TV Drama Guide 2022/2023

A Note from the Editor

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Publisher Ricardo Seguin Guise

Group Editorial Director Anna Carugati

Editor Mansha Daswani

Executive Editor and Editor, English-Language Guides Kristin Brzoznowski

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Dana Mattison

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Andrea Moreno

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A Note from the Editor

Does anyone have a good method for keeping salient plot points and charac ter backstories in your head as you wait years for your favorite OTT premium series to return?

I’m in desperate need of an alternative to the let-me-just-rewatch-every-season approach. When it’s been two/three/four years since you last spent time with a group of characters, how else are you sup posed to fall back in love with them and get up to speed on what they’re about to face? I realize it’s not a great method, given how very much there is to watch these days. Inevitably, getting lost in a rewatch means you get left behind on the things you want to watch—and that list does seem to get bigger by the day.

“I’m going to foolishly make another prediction, which is that 2022 will be the high watermark” of scripted TV output, John Landgraf said during FX’s TCA press tour session. “In other words, that it will mark the peak of the peak TV era.” According to FX Research, there were 357 scripted series across broadcast, cable and streaming in the U.S. that launched through the month of June, up 16 percent from the same time last year. Last year’s total of 559 scripted shows marked an all-time high. “I think it’s obvious that this year will bring a new record,” he added.

Indeed, Covid limitations, rising budgets and a squeeze on space and talent notwithstanding, there is a lot of really fan tastic content out there, as you’ll see in this latest edition of the TV Drama Guide.

But the sector does have some burning questions to contend with: Are subscribers going to tire of streamers’ itchy cancellation fingers? Really, why invest time and effort into a show only to learn after you’ve fallen in love with it that it’s not returning? Are we going to see greater flexibility on OTT platforms’ part now that subs growth does appear to be slowing, and they need more finan cially prudent ways to invest in great content? Are creators over their shows being binged so quickly that they fall out of the con versation in a week? And more pressingly for me, am I ever going to catch up on all the shows I want to watch?

Mansha Daswani

INTERVIEWS

Jamie Dornan

Actor The Tourist

TV DRAMA: What appealed to you about the script and the concept of The Tourist ?

DORNAN: It was kind of peculiar in the best way. It had me questioning lots of different aspects of what was going on. Whenever I felt comfortable with it, it changed in the best way. I loved the way it was playing with tone and struc ture. And I thought it was really funny. It was an interesting blend of darkness and humor. I had kept an eye on what Two Brothers Pictures had been doing in recent years. They’ve had their fingers in a lot of very tasty pies, and I do think they have a unique voice within television in the U.K. It was a departure from the things I’d done recently. And I had an eye on doing something in television because it had been a while for me.

TV DRAMA: How did you prepare to play a character like The Man?

DORNAN: I’ve played characters before who have lost their mem ory. I’ve dealt with what that is, the trauma of that, and the panic. Not that I don’t have to plug back into what that is, but I have dug around in that area before, which is good. I had a chance to really play. The backstory was being written for me, and then I was able to add to that from everything we don’t hear about pre what [Jack and Harry Williams] put in the script, as we reveal and discover as the series goes on. There’s so much of that confusion and dis may and horror of what he was finding out. I wanted it to feel as much as possible like he was finding it out for the first time. A lot of it is trying to have an understanding of where you think his origins are, what his backstory is, but also trying to forget it!

[Laughs] I’m trying not to know too much because the sincerity of that news is impactful for him. Trying to play each beat with total conviction and sincerity—you don’t want the audience to think that maybe he’s trying to hide something. We’re trying to keep it at: This is news to him; he is on this journey with you. If we lost that, it wouldn’t work.

Christopher Meloni

TV DRAMA: How did you come to reprise the role of Elliot Stabler?

MELONI: I got a call out of the blue stat ing that Dick Wolf had an idea that he wanted to bounce off me—a new show, a new way of telling the stories; it being serialized as opposed to episodic. In essence, the return of Elliot Stabler in a different unit. I appreciate and enjoy the different dynamics of telling the story over time as opposed to one singular piece of entertain ment. I’ve done that before. This is something new in this role, and I’m enjoying it.

TV DRAMA: There is a physicality to Organized Crime that is greater than it was on SVU

MELONI: I think that is what the more serialized storytelling allows—you don’t have to introduce and then resolve in 44 minutes. It gives you more time for more dynamic stunt pieces, more drama and physicality, as well as hopefully the storytelling and the intricacies of what the crime is, the strat egy of what you are doing to bring the bad guys down. Yes, I’ve been doing a lot of stunts!

TV DRAMA: Besides being first on the call sheet, what extra responsibilities do you have as one of the executive producers?

MELONI: We all have different talents or gifts. I think one of mine is being able to see a scene and help give it clarity or possibly a little more dynamism. That’s really my role. I say the writers break the rocks, and I just sit there and polish them! I try to do it respectfully and with their blessing. I want them to engage, but I do have a point of view. Some times, I don’t understand the scene. Or I suggest, again, very respectfully, how I think the scene may serve the story bet ter in the long run. That’s where I put my two cents in. Every once in a while, I’ll make a suggestion to the director. I’m there to be another set of eyes—a set of eyes that has done this role for a long time.

Actor & Executive Producer Law & Order: Organized Crime

Photo: Virginia Sherwood/NBC

Nicola Walker

Actor Annika, Marriage

TV DRAMA: What appealed to you about Marriage and working with Stefan Golaszewski?

WALKER: Stefan was the main, imme diate draw for me because I’m a huge fan of his work. It’s very different from anything I’ve ever done before and anything I’ve ever seen before. Stefan was interested in looking at a real mar riage and taking a snapshot of these people’s lives. Sometimes not very much happens, which is like our real lives, not the lives we all adore watching on tele vision. I love watching incredibly dramatic, exciting pieces of work. But for me, this felt like, Oh, this is dropping in on these people’s lives for a period of time and seeing them cope with loving each other for 27 years and [dealing with] the weight of that shared experience. They don’t talk about their awful, shared history, but it is always there. That was the appeal for me—to see something a bit more real.

TV DRAMA: You’ve played several detectives. Are you drawn to the genre?

WALKER: There was a year when I was a detective on two shows almost back-to-back. One was Cassie in Unforgotten, and [the other] was Jackie in the Abi Morgan show River. Cassie Stuart, created by Chris Lang, is one of the finest detectives ever. Then I got offered River, which was Stellan Skarsgård manifesting me as a version of his mental health. And I’m sorry, I challenge any actor to say, Oh, no, I’m not going to play this other detective. They were so different. So that’s my defense on those two. They were both incredible scripts.

