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THE MAGAZINE OF INTERNATIONAL MEDIA • MARCH 2014
www.worldscreen.com
DISCOP Istanbul & Pre-MIPTV Edition
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contents
MARCH 2014/DISCOP ISTANBUL & PRE-MIPTV EDITION
DEPARTMENTS WORLD VIEW
Publisher Ricardo Seguin Guise
10
Editor Anna Carugati
A note from the editor. UPFRONTS
12
Executive Editor Mansha Daswani
New shows on the market. MARKET TRENDS
Managing Editor Kristin Brzoznowski
22
A+E Networks’ Sean Cohan. SPOTLIGHT
Contributing Editor Elizabeth Guider
24
Special Projects Editors Jay Stuart Bob Jenkins
ITV Studios’ Mike Beale. WORLD’S END
34
In the stars.
12
32
Associate Editor Joanna Padovano Editor, Spanish-Language Publications Elizabeth Bowen-Tombari
special report
Associate Editor, Spanish-Language Publications Jessica Rodríguez
26 ALWAYS DRAMA In their quest to attract loyal viewers, broadcasters around the world continue to seek out compelling daily dramas. —Joanna Padovano
Assistant Editor Joel Marino Online Director Simon Weaver Production & Design Director Victor L. Cuevas
one-on-one
32 ENDEMOL’S TIM HINCKS
Art Director Phyllis Q. Busell
The president of Endemol Group talks about cultivating creativity, branching out into scripted production and investing in digital content and networks. —Anna Carugati
Sales & Marketing Director Cesar Suero Sales & Marketing Assistant Faustyna Hariasz Business Affairs Manager Terry Acunzo Senior Editor Kate Norris Copy Editor Maddy Kloss
Ricardo Seguin Guise President
WORLD SCREEN is published nine times per year: January, March, April, May, June/July, September, October, November and December. Annual subscription price: Inside the U.S.: $70.00 Outside the U.S.: $120.00 Send checks, company information and address corrections to: WSN INC. 1123 Broadway, Suite 1207 New York, NY 10010, U.S.A. For a free subscription to our newsletters, please visit www.worldscreen.com.
Anna Carugati Executive VP & Group Editorial Director Mansha Daswani Associate Publisher & VP of Strategic Development
26 THE LEADING ONLINE DAILY NEWS SERVICE FOR THE INTERNATIONAL MEDIA INDUSTRY. For a free subscription, visit www.worldscreen.com/pages/newsletter
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world milestones view BY ANNA CARUGATI
Here’s What I’m Hearing I am often asked by people in our industry, “So, Anna, what do you hear? What’s going on?” While it’s extremely flattering to think that some people believe I have a direct daily hotline to media executives around the world, well, that’s not quite the case. I do get to speak to lots and lots of extremely interesting people, but I am always reluctant to share anything that doesn’t get printed in our magazine or posted online. The reason for my reticence is that I don’t want to share something if I can’t see how it fits into the bigger picture. Well, the fact is that “the bigger picture” keeps changing—more elements are constantly being added, and it takes time for them to come into focus and blend in with the rest. The media business today is like a puzzle of dozens of moving parts, and I can’t always envision how they will all fall into place. I’m not the only one, I’ve discovered, who is trying to figure out how they will all fit together. And that may be precisely the point: it won’t all fall into place; there will be constant disruption—that is, as the catchphrase goes, the new normal. So, if I’m not the only one trying to figure it all out, I will THE MEDIA BUSINESS share some of what I’ve been hearing. It doesn’t all fit together, TODAY IS LIKE A but here goes: Netflix is expanding further into Europe, and one the top buyers from the PUZZLE OF DOZENS OF of region told me he is worried that if Netflix starts buying MOVING PARTS. worldwide rights to TV series, they will damage local broadcasters who won’t have access to product. He fears Netflix will go to a studio and say, “Give me worldwide rights to this hot series or we won’t do any more business with you,” and that could leave buyers high and dry. I have heard that cord cutting is not an international trend; rather, the pay-TV business is very healthy. As for demand for unbundling cable packages, some operators in Scandinavia are experimenting with the concept of offering channels à la carte. Say an operator has 40 channels. Instead of forcing subscribers to take all 40, they are making 20 mandatory and from the remaining 20, customers can select what they want. I wonder if this idea will catch on. Twitter reported its first-ever quarterly earnings, and the news is not all good.While revenues were up, its stock dropped nearly 25 percent because the number of its monthly average users has dropped. And reportedly, only 10 World Screen 3/14
10 percent of Facebook users are updating their profiles every day. Is social media losing steam? Probably not. I have also heard that Arrested Development is coming back.A cast member told me that more is in the works, he just didn’t know the details yet.This year, believe it or not, marks ten years since the series finale of Friends. Where does time go? I caught up with David Crane, one of the creators of the megahit comedy, who together with Jeffrey Klarik is now writing Episodes, which stars Friends alum Matt LeBlanc. Crane told me that the heart of good comedy is honesty.“Comedy has to be true. If it’s not true, you are just stacking jokes up. I would rather sacrifice a good joke for an honest moment.” Even with all the amazing dramas on the air, comedy is making a comeback. We’ve seen huge audience numbers, first with Modern Family and then with The Big Bang Theory.And of course, some of the best comedy comes from the BBC. ITV has gotten back into the comedy game. Peter Fincham, ITV’s director of television, told me the channel is committed to it, even though it’s “the highest-risk programming genre.” I guess the trend here is that scripted programming, whether comedy or drama, is doing very well. Not that unscripted isn’t, as Endemol’s Tim Hincks tells us in the One-On-One interview in this issue.A+E Networks’ Sean Cohan also talks about the popularity of unscripted formats in his interview.We also hear from Mike Beale, the director of international formats at ITV Studios. One of the best quotes I’ve heard in a long time came from Luis Balaguer, co-founder of Latin WE, during a panel discussion I moderated at NATPE with Drew Buckley of Electus. On the subject of the Hispanic community, Balaguer said people have been saying that Latinos are a melting pot, but he sees Latinos as a big bowl of salad, with lettuce, olives, tomatoes, all together making an interesting and delicious mix! Latin culture’s big contribution to the international television market has been the telenovela, a mainstay in prime time in Latin America and in the U.S. Hispanic market that has also travelled worldwide. Novelas’ enduring popularity has caught on in other countries as well, case in point the huge popularity of Turkish dramas, and we look at the daily drama phenomenon in this issue. Gotta go now, I have another interview, but will share more of what I hear in the next column!
