TV Drama MIPCOM 2021

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MIPCOM/OCTOBER 2021 EDITION

Scripted Formats / European Drama

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CONTENTS

Room to Collaborate

FEATURES SAY IT AGAIN Interest in scripted remakes is picking up pace as producers and distributors look for much-needed shortcuts to get fresh, compelling content onto screens.

The SVOD giants do generate the most ink when it comes to scripted deals, but the area driving new opportunities for many distributors is less about the global players and more about the regional services kicking into high gear.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Managing Editor Jamie Stalcup Associate Editor David Diehl Production & Design Director Simon Weaver Online Director Dana Mattison Senior Sales & Marketing Manager Genovick Acevedo Sales & Marketing Coordinator Andrea Moreno Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Drama ©2021 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvdrama.ws

Viaplay is on a tear, executing on ambitious expansion plans, but its approach to commissions is still very much rooted in partnerships. “We’re interested in the markets we’re in and even though they are increasing—we will be in at least 15 markets by the end of 2023—there is a lot of the world left,” Filippa Wallestam, executive VP and chief content officer at Nordic Entertainment Group (NENT Group), told me recently. “It leaves room for more collaborations and for the creators to get their shows financed but still have a significant upside in the back end.”

I heard a similar sentiment from Ryan Chanatry, general manager of North American streamer Topic, which has been acquiring signature productions like The Killing and Baron Noir. “There is so much support for incredible series, especially in Europe. If those are not globally available rights, services like ours are great partners for the Nordic broadcasters, the STUDIOCANALs, the ARTEs, the ZDFs and all of the other strong brands and filters that have started to [come into] their own in the last five to ten years. It becomes a different approach when you have multiple markets.”

As I heard from several distributors in my conversations for this edition’s feature on European drama, the expansion of the streaming universe combined with the ambitious needs of broadcasters has resulted in a raft of new kinds of partnerships that are driving what does feel like a renaissance in European drama. And it’s only going to get more competitive as everyone looks for new ways to drive viewership and subscriptions, reduce churn, keep advertisers happy and, most importantly, have audiences tuned in and clamoring for more.

This edition also spotlights the very hot remake market, as pandemic woes and rising budgets are leading producers and commissioners to find more cost-effective, less risky ways to get shows on screen. Interestingly, several distributors are now selling multiple versions of the same show.

In this new age when subtitles don’t bother anyone, will viewers check into different takes on Doctor Foster or Liar or Fauda or any of the other great brands being remade across borders? I know I will.

—Mansha Daswani

GET DAILY NEWS ON TELEVISION DRAMA

LET’S MAKE A DEAL Jimmy George discusses how developments in streaming services have created more demand and, consequently, a good time to be GoQuest Media.

EUROPE’S FINEST Amid a renaissance in European drama production, several distributors discuss new opportunities at home and abroad.

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All3Media International Hollington Drive / Angela Black / Manhunt Series 2: The Night Stalker Among the programs on All3Media International’s slate are two female-led thrillers. The first, the four-part series Hollington Drive, examines the complexity of modern families and the lengths we go to in order to protect the people we love. The second, the six-part series Angela Black, follows a woman whose idyllic life hides the reality of the abuse she experiences from her husband. All3Media International is also highlighting Manhunt Series 2: The Night Stalker, which sees police officer Colin Sutton investigate a series of brutal attacks against the elderly in South London. “These shows explore the domestic arena and are universally relatable—whether you are sitting in your house in Prague or your apartment in Paris, all three shows are relevant to you,” says David Swetman, senior VP of scripted content.

Angela Black

“With over 150 hours of premium drama delivering in 2021, All3Media International continues to build its high-quality drama slate.”

—David Swetman

ATV Wounded Heart / Between Us / For My Family Leading ATV’s lineup, Wounded Heart centers on revenge and love, with the story’s rich elements supported by its setting. “The series has been shot in Hatay, one of the most picturesque locations in Turkey,” says Müge Akar, content sales deputy manager at ATV. Recently launched in Turkey, the female-oriented series Between Us centers on Neva and her daughters, whose world is turned upside down. “Even though the series just debuted, it has already gotten the attention of audiences,” says Akar. ATV is also offering on the global market For My Family, which is currently airing its second season in Turkey. It tells a story with a class conflict that reveals how the balance between the rich and poor can change through the powers of love and hate.

For My Family

“These shows have successfully premiered in Turkey, and some of them have already been licensed in several international markets.”