But I think there’s something else going on as well, cultur ally. There has been a drive over the years to get women at the front of shows. And I think, interestingly, audiences, myself included, accept a female leading a police show. They believe that a woman could do that. All actors have a bit of a type, and maybe the policewoman is my type. It’s not a bad type. I’m very happy!

Joanne Froggatt

Actor Angela Black

TV DRAMA: What appealed to you about Angela Black?

FROGGATT: I look for a great script. [I can’t say no to Jack and Harry] Williams because I know they’re fantastic. They sent me the first three episodes, and I couldn’t put them down. It was a nobrainer. Also, they write thrillers so bril liantly, and this is a subtle-to-start-with, Hitchcock-style thriller that shifts and

twists and turns, and I had no idea what was going to happen or where this character was going to be taken. There is also important subject matter running as a through-note. We were going through lockdown by the time I read the script. The issue of domestic abuse had become so much more prevalent because everyone was [staying] in their homes. Jack and Harry wrote this script before Covid was a word on any of our lips, but, by chance, it was incredibly timely.

TV DRAMA: Do you feel an extra responsibility when dealing with these complex subjects?

FROGGATT: Yes, absolutely. Laura, my character in Liar, had suf fered a sexual assault. Angela in Angela Black is a victim of domestic abuse. Approaching two thrillers based on very sensi tive subject matter by the same writers, I will always want to make the characters as different as possible. I needed to know I could do that and do both characters justice in very different ways; I had already done Liar. Jack and Harry did this for me because the style of Angela Black as a show is very different.

Laura in Liar is used to being listened to and respected. She’s used to having a voice and has become obsessed with justice, and understandably so. That breeds real anger and resentment in her. Whereas Angela is a very different being. She’s in a very different space. She’s lost her sense of self. She’s lost her drive. She’s lost her confidence, her self-esteem. Everything is on very shaky ground. Then, she is almost broken down further before she can rebuild herself again. Whenever I tackle sensitive subject matter, I feel a responsibility to give the most truthful performance that I can give.

Howard Gordon

Showrunner & Executive Producer Accused

TV DRAMA: Tell us about Accused .

GORDON: It’s based on a Jimmy McGovern BBC series. It felt like an amazing opportunity to tell stories about my own anxiety about living in the world today. It’s an anthology series. Every week we have a new cast and a new story. The format is such that you start [in a courtroom with] somebody who is accused. It’s not some sociopath or a career criminal. It’s someone who you either see yourself in or can relate to. It has the trappings of a pretty classic courtroom story. But it’s about so much more than that. It’s about very human, relatable, small-scale stories, told against all the fault lines we’re living with: the corrosive impact of social media, identity, race, inequality. It’s an empathy engine.

TV DRAMA: How do you see the state of broadcast TV today?

GORDON: The world is unrecognizable in how people consume content. I have a strong feeling about the abnegation of curating content. There was a moment when you knew Monday night was Thirtysomething or Thursday was E.R.; it created a sense of anticipation. Now an entire [season] is dumped. And you’re left bleary-eyed. [A show] doesn’t live in your imagination, heart or mind for very long. So structurally, we’re in a curious place. The ratings of the broadcast networks are obviously a fraction of what they were. But they remain the most durable place for peo ple to gather at the same time and watch a story. Then, of course, there are secondary windows. Accused will also be on Tubi and Hulu, so people can catch up. And because it’s an anthology, it doesn’t require that it be watched in any order or for everyone to have watched every episode. I think we won the last Emmy for a network show, and that was for 24 in 2006. Since then, it’s been the streamers, cable and premium cable [that have been winning Emmys]. The business model is a curious thing, but I’m more interested in how it’s impacted our capacity to tell a story where enough people watch it at the same time to spark some kind of conversation and impact.

Julian Fellowes

Creator & Executive Producer The Gilded Age

TV DRAMA: What did you want to explore in The Gilded Age?

FELLOWES: I read a book about Alva Vanderbilt and her daughter, Consuelo, who was one of the more famous of the “dollar princesses.” I started to read about this period, and I realized, as always with history, that I had been walking past the houses of these peo ple ever since I first went to America a half-century ago and never really taken them in. I sort of knew about the Gilded Age, this period of extraordinary con sumerism after the Civil War and these enormous amounts of money. It wasn’t just that some people were richer than you could imagine; it was that there was an almost whole tier of society that was richer than most of us could imagine. I started to read about the Goulds and Carnegies and Fricks and the double side of the Gilded Age, the ruthless robber barons and their palaces. And then I got interested in the Vanderbilt fam ily. For a time, I toyed with the idea of doing a series about them. I found my difficulty was that when dealing with real people, I have an obligation to write about what really hap pened and make them say things they really would have said. This is quite limiting. So I gradually came to think that if we were going to do a television series about the Gilded Age, we would do better with fictional families living through very possibly truthful events.

TV DRAMA: Do you have a process when you write?

FELLOWES: I started writing when I was still acting. That was quite a plus for me because when you are acting, you go where the work is. I couldn’t afford to say, Oh, I can only write in my study in Dorset. I try to get started at least by about 10 o’clock. Then I break for lunch and bang on after lunch. Of course, you’re always fitting it around things. I comfort myself with the fact that Anthony Trollope said no one should write for more than three hours a day. So, I use this as my excuse when I feel I’ve been rather lapsed!

TV DRAMA: What issues have you wanted to explore in The Good Fight?

ROBERT: Right now, what drives the show is fear of civil war in America; wor ries about a Balkanization of American politics. You see this in Ukraine, too; how do people live their lives, start their busi nesses and run their businesses as war fare is going on around them? So we are taking it to a political dimension.

MICHELLE: And much of this, of course, is through the eyes of Diane Lockhart, played by Christine Baranski, who’s torn. On one end, she is very political and wants to fight the good fight; on the other, she is sick of feeling miserable. So [we look at] wanting to be happy, and is that selfish?

TV DRAMA: How did Evil come about, and what served as inspiration?

ROBERT: I think our relationship served as inspiration, as it did for The Good Wife and even The Good Fight, in that we have a very strong religious distinction between us. I hate saying I am a devout Catholic, but I go to mass every week.