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upfronts
A+E Networks • Don’t Trust Andrew Mayne • Big History • Flowers in the Attic Illusions for the sake of retaliation are the premise of Don’t Trust Andrew Mayne, which A+E Networks is taking to DISCOP Istanbul. “Andrew Mayne is a charming, underhandedly likeable troublemaker who also happens to be a brilliant illusionist,” says Marielle Zuccarelli, the company’s managing director of international content distribution.“[He] uses his comically antagonistic sense of humor and creates an arsenal of illusions to help someone exact revenge on a friend or family member who has done them wrong.” Another highlight from A+E is Big History, which uses science to examine past events. The show is produced in association with Bill Gates’ Big History Project. There is also Flowers in the Attic, the dark story of four siblings who are forced to live in an attic by their evil grandmother.
“We are committed to increasing our presence in the Middle East and North Africa.” —Marielle Zuccarelli Don’t Trust Andrew Mayne
ATV • The Noble of Today • Fugitive • Peace Street
In its fifth outing to DISCOP Istanbul, ATV is touting new Turkish dramas for buyers. “Our dramas are more realistic when compared to other cultures’ products, and everybody can enjoy them,” says Ziyad Varol, the head of sales at ATV. “Beautiful settings, strong casting and great story lines attract the audience.” For this market, ATV is highlighting Fugitive, which has achieved high ratings in Turkey. “The strong cast and thrilling action scenes, and the fact that the main actor (Gürkan Uygun) was already known by the audience from ATV’s Valley of the Wolves, had a great impact on this success story,” says Varol. There’s also The Noble of Today and Peace Street, which have been particularly popular with female viewers, according to Varol.
“ATV’s drama series have very high quality and this is an inevitable consequence of the fierce competition of the Turkish local market.” The Noble of Today
—Ziyad Varol
Azteca • Destiny • The Kings • La Academia Kids Comarex has attended DISCOP Istanbul since the event began in 2010. This year, the company will present original Azteca productions whose classic love stories it believes will appeal to the region. In Destiny, a woman promises to find her birth mother, not knowing that her rival for the love of a man is the person she’s been looking for. Another highlight is The Kings, the story of a family used to defending what is theirs from the bottom of their hearts. Comarex will also introduce the reality show format La Academia Kids. “Each story is very well written and has been brilliantly produced,” says Martha Contreras, the director of sales for Asia at Comarex. “The success and high quality of each Azteca production speaks for itself in terms of story line and production.”
“Azteca is renowned for its compelling and impressive portfolio of telenovelas, which have been seen all over the world.” —Martha Contreras Destiny 12 World Screen 3/14
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Caracol Television • The Voice of Freedom, Helenita Vargas • The Dark Widow • The Sweetest Love Mixing love, drama, action and music, The Voice of Freedom, Helenita Vargas is a female-oriented series about a woman who fought for her freedom in a chauvinistic period in history. The Voice of Freedom is one of the titles that Caracol Television believes will be a top pick with buyers at DISCOP Istanbul, along with The Dark Widow and The Sweetest Love. The Dark Widow is the true story of the most powerful female drug trafficker in Colombian history. The Sweetest Love is a romantic family telenovela about four wealthy women who find love where they least expect it. “I think these three productions have more than enough quality in terms of production and story line to become successes in this part of the world,” says Berta Orozco, Caracol’s sales executive for Western Europe and Africa.
“DISCOP Istanbul is a very important market for us; we have the chance to meet our clients from the Middle East, Eastern Europe and Turkey in person.” The Dark Widow
—Berta Orozco
Cisneros Media Distribution • Blood on the Couch • Sweet Thing • Emerald Heart
The drama series Blood on the Couch (working title) is a major focus for Cisneros Media Distribution at DISCOP Istanbul this year. The thriller is based on a true story, which Cesar Diaz, the company’s VP, says is “sure to captivate audiences and ratings alike.” Diaz adds, “We are confident that its story line— incorporating elements of suspense, thriller and action—will be well received and appeal to broadcasters and audiences in the market.” The company is also presenting two new telenovelas. Sweet Thing comes from the Miami-based Venevision Productions and is currently wrapping up production. Emerald Heart is also produced by Venevision Productions. “It is a classic novela that follows a proven, successful formula that captivates audiences the world over,” says Diaz.
“We are confident that this year’s market will bring in interested buyers and new business opportunities.” —Cesar Diaz Emerald Heart
GMA Worldwide • My Husband’s Lover • Deception • Anna Karenina This year will be GMA Worldwide’s second time attending DISCOP in Istanbul, “and just like our previous experience, we expect this one to be exceedingly fruitful as well,” says Roxanne Barcelona, the company’s VP. At the market, GMA Worldwide is presenting some new drama titles. My Husband’s Lover tells the story of a married couple, the husband in which is having an affair with a gay lover. Deception is about two women, one attractive and one not, and their children, who are switched at birth. Anna Karenina follows a family’s search for their adopted daughter who went missing. “GMA’s wide assortment of titles impart ideas, characters and settings that reflect real life, which is why our diverse portfolio of clients are able to enjoy and identify with our shows,” says Barcelona.
“GMA titles appeal to DISCOP buyers, broadcasters and audiences because of the growing appreciation for quality Filipino programming.” Anna Karenina 14 World Screen 3/14
—Roxanne Barcelona
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ITV-Inter Medya • Black Rose • In Between • 20 Minutes The drama Black Rose, which is being presented by ITVInter Medya, takes place in Halfeti Sanliurfa and is the story of two brothers at war. In Between, another ITV-Inter Medya drama highlight for DISCOP Istanbul, is based on the novel Fatih-Harbiye from Peyami Safa, depicting life and love with all its contradictions and conflicts. It tells the story of a young girl from the suburbs who is stuck between the ideals of living a conventional life or a modern one. ITV-Inter Medya is also going to be talking to buyers about the crime drama 20 Minutes. The plot centers on Melek and Ali, who love each other to death and risk their lives for each other. Viewers will get to see how their perfect life changes, all in just 20 minutes.