—Müge Akar

Germinal

Banijay Rights Screw / Germinal / My Ballerina Banijay Rights’ highlight Screw, produced by STV Studios, is a six-part prison drama that follows an officer in a modern all-male British prison. Germinal, produced by Banijay Studios France and Pictanovo Production, is based on Émile Zola’s eponymous novel. It centers on a miners’ strike in northern France in the 1860s. My Ballerina, produced by Banijay Studios Italy, is a 12-part series that follows a choreographer who believes her baby died at birth 16 years earlier. After receiving a message claiming that her daughter is alive, she begins her search for the truth. “From an adaptation of a classic text to a very accessible broad audience drama, we have no doubt that these shows will resonate strongly with audiences worldwide,” says Simon Cox, senior VP of acquisitions.

“We continue to find new and innovative ways to bring our fresh content to all our buyers online.”

—Simon Cox 186 WORLD SCREEN 10/21

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Sherwood

BBC Studios Sherwood / Ragdoll / The Chelsea Detective BBC Studios’ Sherwood centers on two killings that shatter an already-fractured mining community. As antipathy builds between neighbors and toward police, divisions sparked by a miners’ strike are inflamed. Ragdoll focuses on the killing of six people, who were then dismembered and sewn together into one body. The killer sends police a list of his next victims, including a London Met policeman. The Chelsea Detective follows the detective son of a local bookshop owner who is a far cry from the affluent elite whose crimes he’ll help solve.

“Covering various parts of the U.K. and different aspects to the detective teams out solving the crimes featured, these three series will…keep audiences thrilled and horrified at the same time,” says Caroline Stone, director of independent drama.

“I am looking forward to bringing such a full and strong slate of programs to our international customers.”

—Caroline Stone

Manayek

Cineflix Rights Rebecca / Crime / Manayek Cineflix Rights’ lead highlight Rebecca, produced by Elephant, centers on the eponymous woman who returns to the police force after quitting six years prior. When she comes back, she becomes convinced a killer from her past has resurfaced. “The series is filled with enough red herrings, twists and turns and a heart-wrenching journey of loss and redemption to keep viewers gripped through every episode,” says James Durie, head of scripted. Crime, from Buccaneer Media, is an adaptation of Irvine Welsh’s novel of the same name. It follows as a detective undertakes criminal investigations while engaged in his own battle.

Lastly, Manayek from Yoav Gross Productions sees an investigator stumble upon a police corruption case in which the prime suspect is his best friend.

“We’re very excited to be launching these three fantastic new series to the international market this fall.”

—James Durie

Inter Medya The Trusted / Scorpion / Respect The Inter Medya-produced Respect centers on psychopath Ercument Cozer and his obsession with disrespect, as well as two lovers who start committing murders in Istanbul. In the series, “the notion of disrespect between two generations has turned into a media-based struggle,” says Can Okan, founder and CEO of Inter Medya. Produced by TIMS&B Productions, The Trusted follows Marashli, who has left the special forces to open up a bookstore and spend more time with his daughter. After Mahur Turel walks into his shop, his life is forever changed. In 1441 Productions’ Scorpion, Perihan Emgen, her daughter, grandchildren and son-in-law live under the famous matriarch’s roof. Perihan’s long-ago abandoned daughter sets out to seek revenge on her mother by having an affair with her stepsister’s husband.

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Scorpion

“Scorpion is a very successful Turkish drama.”

—Can Okan

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Recipe of Love

Kanal D International Recipe of Love / Twist of Fate / Three Sisters The Kanal D International drama highlight Twist of Fate tells the story of a young woman who tries to maintain her fraudulent marriage while working with a handsome boss who’s not open to love—until Cupid strikes them both.

Recipe of Love sees Chef Fırat searching for love after being abandoned by his fiancée on their wedding day.

Kanal D is also bringing to the market the new series Three Sisters, an adaptation of a Turkish novel written by İclal Aydın, and the medical drama Hekimoğlu, an adaptation of the U.S. series House. “Called the best remake in Turkish TV history by Turkish audiences, Hekimoğlu has satisfied audiences’ need for an alternative drama with its witty dialogue and startling incidents,” says Ekin Koyuncu, executive director.

“Viewers are shifting toward more optimistic, feel-good stories.”

—Ekin Koyuncu

Heels

Lionsgate Heels / Hightown / BMF Lionsgate is shining a spotlight on a trio of STARZ dramas: Heels, Hightown and BMF. Heels stars Stephen Amell and Alexander Ludwig as siblings and pro-wrestling rivals who are trying to follow their late father’s legacy. The second season of the crime series Hightown will continue its story about drug addiction on Cape Cod, centering on a woman pursuing her goal of becoming a cop while trying to bring down a drug dealer responsible for her best friend’s death.