MICHELLE: And I’m Jewish but on the agnostic side. For as long as we have known one another, over 30 years, we have been talking about how one explains evil in the world. You read every day in the newspaper yet another evil act. How does one explain it? Robert goes more toward a supernatural demonic explanation, and I am more likely to look at psychology or a sociological explanation.

ROBERT: It’s that basic question of why bad things happen to good people. That is a lot of the discussion. We were intent on having two people on opposite ends of this question but had respectful conversations, even loving conversations, and didn’t, as in most of American society now, start screaming at each other and throwing things. Hopefully, that’s what you are attracted to when you see it because even though it has scares and comedy, the emotional core is two people who have a very different epistemological view of life but are still able to talk about it and not hate each other.

Robert & Michelle King Creators, Showrunners & Executive Producers The Good Fight, Evil

Miguel Sapochnik

Co-Showrunner, Executive Producer & Director House of the Dragon

TV DRAMA: Tell us about the origins of House of the Dragon.

SAPOCHNIK: After Game of Thrones ended, there were a number of different spin-offs that were being tossed around. Ryan [Condal, co-showrunner and exec utive producer] got involved in one and asked if I was interested. I didn’t know whether I wanted to go back to that world. The person who runs my produc tion company, Alex Raben, who is also my wife, said, this would be so much more interesting if it was told from the female characters’ perspectives. With Alicent and Rhaenyra, originally one was a woman, one was a girl. [We decided to] make them the same age, give them a shared childhood, so they grew up together and have this baggage between them. Suddenly, you have an opportunity to really talk about the patriarchy, but through the eyes of these women. It opened all these possibilities, and it was no longer going back and seeing more boys with toys. Ironically, it’s really served the male characters as well. Both Paddy Considine and Matt Smith [who respectively play Viserys and his younger brother, Daemon] had to deal with a shift in emphasis. The show wasn’t just about them.

TV DRAMA: How have you and Ryan approached running the writers’ room and breaking stories?

SAPOCHNIK: When we first started, we agreed to not do anything apart. It was a way of expressing that we needed to understand each other and how we work so that we could finally not be in the same room together and know how the other was thinking. As much as I would try to get to the writers’ room, it would become limited to small chunks of time. And then when we got to the edit room, Ryan was already having to start breaking sea son two. There have been a lot of challenges to do with what the role of a showrunner is when you’re a director and what the role of a showrunner is when you’re a writer. There’s a negotiation between us that’s constant. But also, at some point, you have to accept, I can’t be there so I have to trust you.

Juan José Campanella

Producer & Director The Envoys

TV DRAMA: What drew you to TV? CAMPANELLA: My Master’s degree is in film and television. When you tell a story, it doesn’t really matter that much what kind of media it is going to be transmitted on. There are subtle differences, of course, from the big screen to a smaller screen. I find pleasure in both. In film, you have a larger canvas and feeling of permanence through time. With TV, I love the fact that you can go deeper into the characters. I find television more like a novel, and film like a short story. I like the speed of television, I like the fact that you have to think and shoot from the cuff.

TV DRAMA: How are the opportunities today for non-Englishlanguage content?

CAMPANELLA: It used to be that in every country, you would have American television and local television—and very little from any other country. Now, we find ourselves watching series from Israel, Palestine, Africa. It’s a great opportunity for us who work in a foreign language. It also makes the competitive canvas even broader. For the audience, it’s all good.

TV DRAMA: You write, produce and direct. How do you shuffle which hats you’re going to wear on a given project?

CAMPANELLA: It depends on what my capacity is in it. If I am the showrunner and the show is going to be presented as me being the creative force—which is not in every show that I’ve worked on—then if I make mistakes, they should be my own. I don’t like to put my name on somebody else’s mistakes. Because I come from editing and writing, I have the bookends of the project. I actually became a director to protect my scripts. But we do projects in which other people are the creative force behind it, and there, I just look and give my notes. It’s not that hard for me to work on several things when I wear different hats, but if I’m wearing the same hat on two or three projects, it’s more tiresome. It’s easier to change discipline than if you have to write one project, then write another, then write another.

Miranda Kwok

Creator & Executive Producer The Cleaning Lady

TV DRAMA: Tell us about adapting the Argentinean show The Cleaning Lady for U.S. audiences.

KWOK: I’ve always wanted to do a female Breaking Bad. In adapting this project, there were a few elements I wanted to layer in. In the original, she’s a cleaning lady who ends up in the wrong place at the wrong time and then is forced to work for the mob, and she also has an immunocompromised child. The Argentinean format was a oneseason show. In bringing it to an American audience, I had to figure out how to make this a show that could last for many seasons. And not to have her just be a cleaning lady, but somebody who was a doctor in her country who isn’t able to work in the U.S. because her credentials don’t translate. The other layer was having her be an undocumented immigrant. That is such a hot topic right now. Sometimes people can be afraid to address what that means.

TV DRAMA: Did you have a platform—cable, broadcast or streaming—in mind when you started working on the project?

KWOK: I definitely felt like I would be pitching to cable and streaming initially. That’s usually the platform where stories like this land. The darker criminal elements of it, the serialized element of it, and the leads were going to be diverse characters. At the forefront of the show is a Filipino Cambodian family, and we have diverse characters across the board. Normally, those are shows that aren’t as embraced by mainstream media. But as I was developing the project with Warner Bros., they said, there seems to be a much greater appetite and audience for diverse and marginalized voices, we would love to pitch this to the networks first. And I was like, OK, we’d have to adjust language and nudity and violence, scale that down. FOX scooped it up immediately. I feel so fortunate. Being on a broadcast platform allows the show to be seen by a much larger, broader audience.

Sandra Stern

President, Television Group Lionsgate

TV DRAMA: Lionsgate has a long history of looking outside the U.S. for financing and partners on projects. When and why did you start with that strategy?

STERN: We started with that strategy long before Lionsgate. Jon Feltheimer [Lionsgate’s CEO] and I were at New World Entertainment, and we were always scrambling for money. So, we looked outside the U.S. to see if we could put together some funding, which we did.

We like working with international partners. We like to think that all of our product is global, that we make it for a global market. So, it’s always good for us to have that interna tional voice. And we have continued with that strategy.

When I came to Lionsgate in the early 2000s, we were scrambling for money. We were able to take advantage of our Canadian citizenship to access tax credits and advantages. In the early days, almost everything that we did had a Canadian nexus and had a Canadian partner or Canadian money. These days, we continue to do co-productions. Fortunately, we are not as tight on money anymore as we were. Now, our co-production partnerships are really centered around strategic initiatives rather than financial ones.