In Between
20 Minutes
ITV Studios Global Entertainment • Game of Chefs • I’m a Celebrity…Get Me Out of Here! • Stepping Out
From The Lab, ITV Studios’ joint venture with Israeli broadcaster Reshet, comes Game of Chefs. The format is “a fresh take on the ever-popular prime-time cooking competition,” says Jennifer Ebell, the VP for Southeast EMEA at ITV Studios Global Entertainment (ITVS GE). The company is also highlighting for DISCOP Istanbul I’m a Celebrity…Get Me Out of Here!, which is available as a format. The show is still going strong in the U.K., where it has been on for 13 seasons, and has been successful in a host of other countries as well. Stepping Out is another highlight from ITVS GE, this one featuring a dance competition with celebrities and their reallife partners. “Stepping Out is like the TV version of a tabloid magazine,” says Ebell.
“Game of Chefs has mentors, amateur chefs, food, passion and, of course, drama.” Game of Chefs
—Jennifer Ebell
Kanal D • Secrets • Love • Waiting for the Sun The three titles that Kanal D is highlighting for DISCOP Istanbul are all dramas, but each features a unique twist.“Besides all the universal elements of a drama, Secrets has a bit of suspense and thriller as well, which makes it really unique,” says Amaç Us, sales and acquisitions specialist at Kanal D. Waiting for the Sun is a drama series that involves the stories of high school students and their parents. “Even though at first it sounds like a teen drama, these high school kids and their parents deal with real-life events that make this series appealing to all audience groups,” says Us. “Love has all the elements that make Turkish series very popular around the world: luxury, great-looking cast, beautiful countrysides, love triangles, conspiracies, betrayals and, most importantly, drama.”
“Audiences abroad find our stories, locations and casts appealing and intimate.” —Amaç Us Love 16 World Screen 3/14
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Keshet International • Dear Neighbors, Help Our Daughter Find Love • She’s with Me • Sure or Insure The docu-comedy Dear Neighbors, Help Our Daughter Find Love watches as a small-town couple asks their community to help arrange dates for their daughter. This title is being presented by Keshet International at DISCOP Istanbul, as is She’s with Me, a romantic comedy that centers on a baker who falls for an “it” girl. “It’s a story of culture clashes, family values, celebrity, love and humor, making it a winning formula for international broadcasters looking to create a successful primetime scripted series,” says Nelly Weber-Feld, the sales director for Keshet International. Also on the company’s slate is Sure or Insure, a general-knowledge show that allows families to compete for a cash prize. “They must be honest about each other’s weaknesses if they are to win the game,” says Weber-Feld.
“These three formats have themes which resonate internationally, but particularly so in the MENA region.” —Nelly Weber-Feld Sure or Insure
TANDEM Communications • Sex, Lies and Handwriting • Crossing Lines • Pirate’s Passage
Co-produced by Lionsgate and TANDEM Communications, Sex, Lies and Handwriting (working title) is about a quirky forensic handwriting expert.“The series is not only procedural crime, but also has a lighter, wittier side,” says Rola Bauer, the president of TANDEM.The company is highlighting that title in the runup to MIPTV, along with the first two seasons of Crossing Lines, another crime show, and Pirate’s Passage, a book-based animated movie.“Pirate’s Passage is one of those unique family films that can easily appeal to broadcasters all around the world, not only because of its strong story with global attraction, but also because of Donald Sutherland’s complete involvement in the project, providing the central character’s voice as well as his star power across a broad demographic,” says Bauer.
“Procedural series of high quality are always in demand around the world.” —Rola Bauer Crossing Lines
Televisa Internacional • What Life Took from Me • Loving You is All I Want • Parodying A love triangle takes center stage in What Life Took from Me (Lo Que la Vida Me Robó), a new telenovela from Televisa Internacional that is being promoted at this year’s DISCOP Istanbul. Also on offer from the company is Loving You is All I Want (Quiero Amarte), another new novela, this one about two lovers who must overcome many obstacles to be together. Televisa is also bringing a variety of formats to the market, including Parodying, Everybody and Their Brother, Sing It, Sell It and Los González. “This selection is the newest [in a] groundbreaking line of content especially designed for regions that crave more options for both traditional dramas and variety programming,” says Mario Castro, the company’s director for Asia and Africa.
“These programs aim to please all audiences and promote positive emotions because we create content for the heart.” —Mario Castro Parodying 18 World Screen 3/14
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TRT-Turkish Radio & Television Corporation • The Golden Apple • A Tale of Yusuf • The Poor Boy and the Rich Girl As the public broadcaster of Turkey is celebrating its 50th anniversary, TRT - Turkish Radio & Television Corporation is gearing up for a busy market at DISCOP Istanbul. “In its first years, Istanbul was chosen as a base for targeting the channels, distributors and content suppliers within the MENA region, the Balkans, East Europe and Middle Asia,” says Mehmet Demirhan, TRT’s acquisitions, sales and co-production coordinator. “But since then, as Turkish drama series successfully gained the interest of the rest of the world as well, we now also see involvement from the Far East, Western Europe and the Americas.” At the market, the company is presenting the dramas The Golden Apple, A Tale of Yusuf and The Poor Boy and the Rich Girl, along with a host of children’s programs, including Mint and Lemon and Pirdino.
“We have three new and quite ambitious drama series and eight exciting children’s programs for those looking for new content.” —Mehmet Demirhan The Poor Boy and the Rich Girl
TVE • Isabel • Together • Mom Detective
TVE is heading to DISCOP Istanbul with plans to focus on its channel sales and program-distribution businesses. Program highlights include Isabel, which focuses on the life of Spain’s Queen Isabella the Catholic. “Isabella and Ferdinand begin their reign, but they have to overcome a series of difficulties and embark on a war,” says Fernando Hernández Berzal, the company’s international sales executive. The historical series has been successful in more than 20 countries around the globe.TVE is also showcasing Together, a public-service format that “encourages solidarity within society,” according to Hernández Berzal. Then there is Mom Detective, which follows the life of Laura Llebrel, who uses “her weapons, intuition and instinct to help her dismantle the most perfect alibi.”
“We believe DISCOP is becoming one of the most important markets in the region.” —Fernando Hernández Berzal Isabel
HUNDREDS OF SCREENING ROOMS THOUSANDS OF VIDEO CLIPS ONE DESTINATION
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market trends
A+E Networks’ Sean Cohan By Anna Carugati
A+E Networks is known for creating brands, whether successful shows like Pawn Stars or American Pickers or entire channels. HISTORY and A&E are among the toprated cable networks in the U.S., and along with other services, are distributed worldwide. As executive VP of international, Sean Cohan is responsible for the sale of finished programs and formats, from a library of some 10,000 hours of programming, for digital media distribution and for the company’s 54 branded channels around the world.
