TV Drama MIPCOM-October 2023

Funding Models / Crime Dramas

Universal Television’s Erin Underhill / Media Res’s Michael Ellenberg

Ricardo Seguin Guise

Publisher

Mansha Daswani

Editor-in-Chief

Anna Carugati

Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Alexa Alfano

Associate Editors

David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Daphne Menard Bookkeeper

New World Order

Peak TV came and went, and we’re in a dramatically different era when it comes to the streaming wars. Who knew that one day you’d be able to log onto Netflix and watch a signature HBO original like Band of Brothers? Or that the top streaming show in the U.S. for two months in a row this summer would be an old USA Network hit, Suits, accessible on both Netflix and Peacock? What this new era in the streaming wars—or, perhaps more apropos, what this post-streaming-wars era—means for cobbling together the financing on shows is explored in a special report in this edition of TV Drama. Global SVODs are becoming more open to sharing rights and less insistent on owning everything everywhere than they once were. Broadcasters have always been open to cross-border collaboration, especially in Europe, and the success of properties like The Swarm earlier this year proves that a well-executed co-production can indeed deliver audiences and buzz without breaking the bank.

CONTENTS

FEATURES GAME CHANGE

As streamers and broadcasters shift their strategies, leading distributors are expanding their approaches to financing, distributing and marketing scripted shows.

CRIME WATCH

We spotlight the wealth of crime dramas on the market, hearing from distributors about the importance of known IP, unique takes and scripted formats.

DRAMATIC VIEWS

GoQuest Media’s Rakesh Vasani spotlights the Lithuanian comedy-drama Troll Farm

Ricardo Seguin Guise President

Anna Carugati Executive VP

Mansha Daswani

Associate Publisher & VP of Strategic Development

TV Drama

©2023 WSN INC.

1123 Broadway, #1207

New York, NY 10010

Phone: (212) 924-7620

Fax: (212) 924-6940

Website: www.tvdrama.com

This edition also features a spotlight on crime drama, a genre that never goes out of style, but, like everything else in the content business, needs innovation and new approaches to keep winning over audiences.

As everyone figures out new ways of making shows on more cost-efficient budgets, the emphasis on authenticity and setting a high creative bar remains. We heard that mantra from the heads of two very different studios featured in this edition. Erin Underhill, the president of Universal Television, heads up a sprawling unit that is behind a slate of some 40 shows at present, including Dick Wolf’s evergrow ing stable. She spoke to us about ensuring a diverse slate to meet the broad needs of the ecosystem today.

INTERVIEWS

Universal Television’s Erin Underhill

Michael Ellenberg, who heads up Media Res, shared with TV Drama how the boutique outfit behind Apple TV+’s The Morning Show is remaining firmly focused on delivering premium, cinematic television that speaks to contemporary issues. Mansha

Daswani

Media Res’s Michael Ellenberg

The U.S. writers are back at work, but as of press time, actors are still on the picket lines pending a new deal with studios and platforms. Between the Hollywood shutdown and the global SVOD streamers recalibrating their investments, there’s a lot less scripted in production than there has been over the last few years.

A+E Media Group

V.C. Andrews’ Dawn Cutler Series / Miss Scarlet and the Duke

Star-studded casts lead the drama highlights from A+E Media Group’s MIPCOM slate. V.C. Andrews’ Dawn Cutler Series, featuring names such as Jesse Metcalfe (Desperate Housewives), Joey McIntyre (New Kids on the Block) and Fran Drescher (The Nanny, Hotel Transylvania), follows the enigmatic history of the Cutler, Longchamp and Booth families. After growing up in humble surroundings with a hardworking family, Dawn Longchamp suddenly has everything she loves ripped away from her. Season three of Miss Scarlet and the Duke features Kate Phillips (Peaky Blinders), who stars as Eliza Scarlet, the first female detective in Victorian London. She is determined to keep her father’s business running. Meanwhile, her relationship with the Duke builds toward a decision that will shape both their lives.

All3Media International

Boat Story / Far North / Tree on a Hill

From producer Two Brothers Pictures, Boat Story is a brandnew thriller on offer from All3Media International. Two Brothers’ “pedigree for original, character-driven storytelling and comedy-thriller-action adventures holds immense appeal in the international market,” says Sally Habbershaw, executive VP of the Americas. The title follows down-ontheir-luck strangers who think they’ve finally caught their break, only to find themselves pushed to the very edge. Far North, a comedic true-crime drama from South Pacific Pictures, tells the story of an everyday couple that foils an international crime ring’s largest-ever drug deal in the Pacific. Tree on a Hill, from Fiction Factory, is set in a small, sleepy town near the atmospheric Brecon Beacons. There, an ordinary couple finds themselves at the center of a mystery.

Atresmedia Televisión

Zorras (Tramps) / Entre Tierras / Déjate Ver (Show Yourself)

A top highlight from Atresmedia Televisión, Zorras (Tramps) tells the story of three empowered women. They have nothing in common except their desire to have fun, take risks and be free, so they form the Sex Friends Club. Entre Tierras, a Spanish adaptation of the Italian series La Sposa, follows an anonymous heroine who leaves behind her own dreams for her family. Written and directed by Álvaro Carmona (Gente Hablando), Déjate Ver (Show Yourself) “revolves around the search for oneself and the need to transcend in today’s world,” says Miguel García Sánchez, sales director. It centers on a woman who has lived in a bubble for several years while working as an assistant to one of the most famous artists in the world, whose identity is kept secret from the public.

Zorras (Tramps)

Miss Scarlet and the Duke

“Our offering is both deep and varied.”

—Sally Habbershaw

“Zorras

(

Tramps) is, above all, a story of friendship and sisterhood.”

—Miguel García Sánchez

Tree on a Hill

atv Distribution

Safir / Street Birds / The Father

On offer from atv Distribution, Safir centers on Feraye, a housekeeper for a wealthy family who falls in love with Yaman, one of the heirs. When she discovers he is going to marry someone else, she sets the house on fire but is saved by Yaman’s brother Ateş. In Street Birds, five kids working for a dangerous man take in a baby they discover in a trash bin. After the man murders a woman who comes looking for the baby, the kids abandon their territory. The Father sees a former assassin fake his own death after avenging his brother’s murder. “Our catalog boasts a robust selection, including our cherished golden classics, enduring longrunning series, captivating miniseries and added brandnew series,” says Müge Akar, head of sales for Europe, Asia and Africa.

