Funding Strategies / Doctor Who ’s Ncuti Gatwa & Millie Gibson Behind the Scenes of Secret of Pearls
Keeping it Light CONTENTS
My streaming service “continue watching” queues are littered with drama series I started and then seemed to have paused, or abandoned, anywhere from one to five episodes in.
FEATURES
DRAMATIC FUTURE
As the drama commissioning landscape undergoes a course correction, leading distributors talk about how financing and windowing strategies are evolving.
A WORLD OF DRAMA
The latest edition of the TV Drama Screenings Festival spotlights some of the hottest new and returning scripted properties available today.
INSIDE SECRET OF PEARLS
Ricardo Seguin Guise
Publisher
Mansha Daswani
Editor-in-Chief
Anna Carugati
Editor-at-Large
Kristin Brzoznowski
Executive Editor
Jamie Stalcup
Senior Associate Editor
Alexa Alfano
Associate Editor David Diehl
Production & Design Director
Simon Weaver
Online Director
Dana Mattison
Sales & Marketing Director
Genovick Acevedo
Sales & Marketing Manager
Ute Schwemmer Bookkeeper
Several were quite good, so I do expect to return to them, but you can only handle so many heavily serialized, sprawling plot epics at any one time. Equally tired of unrepentant characters and vivid dramatizations of horrific true crimes, I’ve found myself seeking comfort in, well, old-fashioned television, as it were. That’s led to the joys of rediscovering deep libraries like the infinitely rewatchable The X-Files, which mastered the art of delivering an overarching plot line with the ease of a resolution (of sorts) in every episode. I’ve stumbled upon little shows that came out before the on-demand era and didn’t travel the globe the way shows do today, like the BBC’s 2005 miniseries Life Isn’t All Ha Ha Hee Hee, an adaptation of one of my favorite books. I’ve gone back to the David Tennant era of Doctor Who because it never ceases to bring me joy—and have delighted in the new season, marking the return of Russell T Davies and the launch of Ncuti Gatwa. Gatwa has broken barriers with his casting as the Doctor, so this is less about “old-fashioned” television and more about needing a bit of light with the dark, a steady dose of blue-skies, escapist, low-commitment fare alongside my deeply engaging, lean-forward views. And if you’re a Whovian like me, be sure to read our great interview with Gatwa and his co-star Millie Gibson in this edition.
A behind-the-scenes look at the Turkish drama series with some of its lead cast members.
SERVING DRAMA
GoQuest Media’s Vivek Lath talks about the company’s new “make-to-sell” strategy.
INTERVIEW
Ricardo Seguin Guise President
Anna Carugati Executive VP
Mansha Daswani
Associate Publisher
Kristin Brzoznowski
VP, Content Strategy
TV Drama
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As the entire industry recalibrates after the streaming wars, there is less money in the ecosystem, but there is still room for a range of stories to be told, several distributors told me in my feature in this edition on how financing strategies are evolving. Some models have stayed the same, but new ones are emerging as everyone looks for smarter, better ways to get shows produced, without sacrificing quality on-screen.
Known IP is one of the routes producers are taking, given the continued value of franchises. But new concepts are also finding ways to break through. “You don’t need big stars, proven IP, long-running series, catch-all storytelling to have a hit,” Richard Gadd said at the Emmy Awards this year as his show, Baby Reindeer, landed a series of wins, including best limited or anthology series. “Dare to fail in order to achieve.” Mansha Daswani
NCUTI GATWA & MILLIE GIBSON
The stars of the new season of BBC Studios’ Doctor Who on leading the next generation of the storied franchise.
All3Media International
Joan / Dead and Buried / Out There
All3Media International’s MIPCOM catalog features the new Sophie Turner-led drama Joan. Inspired by the life of a notorious U.K. jewel thief, the show from Snowed-In Productions “is exhilarating, emotional and buzzy, with a host of premium partners attached,” including The CW and Stan, says Julie Dowding, senior VP for Australia and New Zealand at All3Media International. In the four-part psychological thriller Dead and Buried from Three River Fiction and Vico Films, a woman’s brief encounter with the man convicted of the murder of her brother 20 years prior reignites her thirst for vengeance. Buffalo Pictures’ Out There stars Martin Clunes as a father whose peaceful rural life with his son is interrupted by threatening outside forces and explores “the universal question of how to protect what you love,” Dowding says.
Atresmedia Televisión
“Our
catalog is always brimming with high-quality, compelling storytelling that explores universal themes.”
