Miptv 2022 by TodotvMedia

Contents CENTRAL REPORT TRENDS WHAT BUYERS ARE LOOKING FOR

Q&A

A ROADMAP FOR A COMPLEX OTT LANDSCAPE Rose Hulse, Founder and CEO of ScreenHits TV_16

BUILDING NEW ROADS

José Luis Gascue, Executive Vice President, Head of Worldwide Sales at Calinos Entertainment_24

“VIX IS AUTHENTICALLY LATIN AND HISPANIC; WE WILL PRODUCE THROUGHOUT IBERO-AMERICA”

Rafael Uribina-Quintero, EVP and General Manager of AVOD Streaming; and Rodrigo Mazón, EVP and General Manager of SVOD Streaming at TelevisaUnivision_28

STRONG TO ITS CORE

Emre Görentaş, Sales Deputy Manager for North & South America, MENA at ATV Distribution_36

GATO GRANDE DEVELOPS 35 ORIGINAL PROJECTS Carla González Vargas, CEO of Gato Grande Productions_40

SPAIN REDOUBLES ITS INTERNATIONAL COMMITMENT

Pablo Conde Diez del Corral, Director of Fashion, Habitat and Cultural Industries of ICEX_46

Galleries

TELEMUNDO GLOBAL SCREENINGS 2022

STREAMING TELEVISAUNIVISION PRESENTS GLOBAL OTT PLATAFORM VIX

TELEMUNDO CENTER, MIAMI (USA), VIRTUAL FEBRUARY 15

INTERVIEW

A VARIED CATALOG FOR A VARIED DEMAND Julia Matyash, Director of Sovtelexport _42

ARTICLES

I IBERO-AMERICAN AUDIOVISUAL PUBLIC SERVICE FORUM

CONTENT LOCALIZATION_/13 UNIVERSAL CINERGIA CELEBRATES ITS 10TH ANNIVERSAY

CERVANTES INSTITUTE, MADRID, SPAIN FEBRUARY 15 AND 16

MIPTV 2022_/22 THE LONG-AWAITED RETURN OF AN IN-PERSON MIPTV

ARCA INTERNATIONAL FILM FESTIVAL ATCHUGARRY MUSEUM OF CONTEMPORARY ART (MACA), PUNTA DEL ESTE, URUGUAY

INTER MEDYA_/20 IN CONSTANT GROWTH TRENDS_/48 NETFLIX BETS ON TELENOVELAS WITH SIX NEW TITLES

FEBRUARY 9-14

GLOBAL TV DEMAND AWARDS_/52 ‘MONEY HEIST’ AND ‘DARK DESIRE’ AMONG WINNERS OPINION THE FUTURE OF SPORTS STREAMING_/54

Listings_56 “Every ending has a beginning. Vol. 1 is coming May 27. Vol. 2 is coming July 1” (Tweet by @StrangerThings announcing the premiere dates for the fourth and last season of the hit Netflix series)

@todotvnews

@todotvnewsoficial

@todotvnews

STREAMING

PRESIDENT/CEO Sebastian Lateulade - slateulade@todotv.tv DIRECTOR OF PUBLICATIONS Sebastián Amoroso - samoroso@todotv.tv ONLINE EDITORS Carolina Mussio - cmussio@todotv.tv Luis Cabrera - lcabrera@todotv.tv ORIGINALS Rodrigo Ros - rros@todotv.tv AUDIOVISUAL CONTENT EDITOR Manuel Bello - mbello@todotv.tv SOCIAL MEDIA EDITOR Karina Torres - ktorres@todotv.tv Gabriela Sotillo - gsotillo@todotv.tv SALES MANAGER – LATAM Fernando Moreno - fmoreno@todotv.tv SALES MANAGER – INTERNATIONAL Mónica Iriarte - miriarte@todotv.tv SENIOR BUSINESS CONSULTANT Ana Paula Carreira - acarreira@todotv.tv WEBMASTER Nazario Pereira - npereira@todotv.tv Bernardo Soulage - bsoulage@todotv.tv CHIEF FINANCIAL OFFICER Cr. Michel Schwartz - mschwartz@todotv.tv ADMINISTRATION Valeria Morena - morena@todotv.tv ART AND DESIGN UNIK Media Solutions - info@unikms.com www.unikms.com

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TTV ia monthly publication owned by TTVMedia. Its distribution is free of charge. The articles reflect the opinions of the individual authors on the topics covered, without implying editorial control or endorsement of the content by the management and ownership of the magazine. For all purposes, the advertisements and their content are the sole responsibility of the advertiser. Reproduction in whole or in part, in electronic or print form, of the content of this publication, without express written permission of TTVMedia is strictly prohibited.

TELEVISAUNIVISION PRESENTS GLOBAL OTT PLATFORM VIX Designed for the Hispanicspeaking market, the new platform launched on March 31 with an AVOD option, ViX, and an SVOD option, ViX+, offering over 50,000 hours of content, including original productions, entertainment, sports, news and more.

elevisaUnivision, the Spanish-language media and content company, today unveiled ViX, the first global large-scale streaming service created specifically for the Spanish-speaking world. ViX will offer more than 50,000 hours of Spanish-language content across genres, including original series and movies, live sports, live news and current Televisa and Univision hits as well as access to an extensive library of top franchise content and formats from Televisa’s vault. The two-tier service will include a free AVOD product, ViX, launching on March 31, with 100 EPG channels and vast-content VOD experience, and an SVOD option, ViX+, with premium content, including “ViX+ Originals” and exclusive soccer, set to launch in the second half of 2022. A Beta version of the streaming app is available for select users in the U.S. and Mexico. The new service will launch in the U.S., Mexico and most of Latin America, and will be

Wade Davis,

Chief Executive Officer of TelevisaUnivision

available across all major platforms and via web at vix.com. The company’s existing streaming options, PrendeTV, Blim TV and the legacy ViX AVOD service acquired in 2021, will be incorporated seamlessly into the new ViX platform in the coming months, ensuring an uninterrupted viewing experience for users. With the service’s SVOD tier, ViX+, consumers will have access to the most premium Spanish-language content ever offered on an SVOD service, with 10,000 hours of programming to enjoy. In the first year alone, the service will premiere more than 50 ViX+ Original series and movies representing, on average, at least one new original per week.

A BETA VERSION OF THE STREAMING APP IS AVAILABLE FOR SELECT USERS IN THE U.S. AND MEXICO.

IN NUMBERS

REBRANDING

VIACOMCBS IS RENAMED PARAMOUNT

130 million

people are now subscribed to Disney+, exceeding all expectations and ratifying Disney’s strategy regarding D2C streaming.

42 new countries and 11

territories from Europe, the Middle East and Africa; will have Disney+ in mid2022 as part of its global expansion.

39.96 million people were subscribed to Netflix in Latin America at the end of 2021, out of a total of 222 million worldwide.

15 new European countries

now have HBO Max since March 8, for a total of 61 countries in Europe and the Americas.

650,000

subscribers were lost by US pay TV in the third quarter of 2021, according to a report by Leichtman Research Group.

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+220,000 million

dollars were spent in original content in 2021, an increase of 14% from 2020, according to Ampere Analysis.

PRODUCTION

TELEMUNDO STUDIOS PRESENTED ITS LINE-UP OF ORIGINALS FOR 2022-23 TELEMUNDO GLOBAL STUDIOS (TGS) held its live virtual screening on February 15, where it previewed its new productions for 2022-2023. Under the motto “Too Strong to Stop”, the event held from the Telemundo Center studios in Miami (USA) had as its axis 9 original productions of various genres and for various platforms. Presented by Karen Barroeta, Executive VP of Production and Development of TGS; The new productions include the melodrama ‘La mujer de mi vida’, the action drama ‘Culpable o inocente’, the standalone series ‘El doctor de los milagros’ and ‘Cuando hable una mujer’ (based on the play by Corín Telleado, arising from an agreement between TGS and Grupo Planeta). Likewise, ‘El conde’, a free adaptation of ‘El conde de Monte Cristo’ by Alejandro Dumas; and the superseries ‘The Lord of the Skies S8’, ‘Todos los nombres de Aura’ and ‘The Queen of the South S3’.

DURING ITS INVESTOR DAY 2022 on February 15, ViacomCBS announced that effective February 16 it would be becoming Paramount Global (referred to as Paramount), bringing together all of its premium entertainment properties under a new parent company name. “Paramount’s iconic peak represents a rich history for our company as pioneers in the Golden Age of Hollywood. Today, by adopting the Paramount name, we are pioneering an exciting new future,” said Bob Bakish, president and chief executive officer. In addition to the name change, the company detailed plans to accelerate the rollout of its Paramount+ streaming service. To that end, it introduced new content, enhanced product offerings, and continued international expansion. “We see a huge global opportunity in streaming, a potential market far larger than linear television and cinema alone can capture,” Bakish said.

Bob Bakish, President and CEO of Paramount

USA

WARNERMEDIA-DISCOVERY RECEIVES GREEN LIGHT IN THE US A FEW HOURS AFTER RECEIVING THE GREEN LIGHT IN BRAZIL, AT&T and Discovery received approval from the US Securities and Exchange Commission to carry out the merger between WarnerMedia and Discovery. The companies disclosed the matter in two separate filings Wednesday with the Commission. Discovery shareholder approval is the final barrier for the deal moving forward. The transaction is still expected to close in the second quarter. The agreement had already been approved by the European Commission last December. Under the deal, Discovery will gain control of WarnerMedia, adding the Warner Brothers studio, cable channels TNT and TBS, CNN and HBO to its credit. The newly combined company will be called Warner Bros. Discovery and expands the reach of its CEO, David Zaslav of Discovery, farther into the world of US sports, news and entertainment.

Article

ANNIVERSARY

CONTENT LOCALIZATION

UNIVERSAL CINERGIA CELEBRATES ITS 10TH ANNIVERSARY

ny’s culture,” added Gema López. “Our clients recommend our company to their clients, which is a testament to our quality services and impeccable reputation. We hope that the next few years will expand even more. The sky is the limit!”. Universal Cinergia Dubbing is one of the leading dubbing companies in the international audiovisual industry, providing content localization in Spanish, Portuguese, English, French and Spanish. Headquartered in Miami, the company owns and operates 49 recording rooms distributed across Miami, São Paulo, Mexico City, Paris and Valencia, providing services to the main entertainment brands in all territories.

By ttvnews

During this past decade, the dubbing studio with operations in Miami, Brazil, Mexico, France and Spain has become one of the leaders in the audiovisual industry.

riven by the success of Universal Labs, a post-production company created by Liliam Hernández in 1994, the executive partnered with Gema López in 2012, founding what is now one of the leading dubbing studios in the international television industry. A dynamic and solid business built with determination, creative vision and plenty of hard work.

Universal Cinergia Dubbing currently has operations in Brazil, Mexico, France and Spain, in addition to the Miami headquarters, providing content localization in Spanish, Portuguese, English, French and Spanish.

“We are extremely proud of our ten year milestone! Our longstanding relationship with our clients, coupled with our dedication, is what got us to where we are today. There is much to be thankful for. Our achievements make us proud. And the challenges we have faced have taught us valuable lessons,” said Liliam Hernández. “Teamwork, perseverance and commitment to excellence are the pillars of our compa-

“THE COMPANY OWNS AND OPERATES 49 RECORDING ROOMS DISTRIBUTED ACROSS MIAMI, SÃO PAULO, MEXICO CITY, PARIS AND VALENCIA.”

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Since its inception, the founders have always had the goal of expanding internationally and have made this vision a reality by working with major global brands such as NBC, Discovery, Fremantle, Amazon, WarnerMedia, Canal Plus, Global Agency, Eccho Rights, CJENM, TV Tokyo, and many more.

MARKET WATCH THE US GREEN LIGHTS TELEVISA-UNIVISION MERGER With the approval of the FCC, the companies already have all the necessary regulatory requirements to complete the operation. THE CREATORS OF ROJADIRECTA WILL GO TO TRIAL IN SPAIN The administrators of the pirate site must pay a deposit of 4 million euros to face future responsibilities. COMCAST AND VIACOMCBS RECEIVE GREEN LIGHT TO LAUNCH SKYSHOWTIME After receiving all regulatory approvals, the new streaming platform will launch in more than 20 territories in Europe by the end of 2022. RIO2C OPENS REGISTRATION FOR ITS BUSINESS AND PITCHING ROUNDS The Brazilian event returns to an in-person format from April 26 to May 1.

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FILMIN, CHOSEN AS THE BEST DIGITAL CULTURAL INITIATIVE IN SPAIN The decision was made by the 358 panelists who have participated this year in the study of the Observatory of Culture.

3PAS STUDIOS AND LIONSGATE RENEW THEIR FILM DEAL The Eugenio Derbez and Ben Odell production company extended its first-look film deal with the studio.

STREAMING

LATAM WILL REACH 128 MILLION SVOD SUBSCRIBERS IN 2026 IN 2021, the dynamics of the SVOD OTT market in Latin America was altered by the arrival of some of the largest content producers in the world, such as Disney (with Disney+ and Star+) and Warner Media (with HBO Max). A new Dataxis report shows that as a result of this heightened competition, subscription growth reached an all-time high, rising 47.2% from the previous year, for a total of 83 million paid accounts by the end of 2021. However, on the downside, there was a decline in monthly ARPU (-7.4% to US$5.90), in part due to discounts offered by platforms to capture share of additional market. Additionally, it should be noted that, despite the slow growth shown by Netflix, the service remains the market leader in this segment. Dataxis believes that there will be almost 128 million SVOD OTT accounts in Latin America by 2026. It is estimated that a structure with four strong competitors with Netflix, Disney, Warner Media and Prime Video will probably be maintained. By 2026, these 4 platforms will have approximately 83% of the total accounts. In 2021, SVOD OTT business revenue was nearly US$5 billion and is projected to reach around US$9 billion by 2026, with ARPU stable around US$6 in the period.

APPOINTMENT

EMILIA NUCCIO TO LEAD FILMRISE SALES FILMRISE, the New York-based film and TV studio and broadcast network, has announced the appointment of Emilia Nuccio to the newly created position of VP of International Sales. The announcement was made by Danny Fisher, CEO of FilmRise. As VP of International Sales, Nuccio will oversee all international deals, she will be responsible for selling the FilmRise catalog as well as new releases and FilmRise co-productions in the international market, among other responsibilities. The former Televisa executive will report directly to Melissa Wohl, Senior VP and Head of Sales at FilmRise. Nunccio in 2001 founded her own company, Enoro Media, and continues to be a member of the Board of Directors of the Worldwide Audiovisual Women’s Association (WAWA).