Bavaria Media International

Inside a Family / Dead End / Meme Girls

From producers Constantin Television and Belga Productions, Inside a Family is featured among Bavaria Media International’s MIPCOM slate. Centered on the lives of four siblings who reunite for a wedding and grapple with their past traumas, the series sees the family’s buried memories triggered when the groom mysteriously disappears on the honeymoon. Dead End, a dramedy produced by Moovie, a subsidiary of Constantin Film, for ZDF, weaves together the destinies of four women from a suburban community who are bound by a dark secret. The 6x25-minute Meme Girls follows 15-year-old Liv, an aspiring influencer, as she navigates life after her parents banish her from the online world, offering “a relatable, engaging and entertaining experience for teenagers around the world,” says Helge Köhnen, head of content sales.

BEC World

Never Enough / Dhevaprom / Born a Goose, Soar Like a Swan

The romantic coming-of-age drama Never Enough is on offer from BEC World. Dhevaprom, the five-part romance anthology following the acclaimed TV series The Gentlemen of Jutathep, set in the 1960s when marriage into nobility and money was considered the gold standard, stars “highly talented, beautiful young actors” and “will appeal strongly to international audiences,” says Surin Krittayaphongphun, president of BEC World’s TV business. The romantic time travel comedy Born a Goose, Soar Like a Swan ranks as another featured title from the company’s MIPCOM slate. It centers on Nittra, a famous actress of the present day, as she finds herself suddenly transferred into the body of Boonta, a newly recruited courtesan in the Sampeng brothel, more than two centuries ago.

“Our titles are curated with cultural richness, engaging storytelling and high production values.”

—Müge Akar

Born a Goose, Soar Like a Swan

Safir

“In addition to sales, we are actively acquiring new content for distribution at all stages of production.”

—Helge Köhnen

“BEC World is a content company that takes pride in producing compelling Thai dramas for all platforms.”

—Surin Krittayaphongphun

Inside a Family

Calinos Entertainment

Farah / Indefensible

Farah is a Turkish drama leading Calinos Entertainment’s MIPCOM slate. When Farah finds herself in the middle of a mafia-police war and an unpredictable love with Tahir, she, Tahir and her son Kerimsah form a family together against all odds. The love between Farah and Tahir continues to be tested when Behnam, the father of Kerimsah, who was believed to be dead, arrives in Istanbul. Produced by Pixcom in collaboration with Quebecor Content, Indefensible is a crime drama following the world of the LapointeMacdonald legal firm and its criminal defense team. The show portrays “a realistic universe built of human dramas, from the smallest to the largest, all imbued with the same emotion: the fear of being condemned,” says Asli Serim, head of international sales at Calinos Entertainment.

Cineflix Rights

The Doll Factory / Men Up / Late Bloomer

The gothic thriller The Doll Factory, starring Esmé CreedMiles, Éanna Hardwicke and George Webster, is on offer from Cineflix Rights. A story of love, art and freedom, the series explores what happens when a woman dares to take what she wants in a world that would rather kill her than let her have it. Additional featured titles include Men Up, telling the story behind the development of Viagra, and Late Bloomer, a comedy series that follows Jasmeet, a turbanwearing millennial struggling to find his place in life while balancing Eastern roots with Western ideals. “Late Bloomer’s quirky take on millennial lives fits the bill for buyers everywhere looking for a series with diverse characters and storylines that appeal to younger viewers,” says James Durie, head of scripted.

Eccho Rights

Fallen / The Vanishing Triangle / The Inheritance

Fallen, a top program highlight from Eccho Rights, follows the story of Luce, a young woman sent to a cult-like rehab facility to serve time for a crime she cannot remember committing. There, Luce must untangle the mystery of who she is and why she has a preexisting connection with someone in the institution. Directed by Matthew Hastings ( The Handmaid’s Tale , Shadowhunters ), the series is a love story about a woman who is unaware of the strange powers she wields and her journey to uncover the true strength that lies within her. More highlights from the company include the crime dramas The Vanishing Triangle , set in 1990s Dublin, and The Inheritance , the story of three siblings whose lives are torn apart when their father passes.

“Our growing scripted slate includes multiple returning seasons of critically acclaimed, award-winning standout dramas from Englishlanguage and international producers .”

—James Durie Fallen

“We present phenomenal dramas for audiences all around the world to enjoy.”

—Asli Serim

Late Bloomer

Global Agency

Another Love / One Love / Vendetta

Global Agency’s Another Love follows the narrative of an anchorman and a prosecutor, drawn into an affair filled with passion and tension as they both seek to reveal the dark truth about a mysterious serial killer. One Love tells the tense story of the idealistic Doga as she falls hopelessly in love with a charming man from a devout family whose values clash with those of her mother. Drama ensues as they seek to overcome their differences and find harmony. “One Love has been the most talked about series in Turkey over the last season,” says Izzet Pinto, founder and CEO. Vendetta centers on Dilan and Baran’s marriage, which they are forced into to end a blood feud. Despite the hostility of those around them, a passion ignites that will either blossom into love or bring devastation.

Global Screen

DAVOS 1917 / The Undertaker—The Movie / Auris

DAVOS 1917, The Undertaker—The Movie and Auris comprise Global Screen’s top drama highlights. Featuring Dominique Devenport (Sisi) and David Kross (The Reader), DAVOS 1917 is a spy drama based on events that occurred in the early days of the European secret services. The Undertaker—The Movie, a dark crime comedy, builds on the SRF series Der Bestatter Auris consists of two titles, The Hegel Case and Frequency of Death, RTL+ originals adapted from the book by Vincent Kliesch, based on an idea by Sebastian Fitzek. “With such an excellent pedigree, and already with a huge fan base, we are sure these two titles will have strong appeal for international audiences hooked on innovative crime series,” says Ulrike Schröder, VP of international acquisitions and co-productions.