WS: Tell us about your format business. COHAN: It’s been a really exciting time for us around our
content and specifically the ability to format our content. Over the last six or seven years, our biggest franchises have sold and rated well abroad as finished tapes. But, for the last two or three years, we’ve seen that these are very marketable and universal formats.When you look at Pawn Stars, while the multiple-generation family that manages the Las Vegas pawn shop makes the show hum, the objects and the construct, the format, if you will, are significant contributing factors to the series’ success. I’m happy to say that we’ve had great traction with our first format for the series, Pawn Stars UK. Season one is the highest-performing local commission for HISTORY in the U.K. Another part of the success is that the show sold on to 50-plus markets and the ratings are consistent with the U.S. version of Pawn Stars in a lot of those markets. Take another example of a franchise with big characters that we thought had legs, American Pickers. Foxtel, our partner in Australia, commissioned Aussie Pickers, and season one was the highest-rated docureality series in the history of Foxtel, which was really gratifying.They are now in production on season two. There is also Shipping Wars, which we recently piloted on Channel 4 in the U.K., and with little or no marketing it rated just above slot average. We’re now in discussions to go to series. And there have been format efforts around shows that weren’t even birthed in the U.S. We have a series called Miracles Decoded, which came from HISTORY 22 World Screen 3/14
Latin America and is currently in production for a Canadian version. I’m hopeful to have additional local versions of more of our franchises. But for our local channels and for our buyers, there is a really great story developing here.
WS: You have had some recent channel launches. COHAN: Yes. Local markets are very competitive. It’s not
only about a crowded linear landscape, but nonlinear, SVOD—viewers have a ton of different outlets where they can spend their time. So, with that as a foundation for our thinking, it’s been really exciting to see channels like Lifetime UK, which launched last November. We’ve got a little more than two months of data, but year over year, against what was in that slot before, we’ve just about doubled the ratings. We’ve done well with dramas like Witches of East End and The Client List. Our movies have also performed well. Also in the U.K., H2 has been a big story for us. It launched last May, and year over year in prime time, it’s up about 70 percent. We launched CI [Crime & Investigation Network] in Italy in the middle of December and we’re very encouraged so far with its performance. In Asia, H2 and Lifetime launched last summer, very soon after we had closed the transaction to buy out our 50 percent joint-venture partner Astro to assume 100 percent control of that business. Lifetime, in Malaysia and Singapore, is amongst the top entertainment channels. HISTORY has been experiencing tremendous growth in Latin America, paralleling the growth that we see in the U.S. We did 25 percent growth last year on HISTORY in Latin America. We’ve been able to roll out HISTORY pretty much everywhere in the world. From there, brands like A&E, Lifetime, H2, and the newest brand in the stable, FYI, become greater priorities. We’ve had A&E in Latin America for the last 15 or so years.We launched in Australia a couple years ago. In November, we rebranded a channel in France with Canal+ to Planete+ A&E, and another to Planete+ CI. We have always talked about being a strong bouquet of three to five channels in every market that we’re allowed to be [in] from a regulatory standpoint. And, over the last several years, we’ve gone about completing the footprint in territories where we had one or two channels to hopefully getting to three to five. In the last year, we launched HISTORY in Russia. We’ve recently launched in the Ukraine and we expect a near-term announcement in other CIS territories. So, it’s been very gratifying to build our footprint with three to five strong channels that resonate with our trade partners, and ultimately with viewers. Because for us, it’s not about necessarily more channels, it’s about bigger, better, scale—having a handful of compelling channels in each market, and that’s how we define scale.
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in the spotlight news
ITVStudios’ Mike Beale Come Dine with Me and I’m a Celebrity...Get Me Out of Here! are just two of a host of well-established unscripted brands from ITV Studios. As director of international formats at the production arm of the U.K.’s leading commercial broadcaster, Beale is charged with bringing these and many other format brands to channels across the globe. A veteran of the format business, Beale shares with World Screen his strategy at ITV Studios for making the most out of legacy titles and bringing the best new concepts to the global market.
By Mansha Daswani
WS: What are some of the new formats you’ll be showcasing in 2014? BEALE: Our next big show has been developed by The Lab, our joint venture with Reshet in Israel. Game of Chefs is a brand-new competitive cookery format, which follows three distinguished chefs as they compete to find the country’s finest cooking talent. The pressure is on the chefs to ensure the amateurs are up to scratch—their reputations are on the line as much as the competitors. Game of Chefs is one of our key formats for MIPTV; we think the show will appeal to broadcasters worldwide looking for a fresh take on the cookery genre. WS: You’ve got such a large catalogue. As you’re targeting any given market, how do you determine what you’re going to focus on? BEALE: Of course we always have big new titles, but our strategy is also to push the tried and tested—the formats that have been proven to work, that we know how to make globally—and help clients to adapt them. We’re really keen to get Come Dine with Me into Asia— apart from India we haven’t yet got a footprint [for the format in the region]. Hell’s Kitchen is also a key format—it has been on in 15 territories, it’s hugely successful in the U.S., and it’s recently gone into production in Germany and Italy. We have a lot of content coming out of each market, so we try to strike a balance between new titles and the evergreens. We can shout about those shows. The next one we’ll be shouting about really loudly will be I’m a Celebrity...Get Me Out of Here!, which has been cracking the ratings in the U.K. It’s on its 13th series, and in the last three years it’s grown every year. 24 World Screen 3/14
WS: Why do you think that is? BEALE: It genuinely offers something different on
screen.We see a lot of talent, a lot of quiz, a lot of games, but that sort of reality show, we don’t see a lot of here. We don’t have Survivor or Amazing Race [in the U.K.], so I think it is something fresh. It’s also an event. Three weeks in prime time, and it’s a soap opera—what are these crazy stars going to do next in the jungle? WS: How do you balance the ITV Studios output with everything you’re getting from your production companies and the third-party acquisitions? BEALE: Creativity leads, content leads. We have an interesting relationship with our network, in that there are no guarantees. We have to be as good as the next company to get our shows on. That generates a hugely competitive market, but also makes us pitch and produce to our best level. That’s the key. What’s the best content? What’s the most creative idea? WS: What role does scripted play in your overall strategy? BEALE: Scripted comedies, those half hours, are
important to us—that is a clear strategy. Our acquisition of Big Talk last year is part of that strategy. We’re going through the library and seeing what’s there and what will travel, even if they’re not on air anymore. For example, Cold Feet travelled to a few territories—that’s a very global situation of six thirtysomethings dealing with changes in their lives.We’re looking at some of our older titles now as well, like Randall and Hopkirk (Deceased), a funny, unique twist on the cop drama. WS: As you’ve moved through the format business over
the last decade, what are the biggest adjustments you’ve had to make in how you do business? BEALE: 12 Yard Productions was a very small business. When I was at BBC Worldwide, the format business was quite small. What I’ve had to do personally is really start to learn these emerging markets that I didn’t know. Also, ITV Studios has matured in the two and a half years since I’ve been here. It’s more focused; it gets behind titles and proves they are the right ones for the buyers. I’ve been doing the international business for nearly 15 years. It has definitely changed and the competition has increased, which has made us up our game, it makes everyone up their game. You can come up with something original but you’ve got to be able to tell the story properly and you’ve got to show belief that the show can work in other territories.