Emilia Nuccio,

VP of International Sales at FilmRise

BRAZIL

GLOBOPLAY PREMIERES THE MEXICAN VERSION OF KARA PARA ASK THE MEXICAN TELENOVELA ‘Imperio de mentiras’, from Televisa, has been added to the Globoplay catalog. The story, produced by Giselle González, is an adaptation of the Turkish police thriller ‘Kara Para Ask’, distributed by Inter Medya. Every week, Globoplay premieres ten episodes of the plot. ‘Imperio de mentiras’ is part of the exclusive titles that the platform will show in Brazil, which also includes ‘Amar a muerte’ (2018-2019), which also stars Angelique Boyer, and ‘Caer en tentación’ (2017-2018). ‘Imperio de mentiras’ was broadcast in Mexico between September 2020 and January 2021.

Q&A

ScreenHits TV

ROSE HULSE, FOUNDER AND CEO OF SCREENHITS TV Designed to streamline the process of finding the best content through an easy-to-use software, ScreenHits TV stands as the perfect tool to help viewers navigate the growing OTT market and its immense offer. Its founder and CEO, Rose Hulse, spoke to ttv about the idea behind the service, its innovative features and plans for international expansion.

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By Carolina Mussio cmussio@todotv.tv @carolinamussio

A ROADMAP FOR A COMPLEX OTT LANDSCAPE “We knew the consumer was going to have, not just Netflix, but Amazon, Disney, HBO Max, Paramount+... and we thought, how are they going to find all this content and navigate this world?”.

rowing steadily over the past few years, with a notable boost during the global pandemic, the OTT industry has expanded exponentially in terms of content variety, with hundreds of streaming platforms, from international behemoths to smaller local players, offering countless hours of original productions across all formats and genres. In this scenario, it seems almost impossible to get a grasp on all the content that’s out there, leaving viewers overwhelmed by the increasing number of options and confused about where to find them. That’s where ScreenHits comes in, presenting users with all the main streaming options currently available in the market through an easy-to-use software, making it simple to access content, discover new titles, and even share your experience with friends and family. Rose Hulse, Founder and CEO of ScreeHits TV, spoke to ttv about how the idea behind the service came about, its features and its expansion in Latin America and other international territories. Why did you decide to launch ScreenHits TV? ScreenHits was launched in 2012 and it started as a B2B platform for the buying and selling of TV content. This is back in another time, when people were still sending DVDs out from one country to another and it would take so much time. So I thought, “why isn’t there an online aggregator to bring all of the content from around the world into one place?” So we did that for a number of years and it was growing slowly, because the industry wasn’t really ready to let go of the in-person markets and utilize technology in that way. But we started to see a really big shift and some notable clients like the BBC, NBCUniversal, Turner Broadcasting eventually came to us and asked us to create an aggregator for them of their channels. And that’s when we really started to see a shift in the market. We were looking at

how our business was going to evolve with the industry. And we noticed there was a kind of lull, or lowdown, of people selling international rights, not going to a lot of the markets anymore. And we started to investigate why people weren’t using our platform in the same way. We were talking to one of our clients, Disney, and they said “Well, our mandate is to get as much of our rights back because we will be creating our own direct-to-consumer platform”, which we now know is Disney+. And then it was NBC with Peacock and TBS with HBO Max. So we thought, how is our business going to adapt and continue to grow, and be a part of this evolution. And we realized we had an aggregator. We were doing this since 2012

home is usually Netflix, and if there’s nothing there, we might go to Amazon, but then we’d just be done. And now with ScreenHits we can discover great content through BBC iPlayer, Starz, Disney... and not necessarily by opening each app, but because you can see what’s trending across all of them in one place. Maybe a few years ago you’d think to get rid of the other apps, because you mostly use Netflix. But now through ScreenHits you can get the most out of all of the apps and see the value in them. How does the service present all of the different options? ScreenHits offers three ways for discovering content. There’s the traditional way, which you go into each app

“I had this idea about two years ago, when I told Alex, my co-founder, “Do you think this is a crazy idea?”, and he said ‘Of course it’s crazy, but go for it’.” and we were working with multiple different brands, connecting the brands with the content and using an algorithm to help target those interested in acquiring that content. So we thought, what if we switched out the buyer and had the consumer? And we knew the consumer was going to have, not just Netflix, but Amazon, Disney, HBO Max, Paramount+, and how are they going to find all this content and navigate this world? And I had this idea about two years ago, when I told Alex, my co-founder, “Do you think this is a crazy idea?”, and he said “Of course it’s crazy, but go for it”. So we decided to put a small demo together with a few of our partners to see the reaction we’d get, and it was just brilliant. Basically, what ScreenHits does is bring everything together and helping viewers find all their favorite content and services, in one place. Exactly. It helps minimize churn. I use it a lot and I have a lot of the top streaming apps. The go-to in our

and see the carousels of what’s trending and your preferences. Then there’s another section which is like a TV guide, with all the channels, with the streaming apps icons. And the third way is our TV Friends section, where you can be a fly on the wall and see what your friends are watching, which is proving to be one of the best ways people are discovering content. When I was growing up in the industry, living in LA, there were billboards of every single film and TV show that came out, you couldn’t miss it. And now you don’t really see that. You see promos for subscription services, but there’s so much content that you don’t really see it. And I’m happy our platform is offering a creative solution for discovering content. You’ve partnered with Amazon, Netflix and all the main SVOD platforms in the business, as well as local partners. Is this the goal for your international strategy? Local is very important. International is im-

SCREENHITS EXPANDS ACROSS LATIN AMERICA will also be launching in a few other markets this year, such as Brazil, Chile and more.” Latin America is a massive market. As more people are looking to take

control of their media consumption and more people are on their Android phones, they’re getting Smart TVs, or access to new platforms, we want

to make that possible for them. And ScreenHits is not just for those who have the big streamers. It’s also for those who want access to premium free

content from local players and they want to combine them to see what’s available, without having to pay for cable or satellite, for example.”

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“Latin America is very important”, said Rose Hulse, Founder and CEO of ScreenHits TV. “We recently launched ScreenHits in Argentina, Mexico and Colombia. We

Q&A

ScreenHits TV

“We wanted to streamline that process and just bring the best of the best in the market to the consumer, organized in an easy-to-use software, while also offering discounts and bundles to add more services.”

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portant as well, because they create global content and the big streamers are investing in creating content from all over the world. But, for example, in Argentina we want to work with Cont.ar, in Colombia with Caracol, and we curate it with the global behemoths that people have. We don’t force people to add any service, they go on to ScreenHits and add their existing services to the platform to create their own channel lineups. We try to encourage them to add local channels and we have existing deals with companies like Bloomberg or Lionsgate, where people can discover this great content also.

When we wanted to help with the frustration of navigating all this content is, we didn’t want to be a universal search. There’s some aggregators who pitch “you can search whatever you want and we’ll tell you where to watch it”, and that’s great, that’s a service that needs to be there. But we wanted to streamline that process and just bring the best of the best in the market to the consumer, organized in an easy-to-use software, while also offering discounts and bundles to add more services, and see that it’s actually not that much more expensive to choose multiple ones.

Being an entrepreneur is always hard, but it’s even harder to do so being a woman in this industry. What was your experience like launching this new initiative being a woman CEO? It has been really hard over the years. I’ve been at this game since 1998 when I got my first job in media. It was a different time back then. I pushed through and had really great opportunities, but I always felt like my wings were clipped or I wasn’t really being trained to be in senior executive positions, like a CEO or president. I never saw that path for me. And I also saw great things taken from me and given to men. It didn’t really make me upset, I saw it as an obstacle that I just had to climb over. And it ended up being lots of very strong, powerful people in finance and media that have come to support me over the years. There was someone at Turner Broadcasting, that when he awarded ScreeHits as the tech company to develop their aggregator for their internal sales, for all their channels, they had the biggest tech companies in the world pitching for that business and he gave ScreenHits a break. We had a great product, a great team, the experience he loved, the innovation, and he took a chance on us which

really changed the direction of my company. So while there might be 99 people that say no, there’s one person that can say yes and completely change that, and I always try to focus on that one person. People would ask us “why would Netflix want to work with you? Why would these major players want to be associated with such a small company?”. And it’s because they see innovation. Even Netflix was once a small, entrepreneurial company coming up and competing with the biggest studios. Every company started out like that and these companies see innovation, they see great ideas that can blossom into something incredible. These large companies have really stepped up, especially now, and have supported me as a female tech entrepreneur to have a chance to build a significant company in their space and I will forever be grateful for that.

Article

Inter Medya

IN CONSTANT GROWTH With powerful dramas like ‘Aziz’ and ‘The Girl of the Green Valley’, and the innovative series under the “New Generation Turksih Titles” umbrella, Inter Medya looks forward to having an excellent 2022, solidifying its role as a big-time Turkish content distributor and also its newer one as a high-quality series co-producer. By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

T ttv Magazine

he new edition of Miptv 2022 finds Inter Medya going through a growth-spur, thanks to the company’s expansion of its role as a producer with the launch of Inter Productions, an arm that will amplify the Turkish distributor’s previous forays – they have already produced shows like ‘The Power of Love’ and series like ‘Respect’ and ‘Behzat Ç’ - by forming a dedicated company with a focus on co-producing, both locally and internationally.

This will change the game for Inter Medya, which had already innovated with a catalogue of premium short series, named “New Generation Turkish Series”, where buyers could find miniseries that included, but were not limited to, Inter Medya’s productions. While traditional Turkish dramas are still a huge part of the business for Inter Medya, these shorter titles have started to open new opportunities for the sales team all over the world, particularly to answer the needs of streaming platforms.

“We have established Inter Productions with the main aim of producing high quality content for OTT platforms rather than linear TV,” explains Pelin Koray, Sales Executive for Global OTT Platforms at Inter Medya. “In that sense, our focus is mostly on ‘New Generation Turkish Series’, as the OTT viewers prefer to watch fast paced and edgier stories composed of eight to ten episodes rather than long running traditional Turkish dramas.”

For more details, content and sales contacts, please visit the company’s profile on our exclusive service TTV+

Aziz Drama

and Israel, believes that these shorter titles will facilitate the company’s growth in markets like Germany, the UK, US and Canada: “High dubbing cost is one of the main reasons that prevents buyers from licensing long running dramas and miniseries are less costly to invest in.”

Koray, who also oversees sales in territories like Asia, Poland, Germany, Austria, Greece

And once one type of Turkish content proves its worth, others follow. That is the case in Japan, where miniseries, period dramas and feature films are becoming more sought-after.

The Trusted Drama

Last Summer Drama

“‘Aziz’ has something for everyone, whether you’re looking for a period piece, a drama, a romance, and even some action. It distinguishes itself with an outstanding production quality and an original plot.” Beatriz Cea Okan, VP and Head of Sales and Acquisitions Traditional dramas, meanwhile, aren’t slowing down either, and the success in Spain seems ready to spread to other countries in Western Europe: “I believe that Italy and France will follow suit; France is currently airing Turkish series. The interest and demand has increased in the past two years so hopefully from there we can hope to reach Western European countries”, says Sibel Levendoğlu, Sales Executive for Africa, Western Europe, the U.S., Canada and Australia. And when it come to new markets, there is a big one that might be ready to jump into the fray: “The US is very curious to say the least,” comments Levendoğlu. “They want to try and see the results so they are very open to broadcasting Turkish content and giving it a chance. We need to insist more and reach more platforms and broadcasters but we do believe that our content will be a good fit for the US audience.” OLD PARTNERS KEEP EVOLVING. All this talk about new markets doesn’t take away from familiar territories, those that have formed the backbone of Inter Medya’s success during these three decades –Can Okan’s Scorpion Drama

“The “New Generation Turkish Series” will lead us to enter into new markets, such as Germany, the UK, US, Canada among others. It’ll help us to introduce Turkish content to the viewers in those territories.” Pelin Koray, Sales Executive

“I believe that Italy and France will follow [Spain’s example]. France is currently airing Turkish series. The interest and demand has increased in the past two years, so hopefully from there we can reach Northern European countries.” Sibel Levendoglu, Sales Executive

company is turning 30 in 2022- like the ones in MENA or Central and Eastern Europe. “For over a decade the Middle Eastern viewer has been used to finding at least one Turkish title on TV available to watch, and now we can say that Turkish content is also penetrating the paid platforms,” points out Ruba Zeitouni, Sales Executive for MENA. “In the region the interest is already quite high, but we can still say that we are experiencing an improvement on the demand for our contents”.

Inter Medya arrives in Cannes with a content premiered in 2022 as its main title: ‘Aziz’. The O3 Drama production is “one of the best performing series of the season,” points out Beatriz Cea Okan, VP and Head of Sales and Acquisitions. The show, a period drama set in the 1930s, follows the story of a man’s liberation of his people and his true love. “The series has a sincere and warm narration,” comments Cea Okan. “‘Aziz’ has something for everyone, whether you’re looking for a period piece, a drama, a romance, and even some action. It distinguishes itself with an outstanding production quality and an original plot.” Another fresh title comes in the form of ‘The Girl of the Green Valley’, a series inspired by the book ‘Ann of Green Gables’, by Canadian author Lucy Maud Montgomery. “’The Girl of the Green Valley’ tells her story of becoming a young girl and then a woman,” explains the executive. “Its emotional scenes will make an indelible impression on audiences. I believe it has a great potential in the international market”. Both shows lead a stellar catalogue that also includes dramas like ‘The Trusted’, ‘Last Summer’, ‘Scorpion’ and many others. From the “New Generation Turkish Series” catalogue, buyers will be able to acquire titles like ‘Deep’ and the second season of ‘Respect’. “Recently, we have added also a fresh ‘New Generation Turkish Series’ to our library, ‘Chickpeas and Rice’. “Our slate is getting bigger each day!” exclaims Cea Okan. In both regions, so used to traditional Turkish dramas, with a length of well over 100 episodes each, the “New Generation Turish Series” adoption has been gradual, but it’s steadily increasing the more digital that consumers and broadcasters become. “Because the world is becoming more digital and every channel [in Central and Eastern Europe] started to launch their own OTT platforms, we are planning to promote our ‘New Generation Turkish Series’ like ‘Respect’, ‘Interrupted’ and ‘Deep’, together with our feature films,” comments Alışkan.

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Something similar happens in Central and Eastern Europe, where Turkish content is king. “Turkish content is leading the market, with our series reaching almost every country,” says Sinem Alışkan, Sales Executive for the region. “Our series’ success helps us open new doors. For example, the success of ‘The Ambassador’s Daughter’ has opened doors to Czech Republic and we are about to close a deal there.”

“‘AZIZ’ HAS SOMETHNG FOR EVERYONE”

Article

EVENTS

MIPTV 2022

THE LONGAWAITED RETURN OF AN IN-PERSON MIPTV By ttvnews

RX France announced that more than 100 exhibiting companies, in addition to platforms and acquisition executives, have already been confirmed for the face-to-face edition of the 59th Miptv international television market, which will take place from April 4 to 6 in Cannes.

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X France (formerly Reed MIDEM) announced a strong line up of over 100 exhibiting companies, and a strong line up of platforms and acquisition executives already confirmed for its in-person television content market (4-6 April 2022).