TV DRAMA: What factors have allowed Lionsgate to boost its TV output?

STERN: There are many more buyers, and many more plat forms, with production needs to fill, and we are delighted to be a good source of projects and materials for them. The general state of the TV business as of late has really allowed us to boost our output, and we have taken advantage of that. We continue to be, as we learned in the early days, if not the first, then cer tainly one of the first [studios] doing originals for some of the new platforms. That has been a real asset to us, as well as to every other studio that has focused on the streamers. I don’t know that any of the others are as laser-focused as we are on new platforms, but that is just an industry-wide boon.

Dan March

Founder & Managing Partner Dynamic Television

TV DRAMA: How are co-production models evolving?

MARCH: Co-productions fit into one of two buckets: creatively driven or economically driven. Creative coproductions are kind of obvious, whether driven by story, IP or whatever it might be. There’s a natural creative [drive] that might attract two different partners from two different countries. The economic model is harder. The benefit of economic models is often trying to attract an additional broadcaster or another entity. That’s getting a little bit more challenging. But I think in general, demand for co-productions is very strong. With increasing costs and increasing demand, it’s getting harder and harder to pull off more ambitious productions.

TV DRAMA: How is the U.S. market for engaging in co-productions?

MARCH: The U.S. is a challenging market. If we are talking about a U.S. buyer—not a global streamer buying for the world—coming on board a show early on as a co-producer, it doesn’t really happen that often. Part of that is because the bar is extraordinarily high in the U.S. It’s so hard to get broadcast ers or buyers to come on board a project early to take that risk because they are investing so much of their own money in their original shows. The U.S. is the one market in the world where they really don’t need a partner to crank out $4 million to $5 million episodes year-round. There’s not an inherent need for co-production structures the way there might be in Europe, where you have smaller markets and smaller invest ments. Can you presell? Yes, you can. Will the buyer have a little bit of creative input? They might. It’s a very English-languagedominant market, so [you have to look at], what are you bringing a U.S. partner that is going to elevate over that high bar, be a project that they have to have now and also be able to reach that audience. You’re threading a really small needle. It is doable, often driven by either big talent or big IP, but it’s not an easy task.

Patrick Phelan

Director, World Sales LEONINE Studios

TV DRAMA: What’s guiding the drama strategy at LEONINE Studios?

PHELAN: Our strategy is focused on highprofile international productions. This includes English-language productions as well as local ones. The package is key— great stories combined with great talents behind and in front of the camera. We’re looking for content that offers viewers something exceptional like an exotic and exciting new look, unique storytelling or a story that hasn’t been told before.

TV DRAMA: Tell me about the producer pipeline that feeds the LEONINE Studios worldwide sales slate.

PHELAN: We have established two streams of content: We fill our slate with high-profile productions coming from our LEONINE Studios production banners Odeon Fiction and W&B Television on a project-by-project basis. At the same time, we are establish ing relationships with producers from around the world like the U.S., Canada, Australia, New Zealand, South Africa, Scandinavia, Spain, Israel and Belgium, for example.

TV DRAMA: What drama genres are in high demand?

PHELAN: Genre-wise, it is all about thrilling crime stories, true sto ries and young adult edgy satirical dramas. Digital providers have a very clear view of viewing habits and are steering their content choices based on their data. In addition, escapism and female characters are at the forefront, reflecting the current zeitgeist with a focus on female empowerment, diversity and entertainment to distract from the harsh realities we’re all facing.

TV DRAMA: Why is now a particularly good time to be in the global drama business?

PHELAN: The opportunities are constantly growing. Established markets are evolving and new platforms are entering the market. There is a healthy appetite for content and a great potential for fur ther growth.

All3Media International

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PROGRAMS: The Gymnasts: 6x60 min., drama/thriller, Indigo Film, Paramount+, Italy, France, U.K., Canada, Australia, Latin America & South Korea/Network Movie, ZDFneo, Germany/Rai Fiction, Italy; The English: 6 eps. (5 x60 min. & 1x30 min.), drama, Drama Republic, BBC, U.K./Prime Video, U.S.A., Canada, Australia & New Zealand; The Ex-Wife: 4x60 min., drama/thriller, Clapperboard Studios/Night Train Media/ BlackBox Multimedia, Paramount+, U.K.; The Larkins : S2 6x60 min., drama/period drama, Objective Fiction, ITV, U.K.; Dalgliesh: S2 6x60 min., crime/detective/drama, New Pictures, Channel 5, U.K./Acorn TV, U.S.A. & Canada; Marriage: 4x60 min., drama, The Forge/The Money Men, BBC One, U.K.; Ridley : 4x120 min., crime/drama/detective, West Road Pictures, ITV, U.K./PBS, U.S.A.; Van der Valk : S3 4x120 min., crime/drama/detective, Company Pictures, ARD Degeto, Germany/Masterpiece, U.S.A./ITV, U.K./NPO, Netherlands; The Larkins: S2 6x60 min., drama, Objective Fiction/Genial Productions, ITV, U.K.; Blood : format/60 min. eps., drama/thriller, West Road Pictures, Virgin Media Television, Ireland (original version)/Disney+ Hotstar, India (adaptation).

“We offer captivating, high-quality story telling and compelling entertainment, includ ing the high-octane western The English, led by Emily Blunt and Chaske Spencer and writ ten and directed by Hugo Blick, and the qual ity international thriller The Gymnasts from award-winning producer Indigo Film. Also on the slate is the nail-biting psychological drama The Ex-Wife , alongside a new detective strand in Adrian Dunbar’s Ridley . Drama returners include beloved brands The Larkins, Van der Valk and Dalgliesh and a bril liant range of scripted formats that we’re excited to introduce to clients.”