BMF is inspired by the true story of the Flenory brothers and the crime family they created in the U.S. in the 1980s. “All three series are amazingly written with incredible performances that will captivate audiences everywhere,” says Agapy Kapouranis, president of international television and digital distribution.

“Our distribution team is laser-focused on bringing great and compelling premium content to all markets across the globe this year and beyond.”

—Agapy Kapouranis

MISTCO The Innocents / The Great Seljuks: The Legend of Alparslan / Barbarossa: Sword of the Mediterranean Leading MISTCO’s drama highlights, The Innocents outlines the importance of mental health amid childhood traumas.

The series, which is currently on air on Antena 3 in Spain, “encourages people who have similar problems all around the world to face their problems in order to find happiness through the [authentic] main characters,” says Aysegul Tuzun, managing director. The Great Seljuks: The Legend of Alparslan tells the story of the commander Alparslan, who opened Anatolian doors for the Turkish people. Another historical drama in MISTCO’s catalog, Barbarossa: Sword of the Mediterranean follows brave and legendary sailors who become conquerors of the seas. “In our historical dramas, we offer strong stories with great production quality that is comparable to Hollywood movies,” says Tuzun.

The Great Seljuks: The Legend of Alparslan

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“Our advantage is having the most diverse Turkish catalog and offering different genres for all types of broadcasters.”

—Aysegul Tuzun

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Red Arrow Studios International

“Our catalog of classic crime procedurals and comedy dramas is as enduringly popular as our scripted remakes.”

Blackout: Tomorrow Is Too Late / Australian Gangster / Stella Blómkvist A thriller in Red Arrow Studios International’s catalog, Blackout: Tomorrow Is Too Late sees a sudden blackout plunge Europe into darkness, with the past catching up with a former hacker. “It’s a thought-provoking, psychological portrait of a society in a state of emergency, so the subject matter is timely and will resonate with viewers,” says Tim Gerhartz, president and managing director. Set within the Sydney underworld, the crime series Australian Gangster tells a tale of ambition and revenge as gangsters and the Instagram generation collide with the city’s social elite. “It’s a close-up, contemporary view of the criminal world,” says Gerhartz. The second season of Stella Blómkvist sees the titular protagonist return for another journey into the Icelandic noir series’ dangerous, stylish and sexy world.

—Tim Gerhartz

Australian Gangster

Russia Television and Radio/Sovtelexport Cloister / Elsa’s Land / The Lockdown

Cloister

The Russia Television and Radio/Sovtelexport period drama Cloister, based on the best-selling novel of the same name by Zakhar Prilepin, tells a love story that unfolds amid the horrors of the Solovetsky special purpose camp in post-Civil War Russia. Another love story, Elsa’s Land follows 70-yearold Leonid and Elsa, whose families do not approve of their relationship. The detective drama The Lockdown, which was written and filmed before Covid-19, centers on a pandemic.

“Its central idea is that any pandemic will end; the key to survival is preserving eternal human values, such as love, friendship and commitment to principles,” says Julia Matyash, director of Sovtelexport, who adds that the company has continued to thrive despite the real-life global health crisis.

“Our efforts, mission and goals remain unchanged.”

“With new content providers appearing comes the motivation to find new ways to keep audiences satisfied and attract new ones.”

—Julia Matyash

Agatha Christie’s Hjerson

ZDF Enterprises The Window / Agatha Christie’s Hjerson / Before We Die ZDF Enterprises’ catalog features the new series The Window, a drama thriller that focuses on the off-field machinations of professional soccer. Following one summer in the life of a 17-year-old wunderkind who is on every European club’s wish list, it will reveal the cutthroat schemes that occur behind the scenes. Agatha Christie’s Hjerson, based on the detective character created by Agatha Christie’s fictional writer Ariadne Oliver, sees Hjerson and a TV producer team up to solve a string of murders. It is “a playful, meta, contemporary whodunit from the producers behind Midsommar,” says Fred Burcksen, president and CEO. Based on the eponymous Swedish noir series, Before We Die follows Hannah Laing, a police detective who discovers her estranged son is an undercover informant in a brutal murder investigation.

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“We can’t wait to see our long-standing partners and meet new ones as well.”

—Fred Burcksen

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Madd Entertainment’s A Woman Scorned, based on BBC Studios’ Doctor Foster.