Miptv is also reinforcing its established health and safety protocols that will include proof of full Covid 19 vaccination for all delegates to access the Palais des Festivals, in line with current French health measures. Distributors, studios, buyers and producers, spanning more than 30 countries have to

date confirmed their presence in Cannes for the new-look event. These include over 100 companies set to exhibit within a reshaped layout in the Palais des Festivals with more to be added in the run in to April. Those exhibiting so far include Aardman Animation, Armoza Formats, Arte France, Avalon Distribution, Bavaria, Beta Film, Cake Distribution, Catalan Films, CJ&EM, Cineflix Rights, DCD Rights, Deutsche Welle, DR, Electric Entertainment, Federation Entertainment, Filmrise, Flame, France Televisions, Global Agency, Kanal D International, KBS Media, Lionsgate, M6, Mattel, Mercury Studios, Newen Connect, NRK, ORF, Passion Distribution, Official Italian

Pavilion, Red Arrow Studios, SBS Content, SODEC – Quebec Creatif, SVT, Telefilm Canada, TF1 Studios, TVP, Unifrance, ViacomCBS Global Distribution Group, Warner Bros., YLE and ZDF Enterprises. Buyer and acquisitions executives already confirmed to attend from Amazon, Arte, BBC, Britbox, Canadian Broadcasting Corporation, Cartoon Network, De Agostini, DR, France Televisions, Globo Brazil, ITV, Mediaset Group Italy, Mega TV, Movistar+, Nine Network Australia, Nordic Entertainment Group/Viaplay, Orange, Pluto TV, RAI, Rakuten TV, RTE, RTL (Deutschland), RTL2, RTP, Seven Network Australia, Sky, Starzplay, SVT, ViacomCBS, Warner Media Kids and YLE. The 59th annual MIPTV International Spring TV Market will be staged for the first time in its new 3-day format that brings MIPFormats and MIPDoc into the heart of the main programme, with premium high-end drama showcase MIPDrama again acting as a curtain raiser on 3 April. Esports BAR, the world’s leading esports business event, will also for the first time

be staged alongside MIPTV in the Palais des Festivals, bringing the synergies of one of the world’s fastest growing entertainment sectors to Cannes. Also returning are the International Format Awards (in association with C21Media, FRAPA, MIPFormats & Entertainment Masterclass) and Cannes will also host the fifth season of international TV series Festival Canneseries (1-6 April).

Plans for this face-to-face edition include health and safety measures successfully implemented at Mipcom 2021, which continue to be reviewed, updated and refined ahead of the April market.

OPENING KEYNOTE FOR IN-PERSON EDITION Kevin Mayer, CoChairman, and Co-CEO of next generation media company Candle Media and René Rechtman Co-Founder and CEO of Moonbug Entertainment will join forces to keynote at the event. Candle Media’s purchase of global children’s giant Moonbug in November 2021 is one of several recent high-profile

acquisitions of, and investments in, content companies. Since its beginning in 2018, Moonbug’s digital first approach has built a worldwide family audience through globally popular shows including CoComelon, ‘Cocomelon’, ‘Blippi’ and ‘Baby Bum’. Promoting values such as

compassion, empathy and resilience to children around the world, Moonbug’s content appears in 30 languages and on more than 100 platforms. Founded by ex-Disney Executives Kevin Mayer and Tom Staggs, with backing from private equity firm Blackstone, Candle Media’s acquisition of Moonbug

followed that of Hello Sunshine, the media company founded by Reese Witherspoon (‘Big Little Lies’, ‘The Morning Show’, ‘Little Fires Everywhere’) in August last year. In recent weeks the company has also completed the acquisition of Israeli production company Faraway Road Productions (Fauda)

and taken a minority stake in Will Smith and Jada Pinkett Smith’s Westbrook Inc. (‘King Richard’, ‘Cobra Kai’, ‘Welcome to Earth’). Staged on the opening day of the market in the Palais des Festivals, the session will cover strategy and future plans of the companies along with insights and takes on wider industry trends.

again bring together the whole esports ecosystem from games publishers and developers, teams and leagues, VCs and investors, broadcast and media service providers and consumer brand partners. Just some of those

confirmed to attend to date include (in alphabetical order) Engelbert Strauss, Excel Esports, Google, Konix, Le Coq Sportif, Ninjas in Pyjamas, PepsiCo, PUBG, Razer, Riot Games, Shikenzo and Ubisoft – with more being added daily.

ESPORTS BAR AND MIPTV 2022 TO MERGE ESPORTS AND TV IN CANNES conference tracks to realising IP opportunities in these exploding areas. The 59th Miptv spring international television market will host Esports BAR (4-6 April) in Cannes’ Palais des Festivals. The Metaverse and NFT cross-over

sessions form part of a programme which, alongside core esports themes, encourage further opportunities and future revenue streams between global esports and TV industries. The 10th edition of Esports BAR will

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RX France announced that Esports BAR Cannes, the world’s esports business arena, is to join forces with Miptv to bring the Metaverse and NFTs to the conversation in Cannes (4-6 April) by staging two dedicated

Q&A

For more details, content and sales contacts, please visit the company’s profile on our exclusive service TTV+

Calinos Entertainment

JOSÉ LUIS GASCUE, EXECUTIVE VICE PRESIDENT, HEAD OF WORLDWIDE SALES AT CALINOS ENTERTAINMENT

BUILDING NEW ROADS By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

The international success of ‘Woman’ and ‘Forbidden Fruit’, both still finding new territories all over the world, have Calinos Entertainment looking ahead to the second half of 2022, armed with new titles, like the dramas ‘Deeply’ and ‘Yesilcam’.

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alinos Entertainment’s recent deal with RTL-owned M6 Group in France will see the highly popular drama ‘Woman’ become the first Turkish series to be broadcast in the French company’s linear channels, an unprecedented fact that might be able to pave a road of continued success for Turkish dramas in the French market, similar to the one they have already built in Spain.

‘Woman’, a title that Calinos Entertainment has distributed all over the world, was also a key player in the expansion of Turkish content in Spain, so the company is confident of its potential impact on the new territory: “We believe in this product as we have sold it worldwide with excellent performance everywhere where it has been exhibited,” explains José Luis Gascue, Executive Vice President, Head of Worldwide Sales at Calinos Entertainment. “It is a proven brand”.

While ‘Woman’ has been one of the most successful titles of the past years, the distributor is always looking forward, and for Miptv 2022 their catalogue will be highlighted by original titles from the streaming platform BluTV, like the romantic drama ‘Deeply’ and the 60’s movie industry drama ‘Yesilcam’. Alongside them, Calinos keeps on finding territories for some of their stronger traditional dramas, like the before mentioned ‘Woman’ and ‘Forbidden Fruit’, the show that Gascue foresees will monopolize the screens during 2022. What are the main titles that the company will be bringing to Cannes? We are bringing two shows that originated in BluTv,

“We are bringing two shows that originated in BluTv, ‘Deeply’, with the wellrenowned Ozge Ozpirincci, from our hit ‘Woman’, and ‘Yesilcam’, a moving story about a movie producer in Istanbul of the 1960’s.”

‘Deeply’, with the well-renowned Ozge Ozpirincci, from our hit ‘Woman’, and ‘Yesilcam’, a moving story about a movie producer in Istanbul of the 1960’s. The main character Semih Ates is also very well-known by his performance of our other hit show, ‘The Secret of Feriha’. We are also bringing ‘Adela’, now in its third season, with excellent ratings in its native Romania. The sale of ‘Woman’ to M6 Group in France is a milestone. What do you expect from the title in the French market? Can you see it following a similar trajectory to the one it had in Spain? Yes, we do believe in this product as we have sold it worldwide with excellent performance everywhere where it has been exhibited. It is a proven brand. You will see more sales in significant territories soon. Can you give us a general overview of Calinos’ penetration in Europe, including the success in Spain? What territories do you see growing during 2022? Calinos, as the first international Turkish distributor, has

Deeply Romance/drama

“2022 is the year of ‘Forbidden Fruit’, that has been very successful in Mexico and Panama. We have closed deals now in Spain, Puerto Rico, Ecuador, Peru, Paraguay and Chile.” What other recent sales would you like to highlight? 2022 is the year of Yasak Elma (‘Forbidden Fruit’) that has been very successful in Mexico and Panama. We have closed deals now in Spain, Puerto Rico, Ecuador, Peru, Paraguay and Chile. Other countries will surely follow in Latam very soon. Among all the changes that the last couple of years have brought to the industry and, we presume, to distribution strategies, which ones do you assess are here to stay? Even though these last couple of years have been different and somewhat difficult, our distribution strategies have not changed that much, except that we mostly meet via Zoom. We are now seeing the markets coming back and see that all distributors and clients are eager to have face to face meetings again.

Woman Drama

a vast presence in Europe. ‘Woman’s trajectory in Spain was an amazing experience, because not only the ratings were very high, but it also became a trend in social media due to the great job of Antena 3. There are a few countries in Europe following the trend, which is moving now on to France.

TWO NEW HITS FROM BLUTV The two shows that highlight Calinos Entertainment’s offering at Cannes originated in the streaming platform BluTV: ‘Deeply’ and ‘Yesilcam’. ‘Deeply’ (8 x 60’, original title ‘İlk ve Son’) follows the love story of Deniz (Özge

Forbidden Fruit Drama

Özpirinçci) and Baris (Salih Bademci), a couple whose unbridled love spans over ten years. Their relationship started as youngsters in their mid-20s and evolved through a decade of sunny and stormy times. The

narratives follows offers a beautiful luck and the ups and downs of romance. In ‘Yesilcam’ (10- x 60’), meanwhile, the Turkey of the 1960s steals the show, with a story about an ambitious producer (portrayed by

Çağatay Ulusoy ) who is blinded by cinema and whose passion for movie making –and his desire to rekindle the love with his ex, the actress Mine Cansu (Selin Şekerci)will lead him into all kinds of trouble.

CALINOS DISTRIBUTES LAWLESS LOVE FROM FOX TURKEY producers in Turkey behind proven series such as ‘Daydreamer’, ‘No 309’, ‘Iffet’, ‘Dila’, ‘Never Let Go’ and ‘Mr. Wrong’. Shot in a remote Black Sea town in Northern Turkey, the show premiered

last September on FOX Turkey. ‘Lawless Love’ takes place in a 1939’s mining town and tells the story of the miners’ riot against the established order. Davut (Ugur Gunes) and Gulfem’s (Esra

Bilgic) relationship starts with hate, but eventually they fall in love and decide to get married. Malik, Gulfem’s father and Davut’s boss, has no intention of letting this happen.

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At the end of last year, Calinos Entertainment acquired the international distribution rights to the FOX series ‘Lawless Love’, starring Ugur Gunes, Esra Bilgic and Necip Memili. The series is produced by Gold Film, one of the top

SPAIN

THE HISPANIC WORLD WILL HAVE ITS OWN EUROVISION

COLOMBIA BOGOTÁ TO WELCOME FILM COMMISSIONS FROM ALL OVER THE WORLD FOR THE FIRST TIME, the Association of Film Commissions International (AFCI) selected a Latin American city to host the Cineposium, an event that brings together film commissions from all over the world for three days. The Cineposium 2022 will be held in Bogotá, Colombia, on September 20, 21 and 22. The venue will be the Chamber of Commerce. For the election of the capital as the venue for Cineposium 2022, the candidacy committee led by the Bogotá Film Commission of Idartes in conjunction with the Bogotá Chamber of Commerce, in addition to the Bogotá District Institute of Tourism – IDT, Procolombia, was essential. Proimágenes Colombia, Colombian Film Commission, Invest in Bogotá and the Greater Bogotá Convention Bureau.

DURING THE I IBERO-AMERICAN FORUM OF AUDIOVISUAL PUBLIC SERVICE, organized by the Corporation with the collaboration of the Association of Ibero-American Educational and Cultural Televisions (ATEI), the president of Radiotelevisión Española, José Manuel Pérez Tornero, announced the creation of Hispavisión, a music festival similar to Eurovision in which all countries united by the Spanish language can participate. As he explained, a working group has already been formed, and the first edition will take place next year, with Portugal and Brazil as guest countries. “The determination to do so arises from the Benidorm Fest, due to the importance of summoning young people and their creativity, which awakens the will to unite and strengthen our common culture,” said Pérez Tornero. In IberoAmerica, a similar festival already existed in the past, the Ibero-American Song Grand Prix, known as the OTI Festival. It stopped being organized in 2000.

APPOINTMENT

AMPARO CASTELLANO TO LEAD GLOBAL NON-FICTION AT THE MEDIAPRO STUDIO THE MEDIAPRO STUDIO announced that Amparo Castellano has joined the company to lead its Non-Fiction strategy globally. The appointment was announced a few days after her departure from Zeppelin (producer of Banijay Iberia) was announced, where she had been General Director since November 2020. In her new position at The Mediapro Studio, she will lead the creation and production of non-fiction content both in Spain and internationally. Castellano has extensive experience in the creation and production of large entertainment formats for TV. “I am happy to join The Mediapro Studio family. Directing the international nonfiction strategy is an exciting challenge for me, especially given the crucial moment of growth that the studio is experiencing and the global nature that the content and entertainment industry has reached,” said the executive.

Amparo Castellano,

Director of International Non-Fiction at The Mediapro Studio

SPAIN

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RTVE CONFIRMS 2022 SHOWCASE

AFTER TWO YEARS of hiatus due to the pandemic, RTVE announced its Showcase to be held in person from June 15 to 17, at the Hotel Puerta América in Madrid. Under the slogan “Creating content for you”, the third edition of the showcase is aimed at directors of content and acquisitions in the international audiovisual market, as well as distributors and commercial partners of the Spanish Corporation. In this new edition, RTVE will present its latest productions and will organize various forums with the presence of the main creators and talents, relevant figures from the creative and artistic panorama of the Spanish audiovisual sector, as well as RTVE directors and executive producers. In parallel, screening and meeting areas will be set up at the service of the participating executives.

Q&A

TelevisaUnivision

RAFAEL URBINA-QUINTERO, EVP AND GENERAL MANAGER OF AVOD STREAMING; AND RODRIGO MAZÓN, EVP AND GENERAL MANAGER OF SVOD STREAMING AT TELEVISAUNIVISION

“VIX IS AUTHENTICALLY LATIN AND HISPANIC; WE WILL PRODUCE THROUGHOUT IBERO-AMERICA” By Sebastián Amoroso samoroso@todotv.tv @sebamoroso

The executives responsible for TelevisaUnivision’s streaming division spoke to ttv about the new OTT service that launched its AVOD operation on March 31 and that is preparing to launch the SVOD model for the second half of 2022.

fficially presented on February 6 through a virtual event as “the largest OTT in Spanish in the world”, ViX was launched on the market in its AVOD version on March 31 and, for the second half of the year, it will be the turn of its SVOD version.

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In dialogue with ttv, Rafael Urbina-Quintero, EVP and General Manager of AVOD Streaming; and Rodrigo Mazón, EVP and General Manager of SVOD Streaming of TelevisaUnivision; share key aspects about the streaming service focused on a community of more than 600 million Spanish speakers.