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ADDRESS: 275 Grays Inn Rd., 1/Fl., London WC1X 8QB, U.K. TELEPHONE: (44-20) 3179-5050

WEBSITE: www.cineflixrights.com

CEO, RIGHTS, CINEFLIX MEDIA: Tim Mutimer HEAD, SCRIPTED: James Durie

SENIOR VP, SCRIPTED SALES & DEVELOPMENT: Tom Misselbrook CONTACT: jdurie@cineflix.com

PROGRAMS: Last King of the Cross: 10x60 min., crime, HELIUM Pictures, Paramount+, Australia; Reginald the Vampire: 10x60 min., dramedy/fantasy, Great Pacific Media/Modern Story/December Films/Cineflix Studios, SYFY, U.S.A.; Whitstable Pearl: S1-2 12x45 min., crime, Buccaneer Media, Acorn TV, U.K.; Sugar: 1x90 min., crime, Connect 3 Media/Sepia Films, Prime Video, Canada; Rebecca: 8x60 min., crime, Elephant, TF1, France; Irvine Welsh’s Crime: S1-2 12x60 min., crime, Buccaneer Media/Off Grid Film & TV, ITVX/BritBox, U.K.; Manayek: S1-2 20x45 min., crime, Yoav Gross Productions, Kan 11, Israel; Happily Married: S1-2 20x45 min., scripted, Productions Casablanca, Radio-Canada, Canada; Left for Dead: The Ashley Reeves Story: 1x90 min., movie, Cineflix Productions, Lifetime, U.S.A.; Miracle in Motor City: 1x90 min., movie, Cineflix Productions, Lifetime, U.S.A.

“We are delighted to be celebrating Cineflix Rights’ 20th anniversary at MIPCOM with an exciting slate of new and returning high-quality dramas. Last King of the Cross combines diverse characters and a thrilling and multilay ered plotline in an iconic late ’80s/early ’90s setting to deliver an emotive and powerful series. Tim Roth in the role of mob kingpin

Ezra Shipman and Lincoln Younes as John Ibrahim will blow you away. Reginald the Vampire’s incredible global appeal is not just down to Jacob Batalon’s (Spider-Man: No Way Home) role as the lead, but the way it subverts existing vampire tropes and wittily tackles modern-day dilemmas. Whitstable Pearl returns for a second season of cozy crime, high-quality enter tainment for buyers looking for quirky plotlines and characters set in a quintessentially English backdrop. They join our grow ing catalog of standout, commercially and creatively exciting shows that appeal to global audiences.”

—James Durie, Head, Scripted

Dynamic Television

ADDRESS: 145 S. Fairfax Ave., #404, Los Angeles, CA 90036, U.S.A.

TELEPHONE: (1-323) 433-0100

WEBSITE: www.dynamictelevision.com

MANAGING PARTNER: Dan March

MANAGING PARTNER: Klaus Zimmermann

SENIOR VP, SALES: Gilda Demirtas

PRESIDENT, GLOBAL SCRIPTED TELEVISION: Carrie Stein CONTACT: cstein@dynamictelevision.com

PROGRAMS: Savage River: 60 min. eps., crime, Aquarius Films, ABC, Australia; Harry Wild : 60 min. eps., crime, Dynamic Television, Acorn TV, U.S.A.; The Fighter: 60 min. eps., crime, Kärnfilm, SVT, Sweden; The General’s Men: 60 min. eps., event series, Stand By Me Productions, Rai, Italy; Reindeer Mafia: 42 min. eps., crime, Kaiho Republic, C More, Finland.

“Dynamic Television is an independent pro duction and distribution company with a global strategy to bring premium television programming to worldwide audiences. Dynamic is currently in production on season two of Harry Wild, starring Jane Seymour, for Acorn TV and ZDF and Drops of God for France Télévisions and Hulu Japan. Dynamic series include Savage River, starring Katherine Langford, pre miering fall 2022, and the hit Netflix show Ginny & Georgia. Other series include Shudder’s hit horror anthology Creepshow; Day of the Dead for SYFY; Trapped, the hit Icelandic crime drama from award-winning filmmaker Baltasar Kormákur; The Day , the critically acclaimed Flemish heist series; and the number one-rated crime procedural The Sommerdahl Murders for TV2 Denmark and ZDF.”

—Dan March, Managing Partner

Eccho Rights

ADDRESS: Kungsgatan 48, 11135 Stockholm, Sweden

TELEPHONE: (468) 5560-9380

WEBSITE: ecchorights.com

CEO: Fredrik af Malmborg

DIRECTOR, SALES, WESTERN EUROPE: Lucy Roberts

DIRECTOR, TURKISH DRAMA: Handan Özkubat

DIRECTOR, CO-PRODUCTIONS, ACQUISITIONS & DEVELOPMENT: Adam Barth

CONTACT: David Seton, david@ecchorights.com

PROGRAMS: Desperate Measures: 4x60 min., drama, Clapperboard Studios, Channel 5, U.K.; Granite Harbour : 3x60 min., drama/crime, LA Productions/Dopamine, BBC One, U.K.; Compulsion : 4x60 min., drama, LA Productions, Channel 5, U.K.; Yali Capkini: 120x45 min., drama, OGM Pictures, Star TV, Turkey; Legacy : S3 255x45 min., drama, Karamel Yapım, Kanal 7, Turkey; Chrysalis : S3 115x45 min., drama, OGM Pictures, Kanal D, Turkey; Hear Me : 120x45 min., drama/romance, Sürec Film, Star TV, Turkey; Everyone But Us : 10x22 min., drama/comedy, Warner Bros. Sweden, discovery+, Sweden; Honour : S3 6x45 min., drama/crime, Bigster, Viaplay, Sweden; Threesome: S2 8x23 min., drama, Yellow Bird, Viaplay, Sweden.

“Our lineup continues to expand and diversify, and we are so excited to bring so many great titles to MIPCOM 2022. Our U.K. office, which opened last year, has been hard at work bring ing together an amazing slate of Englishlanguage drama, and we have both finished titles and a string of brilliant development proj ects that we will be presenting to the market. Of course, we have the best new and returning titles from Turkey and continue to be a go-to partner for producers in the Nordics. But above all else, we are excited about coming to Cannes to meet so many of our wonderful friends and partners from all over the world who we have missed during the past few years.”