Inter Medya

Blue Cage / Deception / Tuzak

Inter Medya is showcasing Blue Cage, which sees Ali relocate his family to live with his father-in-law, the owner of a boutique hotel, upon learning of his wife’s fatal illness. When tragedy strikes, the family is grief-stricken. Days of irreversible events, passionate love and the unraveling of family ties unfold. Deception is also on offer, featuring a seemingly picture-perfect family whose buried secrets come to light. When Güzide’s husband’s betrayal is revealed, she finds herself confronting the reality that her life has been a lie. Tuzak is the story of three siblings who come together to find that they do not have the bond they thought they had. The title centers on themes of family, love and lies. The Inter Medya slate also features Another Chance and Poison Ivy.

Blue Cage

Auris

“Global Screen is celebrating its 60th anniversary as a diversified media company in the film and series business.”

—Ulrike Schröder

“We believe Another Love will be the hit of the new season.”

—Izzet Pinto

Kanal D International

A Father’s Promise / Daylight / Farewell Letter

Set in 1980, the Kanal D International highlight A Father’s Promise follows a struggling factory worker who faces dire financial circumstances in a quest to save his wife’s life. After she dies and he is rejected by his boss, he flees to avoid arrest and leaves his daughter in an orphanage. Later, he infiltrates the family who adopts her. Daylight centers on a girl whose university plans are postponed when her family makes the sudden decision to move away from Istanbul. Farewell Letter, meanwhile, tells the story of two opposed families whose fate lies in the hands of their children. “Universal themes such as love, family, sacrifice and human connection often transcend cultural boundaries, making these series appealing to a diverse international audience,” says Selim Türkmen, sales director.

Paramount Global Content Distribution

Elsbeth / Matlock / The Turkish Detective

Elsbeth, from Robert and Michelle King and produced by CBS Studios, is featured among Paramount Global Content Distribution’s MIPCOM slate. Carrie Preston stars as Elsbeth Tascioni from The Good Wife and The Good Fight. The character is an astute but unconventional attorney who, after her successful career in Chicago, utilizes her skills to corner criminals alongside the NYPD. Matlock, starring Kathy Bates, is inspired by the classic television series of the same name. “With Kathy Bates at the helm, we believe the series will resonate with viewers across the globe,” says Lisa Kramer, president of international licensing. Also a featured title, The Turkish Detective is a drama set in Istanbul following Inspector Cetin Ikmen and Detective Mehmet Suleyman as they solve each unique case across sets of two episodes.

Record TV

Genesis / Kings

Kings, one of Record TV’s highlights at MIPCOM, tells the story of the nation of Israel, including the moment the prophet Samuel is used by God to lead his people and the fall of Jerusalem, brought about by the armies of Babylon.

“You will experience the pains, joys and stories of the main kings of Israel as they lead the nation,” comments Delmar Andrade, the company’s international sales director. “It is a story full of battles, love, betrayals and valuable teachings.”

Record TV also presents Genesis. “It is an impressive and great work, which is doing well in Latin America and is currently a hit in the U.S.,” Andrade says. “This strengthens our expansion plans in Europe and other continents.” Further catalog highlights include Moses and the Ten Commandments and The Slave Isaura.

“Each title features a compelling and relatable storyline that resonates with a wide range of viewers.”

—Selim Türkmen

“We are looking to be present in new markets with different distribution strategies.”

—Delmar Andrade Kings

Elsbeth

“The slate we have to present encompasses gripping storytelling and incredible talent in front of and behind the cameras and is relatable to viewers across the globe.”

—Lisa Kramer

The Mediapro Studio

The Head / Las Pelotaris: 1926

The Mediapro Studio has on offer a second season of The Head, an English-language suspense thriller created by Ran Tellem (Homeland). The new season gives biologist Arthur Wilde a second chance after being convicted for the events of season one, but his life is thrown into disarray again soon after his release. Las Pelotaris: 1926, inspired by the story of the first Basque pelota female players, “raises universal conflicts, still valid today, such as obstacles to striking a balance between motherhood and a professional life, social prejudices restricting sexual freedom, abuse and difficulties accessing positions of power,” says Marta Ezpeleta, general manager of distribution, co-productions and international offices. The Mediapro Studio is also bringing the reality adventure format El Conquistador to MIPCOM.

Turkish Radio and Television Corporation

The Joy of Life / My Lovely Family / Come What May

The Joy of Life, on offer from Turkish Radio and Television Corporation, centers on 40-year-old housewife Neşe. With three children, their adolescent crises and a husband who does not know much about caring for them, Neşe is lost. When she re-enrolls in the medical school she dropped out of to marry Mustafa, drama ensues. Also on offer, My Lovely Family follows the life of the Akyol family, while Come What May centers on the beautiful 22-year-old Alize and her love story. “Since all three of these series are centered on warm, strong family structure and relationships, and since family relationships are a universal theme that transcends cultural boundaries, series that highlight these themes can appeal to audiences from different cultures,” says Mustafa İlbeyli, director of advertising and sales.

ZDF Studios

The Swarm / Stories to Stay Awake / Before We Die

The ZDF Studios highlight The Swarm centers on a group of international scientists as they rush to discover what is causing the world’s oceans to exhibit strange happenings, including ice worms triggering tsunamis, deadly bacteria poisoning drinking water and whales aggressively attacking boats. Produced by Schwarm TV Production, Bravado Fiction, Beside Production and ATHOS, it is “a testament to the power of co-production and the incredible outcomes diverse partnerships can achieve in the worldwide arena,” says Robert Franke, VP Drama at ZDF Studios. Also on offer, four new episodes of the Stories to Stay Awake reboot continue to modernize Chicho Ibáñez Serrador’s horror series. Season two of Before We Die sees the return of detective Hannah Laing and Dubravka, a figurehead of the Mimica crime family.

“We invite you to explore a diverse and compelling content portfolio that transcends borders, languages and genres.”

—Mustafa İlbeyli

“We will arrive at MIPCOM with an extended portfolio of content, including these three titles and many more.”