What does this challenge of launching ViX to the international market imply? Rafael Urbina (RU): We are extremely pleased and excited to bring this to market. We think it is what the market needs. The time is right

and we are trying to add a lot of value, both to the consumer and to our advertisers and distributors. The idea is to generate a very healthy ecosystem around streaming in the region and for us to be a good part of that ecosystem. Rodrigo Mazón (RM): What makes me most proud is being part of a plan and a vision that has been authentically Latino and Hispanic, because I think that is one of the things that will differentiate us a lot as time goes by. Obviously we have a long history of knowing and serving the Spanish-speaking community, but in this case with streaming, which is something a little newer, we will be the first to serve this audience globally. And I think that cultural and language authenticity is something that is super hard to quantify and replicate, and that to me is the most interesting and exciting thing. ViX AVOD model is available from March 31. What potential reach will the platform have and what will happen to TelevisaUnivision’s other existing streaming services? RU: We are going to unify all our platforms into one. That started on the AVOD side on March 31st. The audience that currently exists on PrendeTV, Blim -on the AVOD side- and on legacy VIX throughout the region will be migrated to this new streaming platform. And we are going to offer even more content than we have been offering. We are launching more than 100 linear channels, more than 40,000 hours of VOD, live news both produced in the US by Noticieros Univision and Noticieros Televisa, as well as a series of other news partners in the region and globally. And, finally, sports, both live, such as Zona TUDN, which is going to be the 24-hour sports news channel that

“We are going to unify all our platforms into one.” Rafael Urbina-Quintero, EVP and General Manager of AVOD Streaming of TelevisaUnivision

we are going to launch as part of the platform, all free for consumers with advertising. Sports, and in particular soccer, is a fundamental content for the Hispanic community. What will be ViX’s sports offer? RU: We’re going to have live content from various leagues and the free game of the week concept, which is going to help us deliver super engaging content to the audience while also being a kind of showcase for the ViX+ service once it launches. In the 24/7 part of the channel, it will not have live sports, but it will have highlights, recaps, summaries, analysis, comments, interviews and behind the scenes; mainly in the leagues that our audience loves. Obviously this is a very big passion for our market. LigaMX is going to be one of the most important, but the Champions League is an important component for the USA; and we have Central American leagues, South American leagues, so it’s going to be a fairly robust service and it’s not going to stop at soccer, but we’re going to cover everything that’s happening in the sports world, as long as it’s relevant to the Hispanic audience. Which will be the pillars of the ViX+ content offer? RM: Our plan is to be the largest and most complete destination and streaming service for original content in Spanish, not dubbed. Of course, we would start with the gigantic bookstore that Televisa has been building for decades. Thousands and thousands of hours of content, but above all icons of intellectual property - from many decades ago and recent ones as well - that will be available exclusively on ViX+. But this also gives us the opportunity, and this is what we are doing, to put our hands in there and explore which of these telenovelas from 10, 20 or 30 years ago can be rethought, remade in a more contemporary way. For example, Senda prohibida was the first telenovela that Televisa aired more than 50 years ago. We loved the idea of rethinking it, taking the same story, but updating it to the contemporary world.

And I think that being a diverse offer -such as the audience of 600 million Spanish-speak-

for you. And, as Wade said, the team that has been put together in the streaming area seems to us to be of the highest level and is what is going to make us achieve the goals of distribution, sales, content, marketing, which, of course, for the execution of this is key.

“Our plan is to be the largest and most complete destination and streaming service for original content in Spanish, not dubbed.” Rodrigo Mazón, EVP and General Manager of SVOD Streaming of TelevisaUnivision Part of this diverse content comes from alliances with producers, creatives, talents and in this sense during the virtual presentation of ViX and ViX+ an alliance with Salma Hayek and her producer Ventanarosa... RM: We announced agreements with several talents, but a very important one is a first look deal with Salma Hayek’s production company Ventanarosa, which we think is impressive news. And we already announced the first film called ‘Quiero tu vida’. And all this is rounded off with the sports offer and the news offer, where ViX+ will have a lot of this content exclusively. In the US there will be four LigaMX teams, we will have Latin American leagues and tournaments, the Champions League... In Mexico there will not be a place with more Mexican soccer content, the LigaMX, the National Team matches and, of course, it will be the home of the World Cup of Qatar, with 10 matches exclusively on ViX+. What are the expectations for this first phase of launch? RU: Our expectation is to exceed the success we have already achieved with existing services, both in the US and in Latin America. We are not starting from scratch, but we are starting from a very strong base, because all these services already have significant penetration. We are talking about millions of users in the region, which is simply going to boost a trend that we already have of growth in streaming. The expectations are very high and the two things are going to work very closely together because they complement each other. RM: The expectations are huge and very ambitious, but they are worth it because there is no other service that has the cultural and language authenticity to be able to achieve this. And if we add to that the investment that is being made in addition to all the investment that is currently being made in TelevisaUnivison; those millions of dollars that we are going to be investing, we believe that it gives us the opportunity to really compete in a serious way and care

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In addition to the existing library and the content that it is producing and that is going to come to us from Televisa Studios, we have a completely new, separate and gigantic budget of millions of dollars, which we are investing in original content. As Wade Davis and Pierluigi Gazzolo said in the presentation, this isn’t about revamping the existing offering, it’s about adding to that offer. So we are going to create and produce a lot of original content. In the first year alone there will be more than 50 premieres, including movies, series, docuseries, etc.

ers-, is reflected in the content with all kinds of genres: drama, comedy, fantasy, horror, romantic comedies and also productions that come from Mexico, Spain, Argentina, Colombia, because we know that the diversity of the audience must be reflected on the type of content we produce.

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TRENDS

WHAT BUYERS ARE LOOKING FOR

To start 2022 with a clear vision of the industry’s current demands in light of the upcoming digital and in-person events, ttv presents a snapshot of the main trends in the search for international content by buyers and Acquisitions executives for this new year. By Carolina Musio @carolinamussio / cmussio@todotv.tv

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Génesis Record TV

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Central Report

wo years after the start of the pandemic, the entertainment industry has changed drastically, with an undeniable explosion of OTT platforms and consumption habits shaped by quarantine measures and the new normal. In this context, the acquisition strategies of content buyers have had to adapt to this new scenario, with changes in terms of genres, types of productions and trends. In addition, new security protocols that have been established allowed the return to the production of original content and in-person markets, presenting a different panorama for this 2022. To get a clearer idea of the content trends for this year, ttv presents a report that condenses the trends of content searches by eighteen buyers from various regions, countries and windows (broadcast TV, pay TV, OTT). From premium series to documentaries and TV movies, as well as entertainment formats and children’s content; all with a focus on compelling stories or innovative proposals that can travel internationally.

In this sense, the testimonials that are gathered here are part of the permanent dialogue that we maintain with the base of more than 5,000 buyers registered in TTV+, an online marketplace in which buyers can browse the catalogs of hundreds of companies and in which distributors can contact them to close deals.

Attractive stories and innovative offers For Marc Lorber, Lionsgate’s SVP of International TV Co-Productions & Acquisitions, the search is on for high-quality dramas, especially series that can run for multiple seasons and stand out from the crowd. “For the most part, we are looking for multi-season series, fiction, drama. Comedy has been harder, but never say never. But in itself, returnable drama series and the occasional prestigious miniseries, which means that it has many elements involved,” explains the executive. “Usually we look for things that are a little bit to the left or right of center, not the middle

of the road, and for international there has to be something unique and also universal, even if it’s local stories, there must be something universal in it so that we can take it all over the world”, he adds. From Spain, Milagros Tuccio, responsible for VOD Content at Movistar Hispanoamérica, explains that Movistar’s search is based on broad content that can satisfy a varied audience. “We are mainly looking for content such as movies, series, animation, documentaries, content that can go hand in hand with our multitarget audience,” she says. “We look for multitarget content because the Movistar user is. He is an open user. And as we know, Movistar Play is a platform that is oriented towards the Movistar user, who can be totally diverse. Within multitarget content, we try to cover family, children’s, adult content, to cover the entire spectrum of our users”, she adds. Along the same lines, Jorge Balleste, VP of Content Alliances and Acquisitions at Univision USA, is also looking for varied content for a diverse audience, covering

“The entertainment industry has changed dramatically, with a notable explosion of OTT platforms and consumption habits shaped by quarantine measures and the new normal.” multiple genres and coming from a variety of studios. “Right now we are looking at many categories. Our offer is very wide for users and begins with fiction, telenovelas and movies, but continues with documentaries, children’s content, lifestyle. There are many categories that we are currently filling.” “It is also a wide offer. We work with Hollywood studios, Disney, MGM, Lionsgate, Sony Pictures; and at the content level in Latin America, we work with Caracol, RCTV, Globo, several of the big and small ones in the market, attacking all kinds of content for the audience”, he underlines. Present in multiple territories, Turkish group Acun Medya is looking for productions that can travel internationally, especially when it comes to presenting entertainment formats. “Acun Medya Global’s position is different and unique because we work with multiple territories, including Turkey, Greece, MexThe Big Music Quiz Banijay Rights

John Baghdassarian, VP of Content Acquisition and Strategy at Olympusat USA, highlights a varied search for content, which covers both series and movies, with a focus on engaging stories. “We look for great shows that have really compelling stories that people want to watch and binge on, or whatever they want. That is our main objective. And of course, we also acquired many films”, says the executive.

Around the World in 80 Days CDC United Network

ico, Hispanic USA, Hungary and Romania; so we have a broad spectrum, especially in my area, which is formats”, says Mirka Savic Pinhas, Director of Formats and Acquisitions at Acun Medya Global.

“Regarding genres, I have always said that the important thing is not the genre but what you want to tell. Both a good thriller and a good drama, a good comedy, a good movie can work”, says the executive.

“We look for entertainment formats, specifically for prime time. But we are also looking for fiction, because now we have the OTT platform, Exxen, which we launched in Turkey and for the international market.”, she adds.

After having successfully adapted worldclass formats such as ‘Got Talent’, ‘MasterChef’, ‘The Alphabet Game’, ‘Raid the Cage’ and, more recently, ‘Who Wants to be a Millionnaire?’, Channel 10 of Uruguay is in search of its next great format.

This international strategy is also repeated for Chatrone, which, with production offices in the US, Brazil and Latin America, is focused on looking for strong content that can travel worldwide.

“It can be a talent show, a game show, a quiz show, general entertainment,” explains Cecilia Presto, Head of Acquisitions for Channel 10 in Uruguay.

“We look for content that is factual, but mostly scripted fiction is what we’re doing the most,” says Aaron Berger, partner and co-founder of Chatrone. “We are also developing some historical dramas, but we are looking for things with strong characters and interesting voices to bring to market, as that seems to be what streamers and other broadcasters around the world are looking for.”

“Last year I had the privilege of being a jury at The International Format Awards, and with that I had first-hand access to very interesting material from very new formats, in what has to do with studio-based game shows and reality formats. Now what we have been working on is following up on these new formats, to see how they are doing in the international market”, she adds.

Thus, its search for content is based on “works with a personal vision that can attract all kinds of audiences, audiences that are somehow looking to be surprised,” highlights Jaume Ripoll, co-founder and Director of Content and Development at Filmin.

“First of all, they must be something new because we pamper our viewers a lot by producing many formats ourselves. And at the same time, we look for new ideas. And if we talk about a prime time format, it should definitely have celebrities”, says the executive.

Another group that is also looking for compelling stories is Ecuador’s Ecuavisa, especially dramas that highlight values and leave a message to the audience. “At this time we are mainly oriented to dramas, to these novels that have a story that reaches the hearts of the audience, that are novels that have a message to leave you,” says Karina Medina, Ecuavisa’s Programming Manager. “What it should have is a deep drama, an intense drama, that keeps you glued to the screen every day, that you cannot miss a single episode. Where there is a leading couple who share a great love story,” she emphasizes. From France, noKzeDoc.tv is a platform that offers only documentaries and they are currently looking for all kinds of stories and productions. “We are looking for good stories, 52 minutes or 26 minutes, singles or series, that doesn’t matter. We can acquire and offer all kinds of documentaries,” says Guy Knafo, founder of noKzeDoc.tv. As the only condition, the platform searches for documentaries only in French. Following in the line of documentaries, the UK’s Krafty Entertainment is primarily looking for documentaries in the sports genre for its SVOD platform, 360 Sports. “We are looking for sports documentaries, stories that recreate iconic sports moments through the years, or that they tell stories of great achievements by great athletes and sportsmen”, shares John Warrington, owner of Krafty Entertainment. “Iconic stories about triumphing over adversity. Essentially stories that tell the story be-

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The Filmin platform was born in Spain 15 years ago. Available in Spain, Portugal and Mexico through Filmin Latino, it is a service specialized in quality movies and series, classics and recent titles as well.

The search for formats is something that also interests Ukraine’s TRBC, whose content strategy is based on primetime formats. “Right now we are looking at different formats. Mostly entertainment formats for prime time, as well as scripted formats”, says Julia Valyaeva, Acquisitions Manager of TRBC Ukraine.

“In this sense, we look for productions that really captivate our audiences, be it crime, investigation, narco telenovelas, great love stories; we look for all those elements because no matter what language they are in, at the end of the day they are going to capture the imagination of our audiences and that is what we look for”.

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entertainment”, says Alex Adamo, Senior Developer & Format Manager at TV4 in Sweden. “We look for ideas and stories that have broad appeal. Something that is important to the Swedish population in some way. It could be cooking shows or love shows or home shows. I think the stories should be organic and not too forced.” From the US, Little Studio Films represents international buyers in several territories, looking for varied content, especially joyful content to cut through the difficult reality of the pandemic.

“The acquisition strategies of content buyers have had to adapt to this new scenario, with changes in terms of genres, types of productions and trends.” hind the story. Or the passion; the story behind the passion We want to give viewers a 360-degree view of sports, which is why we call the platform 360 Sports,” he adds. From Peru, Latina Televisión is currently a channel that programs, in addition to a number of national hours, basically telenovelas and international formats.

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“Our basic target is the family,” explains Luis Camacho, Content and Programming Manager for Latina Television. “We are looking for movies, series, content and formats that bring the whole family together. That is what interests us in programming.”