—Julie Dowding
Sueños de Libertad (Dreams of Freedom) / Eva & Nicole / El Gran Salto (The Big Jump)
Atresmedia Televisión’s Sueños de Libertad (Dreams of Freedom), taking place in 1958, centers on Begoña Montes, the new wife of the controlling heir to a major beauty company. When the heir’s brother shows up, Begoña begins to fall in love with him instead. Eva & Nicole explores the rivalry between two women vying for control of Marbella’s nightlife. Once close friends, they were torn apart by a charismatic man, and 13 years in the future, one returns to the city intent on getting revenge. “The series intricately weaves drama and comedy, capturing the complexities of their rivalry and the lengths they will go to achieve their goals,” says Jose Antonio Salso, head of acquisitions and sales. El Gran Salto (The Big Jump), meanwhile, dramatizes the life of Olympic gymnast Gervasio Deferr.
atv Distribution
The Nightfall / Safir
The Nightfall, on offer from atv Distribution, follows a man whose father was assassinated in Denizli. He returns to the city 20 years later as a police inspector, determined to avenge his father’s death, but unknowingly ends up falling in love with the murderer’s daughter. The series “showcases rich storytelling and captivating drama elements,” says Müge Akar, head of sales. It “is a mesmerizing tale of impossible love, set against the breathtaking views of Pamukkale and Istanbul’s Asaf Bey mansion.” Safir, meanwhile, takes place in Cappadocia and centers on housekeeper and textile design student Feraye and her employers, the Gülsoy family. Feraye finds herself in love with Yaman, one of the family’s heirs. “With complex characters and unexpected twists, it keeps audiences on the edge,” Akar says.
“Our content is characterized by its strength, relevance and high quality.”
—Jose Antonio Salso
“Committed
to delivering highquality dramas that engage local and global audiences, atv Distribution aims to solidify its position.”
—Müge Akar
The Nightfall
Joan
Eva & Nicole
Calinos Entertainment
Hidden Garden / Farah / Indefensible
Calinos Entertainment has a slew of dramas on offer, including its newest title, Hidden Garden, which stars Ebru Şahin and Murat Yıldırım. Farah, an adaptation of the Argentinean series La chica que limpia, centers on an Iranian woman who runs away from her country and takes a job as a cleaning lady in Istanbul to support her son’s medical needs. One night while cleaning, she witnesses a mafia murder. “At MIPCOM, we are celebrating our 25th year of leading the international sales of Turkish dramas,” says Asli Serim, head of sales at Calinos. The French-Canadian series Indefensible, meanwhile, follows the criminal defense team at the Lapointe-Macdonald Law Firm. The lawyers, all passionate about justice, work to ensure that ordinary citizens and career criminals alike are given the opportunity for defense.
Eccho Rights
Safe Harbor / I Am Mother / Winds of Love
The MIPCOM offering from Eccho Rights is led by the international thriller Safe Harbor, which comes from Ozark co-creator Mark Williams. It stars Alfie Allen, Jack Gleeson, Charlie Murphy and Colm Meaney, among others. Also on the slate, the Turkish drama I Am Mother has a second season on offer. It centers on a woman in an abusive marriage who sends her 3-year-old child away to safety, only to have him disappear. When she reunites with him three years later, he doesn’t recognize her. Winds of Love, another Turkish drama with a second season available, sees Halil determined to enact revenge on the Aslanlı family, who ruined his own family’s honor and stole their home. When he falls in love with the Aslanlı daughter Zeynep, everything changes.
Global Screen
“Our main focus is expanding our reach through co-productions and exploring new markets.”
Murder on the Inca Trail / Recipes for Love and Murder / The Palace
In the Global Screen thriller Murder on the Inca Trail, detective Rita Berg must solve a murder on the remote Inca Trail with no witnesses, weapon or evidence. Though the husband of the woman killed during an alleged robbery claims innocence, Rita’s suspicion lingers. A second season of Recipes for Love and Murder sees a massive fire engulf Eden and trigger events that unearth the town’s darkest secrets. The Palace season two centers on a ballet director and young dancers who “face personal and professional turmoil as they navigate love, fear and ambitions,” says Ulrike Schröder, co-head of international sales and acquisitions. She adds, “We have been thrilled by the international sales success of the first seasons of [these shows] and look forward to presenting these new chapters.”
“The series that we are presenting at MIPCOM are a beautiful mixture of crime and drama.”