—Fredrik af Malmborg, CEO

GMA Network

ADDRESS: GMA Network Center, EDSA Corner Timog Ave., Diliman, Quezon City, 1103 Philippines

TELEPHONE: (632) 8982-7777

WEBSITE: www.gmaworldwide.tv

VP/CONSULTANT, GMA WORLDWIDE DIVISION: Roxanne J. Barcelona

CONSULTANT, BUSINESS DEVELOPMENT & STRATEGIC CONTENT PARTNERSHIPS: Maria Reena Guzman Garingan

FIRST VP, GMA INTERNATIONAL (LINEAR CHANNEL DISTRIBU TION & CONTENT SYNDICATION): Joseph Jerome T. Francia

PRESIDENT & COO, GMA NEW MEDIA: Dennis Augusto L. Caharian

FIRST VP, PROGRAM MANAGEMENT (CONTENT ACQUISITION): Jose Mari R. Abacan

SENIOR VP, ENTERTAINMENT GROUP: Lilybeth G. Rasonable

FIRST VP, PUBLIC AFFAIRS: Ianessa S. Valdellon CONTACT: rjbarcelona@gmanetwork.com

PROGRAMS: Broken Faith: 80x45 min., drama; I Left My Heart in Sorsogon : 30x45 min., romance/drama; To Have and to Hold: 30x45 min., romance/drama; Widows’ Web: 23x45 min., crime/drama/suspense; Article 247: 30x45 min., crime/drama; I Can See You: AlterNate: 10x45 min., drama/thriller; Heartful Café: 22x45 min., romance/comedy; Break Shot: 33x45 min., drama; Love of My Life : 40x45 min., drama; Legal Wives : 40x45 min., drama.

“GMA Network, the Philippines’ leading and largest media company, is the primary source of Filipino content around the world. Through its Worldwide division, GMA content is distributed to over 40 countries on five continents. Its variety of programs entertains and inspires viewers worldwide. GMA’s dramas and telenovelas focus on daring themes and heartwarming love stories, which offer viewers a rich array of emotional experiences.

GMA Worldwide has licensed over 100 titles around the globe and continues to reach more and more viewers around the world via program syndication.

With the network producing over 26 new dramas a year, GMA Worldwide’s clients and partners can expect a constant stream of well-crafted programs featuring the Philippines’ brightest stars.”

—Corporate Communications

Inter Medya

ADDRESS: Istanbloom Offices, Kore Sehitleri Caddesi 16/1, Zincirlikuyu, 34394 Istanbul, Turkey

TELEPHONE: (90-212) 231-0102

WEBSITE: www.intermedya.tv

FOUNDER & CEO: Can Okan

PRESIDENT & COO: Ahmet Ziyalar

VP & HEAD, SALES & ACQUISITIONS: Beatriz Cea Okan

VP & HEAD, LEGAL & BUSINESS AFFAIRS: Hasret Özcan

CONTACTS: Sibel Levendoğlu, sibel.levendoglu@intermedya.tv; Pelin Koray, pelin.koray@intermedya.tv; Elena Pak, elena.pak@intermedya.tv; Sinem Alışkan, sinem.aliskan@intermedya.tv; Ruba Zeytuni, ruba.zeytuni@intermedya.tv

PROGRAMS: Another Chance: drama, BKM, Show TV, Turkey; The Girl of the Green Valley: drama, Yeşil Yapım; Hicran: drama, Filmevi; Aziz : 91x45 min., drama, O3 Medya, Show TV, Turkey; The Trusted: 74x45 min., drama, TIMS&B Productions, ATV, Turkey; Scorpion: 91x45 min., drama, 1441 Productions, Star TV, Turkey; Last Summer : 93x45 min., drama/action, O3 Medya, FOX, Turkey; Respect : S2 8x60 min., drama/ action/crime, Inter Medya, BluTV, Turkey; Deep: 8x60 min., drama/action, TMC Film, puhutv, Turkey; Regardless : 8x60 min., drama, Ema Creative Works/Sak Pictures/Ema Film Barcelona.

“Inter Medya is a leading development, co-financing, production and distribution company based in Turkey that is aiming to deliver premium content to viewers across the world. It [has] a powerful portfolio of unique Turkish stories. Encouraged by the increasing global interest in Turkish films and TV series, Inter Medya is looking forward to achieving success in international markets by producing and distributing highquality Turkish content. The company’s purpose is to reach global audiences through the films and television series in its catalog.”

—Corporate Communications

Legendary Entertainment

ADDRESS: 2900 W. Alameda Ave., Suite 1500, Burbank, CA 91505, U.S.A.

WEBSITE: www.legendary.com

PARTNER, LEGENDARY GLOBAL: Anne Thomopoulos CONTACT: Gary Marenzi, distribution@legendary.com

PROGRAMS: Drops of God: 60 min. eps., drama, Legendary Television/Dynamic Television, France Télévisions, France; You Would Do It Too: 30 min. eps., thriller, Legendary Television/ ESPot light, Disney+, Spain; Vanda : 60 min. eps., drama, Legendary Television/SPi/La Panda Productions, SIC, Portugal.

“Legendary Entertainment is a leading media company with film (Legendary Pictures), domestic and international televi sion (Legendary Television) and comics (Legendary Comics) divisions dedicated to owning, producing and delivering pre mium and original content to mainstream audiences.”

—Corporate Communications

Drops of God: Based on a hit manga series, Drops of God finds the world of gastronomy and fine wine in mourning as Alexandre Léger, creator of the famous Léger Wine Guide , has just passed away at his home in Tokyo at the age of 60. When his daughter flies to Tokyo and Léger’s will is read, she discovers that her father has left her an extraordinary wine collection—but to claim the inheritance, she must compete with a brilliant young oenologist whom her father took under his wing.

You Would Do It Too : An armed robbery occurs inside a bus with a route connecting the Barcelona airport with some cities near Barcelona. The outcome? Three robbers have been killed, an arrest warrant issued for the murderer and six wit nesses seem unable to identify the fugitive. Police officer Fran Garza (Pablo Molinero) and his coworker (and ex-partner) Rebeca Quirós (Ana Polvorosa) suspect that the witnesses are not telling the truth. All of them swear that they didn’t see the killer’s face, but the investigation suggests that the witnesses may have entered a “silence pact” to protect the fugitive. The case soon goes viral, with the general public immediately ral lying behind the fugitive support with the hashtag: #YouWouldDoItToo.

Vanda: Inspired by the true story of Dulce Caroço, Vanda fol lows a hair stylist in Lisbon who, in the middle of the 2008 global financial crisis, finds herself alone, broke and with two children to raise. She embarks on a string of bank heists using a blonde wig and a toy gun and, in the process, becomes a folk hero as she keeps the public guessing what her next move will be and how long she can stay out of the police’s grasp.