However, “our main search is for telenovelas. Latina is the home of the Turkish drama in Peru. And we are also permanently looking for great formats to do big shows.” From Israel, Anke Stoll, VP of Acquisitions and Co-productions of Keshet International; shares the genres that she tracks in the international market. “Keshet’s catalog represents a variety of genres. We represent high-quality dramas in

English, but also foreign-language dramas, as well as large-format entertainment and factual content.” In this sense, for its international catalogue, the executive seeks to “acquire ideas in the initial stages, as well as ready-made titles, in all genres.” “Our catalog is based on contemporary dramas. We are known for our crime and thriller series, as well as our espionage dramas. And we are looking to acquire more of these types of dramas, but also more comedies and dramedies, because obviously the world has changed drastically and audiences want lighter content,” she says. As Sweden’s largest commercial broadcaster, TV4 looks for content in a variety of genres, particularly formats. “We are looking at formats in the non-fiction space. We look for broad ideas, formats, which can be studio entertainment, game shows or factual Vencer al pasado Televisa

“We are looking for happy and human stories,” explains Alexia Melochi, partner at Little Studio Films. “We focus a lot on dramatic series, limited series, miniseries, movies, and everything with some kind of social message. Or if not, inspiring family entertainment.” Meanwhile, Karen Kang, CEO of MediaTV International Services, works as a TV buyer for mainland China, mainly looking for documentaries. “We are looking for documentaries on nature and wildlife, science, technology and engineering, as well as history,” says the executive. “Any wildlife title catches my eye. And then something about nature; followed by engineering, science and technology together”, she completes. In the same line of documentaries, Hannah von Eggelkraut-Gottanka, Acquisitions Manager at Autentic GmbH, is on the lookout for “content in a wide variety of genres. Two that currently stand out are science and nature, great documentaries where there is always a lot of demand”. “Furthermore”, she adds, “for us, as we are present all over the world, it is always important that documentaries have an international appeal, so that clients from as many countries as possible are interested in them#.

“Buyers are looking for everything, from premium series to documentaries and TV movies, along with entertainment formats and children’s content.”

Q&A

For more details, content and sales contacts, please visit the company’s profile on our exclusive service TTV+

ATV Distribution

EMRE GÖRENTAŞ, SALES DEPUTY MANAGER FOR NORTH & SOUTH AMERICA, MENA AT ATV DISTRIBUTION

STRONG TO ITS CORE

‘Destan’ was one of the biggest title for ATV during this season. How did the titles fare locally and internationally? ‘Destan’ started its journey at the beginning of the season and we have produced 20 original episodes so far. We are very happy with its performance; it’s the number one show on Tuesday’s primetime. There is also huge international attention for the series. We have been able to close some deals, including for Latam, but, because of the confidential agreements, I’m unable to announce the name of the channels and countries at the moment. I can share that ‘Destan’ will be premiering very soon in Latam.

By Luis Cabrera lcabrera@todotv.tv @luis_cabreram

ATV’s focus on strong traditional Turkish dramas has led it to sensational viewership numbers in Turkey and fantastic results in the international market. Following that core business, the distributor arrives in Cannes with titles like ‘Destan’, ‘Your Honor’ and the second season of ‘For My Family’.

ttv Magazine

ven with the advent of streaming platforms, ATV has kept its focus on what have made Turkish dramas one of the most sough-after TV content of the last decade: strong dramatic stories. Titles like ‘Lifeline’ or ‘Hercai’ have been powerhouses for the company, both locally and internationally, where its distribution arm has found success all over the world, including digitally, with recent deals with the Arab world platform Noor Play.

“Other channels in Turkey are trying some lighter dramas, but in ATV we have always focused on strong dramas, because they are working very well locally and internationally,” explains Emre Görentaş, Sales Deputy Manager for North & South America, MENA at ATV Distribution. “Having a lighter drama might be an advantage for the local market, but internationally, what really works, are the strong dramas”.

How many countries have acquired the title? Because the story is very international and the production value is very high the title has already been sold to more than 30 countries. Is has also been broadcasted in the platform Noor Play, with each episode premiering at the same time that the local broadcast.

“Because the story is very international and the production value is very high, ‘Destan’ has already been sold to more than 30 countries.” With that in mind, ATV Distribution arrives to Miptv 2022 with powerful stories like ‘Destan’, ‘Lone Wolf’ and ‘For My Family’, alongside fresh titles, like ‘Your Honor’ and ‘Hidden Wings’.

How valuable is it to have Ebru Şahin as the leading actress for the series? Having a well-known cast is very important for the series. Before producing the series we are aware of that fact, and we try to choose a well-known cast internationally, because international sales are very important for us and for the producers, so is valuable to have that level of attention. For ‘Destan’ we have Ebru Şahin. She became very popular after ‘Hercai’, a series that was broadcasted all over the world. The story is also very good and the production value is very good, and having her on top of all that is a big advantage. What can you share about the second season of ‘For My Family’? ‘For My Family’ is on its second season in Turkey. Season One was a great success and right after we confirmed the second one, that it’s being aired on Saturday’s primetime, where it’s doing very well. It’s also doing great digitally, where is the number one series. The series YouTube page has 3 million subscribers and each episode gathers over 10 million views. ‘For My

“At ATV we have always focused in strong dramas. Having a lighter drama might be an advantage for the local market, but internationally, what really works, are the strong dramas.” single country advertising budget dropped and that had an impact in our business. This year should be the last year of the pandemic, but we can’t be sure. If that is the case I believe that by next year economies should grow. Destan Historical Drama

For My Family Drama

Family’ is a heart-breaking story about four siblings that lose their parents on the same day. It’s on air on Chile, on primetime, and is performing very well.

we compare it with last year, I can say we are doing 20% more business with platforms. But they still aren’t our main buyers. We might see that changing during the upcoming years, but right now our main focus, as clients, are linear TVs. Platforms are not looking for the same kind of genres that we see on linear TV. Turkish series on ATV are more like traditional strong dramas, more suitable for traditional TVs, but digital platforms are looking for less episodes, so summer or lighter content is ideal. We are producing our series for the main season with around 150 episodes, and shorter series for the summer. The second ones are the ones we work with the platforms.

What new shows are you taking to Cannes? We have two upcoming shows that will be premiering in Turkey in the upcoming weeks. One is ‘Your Honor’, an adaptation of an Israeli series that has also become wellknown for the US version. The story is about a respected judge whose son kills another teenager by accident. The judge tries to convince his son to turn himself in, but changes his mind once he finds out that the victim is the son of a mafia boss. He becomes worried and starts covering up the crime. The other show is ‘Hidden Wings’, the story about a principal teacher who is starting her job in a small town and her presence there will change everything. We are very excited about these titles and want to see their results.

What happens with streaming platforms? How big have they become for your business? What kind of content do they seek? If

Lone Wolf Drama

ttv Magazine

We are talking about strong dramas. Do you see any lighter content getting the spotlight moving forward? To be honest, other channels in Turkey are trying some lighter dramas, but in ATV we have always focused on strong dramas, because they are working very well locally and internationally. Having a lighter drama might be an advantage for the local market, but internationally what really works are the strong dramas.

After the impact of the pandemic, what do you expect for 2022 and 2023? First, after a long time, we are really happy to attend a physical market. The worldwide economy was affected negatively, in every

How did you adapt to the needs of buyers affected by smaller ad revenue? We are not just a distributor, we are also a TV channel, so we understand our clients because we are sitting on both side of the tables. Our understanding of the troubles our clients faced came easy. We trust them and we know they are saying the truth when they talk about advertising budget being smaller; we had the same situation in Turkey. During these pandemic we were able to be more flexible with the license fees and support them more thanks to our libraries titles. That part of the business was affected positively, I can say. For new titles, it was a rougher situation, because once production stopped in Turkey, we weren’t able to air nor deliver new content to our clients. For new titles, the pandemic was very negative.

Gallery

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TELEMUNDO GLOBAL SCREENING 2022 FEBRUARY 15, TELEMUNDO CENTER, MIAMI (USA), VIRTUAL Telemundo Global Studios hosted a live screening to showcase its newest productions, including ‘The Lord of the Skies S8’, ‘Aura’s Many Names’ and the first adaptation of Corín Tellado’s novel. Photos: TGS.

1. Rafael Amaya and Karen Barroeta (Telemundo Global Studios). / 2. Adrian Matos. / 3. Rafael Amaya, Karen Barroeta and Blanca Soto presenting ‘Aura’s Many Names’. / 42. Rafael Amaya and Blanca Soto. / 5. Angelica Celaya Karen Barroeta and Blanca Soto. / 6. Mauricio Islas. / 27. Karen Barroeta and Blanca Soto

Gallery

I IBERO-AMERICAN AUDIOVISUAL PUBLIC SERVICE FORUM 1 2

3 4

The first edition of the Ibero-American Audiovisual Public Service Forum was organized by the RTVE Corporation in collaboration with the Ibero-American Educational and Cultural Television Association (ATEI).

1. Closing ceremony photo with all attendees. / 2. Debate panel titled “Digital challenge, new models and training”. / 3. Debate panel titles “Culture in the public media”. / 4. José Manuel Albares, Spanish Foreign Minister, during the closing ceremony. / 5. Gabriel Torres (ATEI), José Manuel Pérez Tornero (RTVE) and María Eizaguirre (RTVE). / 6. José Manuel Pérez Tornero (RTVE), José Manuel Albares (Spanish Foreign Minister) and Gabriel Torres (ATEI).

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Q&A

Gato Grande Productions

CARLA GONZÁLEZ VARGAS, CEO OF GATO GRANDE PRODUCTIONS

GATO GRANDE DEVELOPS 35 ORIGINAL PROJECTS thing competitive, and for Gato Grande to stand the test of time and the market. And I think that is exactly what is happening. It is a market that is in constant movement. I think that the challenge for many local producers is to survive, but also the demand is growing more and more.

By Sebastian Amoroso samoroso@todotv.tv @sebamoroso

Carla González Vargas, CEO of Gato Grande Productions, shares details about the production company’s strategy behind the successful biopic ‘Luis Miguel, la serie’, and its new pipeline of originals, led by the series ‘Talkies’ and ‘Giorgietto’.

And in this context of such a dynamic market, what is Gato Grande’s main strength? We have the competitive advantage of working hand in hand with a legendary studio like MGM, which has been in the industry for more than 100 years, and which also has a modus operandi from the Anglo-Saxon industry, which is a more mature industry and already has a huge knowhow. We are fortunate to have visibility of the methodology, of how things are done. They even have names, terms that they put to everything and that on our side does not exist, because we are still learning as an independent industry.

ato Grande Productions is a very young production company, but with the support of the MGM studios in Hollywood, it broke into the Latin market with nothing less than ‘Luis Miguel, the series’, the mega successful biopic of the Mexican star, with three seasons on Netflix.

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In dialogue with ttv, Carla González Vargas, CEO of Gato Grande, speaks about the production company’s path from its beginnings to the present day, the development of some 35 original projects in various fields, and celebrates her presence on the list of the 50 most notable Ibero-American fiction professionals of 2021, produced by Originals.

For starters, what prompted the creation of Gato Grande? 50% of Gato Grande belongs to MGM and the other 50% is made up of two partners, Antonio Cué and myself. Just in December, and this is news, we bought out the other Mexican partner Miguel Alemán Magnani. He no longer owns Gato Grande. Gato Grande came about as a result of a need for MGM to expand into a market as interesting, powerful and growing by leaps and bounds as Latin America, Spanish speaking

“We have the competitive advantage of working hand in hand with a legendary studio like MGM.” in general. Spanish is one of the three most spoken languages in the world, the growth potential is enormous. So, we were very clear that a huge surge of production companies was coming as a result of streamers bursting into the market. We knew that this was going to start causing a lot of production companies to start emerging independently to provide content. And in that bubble that was going to be generated, we needed to have some-

Taking into account the support that MGM gives the production company, what is the proposed strategy? The idea is to enhance this synergy in both territories. In the USA, and Latin America and Spain. On the side of Latin America and Spain, we have done the work of closing alliances with key producers that help us understand each region, in order to be competitive at a pan-regional level. Strategic alliances with Argentina, Colombia, Spain, the main markets… To be able to be present in the whole territory -not only in Mexico, which is our headquarters-, and also to see what our competitive advantage is on the Anglo-Saxon side. MGM is the only studio that has this mix of alliance with authentic and local content providers to supply a domestic market need in the US that is Latino representation. In the US they put us in a Latin category, but there is also a need for the American market to have content that also represents this population that is growing at a higher rate. We know that where local platforms need to grow the most is precisely with the demographic of the Latino minority. So as a result we are developing in English and Spanish. That is Gato Grande’s identity.

Filming of the second season of ‘Luis Miguel, la serie’.

we have versions that we consider to be very solid scripts and pilots, and from there we go to the key talent that we must add to each project, be it directors or actors, etc. To give an example: we are now in talks with a very high-profile Spanish actor to become part of a series that we are developing with Álex Rodrigo, one of the most active directors of the series ‘Money Heist’, to the Anglo-Saxon market. So, we are also acting as a bridge for Spanish-speaking talent that wants to enter the US industry, and we put them hand in hand with American showrunners to generate that authenticity and also be able to work at a competitive level in the US. That project is called ‘Talkies’. We are doing it with the Spanish production company Veranda TV, which is based in Barcelona and is part of Boomerang TV. One of the main creatives is Rodrigo, who we paired with an American scriptwriter for development. And now we are summoning a renowned Spanish actor to come and star in it. It will be a series in English.

How many professionals work at Gato Grande? Exclusive to Gato Grande we are about 20 people. This is very unique because we are small and large at the same time. We have access to the entire infrastructure of MGM and we use it for our shows, for example, in terms of finance, legal, physical supervision, marketing. So it’s a base team, but always in contact with all the branches of the MGM studio. Gato Grande’s first major project was ‘Luis Miguel, la serie’, of which you were showrunner and executive producer... We built Gato Grande on paper, the joint venture was made, after a month we had closed the rights to ‘Luis Miguel’ and after 15 days we already had offers. It all happened very quickly thankfully. And on a personal level, my first two years were exclusively dedicated to the show. In a sense, there was a show before a company.

How was the process of consolidating the production company? We are dedicated to building a team within the company. We have a very hard and rigorous scrutiny, because they have to be executives who navigate in both markets, who can develop content in both languages, which is not easy. And then generate a robust pipeline, where our quality standard dictates that the projects have a longer incubation period than other production companies. So, when we present a project, it may have been more than a year in development. We have more or less 35 projects in development, and each one with a very exhaustive process, because we know that buyers have a very short window to read and we want what is read to be indisputably good. How is the process of internal project development? In terms of development, we are already packaging before going to market. We present directors, actresses, actors, screenwriters with a long history, even musical producers. We believe that it is key to include the elements that we consider will guarantee the quality of the project before selling it. First we work with the writer until

In short, what genres are you getting involved in? We have horror, young adult, melodrama, crime and psychological thriller... Also within the unscripted we have true crime and another one about well-being and health, as well as cinema. Now we are developing two films based on very interesting true stories… It is a robust pipeline. And in terms of fiction, what are you presenting in the markets? We have several and all are wonderful. We have one that we love from the writers of ‘The Queen of Flow 1 and 2’, ‘El pecado de Analía’ and ‘La esclava blanca’, Claudia Fernanda Sánchez and Said Chamie. They are the writers who won the first Emmy for Colombia; ‘The Queen of Flow’ is one of the most watched series on Netflix. The project is called ‘Giorgietto’, and it’s a halfhour reggaeton musical comedy that we like a lot, from a very new angle that is comedy, and we’re in talks with some very renowned music producers to do the part musical. Also documentary series on gaming with GGTech and a new true crime pipeline, which has to do with real stories of criminals who are deprived of liberty.

ttv Magazine

My work was exclusively dedicated to being showrunner of the first season. Finishing the first season my role changed, we started generating the infrastructure of an entire company, so my role was supervisory in the second and third seasons; I don’t consider myself a showrunner of these, but rather I played more of the role that the studio does in the American market, of supervision, be-

cause one cannot be on set every day and also run a company.

