitful market for
you? Are there any signs of saturation? I guess we have to analyze and read the big picture very carefully. Before Covid-19 came, we were expecting a financial global crisis in 2020, but Covid-19 erased that and now we have a new agenda.
So: expected financial crisis, Covid-19, the shift from linear television to nonlinear viewership… there is even a decrease in production costs in terms of technology, but an increase in production costs in terms of fees that you pay actors and actresses. So all those factors have a lot of influence in the industry.
We have built a great relationship with Latin American audiences. I believe that they don’t see Turkish drama as a foreign production. It comes from somewhere they are familiar with and we understand each other very well. We have the same problems: sociological problems, financial problems, and family is extremely important for both cultures. Therefore, I believe that the demand will be there, it will still exist.
Of course there will be a shift to digital, but not now, because both in Turkey and in Latin America, if we talk about the core drama content consumer, the telenovela consumer, it’s different. It’s different from the viewers that are watching dramas on OTTs like Netflix or Amazon. I also personally consume a lot of that type of content. But when I watch Turkish dramas, it’s different. It’s more real-life content, while OTT content is more of a fantasy.
What do streaming platforms represent in your distribution business nowadays?
Especially in Asia, streaming platforms are growing like crazy. And there is a huge demand from Asia for content from streaming platforms. This is a transition time from linear to nonlinear. But of course, the transition will be limited. I mean, not all audiences will shift from one day to another to nonlinear platforms. Plus, it will be impossible for someone to have multiple platforms. You might have the ability to pay for 5 or 6 different platforms, but there is no time to be able to watch all of them simultaneously.
So therefore, a small number of platforms will survive. And most of them will still try to get the attention from the conventional TV audience. Due to this, I believe that the streaming platforms will still show interest in our drama.
So, it’s not so much that you have to adapt to the platforms by producing short premium drama, but that maybe they will have to adapt to you, because the audience will still demand traditional drama.
Absolutely. We all have to adapt to what audiences want. Of course content is still king. But audiences are also king, because they are the ones who are deciding what we should produce.
Spain is a market that’s opened its doors to Turkish content. Kanal D International was a pioneer with ‘Fatmagül’. Now, almost three years later, what does Spain mean for your strategy? Spain is really important for us. It’s not the first European country that has acquired Turkish content,
New Life Drama but it is the first European country that has acquired a huge volume of Turkish content, and I’m really proud of being a part of this success.
I guess we have built a similar synergy with the Spanish audience. I believe that this will continue, because we’re talking on a daily basis with our clients from Spain and most probably, this success will lead us to provide our content to alternative platforms in Spain as well.
Because what is different in Spain in comparison to most of the conventional markets is that in Spain we distribute content in volumes. And Spain is not an emerging market, it’s a mature market in means of economy. In the United States we are also licensing a lot of content to the main channels, but they are Hispanic channels, meaning they don’t represent the main market. Of course the market that we’re talking about is enormous, but in comparison to this success in Spain, it’s different. Spain presents the only mature market in our content distribution.
An other example from Spain is that, in the whole of its viewership, there is also a huge percentage of young people. So this is also something that also encourages us and I think we will be seeing a good success in the upcoming future as well.
You will distribute Alba, the Spanish adaptation of ‘Fatmagül’. What does this
mean to your company? ‘Fatmagül’ was the first Turkish title ever that was aired in Spain, and we really pushed this title to the Spanish networks. And I’m also extremely happy that we were able to collaborate with Atresmedia in the remake of ‘Fatmagül’, ‘Alba’. It’s very exciting for me, even personally, that we will be distributing ‘Alba’ globally.
Hekimoğlu Drama
Aysegul Tuzun, Managing Director at Mistco MISTCO TAKES SEASON’S TOP TURKISH DRAMAS TO MIPCOM
Led by ‘The Innocents’ and ‘The Great Seljuks: Guardians of Justice’, which have already become two of the current season’s most successful Turkish dramas, Mistco’s catalog for Mipcom Online+ is one of the most coveted ones in the market, where it will surely begin its journey towards global expansion.