—Marta Ezpeleta

“At ZDF Studios, our ethos centers on forging relationships and strategic collaboration with producers globally.”

—Robert Franke

GameChange

Change has been a constant in the television business. From the days of the small black-and-white square TV set with bunny ear antennae to programming in color, cable channels, VCRs, DVDs, DVRs and catch-up services—technology has put viewers in control of where and when to watch. Content companies have eagerly filled the pipeline of the moment with films and TV shows.

The most significant tectonic shift has come from SVODs, ushering in bingeing and vast programming volumes. Not only have streaming services, particularly the global ones, altered viewing habits, but they have also pushed distributors to modify and expand the way they do business.

“There was a time when producers were attracted, and many still are, and some for good reasons, to going to streamers and getting one check for one deal to fully finance a show and have it exploited globally,” says Dan March, Dynamic Television’s managing partner. “[We’ve seen] some contraction with those streamers, and maybe a greater interest in exploiting shows in a different model where possible.

“There is a bit more momentum back to traditional distribution, for both having the ability to sell a show and making a profit,” March continues. “Maybe we’re even

more active now than we have been because there’s so much content in the marketplace, and buyers can be choosy. So, sitting back as a distributor and waiting for content to come to you and you evaluate it and invest in it is harder. We need to work with our partners to ensure the shows we invest in are successful locally but can also be successful globally.”

“Fewer series are being produced,” explains Nadav Palti, president and CEO of Dori Media Group. “All of the majors have cut production and budgets dramatically. Everybody is trying to get more efficient. On the one hand, there are fewer orders for new productions. On the other hand, everything costs more. Each drama you see on-screen now is much more expensive than dramas from two, three or even one year ago. After Covid, costs went up. I think it’s the same all around the world, but everything costs 30 to 40 percent more here in Israel. Inflation, problems with supply chains and the war between Russia and Ukraine influence our business. And that means that every production is much riskier.

“But when you have high risk, you have greater opportunities,” continues Palti. “So, if you find a way to continue to produce, you may have a better chance to sell it at a good price.”

“We see a massive shift in power dynamics right now in the market, driven by the general economic environment we are all facing,” says Robert Franke, VP Drama at ZDF Studios. “After these boom years, driven by many streamers setting up

As streamers and broadcasters shift their strategies, leading distributors are expanding their approaches to financing, distributing and marketing scripted shows. By Anna Carugati

shop and starting to produce a lot of original content, we see that the market is contracting. I would dare say it’s going back to a more sustainable level because we are now coming out of the years that were all about subscriber growth.”

“Production budgets are rising, yet channels are not paying more, so the financing is getting harder to close for producers,” says Lisa Fidyka, the senior acquisition manager at Bavaria Media International. “Therefore, international distribution is increasingly getting involved early to gap finance projects.

“It is also getting more common for a distributor to partner with producers to share development costs and help find partners for the show,” Fidyka continues. “Thus, it is increasingly important for a distributor to be on board a project even before a platform or broadcaster is attached.”

MONEY MATTERS

In a market where money is tight, using the appropriate funding models for a given project is essential.

Dynamic’s March doesn’t believe the fundamentals of financing have changed very much, but the economic factors underpinning the business have.

“The numbers have changed for two big reasons,” he says. “First, costs have gone up considerably, and it’s different in different markets. We’ve seen inflationary pressures increase labor [costs] throughout the world, but certainly in the U.K. and Europe. The flip side is that there’s a lot of negative pressure, especially on the ad markets. So, values have been declining because there’s so much content in the marketplace. There’s been an incredible increase of supply over the last three or four years, [as well as] some demand depression. Today, you have to work very hard with your partner.”

Given the economic environment, many drama projects require more than one partner to help cover costs.

“Budgets for dramas are increasing quite dramatically, and that means that now we’re looking at lots of shows with multiple partners on board,” notes David Swetman, the senior VP of content and commercial strategy at All3Media International. “So, it’s not just the case that we’re attaching one co-producer, but there may be two or even three on a single project, which comes with a lot of complexity. As a distributor, we also look at doing presales—selling

off the script or perhaps some early footage to get money directly into the budget. But those types of deals come without necessarily having creative input into the project. We also provide distribution advances or MGs toward almost all the dramas we work on. In many ways, they’re familiar models and have been going on for a long time, but the amounts of money involved are getting higher, and the number of deals needed on any single project has gone up as well.”

PARTNERSHIP PERKS

“We are seeing a comeback of the traditional coproduction model,” says Yi Qiao, Director Drama at ZDF Studios. “Before the streamers came in, co-production was very common. You had two broadcasters partnering, maybe a distributor would come in to close the financing, and then you would go into production.”

After the streamers launched, they were primarily focused on securing a global commission. “What we see now,” continues Qiao, “is that we are going back to the initial co-production model even with streamers. They carve out certain territories and co-produce with a local partner, and you still have a distributor closing financing, retaining rights and selling internationally. Also, people are taking fewer risks in general. That’s why distributors [are becoming] important because we are so crucial to the financing of a project. We are the ones sending projects into production sometimes without having partners on board.”

Alexandra Finlay, the VP of international scripted copro ductions at A+E Media Group, adds: “The most common financing model we’ve used has tended to be a more tradition al structure with one or two primary commissioning broadcasters or partners, enlisting tax breaks or incentives from relevant territories, A+E supplying a distribution MG, and maybe one or two other presales that will help close the financing. There may also be equity investment or talent deferring equity in relation to their participation.”

“The financing models in Europe have remained the same, basically, so you have money from the commissioning entity, a broadcaster or a distributor if you are doing a theatrical film,” says Ulrike Schröder, the VP of international acquisitions and co-productions at Global Screen. “You have the soft money, tax rebates and tax incentives. You have an MG from a distributor. What is new in the sense that it’s not so common is private-equity money. We can handle bigger projects or smaller ones involving private equity. And this works very well with all parties.”

Tax incentives also factor into financing formulas. “Soft money is always a key part of any finance plan,” notes Finlay. “There are great opportunities, whether it’s the U.K. high-end tax break, Spain, Belgium or Eastern Europe. The key is figuring out how to match those relevant incentives with the creative and logistics of your project.”