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ALWAYS In their quest to attract loyal viewers, broadcasters around the world continue to seek out
ITV-Inter Medya’s Forget Me Not.
S
ince the earliest days of television, back in the 1950s, serialized daily dramas have been captivating audiences.Whether it’s the Latin American telenovela, which has a beginning, middle and end, or the open-ended American soap opera, which remains on the air as long as the ratings sustain it, or the more recent crop of daily or weekly Turkish dramas, they all have common characteristics. They center
on relationships, love and passion, are peppered with intrigue, frequently present contemporary issues and, in order to be successful, are addictive— they capture viewers and keep them coming back for more and more. These different types of daily drama series have been finding success on channels around the globe. The benefits of a show that can run multiple times a week— for both distributors and broadcasters—are plentiful.
“The main advantage for broadcasters and sponsors is that once viewers are hooked with the story, they will remain faithful to the network and TV slot,” says Martha Contreras, who handles sales for Asia at Comarex, which represents the catalogue of the Mexican broadcaster Azteca. “Broadcasters will have a captive audience for several months, which, in terms of cost, is always a good option. Sponsorship is
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also an advantage, especially for women-oriented programming.” If successful enough, a daily drama can boost the ratings of an entire network. “We have launched series on channels with just an average share of 2 to 3 percent, and after six months with a strong daily series, the average rating of the channel may be up [to] 10 to 15 percent,” says Fredrik af Malmborg, the managing director of Eccho Rights. The stronger the ratings, the more adver-
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DRAMA
compelling daily dramas, which are finding slots in new markets as well. By Joanna Padovano tisers will want to become attached to a program.And since daily dramas yield higher episode counts than their weekly counterparts, there is more commercial time available to capitalize on. “We are always on the lookout for long-running series,” says Marlene Fritz, the head of TV sales for Global Screen. “Series that perform well in their country of origin and then open with good ratings abroad are often a guarantee for reliable, long-running success. Long-term viewer magnets are cash cows—for the broadcaster, for the producers and, of course, for their [distribution] companies.” LONG-TERM VIEW
Long-running shows also provide more of an opportunity to establish an online presence. “These are brands that can be built up and fan bases created,” adds Fritz. “Ancillary marketing and merchandising are just a few of the vital topics here.” “In a more cluttered media landscape, it is a bigger investment and risk to get viewers, and once you get them, you want to keep them,” says Eccho Rights’ af Malmborg. “A strong successful series can be a real game-changer for a channel. If it works, the channel has a safe, powerful tent pole.” And just because daily dramas have more episodes doesn’t mean that the production quality suffers. “Buyers tend to think that high volume automatically means low quality, but that is not necessarily true,” adds af Malmborg. “Many series from ‘new countries’ are very well produced even though they are long-runners.” For a long time now, telenovelas from Latin America have been dominating the daily drama market.
While the Spanish-language novelas are still quite popular around the world, they are now facing competition from Turkey, which seems to have mastered the art of making compelling dramatic television. “The interest in Turkish dramas is steadily increasing,” says Ziyad Varol, the head of sales for ATV. “Turkish dramas are known for high-quality productions, and they have a proven success record both locally and internationally.” Eccho Rights’ af Malmborg adds that a big part of the global appeal for Turkish dramas is their high production values. “It may not be fair to compare a Turkish drama with a Latin American telenovela, as the budget may be two to three times higher in Turkey,” he says. “Turkish drama series are really strong as they run weekly in Turkey, but in 100- to 110-minute [episodes]. That is a perfect ground for a long-running daily series that runs 45 minutes.” Top dramas sold by Eccho Rights include the hit Ay Yapim-produced series Ezel, The End and Karadayi.These shows normally air weekly in Turkey but are often edited as daily versions for broadcast in other countries. ITV-Inter Medya, which boasts such daily dramas as Forgive Me and Forget Me Not, can also speak to the rising prevalence of Turkish soaps. “There has been a boom in demand for Turkish content worldwide for the last couple of years,” says Can Okan, the company’s president and CEO. In addition to high-quality production, Okan believes that Turkish dramas have become so successful because they contain subject matter that is relevant to audiences in many
different countries. “Our content reflects modern Turkish culture, which is a blend of Eastern and Western cultures, and viewers all around the world can find a part of themselves in Turkish content,” he says. TURKISH TALENTS
As the national public broadcaster of Turkey, TRT - Turkish Radio & Television Corporation has also been successfully exporting its dramas. The pubcaster is celebrating its 50th
anniversary this year, and has a number of new titles to offer the market. These include The Golden Apple, The Tale of Yusuf and The Poor Boy and the Rich Girl. Although there has certainly been a rise in demand for Turkish soaps, Latin American telenovelas maintain a powerful presence in the daily drama market. “With great story lines—the drama, the romance—and with inspirational and aspirational ingredients
Kanal D launched its drama Secrets in Turkey last fall and is now offering it to the worldwide market.