By Gonzalo Larrea
@GonzaloLarrea
The beginning of a new TV season in Turkey this past September has given Turkish distributor Mistco more than one reason to celebrate. On the one hand, its new drama ‘The Innocents’, produced by OGM Pictures for TRT, has become the highest-rated drama. And on the other, its new historical drama, ‘The Great Seljuks: Guardians of Justice’, produced by Akli Film also for TRT, registered the season’s best premiere.
Given that these two series lead the distributor’s catalog, it’s no wonder that the company has high expectations for the rest of the year ahead. “With the addition of these two strong dramas, we believe that we will have great success for the entire season,” said Aysegul Tuzun, Managing Director at Mistco, who spoke to ttv about these and other titles that the company will be presenting at Mipcom Online+.
Which new titles is Mistco presenting at
Mipcom Online+? We will be presenting several new titles at this year’s Mipcom. The first is ‘The Innocents’ (‘Masumlar Apartmanı’). It’s the highest-rated drama of the season in Turkey, airing on TRT1 on Tuesday nights, and produced by OGM Pictures, which is one of Turkey’s leading producers. The series is an extraordinary love story between Han and Inci. But Han’s sister Safiye, who was OCD as a result of a childhood trauma, will be the biggest obstacle for their love. It has also amassed a huge fan base on social media as well.
glarrea@todotv.tv
Would you say ‘The Innocents’ is a tradi
tional Turkish drama? ‘The Innocents’ is based on real-life experiences, basen on the novel by famous psychologist Gülseren Budayicioglu. I would say the series is a typical drama. Han is very successful businessman, he’s very educated, but as in every family, his family has different problems. And the main problem here is that all the children in the family had a very traumatic childhood. And all the family members suffer from some kind of OCD. For instance, Safiye’s OCD has her cleaning everything three, four times. She also has a great fear that she might lose Han someday, and that is why she will get in the way of his love with Inci. It’s a typical drama.
How many episodes will the series have?
Are more seasons in the works? We’re expecting 100 international episodes for the series. Actually the series is having a huge success. As I mentioned, it’s become the highest-rated drama on Tuesday nights, which is a very challenging night in Turkey, with competition from other very strong dramas. And when we see these results, we believe that it will continue for years. Because it tells a very similar story to our own lives. And whether it’s in in Latin America and any other region, people will find something from their own lives in it. Especially now, because of the coronavirus, we have all become a bit obsessive about cleaning and washing our hands. I believe that regardless of the territory, this series will grab audiences’ attention with its unique story.
“Whether it’s in Latin America and any other region, people will find something from their own lives in ‘The Innocents’.” The Innocents Drama In addition to ‘The Innocents’, which other titles will Mistco be presenting at Mipcom? We have a very strong slate of historical dramas from TRT. As you know, TRT has a vast know-how for producing historical dramas, and they invest in this genre more than any other TV station in Turkey. Now they’re offering a brand new drama, which Mistco will be offering at Mipcom as well: ‘The Great Seljuks: Guardians of Justice’ (‘Uyanis Büyük Selcuklu’). It tells the story of Sultan Meliksah, who was the most courageous Sultan of the Seljuk dynasty. The series is produced by Akli Film and broadcast on TRT1 on Monday nights, and it became the best premiere of the season in Turkey.
Why do you think this new drama has
been so successful already? We’ve already had great success with titles such as ‘Resurrection: Ertugrul’. And this onehas such a great cast featuring Buğra Gülsoy (‘My Little Girl’), Ekin Koç (‘Magnificent Century’), Hatice Şendil, Gürkan Uygun and many other talented actors; as well as a strong story about such a big hero from history. So I believe that, same as ‘Ertugrul’, this series will achieve great global success.
All those broadcasters that have already acquired ‘Resurrection: Ertugrul’ stand as potential clients for ‘The Great Seljuks’?