“We’re based in the U.K.,” says Swetman, “but we shoot projects and work with channels all over the world. The main consideration is always how authentic and accurate the location is to the story. Soft money is important, but we don’t want to locate projects somewhere completely alien just because there’s better soft money there. It’s

All3Media International’s Boat Story is a Two Brothers Pictures production for BBC One, with Amazon Freevee also on board.

more about when we’ve got a project set in a specific location, how we can maximize the soft money we get from that loca tion and tax credits. In the U.K., for exam ple, various regional funds are available that might contribute to funding. In Australia, where we film several projects, there is a tax credit at the federal level, but there are also individual states and agencies that can contribute money to funding.”

SOFT MONEY GAINS

“One of the really important factors is the threshold where tax credits kick in,” contin ues All3Media International’s Swetman. “Usually, there’s a minimum spend required, and that varies from territory to territory. We’ve filmed a lot of projects in Ireland, where the threshold is slightly lower than in the U.K. That has allowed us to get tax credits on projects that otherwise wouldn’t have qualified in the U.K. It makes drama production at a slightly lower budget level more viable. Those are the kinds of considerations that we’re weighing. But it’s all about having the right fit for the project.”

Dori Media’s Palti points out that financing models are continually evolving and must be adapted to the territories where production is taking place.

He gives examples of three models Dori Media uses. The first is a regular commission from one broadcaster or production company, but for a show for which Dori Media owns the rights and the format.

Another model was used for a political action series shot in Uruguay and Argentina called Amia, about the Argentine Israeli Mutual Association that was bombed in Buenos Aires in 1994.

“We financed Amia by ourselves,” explains Palti. “We took a risk to develop it, but then we got some private investors. We also found a fund that invests in media productions. So we managed to cover the cost through investors.

“The third model is what we are doing in Israel,” continues Palti. “We produce a lot in Israel, and most of the time, it’s a commission by one of the platforms or broadcasters in Israel. Most often, they cover the entire production budget, and then we produce it and split the rights fifty-fifty. They get the rights for Israel, and we have international rights, sell it worldwide and we get a commission as a distributor. We always try to keep the distribution rights in our hands. This is key. We’ve done it for the last 20 years. We try to keep the IP and the distribution rights. This is what gives you value. Most production companies want some margin on the production and are very happy to get some revenue, but that’s it. We sometimes do not get any revenue from production, and sometimes we even have to bring some money to complete the production. But we keep the distribution rights, which is very important.”

MANAGING & MONETIZING

From concept to screen, drama projects require ongoing conversations and collaboration among all parties. To best manage monetizing IP and windowing, distributors must start working with producers very early on.

“Distributors are getting involved much earlier in negotiations,” notes Bavaria Media’s Fidyka. “That’s why they must

become more creative with sharing the rights: who receives which rights in which exclusivity in which time window.”

SVOD services have been changing their strategies, opening up opportunities for indie distributors. “From the acquisitions point of view, streamers had been competitors to international distribution partners when it came to financing models,” explains Fidyka. “They took too many territories and rights. Such a financing model was not attractive for international distribution anymore. Now, the situation has changed. Streamers are increasingly adopting a similar approach to that of traditional broadcasters. They focus on a selection of territories, meaning they have less production budget. Such a situation creates more opportunities for international distribution companies to step in and co-finance a show.”

“Platforms are always going to be key clients for us,” says Swetman. “Sometimes [it’s for] bigger scale global co-productions, but we’re also working with them on more traditional licensing deals in individual territories. So, perhaps taking some back catalog titles for the service

Dynamic Television distributes the Acorn TV original Harry Wild

Dori Media is rolling out the new drama series 15 a la Hora ( Minimum Wage ).

in one or two territories. Like all clients, their exact needs change from time to time.”

Swetman has noticed one change in working with streamers. “Increasingly, across all the different platforms, there’s a bit more openness to working not on a global basis. There are more opportunities to do deals in specific regions or individual territories. As a distributor, that gives us more of a role in some of the projects they’re working on. Because historically, we might have been excluded from that. But now, I think there is an opportunity to pair up and work with a streamer that’s commissioning for one territory. We can bring on board co-pro partners or provide an MG for other territories. It’s exciting to have that shift and new opportunities in the market.”

Dori Media’s Palti adds that Netflix has modified its strategy in Israel. “Netflix today is buying only for Israel, non-exclusive, which is a dramatic change from last year,” he says. “Netflix decided that Israel is big enough as a stand-alone country or operation that it started buying Israeli content in Hebrew that was produced in the past and has already aired. It pays a relatively good amount of money because the rights it gets are not exclusive—only for Israel—and most of the time, it’s for two years. This change opened an opportunity because we can resell our Hebrew libraries. Netflix is buying less for its global audience, but it is buying much more for Israel.”

POWER OF PACKAGES

Even with like-minded co-production partners and financial models that work for all parties, attaching talent to projects can help secure sales.

“Because we produce and distribute shows, packaging has been second nature for us for quite a while,” says Dynamic’s March. “For any [broadcaster or platform] investing in content, the challenge to attract the audience to that content is extraordinarily tough. You need something to sell. There’s been this flurry around known IP for the last few years because it is marketable. But if you don’t have IP, talent is marketable; it moves the needle on almost any show because it’s an asset that a broadcaster can market. Jane Seymour on our show Harry Wild was such a phenomenal asset. She was incredible in her ability to attract an audience to our show.”

“You don’t get a commission if you don’t bring the whole package, and the commissioner is very involved,” notes Dori Media’s Palti. “In Israel, platforms and broadcasters finance the production. It starts with the development budget, which is very small. They want to see the idea. [If they approve it, they] give you a writing agreement and a bigger budget to write the script. And then, you attach the writer and the creator. The platform or broadcaster doesn’t give you the money if they don’t like the creator or the writer. Then, they approve the production agreement. And this is the biggest amount of money out of the three agreements, and they want to see the actors.”

A distributor’s job is not done with selling a series—helping a commissioner or buyer market a series is essential.