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Say it

Again

Interest in scripted remakes is picking up pace as producers and distributors look for much-needed shortcuts to get fresh, compelling content onto screens. By Mansha Daswani

B

etween rigorous testing and other new on-set processes, booked up studio space and creatives’ packed schedules, the global drama business has faced a cavalcade of delays since the start of the pandemic. But audience interest is as high as it’s ever been. Against that backdrop, scripted formats and reboots have emerged as a smart, efficient way to get new content to viewers while saving on development costs—and at the same time having the peace of mind that the property you’re remaking worked for audiences elsewhere.

“We have seen a huge growth in interest for scripted formats over the past five years and, even more so in the past 18 months, as broadcasters have seen the benefit of reduced development times on stories that are already proven successes,” says André Renaud, senior VP of global format sales at BBC Studios. Renaud cites the breadth of the BBC Studios scripted-format slate, having sealed remake deals on a broad range of shows, from the dramas Doctor Foster, Undercover, Mistresses, Criminal Justice and The Split to the megahit comedy The Office, mainly in Asia but also in EMEA markets such as France, Russia and Turkey. “Local writers and producers have the flexibility to tell the character’s story in a way that resonates with audiences,” Renaud notes.

“A lot of countries that haven’t traditionally done scripted formats are now more interested in them,” observes Kelly Wright, the senior VP of distribution and new business at Keshet International, which has seen recent traction around its romantic comedy The Baker and the Beauty, while False Flag is being redone in the U.S. for Apple and in India.

EMERGING MARKETS “In Poland, there has been a surge in the quality of drama production,” Wright continues. “Given the coronavirus restrictions that have been pretty severe in the country, I’m seeing more interest in scripted formats. And then you have some markets like the U.S. and India, which have always been scripted-format friendly and continue to be. There’s an overall positive trend.”

Jane Sharp, formats executive at All3Media International, says the company has seen demand for scripted formats grow across all of its sales regions, “both before and during the pandemic.” Liar, in particular, has been a scriptedformat hit for the company, Sharp reports. “While historically it was volume that was a key driver in a potential deal, we have noticed a big shift to limited series proving very appealing. Equally, we are seeing an increase in the number of broadcasters approaching us to option and license, rather than third-party producers. People are keen to secure the

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Rebecca is the French adaptation of Cineflix Rights’ Marcella for TF1.

rights for strong stories, even if the cultural nuances are different to their regular dramas.”

And having a better chance of a hit in the risky business of high-end drama certainly helps. “While there is no guarantee of a hit show, arguably you stack the odds in reproducing a show that has worked to critical acclaim in another territory,” Sharp adds. “And that, of course, really reduces preproduction and development time—so you can get to screen quicker, and therefore cheaper.”

KNOWN IP BBC Studios’ Renaud observes that the uncertainty brought about by the pandemic has left audiences clamoring for familiarity, “so instant recognition of a name or story can be useful to drive viewership.”

“With the rise of streamers, both local and global, the competition in creating good drama stories that can attract viewers is getting fierce,” adds Sayako Aoki, who handles scripted format sales at Nippon TV. The Japanese media giant inked remake deals on its Mother format in Turkey, South Korea, Ukraine, France, Thailand, China, Indonesia and Spain. “Drama remakes can provide a strong structure and guidance in what has already gained success in other territories, as well as visual examples of how the series is going to turn out, and the data on how well that IP is performing,” Aoki adds. “All of this is helpful for buyers when exploring the next big hits.”

But even if you do already have a hit on your hands, translating it for a new territory, taking into account cultural nuances, is no easy feat. Starting with a track record helps, says Nadav Palti, president and CEO of Dori Media Group, but other factors can help guarantee a successful remake.

“Times change and create new situations where a certain format is suddenly more relevant,” Palti explains.

“For example, Lalola today is more relevant than it was in 2007-08 when we produced it because of the #MeToo movement, and therefore is of huge interest today.”

Dori Media boasts several other successful scripted formats in its catalog, including Split, Ciega a Citas, In Treatment— remade in 18 territories—and Dumb, which has been sold for remakes in France, Belgium, the Netherlands and Spain. Little Mom is in production for Channel 4 in the U.K. as Hullraisers.

LOCAL FLAVOR GMA Network in the Philippines has remade several Korean drama series into local hits that the group has then sold internationally, including Descendants of the Sun. “We only acquire remakes that we can tailor to our viewer’s tastes and preferences,” says Roxanne J. Barcelona, VP of GMA’s worldwide division, which handles content sales, syndication and distribution. “Dramas whose concepts are relevant and our viewers can relate to socially and culturally are very important in reboots and remakes. Sometimes we tweak a story or a character to ensure proper engagement with the target demographics as opposed to alienating them.”