LEONINE Studios

ADDRESS: Taunusstr. 21, 80807 Munich, Germany

TELEPHONE: (49-89) 999-513-0

WEBSITE: www.leoninestudios.com

DIRECTOR, WORLD SALES: Patrick Phelan

CONTACT: worldsales@leoninestudios.com

PROGRAMS: Bonn : 6x60 min., historical/political drama, Odeon Fiction, WDR, Germany; The Seed : 6x60 min., crime/thriller, Odeon Fiction, ARD, Germany/NRK, Norway; Troppo: 8x60 min., crime/thriller, EQ Media Group/Beyond Entertainment/AGC Television, ABC, Australia/Freevee, U.S.A.; Herzogpark: 6x60 min., comedy/drama, Letterbox Filmproduktion/Amalia Film, RTL+, Germany; SurrealEstate : 10x60 min., supernatural drama, Blue Ice Pictures, SYFY, U.S.A./Bell Media, Canada; Professionals : 10x60 min., action/adventure, Most Media/Subotica/Spierfilm Production/ Roadside Attractions, Viaplay, Nordics; Bellevue: 8x60 min., crime/drama, Back Alley Films/Muse Entertainment, CBC, Canada; The Name of the Rose: 8x60 min., literature/ drama/thriller, 11 Marzo Film/Palomar/Rai Fiction/Tele München Gruppe, Rai, Italy; Flashpoint : S1-5 75x60 min., action/drama, Pink Sky Entertainment/Avamar Entertainment, CTV, Canada/CBS, U.S.A.

“Our strategy is focused on high-profile inter national productions with the potential to resonate with audiences worldwide. This includes English-language productions as well as local ones. The package is key: great stories combined with great talent behind and in front of the camera. We’re looking for con tent that offers viewers something exceptional, like an exotic and exciting new look, unique storytelling or a story that hasn’t been told before. LEONINE Studios is an independent company, so we’re open to doing business with all players in the marketplace. Our vast content library offers programs from all genres and formats—from series to feature films, TV movies, shiny-floor entertainment shows and digital originals. And for MIPCOM 2022, we’ve got another two brand-new serial drama thrillers in our lineup: Bonn and The Seed, both from our prolific production unit Odeon Fiction.” —Patrick Phelan, Director, World Sales

Lionsgate

ADDRESS: 2700 Colorado Ave., Santa Monica, CA 90404, U.S.A. TELEPHONE: (1-310) 2 55-5114

WEBSITE: lionsgate.com

CHAIR, TELEVISION GROUP: Kevin Beggs

PRESIDENT, TELEVISION GROUP: Sandra Stern

PRESIDENT, WORLDWIDE TELEVISION DISTRIBUTION: Jim Packer

PRESIDENT, INTERNATIONAL TELEVISION & DIGITAL DISTRIBUTION: Agapy Kapouranis

EXECUTIVE VP, TELEVISION & HEAD, DEVELOPMENT: Scott Herbst

EXECUTIVE VP, TELEVISION & HEAD, CURRENT PROGRAMMING: Lee Hollin

CONTACT: Laurel Pecchia, lpecchia@lionsgate.com

PROGRAMS: Gray: 60 min. eps., thriller/drama, AGC Television/ Lionsgate Television/Night Train Media; Nacho: 60 min. eps., drama, Starzplay/Bambú Producciones/La Claqueta, Starzplay, Spain/LatAm; Dangerous Liaisons : 60 min. eps., drama, Playground Entertainment/Flame Ventures/Lionsgate Television, Starz, U.S.A.; The Serpent Queen : 60 min. eps., drama, Lionsgate Television/3 Arts Entertainment, Starz, U.S.A.; Becoming Elizabeth : 60 min. eps., drama, The Forge, Starz, U.S.A.; Leopard Skin : 30 min. eps., drama, AGC Television, Peacock, U.S.A.; Wong & Winchester : 60 min. eps., crime/drama, Pixcom/3 Arts Entertainment/Lionsgate Television, Citytv, Canada; Swimming with Sharks: 30 min. eps., drama/thriller, Lionsgate Television, The Roku Channel, U.S.A.; The Pact : 60 min. eps., drama/mystery, Little Door Productions, BBC, U.K.

“Lionsgate is the largest independent supplier of premium scripted series at scale to streamers, broadcasters and net works alike. With more than 100 series spanning its scripted, unscripted, Debmar-Mercury and 3 Arts businesses, Lionsgate Television recently reported one of its best years ever, with 14 new shows picked up to series and 15 current series renewed for additional seasons. In addition, Lionsgate announced a deal for the highly anticipated John Wick prequel series The Continental to premiere exclusively on Peacock in 2023. Lionsgate Television has prolific talent partnerships with 3 Arts Entertainment, BBC Studios, Rashida Jones and Will McCormack, Paul Feig, Seth Rogen and Evan Goldberg’s Point Grey Pictures, Katori Hall, Robert Greenblatt, Eric and Kim Tannenbaum, Carl Beverly and Sarah Timmerman and Home Economics creators Michael Colton and John Aboud, among others.”

ADDRESS: Murat Reis, Yeni Ocak Sk. No.45, Üsküdar, 34664 Istanbul, Turkey

TELEPHONE: (90-216) 695-1300

WEBSITE: www.mistco.tv

MANAGING DIRECTOR: Aysegul Tuzun SALES MANAGER, LATAM & IBERIA: Maria Fernanda Espino Noguez

MARKETING MANAGER: Zeynep Kayrak

CONTACTS: aysegul.tuzun@mistco.tv; maria.espino@mistco.tv; zeynep.kayrak@mistco.tv

PROGRAMS: Bahar: 100x45 min., drama, MISTCO/ÜS Yapım; Reckless Love: 26x45 min., drama, Sev Film, TRT, Turkey; Perfect Match: 100x45 min., drama, Mint Yapım, TRT, Turkey; Balkan Lullaby: 100x45 min., drama, Nebula Film Yapım, TRT, Turkey; The Blackboard: 34x45 min., drama, ÜS Yapım, TRT, Turkey; The Town Doctor: S1 42x45 min. & S2 on air, drama, ARC Yapım, TRT, Turkey; An Anatolian Tale: S1 110x45 min. & S2 126x45 min. & S3 on air, drama, Köprü Film, TRT, Turkey; The Great Seljuks: Alparslan: S1 91x45 min. & S2 on air, historical drama, Akli Film, TRT, Turkey; The Innocents: 243x45 min., drama, OGM Pictures, TRT, Turkey; The Shadow Team: S1 44x45 min. & S2 on air, drama/crime, TIMS&B Productions, TRT1, Turkey.

“[MISTCO is an] international brand-management and content-distribution agency serving top titles, brands and channels.”