Yes. What we saw for ‘Ertugrul’ was that when it was launched in Turkey, it was seen as a different kind of drama. Our clients know us for our traditional dramas. But ‘Ertugrul’ was a different genre. So we started to sell it after it’s third season, because it was so unique. But now, it’s become one of our best-selling titles. Everyone got used to the genre and I believe we will get a much quicker response for ‘The Great Seljuks’. It will be distributed and broadcast in many territories worldwide.
It’s a great production. TRT invested a major budget on it and success comes along with it. In addition to great action, there’s also the traditional romantic element. Because if you are telling a real story, the life of a hero, love is always a part of it. You can’t ignore it, it’s part of our lives. The focus could be different, but of course the series features a love story. You know the saying, “Behind every successful man, there’s a strong woman”. We will see many strong women in this story as well.
Will the company be presenting any other
titles at the event? Yes, we will be offering ‘Melek: A Mother’s Struggle’. It’s now in its second season, which will focus more on Melek and Halil’s love. We will see how their love comes to life again after the years go by. With ‘Melek’, we are always reminded of the importance of being a family. And this new season will remind us of that fact, and overcoming life’s difficulties together. We have had good sales results for this title, even
though the pandemic affected our lives and our business, we’ve sold ‘Melek’ in many countries such as Israel, Iran, North Macedonia, Croatia, Montenegro... It is still expanding in other territories as well.
2020 has been an unprecedented year for everyone due to the global pandemic. How has it affected Mistco’s business and
strategy? I can say that 2020 has been quite a good year for our company in terms of international sales. Our titles such as ‘Melek’, ‘My Champion’, ‘The Circle’, ‘Golden Cage’ or ‘Resurrection: Ertugrul’ are receiving interest from the international market and they have traveled around the world. And now with the addition of these two strong dramas, we believe that we will have great success for the entire season as well.
Even though we are attending all the virtual markets, we are missing the old days and we are looking forward to meeting our clients and partners face to face in a short time.
OPINION IS THE INDUSTRY EXPERIENCING A DEJA VU?
Special for ttvnews (*)
The “streaming wars” that are now intensifying in Latin America are beginning to look a lot like what happened during the early days of pay TV. Is the past repeating itself?
By Alex Lagomarsino CEO of MediaBiz, which represents writers, showrunners and producers; and advisor for audiovisual and communication industry leaders in the region. 30 years ago, when pay TV first landed in Latin America, networks competed to attract and retain subscribers. Competition was fierce and channel growth was skyrocketing.
At the beginning there were only one or two channels per theme, such as news, kids, sports, documentaries, music or movies. Eventually, however, the first thematic networks appeared and the offer multiplied: they reached 150 and many anticipated they would grow to over 500.
Faced with such a vast offer, the solution was simple: subscribers could build their own channel packages, according to their tastes and home compositions.
There was the basic package, of course, which included the broadcast networks, a couple of news networks, movies and a few sports channels. From there, the puzzle was put together: the Sports Package, the Music Package, the famous HBO and, of course, the long-awaited Children’s Packages with Cartoon Network, Disney, Nickelodeon and/or Discovery Kids.
Although with notable variations by countries (and by the price of the dollar), a family was paying around 50 dollars on average for the basic package, along with one of the other packages. A number that, before the appearance of Netflix for a monthly fee of 8 dollars, suddenly seemed too high. But in this new OTT era, the industry seems to be experiencing a similar process. Netflix, the great pioneer, has managed to position itself as a necessity in the public and impose a new way of watching entertainment. But it was soon followed by others such as Amazon, Hulu and VOD platforms launched by Turner, Sony, HBO, Disney or A&E, which added a + sign to their name and got rebranded to become platforms.
And in light of this new scenario, it seems that we are living a great deja vu.
Analyzing the offer and the positioning of each of the platforms, I dare to say that Netflix is the equivalent of the basic package from before, producing a large amount of content and offering a large volume of movies across f all genres: from family to children’s, and with a huge variety in quality, stories and structure.