What other projects in development can you mention? We have some very notable books and IPs. We close overall deals. At the end of the year we closed a very attractive one with Universal Music to generate musical content with its artist agenda. We have another one with GGTech Entertainment, the most important Spanish-speaking gaming company, which has the Gamergy eSports and gaming tournament in Spain, and it will be the first time they come to Latin America to hold tournaments. So we are going to make content that captivates that world that is so fascinating and big, taking it to the field of more conventional entertainment.

Interview

Sovtelexport

For more details, content and sales contacts, please visit the company’s profile on our exclusive service TTV+

JULIA MATYASH, DIRECTOR OF SOVTELEXPORT

A VARIED CATALOG FOR A VARIED DEMAND Taking advantage of audiences’ newfound interest in international and one-of-a-kind content, Sovtelexport has put the best of Russia’s productions on display, signing an array of major deals for its period dramas with important linear and OTT players, both in Latin America and all over the world. By Carolina Mussio cmussio@todotv.tv @carolinamussio

ttv Magazine

ne of the most notable trends to come out of the past two years of pandemic was the rise in the demand for content, as audiences around the world turned to their TVs for news and entertainment during quarantine. And these audiences were also more open to new types of content, with non-English language titles and original productions from the international market taking center stage.

“Our content is distinguished by versatility of themes. Viewers of any nationality will find the stories we offer relatable and engaging,” she added. Russia Television and Radio’s catalog comprises many film adaptations of classical literature, such as ‘Idiot’ and ‘Demons’ by Fyodor Dostoevsky, ‘Anna Karenina’ by Leo Tolstoy, ‘The White Guard’ by Mikhail Bulgakov, as well as works by modern authors, among which are ‘Zuleikha Opens Her Eyes’, ‘Blackout’, ‘Cloister’.

Armed with one of the most notable catalogs in the Russian market, Sovtelexport, the distribution arm of Russia TV and Radio, was able to rise to the challenge and meet this demand with a varied offer for all types of platforms and partners.

And within this varied catalog, there’s one genre that stands out: “Period dramas and film-versions of the Russian classics remain our hallmark. Buyers’ interest in them is strong”, said Matyash, something proven by the array of deals the distributor signed during the last year.

“We see growing diversity in content a positive thing”, said Julia Matyash, director of Sovtelexport. “New platforms and TV channels are ready to consider the most unexpected offers. The audience itself is now more inclined to accept the content produced in different countries, its suspicion towards it was replaced with increased interest.”

For instance, Mexico’s major public TV company Televisión Metropolitana, S.A. de C.V. has acquired broadcasting rights for the TV drama, ‘The Terrible’. Mexican viewers will witness brilliant acting performances, luscious costumes and decorations, as well as great battle scenes on the

“Our content is distinguished by versatility of themes. Viewers of any nationality will find the stories we offer relatable and engaging.” largest culture TV channel in the country, Canal 22. In addition, TV series ‘Ekaterina’, ‘Ekaterina, Season 2’, ‘Sophia’, ‘Two Legends’, ‘Anna Karenina’, ‘Wolfpack’, as well as features ‘Kandahar’ and ‘The Soul of a Spy’ were acquired by Pluto to be featured in their online library. Also Sovtelexport has signed a multi-title agreement with the largest Latin-American AVOD platform, ViX. The package comprises top-rating costume dramas ‘Ekaterina’, ‘Sophia’, ‘Anna Karenina’, as well as action films from the ‘Wolfpack’ cycle. These major deals are proof of two notable trends for the distributor: on the one hand, how important Latin America is in its international distribution strategy. “As I men-

tioned, in Latin America our projects have been already presented on ViX, Pluto TV and Amazon Prime,” the executive explained. And on the other hand, the distributor’s increased investment in the OTT market, with deals signed with major platforms and services all over the world. “We are actively working towards expanding our list of partners in this field, including both local and pan-regional services,” she explained, listing an array of recent deals with OTT platforms: TV series ‘The Optimists: Caribbean Season’ has been featured on SBS On Demand VOD platform in Australia, ‘The Terrible’ was purchased by the major Polish

streaming service CDA Premium, the ‘Kresty’ documentary was included in the Netflix catalog, the ‘Firing Range’ show streamed at iQiyi, and two seasons of ‘Ekaterina’ was sold to the HULU Japan video platform. And far from settling with all these deals, the distributor is always seeking to grow even further. “As always, we are looking forward to keeping the distribution rate high and strengthening the relationships with our foreign partners,” Matyash said. “The number of new TV companies and streaming platforms is growing as well as their thirst for new content. We update our catalogue with fresh high-quality titles regularly, and we definitely have something to offer to the market.”

“Period dramas and film-versions of the Russian classics remain our hallmark. Buyers’ interest in them is strong.”

SOVTELEXPORT PRESENTS ELIZAVETA, THE NEXT HIT This spring, Sovtelexport is presenting ‘Elizaveta’, a new costume series about Peter the Great’s daughter ascension to the throne. “It is an exciting adventure drama, where the real historical events meet dynamic

and intriguing plot, gorgeous costumes and scenery, as well as brilliant performances from the young and talented cast,” said Julia Matyash, director of Sovtelexport. “Period dramas about monarchs’ lives are international bestsellers.

Three seasons of the ‘Ekaterina’ series became a smashing success worldwide, having been featured on TV channels and streaming services in 104 countries. And ‘Elizaveta’ has every chance to beat the record of ‘Ekaterina’.”

Ekaterina Series

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MEXICO

ENDEMOL SHINE BOOMDOG LAUNCHES WIDE ANGLE ENDEMOL SHINE BOOMDOG, a division of Banijay Americas, announced the launch of Wide Angle, a new postproduction company in Mexico City that will offer its services to external clients. The announcement was made by Alejandro Rincón, CEO of Endemol Shine Boomdog, who explained that Wide Angle will be located in the Polanco neighborhood of Mexico City and that it will open its doors to the industry in April. The installations, meanwhile, will be directed by the experienced postproduction director Pablo Sastre and will be supervised by Boomdog’s COO, Javier Pérez Teuffer. “Demand for premium content within our industry is at an alltime high and having the best technology and talent is essential to being able to deliver the best service properly. Wide Angle will aim to do just that,” Rincón said.

APPOINTMENT

MIGUEL MARTÍN IS THE NEW CEO OF ZEPPELIN BANIJAY IBERIA announced that Miguel Martín is the new CEO of its production company Zeppelin. He will replace Amparo Castellano, who by her own decision leaves the company “to embark on new professional projects.” Castellano had been in charge of the production company since November 2020, when she assumed the position after Álvaro Díaz left to Netflix Spain. With 30 years of experience and responsible for the introduction of reality shows in Spain (‘Big Brother’), Zeppelin is the creator of 100% original programs (‘El Puente’) and a pioneer in the development of anime projects (‘Memorias de Idhún’ , ‘Virtual Hero’) and teen fiction (‘SKAM Spain’).

Pablo Sastre,

Director of Wide Angle

Miguel Martin,

CEO of Zeppelin

RUSSIA

NEM DUBROVNIK ANNOUNCES SPEAKERS FOR IN-PERSON EDITION POPULARLY CALLED “A TV Market with a View”, NEM Dubrovnik 2022 will take place in-person from June 6-9, 2022 at the Dubrovnik Palace Hotel. And in preparation for its in-person edition, the event announced the first speakers and companies that confirmed their participation: Christina Sulebakk, General Manager, HBO Max EMEA; Hans Troelstra, CEO, M7 Group; Zbigniew Pruski, Commercial Director, Brand Services, BBC Studios; Kasia Madera, presenter, BBC World News; Levente Málnay, EVP/MD, AMC Networks International Central and Northern Europe; Guy Bisson, Research Director, Ampere Analysis and Maria Rua Aguete, Executive Director, Technology Fellow, Omdia. During the three days of the event, NEM will offer conferences, panels, screenings, question and answer sessions, and smaller networking events, organized according to the latest epidemiological measures.

PRODUCTION

ttv Magazine

DORI MEDIA EXPANDS ORIGINAL PRODUCTION ACTIVITIES

DORI MEDIA HAS SIGNED AN AGREEMENT to acquire the activities of the Sumayoko company, headed by Udi Segal (‘On the Spectrum’, ‘Asfur’, ‘Mossad 101’). Under the agreement, the parties will work to develop and produce content for platforms in Israel and abroad. As part of the deal, Sumayoko’s production activities in Israel will be added to Dori Media’s joint venture with Abot Hameiri under the name Dori Media Sumayoko Studios and managed by Amit Gitelzon and Shlomit Arviv. In addition, Udi Segal joins the activities of Dori Media in the development and production of content in the international market. Dori Media will take over the distribution rights for Sumayoko’s content through the group’s international distribution arm. Sumayoko’s ‘On the Spectrum’ was sold and streamed in the US under the title ‘As We See It’ and premiered on Amazon Prime on January 21, 2020. Nadav Palti, Chairman and CEO of Dori Media Group

Q&A

ICEX

PABLO CONDE DIEZ DEL CORRAL, DIRECTOR OF FASHION, HABITAT AND CULTURAL INDUSTRIES OF ICEX

SPAIN REDOUBLES ITS INTERNATIONAL COMMITMENT

The launch of the Spain Audiovisual Hub has meant an increase in the ICEX (Spain Export and Investment) budget, which will translate into an increase in the Spanish presence in international markets and a strengthening of the Audiovisual From Spain brand. By Gonzalo Larrea glarrea@todotv.tv @Gonzalo Larrea

n March 2021, the Government of Spain announced the Spain Audiovisual Hub plan, with which it seeks to strengthen the entire value chain of Spanish audiovisual creation, from encouraging filming in Spain, the renovation of infrastructure, the production of content and its internationalization. And this January 1, 2022, the plan was finally launched, with a three-year budget of 1,600 million euros. Within these funds, a part has been allocated to ICEX (Spain Export and Investment), which manages, among other things, the Audiovisual From Spain brand and promotes the internationalization of Spanish content.

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To find out what role ICEX plays within the plan and what plans and objectives it has set in motion, ttv spoke with Pablo Conde Diez del Corral, director of Fashion, Habitat and Cultural Industries at ICEX.

What is the Spain Audiovisual Hub plan and what is ICEX’s role in it? The Spain Audiovisual Hub plan is a plan that the Government announced last year to strengthen the audiovisual sector in Spain, to make it grow and to reinforce a job that the industry itself was already doing to position itself as a focus of production worldwide. It is a plan that includes 1,600 million euros, of which a part comes from European restructuring funds and, within this total, ICEX has a budget of 20 million euros for the next three years: 2022, 2023 and 2024.

“The Spain Audiovisual Hub plan, which seeks to strengthen the audiovisual sector in Spain, is comprised of 1,600 million euros.”

Are these funds additional to those that ICEX already had? Yes, these funds come to reinforce the activity that ICEX has been carrying out for many years, both from the out-

side and from the inside. In other words, we are going to reinforce all the promotion of audiovisual content abroad in a broad sense: cinema, TV, fiction, video games, animation and virtual reality. What initiatives are you preparing in this regard? We are going to focus on four points. First, we’re going to set up a one-stop shop that’s going to come out before the summer as an entry point for both coming and going; that is, for Spanish companies that want to know how to go international and on the other hand for foreign companies that want to shoot in Spain, to which we will help with all the permits they have to obtain and any type of question or doubt that may arise.

The second point that we are going to promote from ICEX is to strengthen our foreign network. At ICEX we have a network of offices in 100 countries and we are going to reinforce them in the countries that the plan establishes as priorities: the US, Canada, the UK, Turkey, Korea, Japan and India. There we are going to reinforce the work that we have already been doing with specific contracts or, depending on the needs of the market, carrying out our own activities in those markets. The third big leg is networking. At ICEX we have been supporting the audiovisual sector for years and that has not changed, but now we have more money to increase our presence in large international markets. That is, participating with major initiatives in the Marche du Film, Series Mania, Miptv or Mipcom, to name a few. And the fourth pillar is communication. We are going to reinforce our umbrella brand Audiovisual From Spain. It’s a bit of what we’ve been doing in recent years, but reinforced. In summary, ICEX redoubles its commitment... Of course, we are going to reinforce what we have already been doing. We are going to give more tools to companies so that they have a greater international presence. And we want to lay the foundations for the future. This is a three-year plan so that companies in the audiovisual sector can establish themselves at an international level and generate their network of contacts that will allow them, once these funds are exhausted, to continue doing their work and for Spain to truly become an audiovisual hub at European and global level. Is the main objective then to increase the internationalization of Spanish content? For Spanish content to travel has always Sequía RTVE

been our leitmotif. We have always thought that it was necessary in order to survive in a world of giants to have access to greater financing, not limit the destination market to Spain, think big and have products that can work beyond our borders. This phenomenon has increased thanks to the large platforms, so for us focusing on internationalization is very good and, as in any sector, diversifying your sources of income is essential to be able to succeed and survive in the future.

Cardo Atresmedia

do it in the audiovisual, it has become clear that greater co-production is necessary, with which we will hold co-production forums, either taking advantage of the large international markets or specific activities in the aforementioned priority markets.

Will there be other types of activities by ICEX, such as training? Our idea is to not limit ourselves only to presence in markets but also to prepare companies so that their presence in them is optimal. We want new players to enter beyond the Spanish companies that usually have an international presence and that can do it in the best way to be successful. Therefore, we are planning training activities in sectors such as animation or videogames to try to alleviate issues such as financing and be prepared to be eligible for large financing funds. We will also

Wouldn’t that be the task of the Spain Film Commission? We work hand in hand with the Spain Film Commission. They have five million to attract filming and right now we work closely with them to carry out this work. We have the task as a public institution to attract filming and investments to Spain. But we always support each other through all the Spanish and regional film commissions to see where the opportunities are, so I think that the more we are here and the more coordinated we are, the better to increase the chances of filming.

“The idea is for all of us to benefit from this good moment in the audiovisual sector, for everyone to think about the international side and have a greater presence.”

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Will we then see more Spanish companies at international events? Of course. The idea is that we all benefit from this good moment in the audiovisual sector, that we all think about the international part and have a greater presence. For example, in Cartoon Forum in September we will be the guest country; we had redoubled our presence at the Berlinale with a co-production forum; in Series Mania we are taking strong initiatives; and at Miptv we run more companies than we used to. Our idea is that everyone takes advantage, that everyone thinks internationally and that they are able to sell that content globally.

And is it also seeking to attract filming? Drawing fiction shoots to Spain is just as important for us, because having a powerful service industry also allows us to later have an important industry for the production of content for Spanish content. We have always focused on this attraction of filming and there have been great milestones, such as ‘Game of Thrones’, which was shot here in Spain, but there are still great series and movies that choose Spain and that focus on a very powerful industry with a quality relationship -excellent price and very good technicians that makes it very attractive to come here to shoot, in addition to the tax incentives. We must take advantage of this opportunity to establish Spain as an audiovisual hub.