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be tuning in to novelas.“I think that a limited number of male viewers are caught in the spiral of watching telenovelas because they come from a household where it was a family tradition of sorts, or they just have no choice but to accompany their female companions,” who, he says, typically dominate the remote control. SIZE MATTERS
The sales arm of the Turkish public broadcaster TRT is bringing to DISCOP Istanbul new titles such as the espionage drama The Golden Apple.
also a part of the story arcs, telenovelas will continue in popularity,” says Comarex’s Contreras. Among the company’s most popular telenovelas are Daniela, The Gardener’s Daughter, Emperatriz, Prisoner of Love and The Force of Destiny. There is also the scripted anthology series WhatWomen Keep in Silence. Another heavy hitter in the telenovela market is Caracol Television. “As for our most successful and recent telenovelas, we can highlight The Secretary, which was acquired by FOX International Channels Middle East and adapted by Televisa,” says Berta Orozco, Caracol’s sales executive for Western Europe and Africa. “Also, Love and Fear aired on FOX [in the Middle East] as well as on FARSI1, one of the most important channels for Persian speakers.” NOVELA KNOW-HOW
Then there is Cisneros Media Distribution, the sales arm of Cisneros Media that was recently rebranded from Venevision International, which represents such successful telenovelas as Rosario and Passions of the Heart. “Both of these were produced by Venevision Productions, our production house in Miami, and there’s no doubt that the novelas done by this studio carry a proven track record of high-quality dramas with appealing casts and, most importantly, solid stories,” says Cesar Diaz, the VP of Cisneros Media Distribution. There is no question that love is one of the most powerful human emotions, so it is no surprise that passion-filled plotlines are at the
heart of most successful daily dramas. “For us, the ones that work the best are classical romantic stories, the rags-to-riches, the impossible love,” says Diaz.“These are the stories that captivate the most audiences and do quite well in non-Spanishspeaking markets.” “Romance and betrayal are subjects that perform especially well,” says Global Screen’s Fritz. “Unfulfilled love, heartbreak, jealousy and intrigue are a currency that is understood and accepted everywhere in the world.” “Traditional, romantic and family-oriented stories always work the best,” adds Comarex’s Contreras. “The stories are written in such a way that millions of people can identify with them.” Okan of ITV-Inter Medya observes that aside from romance, stories centered on crime have been increasingly piquing the interest of viewers. It is a misconception that all soaps are intended exclusively for female audiences—although there is certainly a strong pull with this demographic. “Telenovelas are usually 100 percent female-oriented,” says Comarex’s Contreras. “However, we have found that in many territories—such as in Latin America, the U.S., even in Asia and the Middle East—telenovelas have become more familyoriented and capture 50 percent of the male audience.” “One of the strengths of Caracol Television’s content is that it attracts women without excluding men,” says Orozco.
According to ITV-Inter Medya’s Okan, daily dramas can capture male attention by having interesting stories with “mannish elements, like beautiful women.” Ezgi Ural, a sales executive for Kanal D, concurs. “The audience is mainly female, but we can still attract male audiences by adding maletargeted elements to our series.As an example, Kuzey Güney was watched by both male and female audiences,” Ural says, noting that male viewers were likely drawn to the show’s testosterone-fueled fight scenes. Cisneros Media’s Diaz suggests some other reasons why men might
There are many angles to consider when a broadcaster is thinking about committing to a show. For obvious reasons, volume is appealing. But a high episode order is not the only thing to take into consideration. “There are some criteria for the broadcasters and for sure episode number is one of them,” says ATV’s Varol. “However, it is not the only and most important factor in their decision. Firstly, broadcasters study the drama’s situation in the home market. The ratings play a key role here. Secondly, if a title is sold into many countries, this proves its international success. Thirdly, the quality of the cast impacts their decision. So, if these variables are not positive for the buyers, their acquisition decision will be risky.” Turkey’s ATV, which represents titles such as Fugitive, The Noble of Today, Sila, Unforgettable and Peace Street, has opted to concentrate on
Turkey’s ATV sold the drama Sila into more than 35 countries, and it had notable success in the Balkan region.
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A number of Latin American novelas have found loyal audiences across Eastern Europe, the Middle East, Africa and Asia, among them, from top, Azteca’s What Women Keep in Silence, Caracol’s The Secretary and Cisneros Media’s A Woman’s Sacrifice.
weekly dramas rather than those that air every day. Weeklies are also the primary focus for Kanal D, which has such scripted series as Time Goes By, Forbidden Love, Fatmagül, Kuzey Güney and Secrets.“All of our dramas are aired on a weekly basis in Turkey,” says Ural, who adds that certain titles are sold for daily use in other territories. “Some countries’ [programming models] are formed with longrunning daily dramas of 45 minutes,” adds Ural. “They’d prefer to [work] with us since we have longrunning episodes that are 90-minutes long with a high volume. So by purchasing our titles, they directly double the number [of episodes they acquire].” ITV-Inter Medya’s Okan says that when it comes to deciding between a 100-plus-episode series and shorter runs, the best choice ultimately depends on such factors as channel strategies, time slots and territory characteristics. According to Eccho Rights’ af Malmborg, networks in many parts of the world seem to be satisfied with long-running series. “The exception is Western Europe and North Africa, where broadcasters still produce short miniseries of just a few episodes,” he says. “I find this rather strange—why [exert] all the effort of launching a series and reach out to the audience if you are going to stop as soon as you have started?” The popularity of daily dramas has been picking up steam around the globe, and new markets are displaying an appetite for this type of dramatic programming. For example, outside of Latin America, Azteca’s telenovelas have been thriving in the U.S., Africa, Spain and Asia. “The market for our telenovelas has been very good and [they are] extremely well received internationally,” says Contreras. “Where we are seeing good business now is in the Middle East.” Caracol has also been enjoying success with its novelas in this part of the world. “I believe that Middle East territories are used to telenovelas and Latin American productions,” says Orozco. “In fact, it is quite an important market in terms of sales for Caracol TV because we sell productions in Arabic, Farsi and Dari languages, and our clients are very
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pleased with the ratings.” Orozco adds that Turkey has been adopting adaptations of telenovelas from Latin America. “The telenovela as a genre has already proven itself in many different ways as a reliable form of scripted drama in all regions of the world,” says Cisneros Media’s Diaz. “It’s been seen through decades in all Spanish-speaking territories, and we have sold these dramatic series from Korea down to Indonesia and from China across to South Africa.Today, taking Latin America out of the equation, Africa in particular is a region that is enjoying a telenovela boom.” “Turkish drama does very well in the Middle East and the Balkans,” says Eccho Rights’ af Malmborg. “We see terrific growth now in Ukraine and Russia. We have recently launched the second Turkish drama in Sweden with a good result. I think the next growth will be in countries like Italy, France and Spain.” GETTING TERRITORIAL
ITV-Inter Medya has seen robust sales for dailies in the MENA region as well as in Eastern Europe and Central Asia. “Our new markets for this genre are Latin America, Southeast Asian territories and CIS countries,” says Okan. For Global Screen’s daily dramas and telenovelas, Europe has been the strongest market. “There is reliably high interest from territories like Italy, France, Belgium, Scandinavia and Eastern European countries,” says Fritz. “Storm of Love does extremely well in Belgium, the Baltics and Czech Republic. In Italy, Storm of Love is one of the most-watched daily soaps. We have also sold ten seasons of What Really Matters to France—a sizable deal comprising 550 episodes. We can then turn around and sell the French-dubbed versions to Francophone Canada, for example, where it got great ratings.We’re now hoping to rep the fresh new makeover of Heart Beats with just as much success internationally.” Given their ability to generate loyal viewership, attract both male and female demographics and boost channel ratings, there’s no doubt that new markets will continue to open up to daily dramas as well.