Meanwhile, Amazon aims to produce higher-budget series and more defined stories for its target audience. Of course, its core business is retail and that, ultimately, is what Amazon Prime Video seeks to push.
Then there’s Disney, which recently bought Fox for more than 80 billion dollars (equivalent to the GDP of Costa Rica or Uruguay!) and which will soon launch its OTT platform in Latin America.
Disney concentrates all the most powerful kids’ content, from its animated classics to its family movies, now adding brands such as ‘The Simpsons’ or ‘Star Wars’.
Of course, there’s also Turner, now converted into WarnerMedia and who will soon bring HBO Max, which will surely offer an extraordinary catalog of great films from its studios and the enormous volume of series production that they are carrying out in Latin America. its Apple TV+ service, which has not yet revealed its strategy or progress in Latin American productions. We will surely hear from them soon.
Then there’s also the upcoming launch of Hulu, which in the US is focused on a well-defined audience, and we have already heard about the launch of A&E Plus, Discovery Plus and Paramount+. Other second-generation and regional OTT platforms will surely emerge as well.
Given this wide o ff er, it is clear that not all households will be able to access all OTT services or pay for them. It is estimated that each household will subscribe to, on average, three paid services. And here is the deja vu:
They will surely choose to acquire Netflix or Amazon as a basic service; if there are children in the house they might also sign up for Disney Plus, Fox Play or NickSplat. If they’re movie fans, they’ll probably add a platform like HBO Max as the premium package.
It remains to be seen how the sports content will be distributed. Amazon is already acquiring rights for its broadcast, as are other platforms. Surely A&E, Discovery and the others will find, given their high quality of content, a place on the household’s grid.
Just like it happened in the past, it will be possible to have free channels thanks to AVOD (Advertising Video On Demand) such as Pluto TV.
And what about the price? Well, in the end we will end up paying, more or less, those same 50 dollars.
It is undoubtedly a very interesting moment in the entertainment industry and each one of us - the players - will have to define our strategy to participate in this new era, where big players compete to hold on to subscribers.
MORE ANIMATION AND NOW, DOCUMENTARIES
Maria Bonaria Fois, CEO of Mondo TV Iberoamerica, spoke to ttv about the company’s new initiatives and content ahead of Mipcom 2020, including new series ‘MeteoHeroes’, already aired in Italy and Eastern Europe.
ByGonzalo Larrea @licabreram glarrea@todotv.tv
MeteoHeroes Animation
If there’s one industry that has managed to stay afloat during the coronavirus pandemic it’s certainly animation, which not only was able to continue producing content, but actually saw an increase in its demand due to the quarantine measures.
And animation is precisely Mondo TV Iberoamerica’s specialty, which continued to develop content from its studios in Canary Islands, as well as its headquarters in Italy.
Thus, the company is arriving at Mipcom Online+ with a vast catalog of new titles and library content; a powerful tool in these current times.
”One of our big new titles for Mipcom is ‘MeteoHeroes’, which we are now wrapping up production for. It’s already on air on Cartoonito in Italy and on several networks in Eastern Europe. We continue to produce it because we have to complete 52 episodes, but it’s already premiered in Italy and it’s doing very well,” Maria Bonaria Fois, CEO of Mondo TV Iberoamerica, said to ttv.
The series premiered in Italy in April of this year as part of the Earth Day celebrations, when the first four episodes aired. Its regular broadcasts began later in May and have continued uninterruptedly since then.
“It’s registering excellent ratings. We hope to be able to sign the deals we were negotiating in Europe and Latin America,” she added.
In addition, the company is also presenting its new co-productions that come from its studios in the Canary Islands.
The first is ‘Nina and Olga’, a preschool series with Enanimation in Italy. “And they have RAI as Italian co-producers. We are working on the pre-production in Canary. It’s a beautiful series based on the books by Nicoletta Costa, an Italian author that’s known around the world,” she said.