Article

TRENDS

NETFLIX BETS ON TELENOVELAS WITH SIX NEW TITLES Rebelde Telenovela

During the virtual event “Qué drama! Novelas con N de Netflix”, the platform presented six original productions from the quintessential Latin American TV genre. By Sebastián Amoroso samoroso@todotv.tv @sebamoroso

ttv Magazine

n Wednesday, January 26, Netflix held the virtual event “Qué drama! Novelas con N de Netflix”, in which ttv participated, and in which the streaming service presented the original productions that it is set to premiere from the Latin American television genre.

Telenovelas and melodrama is a genre that’s been giving the platform very good results. One case is that of ‘Café con aroma de mujer’, which during the month of January of this year became one of the most demanded titles on the platform. “‘Novelas con N de Netflix’ brings together the best of the series with the best of the telenovelas. It takes everything we love about the telenovelas we grew up with, and fuses them with the rhythm and freedom of

Donde hubo fuego Telenovela

Madre de alquiler Telenovela

the world of streaming”, explained Roberto Stopello, VP of Content for Latin America at Netflix. “Just like the classic telenovelas, the Netflix telenovelas are built with dramatic elements from their core, but also tackle contemporary and modern issues and themes. Like ‘Who Killed Sara?’ is a high-stakes family drama that also delves into the difficult journey of surrogacy; ‘Rebel’ is a classic growing up story that also features modern takes on romance; ‘Madre solo hay dos’ has some scandalous stories, but it also seeks to redefine motherhood. The result is something that feels new, but familiar”, highlighted the executive. “We are excited to continue to innovate with this genre while continuing to honor the rich roots of the telenovela. For this reason, we are happy to share with you the latest Netflix telenovelas that will lead the service this year”, he added.

DUBBING AT AN ALL TIME HIGH. During the event, the platform highlighted the demand for talent and the dubbing times involved in the production of Latin American content. “We are experiencing a very interesting moment in the world of dubbing, with all the content that is being made around the world, and there is really a great need to attract talent to the world of dubbing,” said Roberto Granado, director of Dubbing for Netflix Latin America. In this sense, some data about the dubbing production work was revealed. For example, the drama series ‘Who Killed Sara?’, which was dubbed into eight languages, had the participation of 210 voice actors during a four-month production process. The drama thriller ‘Dark Desire’, also dubbed into eight languages, involved 150 voice actors during four months of production.

And in the youth series ‘Rebelde’, dubbed into nine languages, 250 dubbing actors participated during four months of production. “As a company we are campaigning, working closely with dubbing studios around the world to open an invitation to casting ses-

sions to other entertainment industries, such as theater, radio soap operas or even image talent, to that they can also be part of dubbing productions. So, more than a challenge, it is an opportunity for more talent to come to the world of dubbing with all the productions we are working on,” concluded Granado.

“Netflix telenovelas are built with dramatic elements from their core, but also address contemporary and modern issues and themes.”

THE 6 TELENOVELAS NETFLIX IS PREPARING FOR 2022 Pálpito Telenovela

¿Quién mató a Sara? Telenovela

PÁLPITO PREMIERE DATE: APRIL 6

In this Colombian production, Simón’s wife is murdered to extract her heart and transplant it to Camila, the wife of a wealthy man. Seeking revenge, Simón plunges into the dangerous world of organ trafficking. In the frantic search for him, fate will make him fall in love with Camila, the woman who survived thanks to the heart of his murdered wife. The climax will come when both discover the truth. Starring Ana Lucía Domínguez, Michel Brown and Sebastián Martínez.

MADRE DE ALQUILER START OF PRODUCTION: FEBRUARY 2022

REBELDE (SEASON 3) PREMIERE DATE: 2022

The second season of ‘Rebelde’ will arrive this year along with the entry of Okane, a new student played by the Mexican musician, singer and producer Saak, who will set the EWS on fire.

WHO KILLED SARA? (SEASON 3) When we thought we knew who had planned Sara’s death, everything changes in the final scene of the second season when Nicandro mentions that it was not Marifer but “us” who killed her. Who is behind the truth? Who really killed Sara?

PREMIERE DATE: 2022

Created by José Ignacio Valenzuela, known as “Chascas”, the mind behind the worldwide success ‘Who killed Sara?’, the Mexican telenovela ‘Donde hubo fuego’ is a tribute to those women and men who risk their lives to save us. Through a great cast, which includes Eduardo Capetillo, Itatí Cantoral, Iván Amozurrutia, Antonio Sotillo, Polo Morín, Daniel Gama, Humberto Busto, Oka Giner, Plutarco Haza and Esmeralda Pimentel, among others; we will witness what happens inside and outside a fire station. Mystery, adventure and romance are intertwined in this story that will premiere on the platform in 2022.

TRIADA Maite Perroni and ‘Dark Desire’ creator Leticia López Margalli are back and loaded with more drama and mystery. Both, under the production of Argos, are preparing ‘Triada’, a new project where the characters immerse themselves in their own past, to unravel, one by one, the secrets of their lives. ‘Triada’ is the brainchild of Leticia López Margalli, and features Jaime Ramos and Andrea de la Torre as executive producers and Linda Ramos as producer. The direction is in charge of Alba Gil and Leonardo D’Antoni.

ttv Magazine

PREMIERE DATE: JUNE 1, 2022 NEW TALENT: R. JONES, J. RENO

DONDE HUBO FUEGO

A young indigenous woman (played by Shaní Lozano) rents her womb to a powerful family. Years later, she will discover that everything she believed about her pregnancy was not true. In this story, produced by Argos, the protagonist will question the meaning of her motherhood, while she lives a romance full of contradictions in the middle of a society full of prejudices.

Gallery

ARCA INTERNATIONAL FILM FESTIVAL

ttv Magazine

JANUARY 9 - 14, ATCHUGARRY MUSEUM OF CONTEMPORARY ART (MACA), PUNTA DEL ESTE, URUGUAY

The ARCA International Film Festival announced the winner of its first edition, which went to the French artist and filmmaker JR for his documentary ‘Paper ç& Glue’. The event was held in the new MACA Manantiales Museum in Uruguay, which also had a conference space.

Article

TRENDS

GLOBAL TV DEMAND AWARDS

MONEY HEIST AND DARK DESIRE AMONG GLOBAL TV DEMAND AWARDS WINNERS

ttv Magazine

The Spanish series was the most in-demand European export, while the Mexican series was most indemand export from Latin America. The top honors went to Asia, with ‘Attack on Titan’ being the world’s most in-demand series and Squid Game the best new series.

52 La Casa de Papel Netflix

arrot Analytics, the global audience demand analytics firm, announced the winners for the 4th annual Global TV Demand Awards. The world’s most in-demand TV show of 2021 was the Japanese anime series, ‘Attack on Titan’, which is currently in its fourth and final season. The most in-demand series debut and the most in-demand “revolutionary” title, defined as a new series based on entirely original IP, is Netflix’s ‘Squid Game’, the surprise Korean sensation that took the world by storm last Fall.

‘Attack on Titan’ is the first ever non-English language series to earn the title of World’s Most In-Demand TV Show, previously held by only ‘The Walking Dead’ and ‘Game of Thrones’. ‘Squid Game’ is the first non-English language series to win for Most In-Demand Series Debut. These landmark victories are the result of a seismic shift in global audience preferences for more international and non-English language content. ‘Attack on Titan’s ascent comes on the heels of an explosive international growth period for the anime genre. Over the last two years, global demand for anime grew an astounding 118%, and the genre’s global demand share increased from 4.2% to 7.1%. Anime was the third most in-demand global subgenre in 2021, behind only crime dramas and sitcoms. The victories for ‘Attack on Titan’ and ‘Squid Game’ reflect a rising tide for non-English language content with global audiences. Worldwide, the demand for all non-English language content grew at roughly twice the rate of the demand for English-language

The winning series for each category was determined based on Parrot Analytics global TV demand data for the period January 1, 2021 – December 31, 2021. Dark Desire Netflix

WINNERS OF THE 2022 GLOBAL TV DEMAND AWARDS

“This year’s Global TV Demand Award winners reaffirm that accessibility is key to audiences around the world finding their next favorite show. High caliber anime series out of Japan, like ‘Attack on Titan’, are more easily available now than ever before, streamlining the process of discovery, consumption, and conversation,” says Julia Alexander, Senior Strategy Analyst at Parrot Analytics. “As ntertainment platforms pivot to more global markets, the more likely it is that a show out of South Korea, Spain, or Germany will find a fanbase outside of its core region. This year’s winners reiterate demand for international content is higher than ever — they just need to be in sight to remain top of mind.”

World’s Choice - Most In-Demand TV Show in the World 2021: Attack on Titan Most In-Demand Anime Series of 2021: Attack on Titan Most In-Demand Asian Export of 2021: Yeh Rishta Kya Kehlata Hai Most In-Demand Book Adaptation of 2021: The Witcher Most In-Demand Children’s Series of 2021: Spongebob Squarepants Most In-Demand Comedy Series of 2021: Brooklyn Nine-Nine Most In-Demand Documentary Series of 2021: A Perfect Planet Most In-Demand Drama Series of 2021: The Walking Dead Most In-Demand European Export of 2021: Money Heist Most In-Demand Horror Series of 2021: American Horror Story Most In-Demand Latin American Export of 2021: Dark Desire Most In-Demand Legacy Series of 2021: Dragon Ball Z Most In-Demand Reality Series of 2021: Shark Tank Most In-Demand Revolutionary Series of 2021: Squid Game Most In-Demand Sci-Fi & Fantasy Series of 2021: The Witcher Most In-Demand Series Debut of 2021: Squid Game Most In-Demand Superhero Series of 2021: WandaVision Most In-Demand Superhero Talent of 2021: Tom Hiddleston Most In-Demand True Crime Series of 2021: Q: Into the Storm Exceptional Streaming Platform of 2021: Disney+

Representing the Hispanic world, Spanish series ‘Money Heist’ was the most in-demand European export, while the Mexican series ‘Dark Desire’ was most in-demand export from Latin America.

ttv Magazine

content from January to December 2021. Global demand for Japanese-language content – led largely by anime series – increased by 83%, while Korean-language content was up 37% over the same time.

Opinion Laura Tapias, VP for the Americas and Iberia at Applicaster

THE FUTURE OF SPORTS STREAMING In the following article, Laura Tapias, VP for the Americas and Iberia at Applicaster (*), shares her vision of the future of sports broadcasting and how platforms, screens and even the leagues and teams themselves must redesign their strategies to adapt to the new OTT landscape. (*) Guest writer for ttv

hen watching a game, we would always say: “Where is it broadcast?” This has always been the question, and still is. Only the current “where” has largely changed to a streaming service instead of a pay TV subscription. Sports streamers attract more viewers and offer a richer and better experience. Covid-19 stopped and postponed major sporting events. However, when games resumed, viewership remained low for many live televised sports. And we have seen the unimaginable: how the Tokyo Summer Olympics met the challenge of staging a global event with no on-site spectators and in many areas with the absence of athletic star power. Broadcast TV is a 20th century format, a passive linear experience, which must now compete with 21st century media that is available on demand and often features interactions. Worldwide streaming audiences increased 44% year-over-year from Q4 2019 to Q4 2020. The number of streaming platforms in the US multiplied, including launches or re-launches of platforms such as Disney (packaging ESPN+ with Hulu and Disney+), NBC, HBO (with the rights to the Champions League in certain regions), and ViacomCBS (which recently added the Premier League for some regions as

broadcaster NBC has taken steps to address this by partnering with gamer streaming platform Twitch to add its own Olympics channel.

well) at the start of or during the pandemic. Most eSports users say that online and interactive games have reduced the time they spend watching sports. Even Olympics

So the audience -now userscontinues with the same question, choosing “where” to watch the sporting event, having more accessible and cheaper alternatives to consume their favorite sports than before, with dedicated sports streamers such as DAZN, Flo Sports, Eleven or Fanatiz as good examples of OTT services that prioritized ways to help fans stay connected, both with their teams and with each other. And when it comes to sports, the decision is emotional, and the transaction or subscription goes where my favorite team is.

If sports media broadcast rights are expected to hit US$85 billion in revenue by 2024, symbolizing the potential future growth of this space and an overabundance of opportunities for sports brands, leagues and teams are now raising the question. asks, “Should I own the distribution and own my own streaming business?” Leagues and teams focused their efforts on mobile devices to engage their fans, get to know them and enrich the viewing experience. Some examples of rich events in the digital space are the NBA during the 2020 season, collaborating with Nickelodeon adding commercialized green slime to field end zones to attract new young audiences, engage them and convert them into fans. Or in January, when Nickelodeon once again aired a kid-focused alternate version of the NFL Bears-Saints game complete with colorful graphics, cartoon eyes, ‘SpongeBob SquarePants’ cameos and, of course, the cannons. of slime to celebrate touchdowns. These actions, along with the bespoke experience that blends user preferences and consumption, make the mobile app a must-have. But teams like FCBarcelona or the Minnesota Vikings, entities like Conmebol or even traditional broadcasters like Claro Sports are grappling with the decision to own their own distribution, as Formula 1 did some time ago by launching its own OTT service for show races to more than 20 markets at a price of US$8 - US$12 per month. F1 TV offers live, commercial-free broadcasts for every race along with commentary in multiple languages and access to 20 driver’s on-board cameras. The entry barrier for streaming your own games is nothing compared to building a terrestrial TV network. By owning their own platform, sports brands can capitalize on the opportunities offered by live streaming, SVOD (Subscription VOD) and AVOD (Advertising VOD), as they can

“Sports media broadcast rights are expected to reach US$85 billion in revenue by 2024.”

“Sports brands can tap into a global market that is projected to be worth $86 billion by 2026.”

retain higher ad revenue and can also implement different ways monetization for your content. By investing in an OTT platform, sports brands can tap into a global market that is projected to be worth $86 billion by 2026, serving fans around the world.

al content within a streaming platform, such as stats, recaps, replays, fan reactions, documentaries, and more. This means that sports brands are building stronger fan bases by giving them more than just the usual live sports broadcast.

By creating an OTT platform for fans, sports brands can also effectively manage engaging content without the limits they would traditionally face when broadcasting live on TV. Sports brands can package addition-

When it comes to sports, the relaxed experience on a big screen is here to stay, which is why more and more sports brands are bringing back their archive content, renegotiating their historic documentaries and games, to

build a branded broadcast experience where the fanatic feels at home. You just need to choose the right platforms based on the market you want to be in. If the focus is on expanding across the US, for example, Roku and Amazon Fire are a must. And VIZIO is starting to be a major player in promoting content. It is important to know that Roku is the number one streamer in Mexico, for example. Without a doubt, building the right distribution strategy will make the difference in the success of your OTT.