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or Tim Hincks, the president of the Endemol Group, setting up environments where producers feel comfortable and encouraged to express themselves and to think out of the box is second nature. He began his career as a producer and became creative director of Endemol UK in 2002, was promoted to chief creative officer in 2005 and in 2008 was appointed CEO. In 2012, he became president of Endemol Group and as such oversees the operations in the U.K., where he remains chairman of Endemol UK, and in the U.S., the two key territories for the group. One of the big hits to come out of Endemol UK under Hincks’ direction is The Money Drop, which has sold to more than 50 countries and is an example of a success-
ful multiplatform property, which are so in demand these days. He is also charged with supervising the creation and exploitation of content across the group’s worldwide network of some 90 companies in more than 30 countries. Always on the lookout for creative entrepreneurs that will bring fresh ideas to the group and for new platforms to distribute content on, Hincks has led recent investments: Endemol acquired stakes in the Israeli production company Kuperman and the broadcaster Reshet, and has put an initial investment of nearly €30 million ($41 million) in Endemol Beyond, which encompasses the company’s digital video businesses. Hincks talks to World Screen about cultivating creativity, branching out into scripted production and investing in digital content and networks.
WS: Endemol has made
taking some risk to ensure that we can create local hits for the Israeli market. And that’s the most important thing: to first of all create local hits for Israel, because that is the way Endemol works. Once we’ve got a local hit, there is every chance that it can travel very quickly around the world. That is a really exciting model for us.
TIM HINCKS
Endemol Group
some significant investments in the Israeli market. HINCKS: Initially we took a traditional approach, which is we bought Kuperman Productions to become our producer in the territory. That was our first step. It’s really interesting to take a territory like Israel and say, Maybe we can grow with the experts and grow new properties and brands, which can start small and very quickly become global blockbusters. It was a short jump then to thinking maybe we should do a bigger play in Israel and form a partnership with a platform. It’s an incredibly exciting adventure for us, but what [Endemol’s stake in Reshet] represents is not Endemol getting into the broadcasting business—I wouldn’t see it like that at all. It’s actually about Endemol using its scale and network to get behind its own IP and creativity. That’s the key. And this partnership with Reshet is one way we can do that. We are investing our own money and 32 World Screen 3/14
WS: Does Endemol have a decentralized approach to
nurturing creativity? Do you let each company do what it does best? HINCKS: I grew up as a creative in the TV industry and ran Endemol in the U.K. for some years. I understand that it is absolutely vital that you let each company in Endemol run their own show because they have the contacts in their territory. There are cultural factors in the type of television that works and doesn’t work in each territory, and so the first thing you do is create locally. The only thing you need from creative people is to allow them to follow their ideas and their dreams.You cannot sit with a group of creatives and say,“It would be helpful if you came up with a global blockbuster. Could you get back to me by next Wednesday morning?” It’s just not how you do it. You have to understand that creative people are wired differently.They have all sorts of motivations and complexities, but they all have something to say; and whether it’s in scripted or non-scripted, they want to say it; they want to put it in front of an audience and they want it to be seen. They want to share it. You need to have the right atmosphere that allows them to do that in the fastest possible way and with the highest possible quality.That means, if you are running Endemol in Spain, for instance, we support you in the types of shows you need to create for the Spanish market. The mistake would be to say we make one type of show with one type of centrally controlled platform. So our approach to creativity is very decentralized. However, having said that, the trick is to get the right bal-
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Benidorm.We are extremely proud of our scripted presence and particularly pleased with the way the English-language story has grown. We also have Endemol Worldwide Distribution (EWD), which is fundamental to our studio model in terms of us investing in content that we feel will travel the world. In addition, EWD represents third-party output. They acquire major series like, for instance, BBC One’s forthcoming World War I drama The Ark and the recent P.D. James adaptation Death Comes to Pemberley as well as big U.S. comedy like Hot in Cleveland. WS: The U.S. is a big, complex
Endemol’s Peaky Blinders is returning for a second season in the U.K. on BBC Two and has a U.S. deal with The Weinstein Company.
ance, because you also need to work collectively, particularly now, as the world has become so much more competitive. I chair a meeting every couple of months called the Global Creative Team, which comprises the managing directors from each of the main territories in Endemol. We get together and share our ideas.We look at what’s working and what’s not working.And that is really important: to feel that you are part of a team, that we can support each other. WS: Looking at Endemol as a
whole, there has been more of an emphasis lately on drama. HINCKS: Scripted production is incredibly important to us now, more important than ever. Over the last three or four years, our scripted revenues have increased by about 60 percent and now account for about one quarter of our business. This is something I feel incredibly proud of. Endemol was known in the last decade as a non-scripted producer, and we still want to be the best at non-scripted. But it’s clear that scripted is a very exciting place to
be and we have worked hard to make serious inroads in drama and comedy production. We’ve always made scripted content in a number of our territories— in Holland, Italy, Spain, Latin America. But the key difference in the last couple of years is that we’ve really scaled up our English-language output. And this has included setting up Endemol Studios in L.A., where we are deficit-funding scripted production. We got into the studio model with really encouraging success. We have Hell on Wheels, which will have its fourth season this summer. We recently did Low Winter Sun for AMC, which we’ve sold as a finished show in about 200 countries. In the U.K., we announced a new drama on an unprecedented scale for Sky [Atlantic] called Fortitude. It has an incredible cast and is extremely ambitious. For the BBC, we have Peaky Blinders, which is coming back for a second series and for which we’ve made a deal in the U.S. with The Weinstein Company. We’re in comedy with international hits like Bad Education, My Mad Fat Diary and
market. How have you positioned Endemol North America? HINCKS: In addition to having Endemol USA producing shows like Wipeout and Big Brother for the networks, there are very key companies that are part of the Endemol family: True Entertainment and Original Media in New York and 51 Minds and Authentic Entertainment in Los Angeles. Those were acquired four or five years ago and between them are pretty much the biggest producers of non-scripted cable content in the U.S. They make hit shows that are household names, from Swamp People to Here Comes Honey Boo Boo. Last year we had a change in management and Charlie Corwin and Cris Abrego became co-chairmen and co-CEOs of Endemol North America. We want Endemol in the U.S. to be fit for the next stage in the evolution of the company and the market. We need to demonstrate real ambition in the U.S. and take real risk in a way we haven’t done before to push forward our creative agenda. Cris and Charlie are grabbing that opportunity and it presents itself in a number of ways. There is scripted production, where we have invested more money, including recent deals we’ve announced with producers and writers. Then, of course, there’s our core business, which is fundamental to us still and is [very healthy].