The studio in Canary Islands is new in itself, as it has recently been expanded to add 3D capabilities.
“The Canary Islands studio was until now a 2D pre-production and animation studio. Now we will be able to add 3D projects in all their phases, from pre-production to animation production. This is a very important challenge that we started before the summer with the plan to open the studio in mid-October”, she explained.
#BAT-PAT ANIMATION
“We already have a service contract that we are about to sign and it is the contract that has allowed us to start this adventure in the 3D studio. From there we will look for more 3D projects to co-produce and offer service to third parties”, she added.
Two projects based on ideas by Myriam Ballesteros and produced together with MB Producciones also stand out.
“One is ‘Annie & Carola’, which was presented to the Cartoon Forum last year and now has RTVE as a co-producer. And the other one is ‘Masked Cinderella’, which has been selected in this year’s Cartoon Forum,” the executive said.
Library Content and Documentaries
This new titles join Mondo TV’s extensive catalog, which has over 1,000 hours of animations produced in 50 years and which has seen an increase in its demand in these unprecedented months of 2020.
“Because during the pandemic, several TV networks found themselves without new content, or with a greater need for kids content to entertain families having to stay at home. Our catalog is our heritage, we have about 1,000 hours of cartoons, produced over 50 years,” she said. Maria Bonaria Fois, CEO of Mondo TV Iberoamerica
Thus, classic series and series with little air time, or that never been sold before, have found new life these past few months, reaching new broadcast TV screens, pay TV and, above all, streaming platforms, “which are the ones that need this type of content the most”.
“There has been a lot of movement, and not only with kids programs, but also content for adults. For example, there has been an increase in the demand for documentaries. We have been contacted by some clients who asked us for documentaries, which we have gone to look for in Latin America. We have presented them and now they are under evaluation. That is one more window that has been opened to us due to the halt in production,” she explained.
EMMY KIDS BRAZIL STANDS AWARDS 2020 OUT AMONG WINNERS
By ttvnews
On March 31, the International Academy of Television Arts and Sciences announced the winners of the eighth edition of the International Emmy Kids Awards. The announcement was made on the Academy’s website and through its social media platforms, after the cancellation of the 2020 Miptv edition.
“We decided to keep the announcement of the winners on the same day that the awards ceremony would have been held in Cannes,” said International Academy President, Bruce L. Paisner. ulating the outstanding teams behind the winning programs. These programs entertain, educate and enlighten, with the high quality standard that we expect for our children and their communities in general”.
Representing Latin America, Brazilian production ‘Nosso Sangue, Nosso Corpo’, produced by Fox Lab Brazil and Your Mama, won in the Factual category.
Other notable winners include ‘Zog’ (Animation, UK), ‘Like Meg’ (Digital, Norway), ‘Nachtraven’ (Format, Belgium), ‘Bluey’ (Preschool, Australia), ‘The Rules of the Floor’ ( Series, Netherlands) and ‘Jacqueline Wilson’s Katy’ (TV Movie, UK).
THE COMPLETE LIST OF WINNERS
Animation
‘Zog’ (Magic Light Pictures, UK)
Digital
‘Lik Meg’ / Like Me (NRK Super, Norway)
Factual
‘Nosso Sangue, Nosso Corpo’ (Fox Lab Brazil / Your Mama, Brazil)
Format
‘Nachtraven’ (De Mensen / Ketnet (VRT), Belgium)
Preschool
‘Bluey’ (Ludo Studios / ABC Australia / BBC Studios / Screen Australia / Screen Queensland, Australia)
Series
‘De Regels van Floor’ (NL Film & TV / VPRO, Netherlands) TV Movie
Miniseries
‘Jacqueline Wilson’s Katy’ (BBC Children’s In-House Productions / CBBC, UK)
todotvnews.com
IBEROAMERICA ZDF ENTERPRISES SELLS 350+ HOURS OF CHILDREN’S CONTENT
CHANNELS AND SVODS THROUGHOUT LATIN AMERICA AND IBERIA have snapped up hundreds of hours of top German Children’s programming from ZDF Enterprises. ‘School of Roars’, ‘The Jungle Book’ and ‘The Worst Witch’ are just some of the popular shows that have been licensed to the likes of Globoplay, Chile’s VTR and TV3 in Spain respectively. The deals were brokered by Christophe Goldberger.