At Series Mania this year, Cineflix Rights launched Rebecca, the first adaptation of the critically acclaimed Marcella. For Tom Misselbrook, senior VP of scripted sales and development, getting a remake right comes down to the “delicate balance of keeping close to the original—because that is ultimately what contains the successful formula—but in the process creating a distinction between the two, something that feels unique and that will resonate with local audiences within the market it’s being produced. It comes down to the writing and the execution of a remake. With Rebecca, our production partner Elephant has cleverly woven Marcella’s personal journey across the first two seasons into the first season of the remake, which makes for a very emotive, intense and thrilling drama.

They’ve also explored Rebecca’s role as a woman and a mother in her professional and personal life in greater depth, which adds another layer to our central character and makes it more relevant for today’s audiences.”

Renaud says you have to start with a great idea and authentic characters. “At BBC Studios, each of our

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Nippon TV’s newest scripted format for the global market is Life’s Punchline.

scripted formats has bold and relatable characters at the heart that can comfortably sit in a brand-new set of surroundings.

Their stories are both specific and universal: a serious crimes officer trying not to be consumed by the dark crimes he investigates or even the day-to-day goings-on of people in an office environment. It is essential for us that the adaptation process is a collaborative one. We have a dual responsibility to do justice to the original creative work and be sensitive to making an adaptation that remains true to the original. We work closely with our partners to translate stories in a way that will best resonate in their own country.”

“It depends a lot on the experience of the producers you’re working with,” agrees Wright at Keshet International. “Experienced writers and producers can see a piece of IP and

immediately form a vision for it based on their own cultural experience, where they come from and the zeitgeist of where that place is at that point in time. That’s the kind of experience we had with Peter Bowker on The A Word for the BBC and with Howard Gordon and Alex Gansa on Homeland. It was an immediate click where they said, OK, we get your show, we see exactly where this needs to go and we’re running with it. The job of the distribution company is not to interfere too much. On the opposite side of that, you have people who have never done this before. When they try to put too many twists on something that already works as it is, and they don’t have the experience of doing so, that’s when we see projects not succeed the way they wanted them to. And in some places, including the U.S., where they’ve stayed faithful but tried to be too inventive with the material without having that clear, completely separate storyline and vision, they’ve fallen. It’s a tricky line to cross. There has to be creative respect on either side.”

TRACKING THE TAPE

GMA Network licensed the format rights to the drama The Other Mrs. Real into Vietnam.

Once you have a well-executed remake on your hands, your IP becomes even more valuable given the surging interest in foreign-language drama across the globe. Cineflix Rights already fared well with Marcella and hopes Rebecca will be equally viable on the global circuit. Misselbrook says the company looks to retain the rights to any adaptations of its scripted formats “so that we can control the brand and ensure that any remake is produced, marketed and sold effectively while taking into consideration sales of the original series.

Commercially, it makes a lot of sense to do that, as it creates an additional stream of revenue for the business while adding volume to our catalog. When analyzing a particular scripted series for acquisition, we look at the potential for a remake, which forms an important factor in our decision-making process. A good example of this is Manayek, our hard-hitting Israeli cop drama from Yoav Gross Productions. We could instantly tell the strength of the original and bought into that, but also felt that it had all the ingredients to be adapted elsewhere. We’re having some interesting conversations around that currently.”

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Keshet International recently inked a format deal for The Baker and the Beauty in India.

Keshet International, similarly, looks to hold onto the distribution rights to remakes. That approach is more straightforward in some territories than others, Wright observes. “In the U.S., it’s been challenging. We’ve been lucky with our deal with NBC because we’ve split distribution on most of the shows that we produce for NBC and Universal Television. In cases where the country or the buyer isn’t fully equipped to do distribution, we step in and take on that role.

Sometimes these companies want to grow their distribution, and that’s something they will fight hard for, but they won’t necessarily be willing to pay more for it, for example, with an MG or a higher fee. When you take on distribution, you have more expenses, but you also stand to gain. So, it is on a case-bycase basis.”

It’s also on a project-by-project basis at Dori Media, Palti observes. “We aim to distribute the remake, but when the agreement doesn’t allow it, we still receive a percentage of the remake’s sales.”

BALANCING ACT At BBC Studios, Renaud says those decisions about rights retention for remakes include “balancing the needs of the commissioning broadcaster in any region with the desire to have as many people as possible around the world see the great quality of production that countries bring to life. That is often the fine line everyone treads. As audiences become more comfortable seeing shows from around the world, we work closely with all of our partners to find the best way to navigate this together.”