MAKING A MARK

“Marketing is storytelling in your imagery and assets,” says March. “It’s knowing what you’re selling to an audience. Sometimes, we’re selling a genre, sometimes locations, sometimes cast, sometimes IP. But you have to understand your marketing goals, how you’re going to attract that audience and what the story is that you’re trying to sell that audience.”

“For a major highlight, visibility and transparency are vital, ideally from an early stage,” explains Helge Köhnen, the head of content sales at Bavaria Media International. “The presentation of the show should happen in all media so buyers can get on board as early as possible. It is also important to update buyers about news in terms of cast, director, completion and availability.”

As viewers have flocked to SVOD and now increasingly to AVOD platforms, distributors have to devise tools to reach consumers directly and, at times, even attract influencers.

“It has become increasingly imperative to leverage various digital channels for promoting television shows,” Köhnen says. “Video content, such as trailers, teasers and clips, has gained significant prominence in the digital landscape. In addition to the conventional physical markets, several new digital platforms have emerged, providing B2B show promotion services. It is crucial to explore and embrace these digital opportunities and emerging technologies to enhance our visibility in the digitally driven world.”

Meme Girls is a new YA series on off er from Bavaria Media International.

TVDRAMASCREENINGS.COM

The only video portal for the global TV drama community.

Cineflix Rights’

The Doll Factory

Between cost cuts and the Hollywood strikes, scripted commissions are expected to be down across the globe this year, but if there’s any genre that is likely to come out unscathed, it’s crime dramas. From procedurals to twist-laden serialized shows, whodunits never seem to go out of style. However, as with any clever caper, a fair bit of ingenuity is needed to solve the riddle of what will compel audiences to tune in.

“Viewers are looking to be intrigued and engrossed by crime stories—be they procedurals, glossy, expensive drama series or highly produced TV movies,” observes Ulrike Schröder, VP of international acquisitions and co-productions at Global Screen.

CRIMINAL INTENT

Béatrice Nouh, head of sales at Onza Distribution, believes audiences are searching for “stories never told before, or stories that are difficult to believe. It can be fantastic stories and mysteries to solve that keep the public entertained and hooked to their screens until the next episode. It can be true stories where viewers think, ‘It could have been me.’ Identifying with the characters and the situations shown in the series is an important factor in its success. We cannot forget that fiction, since Greek theater, has always had a cathartic function, and if you do not identify with the main characters, it makes it more difficult to enjoy.”

Jimmy George, VP of sales and acquisitions at GoQuest Media, says that crime drama’s “diverse stories, intricate plots and the excitement they generate will continue keeping it in demand.”

George adds: “Crime dramas offer themes such as restoring order in the world and offer a level of control to audiences living in these present times rife with political, economic and social tensions. We are suckers for the status quo and justice being served. Audiences are increasingly more attracted to the representation of crimes that are realistic both in terms of victim demographics and the nature of the crime. What we may consider unpalatable in a real-life situation becomes exciting to watch onscreen. Audiences want visceral experiences from all parts of the world. Geography is not a concern; the more unfamiliar the surroundings, the stronger the interest in the content.”

At Cineflix Rights, James Durie, head of scripted, points to the importance of delivering something “fresh and different,” highlighting the MIPCOM launch of The Doll Factory, which he bills as “a gothic thriller about love and freedom with a shocking story viewed from a female gaze. It comes from the pedigree producers at Buccaneer, behind award-winning series such as Irvine Welsh’s Crime and Marcella.”

Irvine Welsh’s Crime taps into the popularity and name recognition of the Scottish author and his 2008 novel of the same name. Indeed, those surveyed for this report indicate that known IP is crucial.

Mansha Daswani spotlights the wealth of crime dramas on the market, hearing from distributors about the importance of known IP, unique takes and scripted formats.

Of note, Onza Distribution arrives at MIPCOM with Flowers

Over the Inferno, based on Ilaria Tuti’s best-selling book series. It comes with built-in “potential of several seasons following the investigations of our main character,” says Nouh, given that Tuti’s Teresa Battaglia series features several novels. “As a matter of fact, the second season is already in the pipeline.”

At Global Screen, Schröder also points to the need for recognizable brands, referencing new specials in Seaside Crimes; The Undertaker—The Movie , which builds on the highly successful SRF series Der Bestatter; and Auris, based on the thriller by Vincent Kliesch from an idea by best-selling author Sebastian Fitzek.

“With such an excellent pedigree and already with a huge fan base, we are sure these titles will have strong appeal to international audiences.”

REAL DEALS

Stories based on true-crime cases are also proving popular with clients and audiences, Nouh observes, highlighting Onza’s own Godless John.

“ Godless John is a true story about a big scandal that exploded in Brazil in the past few years. It shows a powerful man taking advantage of his position and spiritual aura to abuse young women. This resonates in an international society where the #MeToo movement is still strong. Also, the cast and artistic crew are top-notch from Brazil and Portugal, where it was produced, and you can feel the quality and special sensibility.”

Nouh also references Parot, which, while fictional, takes its inspiration from an actual event. “The Parot doctrine was a sort of ‘pardon’ that allowed many criminals to be set free. Using this as a starting point and making the victims the recently freed criminals makes it particularly original. With the premium cast, it also features well-known Spanish actors in the series.”

Global Screen is bringing to market DAVOS 1917, “a spy drama based on real but largely unknown events that occurred in the early days of the European secret services,” Schröder says. “Its unique storyline will grip viewers from the very start.”

Schröder adds that DAVOS 1917 is a crime story merged with a period drama, reflecting a trend toward crime dramas fused with other genres. “You can certainly see the €18 million ($19 million) budget on-screen in each of the six episodes. We know that Switzerland is a neutral territory, but during WWI, who knew it was a hotbed of espionage and unscrupulous political dealings? The fate of women at that time is also explored—the protagonist has her child taken from her at birth because she did not conform to values at the time. So, as well as being a crime series, it’s also an emotional piece of social history.”

GoQuest’s George notes, “True crime continues to be an inspiration for crime drama makers; it has an increasingly loyal audience.”

George is also seeing an uptick in interest in so-called “light crime” and non-English-language productions.