LATIN AMERICA DISCOVERY KIDS PLUS REACHES 2.2 MILLION USERS
DISCOVERY KIDS PLUS, THE DISCOVERY KIDS APP, is growing stronger in the digital market after having reached 2.2 million unique users in Latin America in May. The sustained growth of the app places it as one of the favorites among big kids’ content brands. In fact, Discovery Kids Plus ranks among the longest-lived brands in its segment. Discovery Kids Plus, available only in Latin America, is designed to promote interaction between adults and children and provide fun and inspiring content through the brand’s main characters and shows such as ‘Mini Beat Power Rockers’, ‘Peppa Pig’ and ‘El mundo de Luna’, among others.
USA MOBIUS.LAB KIDS’ ‘ANIMALFANPEDIA’ AVAILABLE ON UNIMÁS
SINCE AUGUST 2, US audiences can enjoy ‘AnimalFanPedia’, a new, fun series created by Mobius.LAB Kids, the kids’ content production unit of Cisneros Media. The series airs every Sunday at 8:00 am (ET) on UniMás, Univision’s sister network. ‘AnimalFanPedia’ is a dynamic program that educates and promotes a respectful view of wildlife. The rst season is composed of 26 11-minute episodes and is produced in high de nition.
DISTRIBUTION ‘TAINÁ AND THE AMAZON’S GUARDIANS’ ADDS SALES IN LATAM
EMMY AWARDWINNING FRENCH ANIMATION PRODUCTION AND DISTRIBUTION COMPANY
DANDELOOO announces sales for the new preschool adventure CGI series ‘Tainá And The Amazon Guardians’, produced by Brazil production company Sincrocine, in association with animation studio Hype and Nick Jr Brazil. Onboard to trek through the Amazon rainforest with Tainá is Netflix in Latin America, Brazilian public television networks TV Brazil and BAND TV, Nick Jr Brazil and Latin America, Turkish pay platform D-Smart and kids content distributor Neo Content, China. Based on the successful Brazilian films of the same name, which took millions of people to the movies in Brazil and around the world, Tainá and the Amazon’s Guardians has won 23 national and international awards and is being broadcast in more than 40 countries.
Jorel’s Brother
CAKE
5th Floor, 76 Charlotte Street, London W1T 4QS +44 (0) 207 307 3230 info@cakeentertainment.com
www.cakeentertainment.com
EXECUTIVE Ed Galton, CCO & Managing Director
TOP EXECUTIVE
Ed Galton,
CCO & Managing Director
JOREL’S BROTHER (Animation - 104 x 11’ and 18 x 2’)
Jorel’s Brother follows the everyday adventures of an awkward and nameless 9-year old boy, who is overshadowed by his more infamous sibling. Jorel’s brother tries to be as popular as his older brother Jorel, but while he ultimately lives to fail, he always finds an absurd solution when dealing with his unusual and eccentric family. Produced by Copa Studios and Cartoon Network Brasil, this multi-award-winning Brazilian comedy is now in its fourth season and has enjoyed huge success in Latin America with its third season nominated for an International Emmy for Best Animated Series.