For GMA Network, the approach has generally been to only take on distribution rights to its own remakes of scripted formats it has licensed from third parties. “The challenge is when we have limited distribution rights to some of our remakes,” says Barcelona. “Although this is not the norm but rather the

exception, it does pose challenges in some cases. This limits the amount of content that can be offered to regular clients. But on the other hand, it opens an opportunity for a deeper and longer cooperation between the format owner and the licensee and its distributor. We trust that format owners will promote and market our adaptations and distribute them to a wider audience. If the adaptation is promoted alongside the original, it may also strengthen the marketability of the remake, and in the long run, promote Filipino dramas in general.”

The other complication in the scripted-formats market is the commissioning model at the global streamers, which will sometimes call for exclusivity. “On When Heroes Fly, we sold the tape to Netflix, and Apple saw it and said, We love it and we can see this being remade with American exsoldiers in Colombia,” says Wright at Keshet International.

“But when it comes to partners like Apple, you have a lot of incentive to be exclusive to them. We’ve had people come to us wanting to make When Heroes Fly and we haven’t agreed to that because we’re committed [to Apple’s version]. The one remake is going to be Apple’s. Sometimes there is no conflict of interest. Often, buyers won’t mind if that IP exists, even on a platform as popular as Netflix.

Countries like Germany are a bit warier of foreign-language versions entering the territory, especially if they will be dubbed in German.”

There are both challenges and opportunities in selling multiple versions of the same series, Dori Media’s Palti observes. “The opportunity is the better and larger offer to clients, in different languages and with a different number of episodes. The challenge is managing sales worldwide without infringing on granted rights.”

Cineflix’s Misselbrook adds, “One of the biggest challenges we’re seeing is to be able to make a clear distinction between the original series and the remake in a way that local audiences respond to the new version. There are always obvious comparisons to make between the original and remake. If the original is very much associated with a particular platform or channel, then the challenge is to make a remake feel new and fresh.”

BOOM TIME Ultimately, though, the business is filled with upsides, BBC Studios’ Renaud explains. “One of the most rewarding things in format distribution is to see how a story can be told and retold with different nuances every time. Not only does it give insight into a culture or a community, but it also often can shed new light on the stories themselves and give viewers the chance to rethink or rediscover a part of the story they may have missed before. Making this happen must be explored in a way that gives everyone the space to allow their own version to shine, too, and it’s why we always want to spend time with our partners to talk through how their own unique version stands next to the other versions around the world.”

Nippon TV’s Aoki agrees, noting, “To have multiple versions based on the same IP produced, aired and distributed could be tricky when adjusting the terms like languages or holdbacks, but I feel it is more of a good influence in making the IP grow globally. As a content provider, we keep trying to provide relatable stories and innovative viewing experiences to viewers all over the world. The synergy we can see in different versions in terms of marketing and viewers’ engagement is contributing to our new business opportunities.”

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GoQuest’s Traitor.

Let’s Make a Deal Jimmy George discusses how developments in streaming services have created more demand and, consequently, a good time to be GoQuest Media. By Chelsea Regan

I

n recent years, the international media industry has felt a marked shift across the landscape with the widespread adoption of digital platforms. Jimmy George, the VP of sales and acquisitions at GoQuest Media, attuned to the wants and needs of the market and the viewers therein, sees how developments in streaming services have created more demand and, consequently, a good time to be GoQuest.

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“There’s more demand for original programming as more industry players have opportunities to take creative risks,” says George.

He notes that there’s been a rise in established platforms expanding into new markets, the proliferation of new services and an increasing appetite for foreign-language content amid Covid-19. “The

“There’s more demand for original programming as more industry players have opportunities to take creative risks.” —Jimmy George most exciting change has been the way attention to non-Englishlanguage content has gone up. There are no longer barriers of language and culture to cross.”

Among the highlights in GoQuest’s catalog are a pair of espionage thrillers, Traitor and Civil Servant, along with the family dramas Debt to the Sea and Divorce in Peace. Also on GoQuest’s slate is Rats, set in the world of the Czech drug trade. “All these titles have excellent plots and unique storylines at their core that will be of interest to audiences anywhere in the world,” says George.

GoQuest has in the works additional acquisitions and sales for its catalog while it looks to boost opportunities for collaboration with local producers and international entertainment providers for adaptations and remakes for some of its titles. As the company seeks out new avenues for growth, it remains true to its mission to put the viewer first.