—Corporate Communications

Nicely Entertainment

ADDRESS: 10810 N. Tatum Blvd., Suite 102-660, Phoenix, AZ 85208, U.S.A.

TELEPHONE: (1-323) 682-8029

WEBSITE: www.nicelytv.com

CEO: Vanessa Shapiro

EXECUTIVE VP, DISTRIBUTION & CO-PRODUCTION: Scott Kirkpatrick

CREATIVE EXECUTIVE: Deanna Anderson CONTACT: info@nicelytv.com

PROGRAMS: The Christmas Checklist : 4x60 min., holiday romance, Incendo/Nicely Entertainment, CBC, Canada; A Royal in Paradise : 1x90 min., romance, The Steve Jaggi Com pany/Nicely Entertainment, Australia; Cloudy with a Chance of Christmas : 1x90 min., holiday romance, Nicely Entertainment/The Ninth House, Lifetime, U.S.A.; Sappy Holiday: 1x90 min., holiday romance, Nicely Entertainment/ Good Soldier Films/Northern Soul Film Company, Canada; A Christmas to Treasure: 1x90 min., holiday romance/LGBTQ+, Nicely Entertainment/The Ninth House, Lifetime, U.S.A.; A Tiny Home Christmas: 1x90 min., holiday romance, Nicely Entertainment/Vortex Productions, Canada; The Snowball Effect : 1x90 min., holiday romance, Nicely Entertainment, U.S.A.; Baked with a Kiss : 1x90 min., romance, Nicely Entertainment, U.S.A.; Love at the Lodge : 1x90 min., romance, Nicely Entertainment, U.S.A.; Christmas on Repeat : 1x90 min., holiday/family, Dawn’s Light, U.S.A.

“I’m thrilled with Nicely Entertainment’s continued growth of quality output (and we’re only in our third year). In 2022 alone, Nicely is bringing over 20 original films to market, including our Lifetime original Cloudy with a Chance of Christmas, as well as our scripted TV series The Christmas Checklist, a co-production with Incendo that premieres on Canada’s CBC in December. Nicely is already on track for another 20 original films in 2023, and we are excited to branch out into alternative genres (diversifying our content portfolio with our first disaster film, which goes into produc tion early next year, as well as our first horror film), all while remaining loyal to our holiday, family and romance roots. Many great things to come!”

—Scott Kirkpatrick, Executive VP, Distribution & Co-Production

Paramount Global Content Distribution

ADDRESS: 5555 Melrose Ave., Los Angeles, CA 90038, U.S.A. WEBSITE: www.paramount.com

CHIEF CONTENT LICENSING OFFICER, PARAMOUNT GLOBAL: Dan Cohen

PRESIDENT, INTERNATIONAL LICENSING: Lisa Kramer CONTACT: Jennifer Weingroff, jennifer.weingroff@viacomcbs.com

PROGRAMS: Fire Country: 60 min. eps., drama, CBS Studios, CBS, U.S.A.; Poker Face: 60 min. eps., mystery, T-Street/MRC Television, Peacock, U.S.A.; Colin From Accounts: 30 min. eps., comedy, Foxtel Group/Screen Australia/Screen NSW/CBS Studios/Easy Tiger Productions, Foxtel/Binge, Australia; So Help Me Todd : 60 min. eps., drama, CBS Studios, CBS, U.S.A.; Walker Independence : 60 min. eps., drama, CBS Studios, The CW, U.S.A.; Munich Games : 60 min. eps., thriller, Amusement Park Film/CBS Studios/Sky Studios, Sky One, Germany, Austria & German-speaking Switzerland/ Sky Atlantic, U.K. & Ireland; Ze Network : 30 min. eps., action/comedy, Syrreal Entertainment/CBS Studios, RTL+, Germany; Bestseller Boy: 60 min. eps., drama, CBS Studios/ Willy Waltz International/Paper Plane Productions, AVROTROS, Netherlands.

“Paramount Global Content Distribution is the leading dis tributor of premium content across multiple media plat forms throughout the global marketplace. The division’s portfolio is comprised of some of the world’s most recog nized brands, including feature films and television pro grams from Paramount Pictures, Paramount Television Studios, CBS Studios, CBS Media Ventures, CBS News, Showtime Networks, Nickelodeon, MTV Entertainment Studios, Miramax and third-party partners. The division also has the largest distributed library of series and film titles, including global franchises such as CSI: Crime Scene Investigation , NCIS , Star Trek , SpongeBob SquarePants , Transformers , Mission: Impossible and more. In addition, the division licenses a diverse lineup of scripted and unscripted formats for local production and international co-productions. Paramount Global Content Distribution is a division of Paramount.”

Communications

ZDF Studios

ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany

TELEPHONE: (49) 6131-9910

WEBSITE: www.zdf-studios.com

PRESIDENT & CEO: Dr. Markus Schäfer

VP DRAMA: Robert Franke

CONTACT: drama@zdf-studios.com

PROGRAMS: Boundless—Magellan’s and Elcano’s Journey to the Edge of the Earth: 6x45 min., crime/suspense, Mono Films/Fulwell 73 Productions/RTVE/Prime Video/ZDF Studios; The Swarm : 8x45 min., crime/suspense, Schwarm TV Productions (JV of Intaglio Film & ndF IP)/Bravado/Viola Film, ZDF, Germany/France Télévisions/Rai, Italy/ORF, Austria/SRF, Switzerland/Viaplay Group, Nordics/Hulu Japan; Chain Reaction: 6x52 min., crime/suspense, UFA Fiction/ZDF; Clean Sweep: 6x52 min., crime/suspense, ShinAwiL/Incendo; Sløborn : 7x90 min./14x45 min., crime/suspense, Syrreal Entertainment/ZDF/Tobis/Nordisk Film/ZDF Studios; The Crimson Rivers: S1-4 24x50 min./ 12x100 min., crime/suspense, Storia Television/Maze Pictures/ZDF Studios, France Télévisions/ZDF, Germany; White Night: 12x60 min., drama, Pixcom; Stories to Stay Awake: 4x50 min., crime/suspense, Prointel Producciones/ Isla Audiovisual/VIS.

“Our objective for MIPCOM is to offer a very convincing portfolio of top-notch drama shows, to further build on the existing rela tionships with our clients, to meet new part ners and, of course, to successfully launch our new titles through first sales. We have a lot of new programs in our catalog and will proudly present them in Cannes.” —Robert Franke, VP Drama