TISH TASH (Pre-school Animation - 52 x 5’)
Tish Tash follows a young bear called Tish, her bear family and her larger-than-life imaginary friend Tash, as they learn about the world around them, embarking on fun adventures while inspiring imaginative play and problem solving in young children. A collaboration between South Korean animation shop Studio Gale, Singapore-based August Media Holdings, Philippines media group Synergy88 Entertainment and BAFTA and Emmy Award-winning UK based Karrot Entertainment has given Tish Tash a truly global approach. Bravest Warriors
CORUS ENTERTAINMENT
Corus Quay 25 Dockside Drive, Toronto, Ontario 416.479.7000 stella.moolayil@corusent.com
www.corusent.com
EXECUTIVES Colin Bohm, Executive Vice President Content and Corporate Strategy
TOP EXECUTIVE
Doug Murphy,
President and Chief Executive Officer
BRAVEST WARRIORS (Animation/ Sci-FI/2D - Seasons: 1 - 26 x 22)
‘Bravest Warriors’, an animated teen sci-fi comedy series, follows best friends Chris, Beth, Danny, and Wallow as they navigate their ever-changing emotions while warping through the universe to uphold their sworn oath to save all adorable creatures from galactic do-badders.
MYSTICON (2D - Season: 1 - 40 X 22’)
A contemporary urban fantasy series about four girls from different walks of life who are transformed into the legendary Mysticons. Arkayna, Zarya, Emerald and Piper are drawn together by a Prophecy to battle evil and protect the realm -unexpected heroes who together become epic warriors as well as the closest of friends. MeteoHeroes
MONDO TV IBEROAMÉRICA
Calle Álvarez de Baena 4, Madrid, Spain +34 913992710
www.mondotviberoamerica.com
EXECUTIVES Dimitri Papanikas, International Sales & Coproductions Manager
TOP EXECUTIVE
Maria Bonaria Fois,
CEO
METEOHEROES (Comedy, Educational - 52 x 7’)
‘MeteoHeroes’ addresses issues like climate change, ecology and respect for nature through the amazing adventures of six children – each of whom can control a weather phenomenon. It’s an important message but it’s delivered in a fun, engaging way that both entertains young viewers and helps them understand the issues and how they can help the planet.
ANNIE & CAROLA (Comedy - 52 x 11’)
Carola, a nerd with no social skills, builds her own robot clone as a friend – someone who can share her love for science and who will be her ally against a teen world that she doesn’t understand and that scares her. But an accident turns her clone into a crazy, uninhibited friend who drags her into all the kinds of situations she fears the most.
BAT PAT S2 (Comedy - 52 x 11’)
In this spooky adventure-comedy, Bat Pat and the Silver siblings, Rebecca, Leo and Martin, try to find out more about the scary creatures that lurk in and around their home town of Fogville. Lovable creepy characters, eccentric inhabitants and Bat Pat – who’s always getting into trouble – add up to a lot of delightful – and slightly weird – fun.
Adventures Of A Boy Genius
SNAP MEDIA
Bonpland 1281 / 1291 / 1293, 2nd Floor, CABA, Buenos Aires, Argentina +5411 4773 8826 dcoifman@snaptv.tv / sstanko@snaptv.tv
EXECUTIVES Diana Coifman, VP Sales & Distribution Sonia Stanko, Sales Executive
TOP EXECUTIVE
Ariel Tobi,
SVP Production & Distribution
ADVENTURES OF A BOY GENIUS (Family - 91’)
Emmett is a popular junior at Heart High School. He also happens to be a highly imaginative twelve-year-old genius. After his brother Luke, also a junior and Emmett’s best friend, is accused of being involved in a rash of thefts at school, Emmett must find a way to prove his innocence before their mom ships Luke off to boarding school.
FOUR ENCHANTED SISTERS (Family - 97’)
Four sisters with magical powers, but only together they are strong enough to fight against Glenda, mistress of the black arts, who tries to separate the sisters and wants to take over control of their home, Cantrip Towers, and it’s magical fountain.
MAGIC KIDS - THREE UNLIKELY HÉROES (Family - 90’)
Three magical losers - a vampire who can’t take the sight of blood, a fairy with a fear of flying and a werewolf allergic to animal hair - square up against an infernal opponent and win the greatest of all possible victories: accepting themselves as they are.