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F

ZDF Enterprises’ Huss.

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Europe’s

Finest Amid a renaissance in European drama production, Mansha Daswani checks in with several distributors about new opportunities at home and abroad.

T

he conversation about America’s golden age of television has been ongoing since the late ’90s, as cable TV, and then streamers, ushered in new concepts, innovative narrative techniques, A-list stars and much bigger budgets. “We may well be now entering the golden age of European content,” Jan Koeppen, president for Europe, the Middle East and Africa at The Walt Disney Company, told delegates at Series Mania at the end of August.

Koeppen was on site in Lille to tout the success of Disney+ and make it clear to the region’s content community that the streamer is not going to be just a global platform for American content. (Indeed, Series Mania also played host to high-profile sessions with Netflix and HBO Max executives showcasing their latest investments in the region.) Disney+ had previously set a target of 50 European originals by 2024. “We’re leaning in, and given the reception from the creative community across Europe, we’re on track to exceed 60 originals in that same time frame,” Koeppen said. “In 2020, there were 50 percent more European commissions than the year before. These commissions are accompanied by bigger budgets. I would call this a real

bonanza for the European creative community. It also means that European creatives are busier than ever and consumers have more choice. There’s no sign of this slowing down.”

DEMANDING VIEWERS The expansion of the streamers has been paramount in this new European scripted boom. As Rodrigo Herrera Ibarguengoytia, senior acquisitions and co-productions manager for scripted at Red Arrow Studios International, observes, it’s not just the global giants injecting funds into the sector. “Regional European streamers have continued to grow, and many have ambitions to launch in additional territories—as we’ve seen with Viaplay, for example,” he explains. “As such, they’ve become major players—offering more financing power with a degree of flexibility. The advantage for us is that these local services are multi-territory, not global, which still provides us with the ability to build different financing models and put together diverse partnerships, such as a combination of linear broadcaster and streamer.”

Working with a variety of different models across the global, regional and local streaming opportunity is crucial, according to Mirela Nastase, director ZDFE.drama at ZDF Enterprises. “Streamers will be increasing their originals, and this could both limit the volume of acquisitions

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Banijay Rights is rolling out a second season of Movistar+’s Hierro.

and increase the available premium fiction for distribution.

We have started closing volume deals with already existing platforms and with newly launched streamers. This was a very satisfying development this year, and we anticipate it to continue.”

MIND YOUR LANGUAGE The streaming giants have helped drive the interest in European drama—think the global success of France’s Lupin or Spain’s Money Heist on Netflix. For a company like Banijay, with production companies across Europe, the elevation of non-English-language drama has been transformative.

“No one is negotiating more with the streamers than we do,” says Lars Blomgren, the European giant’s head of scripted for EMEA. “I also have a scripted fund, which is an important tool for us because we can step in and support a production company in acquiring expensive IP or maybe an agreement with talent. It’s a very useful tool to elevate a production and begin at a better level.” About 70 percent of the scripted slate at Banijay is non-English-language, Blomgren says.

Austria’s ORF-Enterprise has found a raft of international opportunities for its series, including the Alps-set Soko Kitzbuehel, which sold into Germany, Italy, France and several other European markets. “It is interesting to observe that there is obviously room for so many different types of programs on the market, driven by global, nonlinear players that have been a door-opener for new program types from different cultures,” says Armin Luttenberger, head of content sales international at ORF-Enterprise. “The success of our strong TV movies and series in various European countries is motivating us to roll out our products in markets like the Americas and Asia.”

Finding new monetization opportunities is undoubtedly essential as budgets continue to escalate. They were already on the rise, but Covid-19 has added another level of expenses for producers.

“The budget increases are a tricky development, putting more pressure on the producers and co-financiers,” says ZDFE.drama’s Nastase. “We have faced recalculations a few times since the start of the pandemic, and in most cases, we have found solutions together with all partners. As

distributors, we are expected to increase our contribution, which is a short-term [solution], but is definitely not sustainable for our business.”

As has long been the case, the co-production remains a key financial model across the region given that “shared risk is preferable,” Nastase says. “But I wouldn’t say co-pros are the only solution. Authentic, diverse and innovative ideas that better reflect society today should be the focus of broadcasters and distributors. Streamers are not only well-funded, but they appear to respond with more awareness and precision to what each viewer enjoys watching. That’s why it is not the number of co-producers that matters but the right ones with a common vision. This way, what appears to be an uncommon coproduction opens new paths for content creation: take The Window, a creative financing model between Germany, Belgium and Japan.”