“A space earlier dominated by British crime dramas and procedurals has expanded to include stories from around the world,” George adds. “There couldn’t be a better time than now to be a crime drama enthusiast.”

Indeed, GoQuest is so encouraged by the interest in for eign-language drama it has been expanding its offerings from Central and Eastern Europe. “A slow-burn, intense psychological crime period piece called Erinyes follows a sinisterlooking, broody ex-cop/detective in 1930s Poland on a mission to clean crime from a pre-WWII neighborhood. We also have Crusade, a pacy, action-packed procedural where the Crime and Criminal Terror Division of the Warsaw Metropolitan Police chases a group of influential young criminals as they cause havoc by murdering the city’s elite.”

“There is an explosion of crime dramas on the market, and they come in all directions,” agrees Nouh. “True crime works well, but more complex stories also keep the viewer’s attention. There is also a significant appetite for crime-comedy combinations to engage the public in a lighter manner.”

While the streaming revolution ushered in a wave of über-serialized stories, drama distributors continue to see a strong demand for story-of-the-week procedurals, “as long

Global Screen is off ering up new specials in the Seaside Crimes franchise.

Parot, from Onza Distribution, crafts a fictional tale against the backdrop of real events in Spain.

as they are innovative and cleverly produced,” says Schröder at Global Screen. “We have been investing in and acquiring strong IP and optioning shows in this space to codevelop with like-minded producers. We currently have a number of projects in the works that we are co-producing and co-developing with well-regarded producers, enabling us to go together to broadcasters and commissioning editors to get shows greenlit.”

GoQuest’s George adds: “Procedurals create more windows on both television and streaming, and we’re seeing more networks and platforms consider them for continued engagement with their audiences.”

From Nouh’s perspective, “The audiovisual landscape is divided. Pay TV and streamers are betting on serialized

content, allowing them to delve deeper into one story, a pool of characters, and so hook the viewer. On the contrary, free TV still prefers lighter procedural dramas because they are easier to schedule and reschedule. If they opt for serialized content, they tend to prefer shorter series. In Spain, procedural dramas are no longer in vogue, but they may come back one day; everything is cyclical!”

ADAPT & SHIFT

There are also several crime dramas being offered in the scripted-format space, and those adaptations are proving to be strong sellers across the globe. For example, ZDF Studios arrives at MIPCOM with a second season of Before We Die , Channel 4’s U.K. adaptation of the Scandi hit of the same name. All3Media International has a range of crime-drama formats to offer, including Liar , the acclaimed Two Brothers Pictures series adapted in 12 markets, including Italy, Spain, Turkey, Germany, Greece and Malaysia.

“Two Brothers Pictures’ compelling, impeccably crafted scripts have resulted in consistently successful adaptations,” says Nick Smith, executive VP of formats at All3Media International. “Told through a specific cultural lens while always delivering outstanding high quality, this is universal storytelling at its best that appeals to international and local audiences.”

Stephen Driscoll, executive VP for EMEA at All3Media International, adds: “Clients are often drawn to genre pieces, domestic thrillers or crime stories such as Liar , The Missing , Informer, Innocent, Angela Black and Cheat stories from renowned writers that explore compelling universal themes such as consent, betrayal and family.”

GoQuest Media has been expanding its slate of CEE crime dramas, which includes Erinyes

All3Media International’s Liar was adapted in Malaysia for Astro.

Erin Underhill Universal Television

Universal Television, a division of Universal Studio Group, currently produces more than 40 comedies and dramas that run on broadcast, cable and streaming platforms, from the Dick Wolf franchises Law & Order, One Chicago and FBI to The Equalizer and Quantum Leap. Erin Underhill, the president of Universal Television, is responsible for all of the studio’s activities, including creative aff airs, casting and production. She talks to TV Drama about off ering culturally relevant series to a wide range of outlets, all the while building the library, which is crucial to the studio’s future.

TV DRAMA: What is your vision for Universal Television (UTV)?

UNDERHILL: My vision for producing programming at UTV is shows that have broad appeal, are culturally relevant and resonate and entertain a global audience. I want to continue our legacy and expand even further our fan-favorite shows across multiple platforms because, as I like to say, we’re truly universal; we sell everywhere. We tell lots of different types of stories. Half of our shows account for ten of the top series on broadcast this past year. That’s more than any other studio combined, which is an amazing feat. And, of course, the Dick Wolf shows are some of Universal’s most successful franchis es: FBI on CBS and One Chicago and Law & Order on NBC. We’re very excited because Dick is expanding his footprint into streaming. He has a new series, On Call, that will launch on Prime Video in 2024.

TV DRAMA: Universal Television serves the NBCUniversal outlets, including NBC and Peacock, but you also take shows out to the market. What is UTV’s remit?

UNDERHILL: UTV creators come in the door and they share their pitches with us. We listen and the first question we ask is, Where is the best home? Luckily, we have great series within the ecosystem of NBCUniversal, whether it’s NBC or Peacock, but we also have other avenues to sell shows from our visionary creators on nonlinear or linear. I would describe it as a portfolio approach. That’s our remit. It’s about taking the idea and finding the right home. We approach it from a holistic point of view. We look for that match where you see the eyes light up when you’re pitching something to the buyer, where they understand the DNA of the show. They will support it and [will] grow that show because we’re not just looking for a sale. We want something to go on for multiple seasons because building the library is so vital for Universal Television. Of our 40-plus current series, I would say about half are on NBC and Peacock, with the remaining on external platforms.

TV DRAMA: Is there a difference between the type of scripted shows that work best on linear and those suited for streamers?

By Anna Carugati

UNDERHILL: I do think there are some fundamental differences between linear and nonlinear. At the same time, the lines are blurring. There’s no doubt that procedurals and closed-ended stories work great on linear. Dick Wolf [shows are the] perfect example of that success. At the same time, New Amsterdam is a bit of a hybrid. It has character arcs, but it has closed-ended stories, and it has been doing exceptionally well. It’s interesting to see how successful the linear shows have been on non linear. But I do think, to this day, those serialized, bingeable shows thrive on the streaming platforms more so than the linear platforms.