“Sports streamers attract more viewers and offer a richer and better experience.”

Listings Miptv2022

Lone Wolf

Lawless Love

ATV DISTRIBUTION +90 212 354 37 01 info@atvdistribution.com www.atvdistribution.com Suite: R7.M15

EXECUTIVES

Emre Gorentas, Head of Sales Merve Dogan, Sales Specialist Gözde Dinç Özcan, Sales Specialist

TOP EXECUTIVE Müge Akar, Müge Akar

The Game Of My Destiny

CALINOS ENTERTAINMEN +90 216 999 49 99 info@calinosentertainment.com www.calinosentertainment.com

EXECUTIVES

Ismail Dursunov, Deputy General Manager Asli Serim Guliyev, Head Of International Sales Duda Rodrigues, International Sales Executive (Latam) Melis Idil, International Sales Director (Mena&Europe&India) Bernadette Delmas, International Sales & Acquisitons Director (Latam)

TOP EXECUTIVE

Jose Luis Gascue, Executive Vice President, Head Of Worldwide Sales

LONE WOLF (Drama - 45’ - İn production) Altay earns his living by fighting cages under the name “Kurtoglu”. Esra asks Altay for help to escape and reunite with her little girl one night when the guns explode in the place! Hearing that the child’s life is in danger, Altay accepts without hesitation. Doğan, the owner of the illegal fight club and Esra’s lover, comes after them. As soon as Altay takes a step to help Esra, he embarks on a new journey that extends to his own past. The “old man”, Davut Bahadır, who lives alone in a hut in the forest, will guide Altay on his journey from the legends to the Turkey of the 1950s and from there to the present day. DESTAN (Drama - 45’ - In production)

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The story begins with Akkız stabbing her arrow to Alpagu Khan’s heart as she swore. The arrow shoots by Akkız to take Alpagu Khan’s life cannot kill her enemy, but makes her a slave to his son Batuga, in the enemy’s palace! A mountain bird in love with her freedom becomes a slave in the Gok Palace, which will cost her life if it is learned that she is the shooter! The paths of Akkız and Batuga, who now carry two lies that would cost their lives, crossed again after many years. Allies by fate turns into a confidence, which turns into companionship. The hands that will change the fate of the Turks, unites here. Batuga is the hidden Khan of the Turks; he will write a ‘Destan’ (legend) with Akkız, by uniting the Turks and prove to the world that what can a disabled prince and a slave girl can achieve by joining hands.

LAWLESS LOVE (Drama) The year is 1940, Zonguldak, Turkey. Everybody in town makes a living by working at the coal mine that belongs to the richest man in town, Malik, a vile and unscrupulous man. The protagonist, Davut, lives a modest life with his two brothers, his 6-year-old sister and his parents. His father Tahir and his brothers Celal and Eyup are miners like him. The mine collapses, and Malik’s actions result in nine coal miners’ deaths, one of them being Davut’s father. Davut is furious and heartbroken. He confronts Malik and shoots him. Malik does not die but is heavily injured. Davut is immediately taken into custody for attempted murder, but Malik has an unexpected offer for him. YESILCAM (Romance - 10+ x 60’) The story takes place in 1960s Turkey and tells the story of a Semih Ateş ‘s survival in Yeşilçam. Semih is an ambitious producer who can’t live without stories, is blinded by the cinema, and says ‘I’ll die if I can’t make a movie’. After losing his production company to his rival, Semih has two goals: to make a blockbuster movie without losing his new company. At the same time, to win back his unforgettable ex-wife, Yeşilçam’s famous actress Mine Cansu.

Aziz

GLOBAL AGENCY

INTER MEDYA

Istanbul, Turkey +90 212 241 26 93 www.theglobalagency.tv Stand: R7.B9

Istanbul, Turkey +90 (212) 231 0102 www.intermedya.tv

EXECUTIVES

Beatriz Cea Okan, VP and Director of Sales and Acquisitions

Ivan Sanchez, Sales Director, Latin America Işıl Türkşen, Sales Director, Asia Şenay Taş, Sales Director, CEE and Greece Gözde Sergili, Sales Director, Europe Deniz Tüzün, Sales Director, Russia, CEI, Poland Miroslav Radojevic, Sales Director, MENA and Africa Ekin Gabay, Sales Director, North America, Canada, UK, Australia, New Zealand

TOP EXECUTIVE Izzet Pinto, CEO

THE GAME OF MY DESTINY (Drama - Ongoing Production) “The Game of My Destiny” tells the gripping story of Asiye, whose world is turned upside down by a chain of fateful events through which she must battle to rebuild a family shattered by violence, abandonment and emotional turmoil. REDEMPTION (Drama - 112 x 1 Commercial hour) Zeynep’s life is destroyed by her daughter Elif’s kidnapping, but aided by the detective Sinan she launches a tumultuous search that turns her family upside down, profoundly transforming her and all those involved. MR WRONG (Dramedy - 43 x 1 Commercial Hour) A lifetime of betrayal destroys Ezgi’s hopes of ever finding Mr. Right and when she meets the womanizer Ozgur it seems a recipe for disaster, but fate, and nagging mothers, conspire to seek a happy ending.

EXECUTIVES

TOP EXECUTIVE

Can Okan, Founder & CEO

AZIZ (Drama – In production, 2021-2022) Aziz Payidar, son of the Payidar Family which is biggest and the one and only carpet manufacturer of Antakya, lives his life in prosperity and wealth. Aziz’s fate changes when he kills French delegate Monsieur Pierre’s son Lieutenant Andre. He has to leave behind the lands he was born in and his precious love along with everything he has. Two years later, his return is going to be unexpected for everyone, because he has been assumed dead for two years. Everything has changed. THE GIRL OF THE GREEN VALLEY (YEŞİL VADİ’NİN KIZI) (Drama - In production, 2022) Melissa Çelik is left without a mother and father when she was a baby. No one knows the truth about what happened to her family. Green Valley tells her story of becoming a young girl and then a woman. She tries to stay with the family that adopted her, but Besime, the lady of the house, does not want Melissa and inflicts all kinds of torture on her.One day, when she is given the gate as a victim of anger, a man appears before her; Metin. Both of them start talking, unaware that their lives will change completely from that moment on.

Three Sisters

All About Marriage

Peace Force

KANAL D INTERNATIONAL

MADD ENTERTAINMENT

+90 212 413 51 11 sales@kanald.international www.kanald.international Stand: R7.F28

Esentepe Mahallesi, Kore Sehitleri Caddesi No:5 D:3 34394 Sisli, Istanbul / Turkey +90 212 273 24 34 info@madd.tv https://madd.tv

EXECUTIVES

Selim Türkmen, Sales Manager, West Europe & MENA Narda Zuuaga, Sales Executive, Latam & Spain Gamze Utma, Sales Executive, Asia, Russia, CIS

TOP EXECUTIVE

Ekin Koyuncu, Executive Director

THREE SISTERS (Premium Drama) ‘Three Sisters’ is an adaptation of the instant bestseller penned by the acclaimed author İclal Aydın. In the end of 90’s, there lived three sisters named Türkan, Dönüş and Derya. As a closeknit family, they would dream of a promising future every night. After spending years with their family in a fairy tale, on the pine-scented streets of Ayvalık, each will face with the harsh facts of real life... HEKIMOGLU (Drama - 157 x 44’) The local version of the hit US scripted series ‘House M.D.’ starring Timuçin Esen as Ateş Hekimoğlu who is an acclaimed infectious diseases and nephrology physician. With his team of 3 young doctors Hekimoglu, does whatever it takes to solve the most puzzling cases in his way. RUTHLESS CITY (Drama - 136 x4 6’) ‘Ruthless City’ is the story of 2 family members’ test with the sin after an indecent deal. While the first season reflects the duality of the good and the evil within each person, the second season reveals the evil side of the characters.

EXECUTIVES

Özlem Özsümbül, Head of Sales Alaa Elabasy, Senior Sales Manager

TOP EXECUTIVE

Ateş İnce, Managing Director

RTVE Edif. Prado del Rey. Avda. Radio Televisión, 4 28223 Pozuelo de Alarcón, Madrid, Spain (+34) 91 581 70 00 rtve.dircom@rtve.es www.rtve.es/commercial

EXECUTIVES

Rosalía Alcubilla Alonso, Head of Large International Accounts David Priego San Juan, Head of New International Business Javier Quevedo Pérez, Head of International Commercial Strategy Cecilia Lera Astolfi, Head of International Sales and External Relations Teresa Migoya Calabia, Head of International Sales Jesús Molina Uruñuela, Head of International Comercial Marketing

RUSSIA TELEVISION AND RADIO 37 Shabolovka str., Moscow 115162, Russia +7 495 955 89 20 Ref.ste@vgtrk.com http://sales.vgtrk.com

EXECUTIVES

Maria Dorokhina Head of International Sales (Worldwide, except CIS and Baltic States) Elizaveta Shcherbakova, Manager of International Sales (Worldwide, except CIS and Baltic States) Nadezhda Kobzeva, Manager of International Sales (Worldwide, except CIS and Baltic States)

TOP EXECUTIVE

Julia Matyash, President

TOP EXECUTIVE

ALL ABOUT MARRIAGE (Drama) Çolpan Cevher is a renowned lawyer and has built the family business into Istanbul’s top divorce practice when her oldest daughter Azra suddenly leaves the firm to join a rival. Stubborn sister Sanem who is also a lawyer remains with her mother, while the little sister Güneş lives her life away from the law. To complicate the matters more, their father shows up -25 years after running away with the nanny- to reclaim his share of the family business. Stable life of Azra is shaken when she learns the infidelity of her husband’ who is also a divorce attorney and the couple have three beautiful children together. Despite all her professional experience, Azra is ill-prepared for her own divorce when she reconnects with an old flame at her new firm. There is only so much room at the top, and eventually Azra’s new firm sets out to crush her old one. In the midst of a nasty divorce, a reviving love affair, and a bitter business rivalry with her own mother, Azra is pushed to the very limit.

Elizaveta

María-Jesús Pérez, International Sales Director

ELIZAVETA (Adventure drama - 12 x 52’) PEACE FORCE (8 x 60’) Sergeant Elgueta, on a UN Peacekeeping mission in Africa, receives a strange call from First Sergeant Hugo Reyes, her boyfriend. She later get the news that he has committed suicide. Paula knows that this is false: he has been murdered. Facing everyone, she decides to find out what truth his death hides. DROUGHT (Series - 8 x 60’) On the Spain-Portugal border, a severe drought causes water levels to drop, and the village of Campomediano emerges from the bottom of the local reservoir. Human remains, two men, are found in one of the village’s old houses, and everything points to a murder that has lain hidden for years. Police inspector Daniela Yanes takes over the case and begins investigating.

Peter the Great dies and passes the Russian throne to his 16-year-old daughter, Elizaveta. The young, carefree and energetic princess is not ready to give up on gorgeous dresses, handsome admirers and passionate love affairs for the crown. However, fate has other plans for her. Elizaveta is forced to take the path of dangerous adventures in order to deal with court intrigues, stalking and evil plots. Three fearless bodyguards of the princess will accompany her along the way and are willing to do whatever it takes to save the future Empress’ life. THE STENOGRAPHER (Drama - 16 x 52’) It’s 1980s. Anna Savelyeva grew up in an orphanage and always wanted to have a family. After turning 18, she heads to Moscow to find her father, General Pechorsky, who doesn’t even know his daughter exists. Soon, he hires Anna for her stenography skills to work on his memoirs. With access to classified documents and state secrets, the government stenographer finds herself dragged into the world of international espionage. This new chapter of her life is full of danger, head-spinning twists, ruthless betrayals and disappointing love.

ttv Magazine 57

IN NUMBERS

APPOINTMENT

ZINKIA WELCOMES EDUARDO GARAGORRI

8.6 billion

dollars in ad sales were reached by YouTube in the fourth quarter of 2021, while Google’s ad sales grew to US$ 43 billion, Alphabet revealed.

61.5% of the global ad spend

will reach digital media, surpassing 60% of total spend for the first time, Zenith forecasts.

150 million

SVOD service accounts will be canceled in 2022, according to Deloitte Global, although it is estimated that more subscriptions will be added than canceled.

63 million

will subscribe to IPTV between 2021 and 2026, bringing the total to 398 million, according to a new study from Digital TV Research.

ARGENTINA

RECORD TV SELLS ‘GENESIS’ TO TELEFE BRAZILIAN DISTRIBUTOR Record TV announced the sale of its biblical series ‘Genesis’ to Telefe in Argentina. The ViacomCBS channel has been broadcasting several of Record TV’s productions with great success, such as ‘Jesus’, ‘Joseph of Egypt’, ‘Moses and the 10 Commandments’ or ‘Joshua and the Promised Land’, among others. ‘Genesis’ is made in seven phases that seek to show the creation of the world and the first 2,300 years of humanity. With God as the narrator, the story begins with the fall of Lucifer and the life of Adam and Eve in Eden, to continue with Noah and the Flood, The Tower of Babel, Abraham, Isaac and Rebekah, Jacob and Joseph of Egypt. ‘Genesis’ began its broadcast in Brazil in January 2021 and achieved the highest audience of a Record TV telenovela in the last five years. In addition, in its first semester on the air, it has had a reach of more than 120 million people.

ZINKIA, a Spanish company specializing in the production and management of entertainment brands and creator of the ‘Pocoyó’ series, announced the appointment of Eduardo Garagorri as Commercial and Business Development Director. In his new role, Garagorri will lead the company’s strategic plan, as well as the definition of its commercial policy and positioning. In addition, he will be responsible for searching for opportunities to develop the licensing area and distribution and marketing agreements for the entertainment brands owned by the production company. As explained by Zinkia, the incorporation of Eduardo Garagorri responds to the objective of promoting the company’s expansion plan, both nationally and internationally. The production company has recently added three new children’s properties to its brand catalog (‘Bumpy: The Bear’, ‘Ghost Bros’ and ‘Bugsted’) after acquiring the Canarian animation studio Koyi Talent.

Eduardo Garagorri,

Commercial and Business Development Director of Zinkia

9 million

paying subscribers were reached by Peacock, based on Comcast’s fourth quarter 2021 results.

ttv Magazine

13% is how much Brazilian pay 58

TV decreased in 2021, according to numbers released by Anatel, which show that the sector closed the year with 16.04 million subscribers.

ARGENTINA

MEDIAPRO CREATES A NEW BUSINESS UNIT MEDIAPRO ARGENTINA ANNOUNCED the launch of a new business unit that will develop projects related to innovation and the latest technologies applied to the creation and distribution of content. This new area, which is part of the Group’s Innovation and New International Business Area, was born “to take advantage of the opportunities that are being generated at a time of profound changes in the way content is consumed, with the appearance of new platforms and advances technological such as immersive experiences, the blockchain or metaverses”. As detailed, the new area will be led by Brenda Sabina Berstein, specialized in cultural management and development of new projects that combine the world of the arts with the new businesses of the entrepreneurial ecosystem.