The brand-new drama, set in the cutthroat world of football, is produced by Germany’s Boogie Entertainment and ZDF Enterprises in co-production with Fuji Television Network in Japan and Belgium’s Velvet Films and Streamz.

Picking up on Nastase’s point, Red Arrow Studios International’s Ibarguengoytia says that being able to work with multiple different financing models is critical. He cites as examples of Red Arrow’s diverse slate Stella Blómkvist, which Sagafilm produced for Síminn in Iceland and Viaplay in Sweden; and Blackout: Tomorrow Is Too Late, made by Wiedemann & Berg for Joyn and SAT.1 in Germany. “Using models like this, we’re able to produce great series that compete internationally and make a difference in the marketplace.”

NEW NORMAL With the challenges of the last year, Covid-19 insurance production funds, such as the ones in place in Austria and the U.K., “have helped stabilize the situation,” Ibarguengoytia says.

“However, the added pressure of finding partners to share the burden of the costs remains. Everyone is dealing with different situations and challenges. Financiers have to figure out a way that works for every partner, on a project-by-project basis, while trying to maintain the respective proportions of each party’s contributions to the greatest extent possible.”

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Soko Kitzbuehel, an Austrian crime procedural from ORF-Enterprise, has sold well across Europe.

While much of the high-end drama production coming from Europe tends to hail from the usual big guns—Spain, France, Germany, Italy, the Nordics—several distributors are eyeing opportunities in Russia, Central and Eastern Europe and other markets that are elevating their storytelling techniques.

“We keep looking into CEE as a truly rich source of talent,” says Nastase at ZDFE.drama. “We have launched START’s Sherlock: The Russian Chronicles and are thrilled with the market response! We also look closely at the Baltics and Balkan countries, where we’ve noticed visible progress in scripted production.”

RUSSIA RISING

Russian and global streamers. We know that our shows are competitive—Russian Affairs (Gold Diggers) has been shown as part of Amazon’s originals and Walter Presents, and Better Than Us was the first Russian series to be presented as a Netflix original. We are breaking the barriers in both domestic popularity and international recognition. Our series regularly top Russian audience charts and entertain global viewers.”

“A lot of markets have been emerging in recent years,” says Ibarguengoytia at Red Arrow Studios International. “Covid helped accelerate that trend because some smaller markets were able to step in to fill the gaps left by those U.S. and U.K. productions that were postponed or put on hold. We’ve certainly enjoyed working with some of the best producers in those smaller countries,” including Sagafilm in Iceland for Stella Blómkvist and De Mensen in Flemish-speaking Belgium on The Bank Hacker. “The focus is on consolidating the presence of those secondary markets as they continue to deliver more,” Ibarguengoytia continues.

Banijay is tapping into its extensive footprint to make sure it’s aware of all opportunities emerging within this European scripted renaissance. Blomgren says that he and his team stay in constant contact with producers within the group. “We’re close to their slates; we hear what they are developing. We talk about planning for success…. To create the best content, you just want the best creative to pitch an idea you hadn’t even considered.

That’s what creates a trend.”

“Russian content is getting better every year,” says Julia Matyash, the director of Sovtelexport, which represents the Russia Television and Radio slate. “With new content providers appearing (streaming services, for example), viewers are becoming pickier and harder to please. It encourages [producers] to find new ways to keep the audiences happy and attract new ones.

Nowadays, a unique plot and high-quality cinematography are crucial, and Russian dramas are proud to have both. The period TV series Ekaterina, Sophia, The Terrible and Godunov have already conquered their audience and remain Russia Television and Radio’s catalog hallmarks.”

Sovtelexport series continued to sell well throughout the pandemic, Matyash says, citing deals with Telewizja Polska in Poland, CJ ENM in South Korea, Ginga in Japan, OSN in the Middle East and Amazon Prime.

“The themes of Russian projects stand out—they have to do with rich and sometimes tragic Russian history, which keeps motivating directors to create new, exciting stories,” Matyash continues. She highlights the company’s brand-new Cloister, based on the bestselling novel of the same name by Zakhar Prilepin.

Since its 2017 launch, the Russian SVOD service START has been heavily investing in original content—more than 40 to date, ten in the last six months alone, according to Daria Bondarenko, executive VP of sales and acquisitions at the platform. “We like to think of START as the home to premium Russian drama,” Bondarenko says. “Before launching a series into production, we always evaluate its international potential because we compete with both Sovtelexport is launching the new pandemic drama The Lockdown.

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