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We now need to come up with the next generation of hits and I’m confident we’ll be doing that. Wipeout returns this year on ABC and Big Brother is as strong as ever on CBS, but there is always a challenge to create the next generation, so Cris and Charlie are firmly focused on doing that with their teams. WS: Tell us about Endemol Beyond. HINCKS: Endemol is a digital com-
pany as much as it is a TV company, and nowhere is that more true than in the U.S. So the creation of Endemol Beyond, which is our investment in a multichannel premium network, is an absolutely vital step for us. In the U.S., for instance, we brought in Will Keenan from Maker Studios to lead that charge under Charlie and Cris and to invest in our own digital content and grow a network. We’ve already announced some partnerships with major talent, including Courtney Love and Pitbull and others. It’s a whole different way of working and a whole different way of thinking about talent and content. It requires different marketing skills. It requires the ability to connect and measure the way the audience interacts with your content in a way we’ve never had to do in our traditional space. In the end, the key test for Endemol is whether we can stand up and demonstrate that we have become more than a TV company and evolved into a digital media company. That’s the task at hand— everyone around the group is focused on that and America will lead the charge. We never lose sight of the fact that in the end we are a creative company. We create content; we create IP. But the fact of the matter is that there are now so many interesting and different and varied ways of putting that content out there and so many different platforms. That’s what makes this the most exciting time for us.
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on the world’s end record IN THE STARS
Almost every national constitution forbids the establishment of an official state religion. But this secular bent doesn’t stop people from looking to the heavens for answers to life’s most troublesome questions: Will I succeed? Will I find love? Will the Pope send me a friend request on Facebook? Every day, papers and magazines worldwide print horoscopes—projections for people born in a specific month, based on the positions of the stars and planets. While many people rely on these daily, weekly or monthly messages for guidance in their lives, some readers skip over them entirely. The editors of WS recognize that these little pearls of random foresight occasionally prove prophetic. But rather than poring over charts of the zodiac to predict world events, our staff prefers to use past horoscopes in an attempt to legitimize the science. As you can see here, had some of these media figures remembered to consult their horoscopes on significant dates, they could have avoided a few surprises.
Reed Hastings
Justin Bieber
Gwyneth Paltrow
Beyoncé
Reed Hastings
Gwyneth Paltrow
Global distinction: Netflix CEO. Sign: Libra (b. October 8, 1960) Significant date: January 22, 2014 Noteworthy activity: During an earnings call, Hastings
Global distinction: Self-proclaimed lifestyle guru. Sign: Libra (b. September 27, 1972) Significant date: February 4, 2014 Noteworthy activity: The blonde, once dubbed the
is asked whether or not he agrees with HBO CEO Richard Plepler’s recent comments that he doesn’t care if subscribers share their HBO GO passwords. Hastings responds by offering to share Plepler’s own log-in details: “It was an interesting comment, I suppose,” Hastings says. “So I guess Plepler…doesn’t mind me sharing his account information. So it’s plepler@hbo.com and his password is Netflix Bitch.” Horoscope: “There are things which need to be said, but nobody wants to say them because of the row which will surely result.Today isn’t the day. Instead, try to bring some good grace and good humor to the situation.” (horoscopedates.com)
most beautiful woman in the world by People magazine, has been embroiled in a feud with Vanity Fair for months. The magazine’s editor, Graydon Carter, finally lifts the lid on the spat in his Editor’s Letter of the March issue. In it, he writes about a phone conversation the two had: “At one point, she asked my advice as to what to do to get the ‘haters’ on her side. I suggested putting on 15 pounds.” Horoscope: “You’re known as the proverbial workaholic, but this year you’re about to totally transform your image. If ever there was a time to learn how to kick back and relax, it’s now.” (astrology.com)
Pope Francis Global distinction: Leader of the Catholic Church. Sign: Sagittarius (b. December 17, 1936) Significant date: January 23, 2014 Noteworthy activity: While many condemn the Inter-
net as being a hotbed for pornography and extremist views, Pope Francis is quite a fan of the web. During a speech for World Communications Day, he proclaims that the Internet is a “gift from God,” lauding its ability to connect groups and foster communication. Horoscope: “Don’t let your optimistic outlook keep you from seeing the realities of the situation you are looking at.” (sasstrology.com)
Justin Bieber Global distinction: Pop music heartthrob. Sign: Pisces (b. March 1, 1994) Significant date: January 23, 2014 Noteworthy activity: The young pop star is taken into
custody for drunk driving, resisting arrest and driving without a valid license after Miami cops pull him over for street racing in a Lamborghini. A toxicology report tests positive for marijuana and prescription drugs. Horoscope: “Keep in mind: As long as you keep your best interests at heart today, you’ll be able to stay out of trouble!” (kajama.com) 34 World Screen 3/14
Eric Stonestreet Global distinction: Modern Family star. Sign: Virgo (b. September 9, 1971) Significant date: January 29, 2014 Noteworthy activity: The 42-year-old, who portrays a
flamboyant gay man on the Emmy-winning comedy Modern Family, tells Howard Stern that he uses the dating app Tinder to hook up with women. He adds that he turned down a romantic rendezvous the night before since he knew he had to wake up early for the interview. Horoscope: “Even though you won’t admit this to many people, you do have a very experimental approach to love.... Go ahead and have some fun!” (glo.msn.com)
Beyoncé Global distinction: Pop music’s reigning queen. Sign: Virgo (b. September 4, 1981) Significant date: January 16, 2014 Noteworthy activity: To commemorate what would
have been the 35th birthday of Aaliyah, Beyoncé posts a pic on Instagram of herself and the late singer/actress, cutting out former Destiny’s Child member Kelly Rowland in the process. Rowland, meanwhile, had uploaded the original photo—featuring all three women—on the social networking service earlier that same day. Horoscope: “If you value your current friendships, maintain them by being supportive, available to talk and caring.” (astrology.co)
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