TV DRAMA: How do your teams look for new talent and voices? Can social media lead to discoveries?

UNDERHILL: I have two young boys at home. They are always showing me TikTok videos of people they think are wildly creative and funny. One of the most exciting things about our industry these days is how many avenues there are to explore for new talent. There are lots of different ways to approach how you find that new voice. We’ve been lucky to be able to nurture and incubate some of our most promising new voices by bringing people in at an early stage in the creative process onto one of our shows and then watching them flourish and ultimately create their own show. It’s making sure that you’re scouring everywhere and you’re always open to unorthodox ways of finding those new voices and fresh talent.

TV DRAMA: What are the benefits of long-running franchises like Law & Order and One Chicago?

UNDERHILL: These are huge fan favorites every week. The crossover events, in particular, are tremendous work. But they are so well received by the audience. The highest-rated episodes of the whole season tend to be the crossover episodes. Beyond the incredible stats that I could sit here and rattle off, it’s the value that the Wolf shows bring to our library and showing the entertainment community that Universal can produce 22 episodes times however many series, year after year after year, which in some ways is becoming a lost art.

DRAMATIC VIEWS

GoQuest Media’s Rakesh Vasani spotlights the Lithuanian comedydrama Troll Farm

By Jamie Stalcup

Aformer corporate diva ends up creating a secret business to take down shady corporations in Troll Farm, a Lithuanian comedy-drama from Dansu Films that GoQuest Media has added to its expanding slate of titles for the international stage.

“Troll Farm first caught our attention in 2021, when it became the inaugural winner of the most promising project award at the Tallinn Black Nights Film Festival’s TV Beats Forum,” explains Rakesh Vasani, global head of content acquisition at GoQuest. “It went on to be one of the 16 new series to be featured in EFM’s Berlinale Series Market this year.”

GoQuest Media’s Troll Farm .

“In Gabija Siurbyte, the producer’s own words, ‘ Troll Farm germinated from the ambition to create Lithuania’s first-ever high-end drama series with a strong female lead.’ This fits with two goals we always have when finding content for the GoQuest slate: It needs to be a high-quality production suitable to feature across platforms and networks,

and the series has to have a powerful story and a strong lead,” he says.

The five-part drama follows as Ana, played by Siurbyte, is fired from the cosmetic empire she founded as a scapegoat for its wrongdoings and embarks on a crusade of vengeance. Armed with Agriculture for Dummies and extensive corporate experience, she ends up running two farms to cover her underground business, Troll Farm, targeting exploitative companies. As she becomes blinded by her desire for revenge, however, she begins to turn into the same manipulative person she is determined to fight.

Vasani and the GoQuest team were eager to take on the title, as “the exciting topical subject and the fact that the characters are completely relatable make Troll Farm a great watch and a show with exceptional format potential.”

“

T he exciting topical subject and the fact that the characters are completely relatable make Troll Farm a great watch. ” —Rakesh Vasani

Michael Ellenberg Media Res

TV DRAMA: What was the vision you and the team laid out for season three of The Morning Show ?

ELLENBERG: Coming into season three, we wanted to chart a new course. Both our lead characters, Alex and Bradley, had gotten a lot of what they wanted, in theory. We were drawn to how the media has been in a state of evolution for several years now, but it’s hitting a peak. So, let’s put the entire network in play. And what does it mean for an outsider, a tech and finance guy like Paul Marks, played by Jon Hamm, to come in? Is he the savior, or is he the destroyer? That’s a great question to anchor the season around, particularly with Jon Hamm playing that role, and be aligned with what everyone in the industry is wrestling with (and the public, too). We’re both in love with our tech overlords and concerned. It’s quite accurate to what’s going on in media right now. The larger questions are relevant for anyone alive today. So, we thought it was the right subject to tackle.

TV DRAMA: What other topical themes are explored throughout the ten episodes?

ELLENBERG: From the beginning, the show, first and foremost, is about gender relations within the professional world and beyond. Those themes continue to be explored. This year, the overturning of Roe v. Wade is in the background; that informs a lot of story [points]. We explore the intensity of our political environment and how that’s spilling over into the news media and people’s professional lives. The possibility of love and reconnection at a certain point in life and whether one can find a connection with a true equal. What happens when your heart and your head are really in conflict? For both of our leads, there’s tension between their professional and personal needs. The show has no easy answers for any of the dilemmas this year. It’s one of the best things about it; there are no clear answers to most of the challenges our characters face.

TV DRAMA: How does The Morning Show fit in with the types of projects you want Media Res to develop?

By Kristin Brzoznowski

Tstar-studded from the start. Toplined by Jennifer Aniston and Reese Witherspoon, season one also featured Steve Carell, Billy Crudup and Mark Duplass and has since welcomed big names such as Julianna Margulies and, new for season three, Jon Hamm. The Emmy-, SAG- and Critics Choice Award-winning drama, which has already been renewed for season four, touches on topical themes such as gender relations, sexism, ageism, racism and cancel culture. It is a testament to the type of premium, cutting-edge, cinematic television that Media Res, the show’s producer, wants to be known for. Michael Ellenberg, founder and CEO of Media Res and executive producer on The Morning Show, tells TV Drama about the level of ambition playing out in front of and behind the camera.

ELLENBERG: Media Res was built to do premium, unique, cutting-edge, cinematic television. The Morning Show was, and remains, our anchor. It’s topical. You never know what you’re going to get. It’s at a scale of brilliant, glittering actors that only our show can provide. Every show should be a unique, distinct experience for the audience—one they can’t get anywhere else. There is no other show on television that comes close to having Reese Witherspoon, Jennifer Aniston, Jon Hamm, Billy Crudup, Greta Lee, Mark Duplass (and the list goes on and on), but that’s also super smart and moving, and you can’t look away from. We want our shows to be entertaining and provocative. That’s what I’m drawn to and what everyone at the company is drawn to. We also want material that speaks to the issues of our time and has something to say. That’s what the public is yearning for. No one wants to be preached at; we get enough of that in the real world. We’re very proud of this show. If we could have three more, we would.