—Asli Serim
The Palace
—Ulrike Schröder
I Am Mother
Inter Medya
Deception / Love and Pride / Tuzak
Inter Medya is highlighting Deception, which sees the life of a respectable family court judge unravel. With a marriage of 30 years and two children, Güzide Yenersoy has what could be described as the epitome of a perfect family. However, the truth is different from this false reality. Events buried in the past will come to light again as secret families, relationships, dreams and debts are revealed. In Love and Pride , the Köksoys contemplate how to prevent themselves from losing everything. A wealthy heir proposes marriage to their eldest daughter, but she rebels against the proposition despite the salvation it would offer her family. Tuzak follows three siblings who discover they don’t have the bond they thought they had.
Kanal D International
Secret of Pearls / The Family Burden
For MIPCOM, Kanal D International is spotlighting Secret of Pearls and The Family Burden. In Secret of Pearls, beloved literature teacher Azem’s life changes in a single night when he goes to prison for killing his wife. While the reality is different, Azem has a secret that he cannot tell anyone. The Family Burden follows the journey of Melike, who is released from prison after 20 years. The series focuses on a mother’s relationship with her daughters. Both titles “are distinguished by their compelling casts, high-quality productions and captivating storylines that keep audiences engaged at every turn,” says Elif Tatoğlu, distribution strategy director. The company is also set to unveil an upcoming project featuring Bergüzar Korel and Mehmet Günsür, “promising a compelling story with a strong female character,” adds Tatoğlu.
Lionsgate
Spartacus: House of Ashur / The Hunting Wives / Mistletoe Murders
The Lionsgate offering includes the epic series Spartacus: House of Ashur, the fish-out-of-water story The Hunting Wives and the mystery Mistletoe Murders. “Each of these titles offers compelling narratives and wide-reaching appeal, making them must-haves for global audiences,” says Agapy Kapouranis, president of international television and digital distribution. Spartacus: House of Ashur taps into a globally recognized franchise “with universal themes of freedom and vengeance brought to life by a stellar cast and top-notch production,” Kapouranis says. The Hunting Wives features a mix of glamour and suspense, anchored by a star-studded cast led by Malin Åkerman and Brittany Snow. It’s a “strong choice for audiences seeking drama and intrigue,” says Kapouranis. Mistletoe Murders, meanwhile, is full of unexpected twists and turns.
“We
are dedicated to delivering captivating stories that resonate with audiences worldwide.”
“We’re excited to present a dynamic slate of programming that highlights our commitment to delivering bold, innovative and engaging content.”
—Agapy Kapouranis
Mistletoe Murders
The Family Burden
Love and Pride
—Elif Tatoğlu
MISTCO
The Great Seljuks: Alparslan / Come What May / Bahar
MISTCO’s MIPCOM roster is led by The Great Seljuks: Alparslan. The series tells the story of Sultan Alparslan, who opened the doors of Anatolia to the Turks. Come What May follows Alize, whose mother passed away the day she was born. Although her father tries to make her happy, Alize becomes aggressive and selfish, and when she crashes into a repairman’s car and runs away, her father decides to teach her life lessons before it’s too late. Bahar sees a young girl struggle to protect her inner goodness in spite of all the darkness that surrounds her. “Bahar, our first co-production, has achieved notable success in international sales,” says Aysegul Tuzun Yildirim, managing director. “Its content is well received across various global markets.” MISTCO is also highlighting Secrets of an Angel and The Town Doctor
OGM UNIVERSE
6 of Us / Dilemma / Lost in Love
OGM UNIVERSE’s emotionally charged drama 6 of Us ( Sahipsizler ) tells the story of six suddenly orphaned siblings. “ 6 of Us combines universal themes with rich, character-driven storytelling, making it a captivating choice for global audiences,” says Ekin Koyuncu Karaman, global distribution and partnership director. The thriller Dilemma ( Düğüm ) centers on TV host Neslihan Turhan, whose life is turned upside down when her son becomes implicated in a murder. Lost in Love ( Sakla Beni ) focuses on the complicated lives of Mete and Naz, two individuals bound by a promise made in their childhood. With complex family rivalries and emotional entanglements, the series explores themes of trust, passion and the intricacies of relationships.
Onza Distribution
Cacao / Traffic Jam / Flowers Over the Inferno
Onza Distribution’s Cacao follows a young girl from a Portuguese family who makes chocolates on a cocoa farm in Brazil. Her dream to go abroad and become a pastry chef seems out of reach, but everything changes when her real father is revealed. The comedy Traffic Jam, which has second and third seasons in development, is also on offer. “The show brilliantly explores a wide range of topics, highlighting how, on the road, we are all equal,” notes Béatrice Nouh, head of sales. “We want to promote Traffic Jam for adaptations in other territories.” In Flowers Over the Inferno, criminologist Teresa Battaglia leads a team in the investigation of unsolved crimes while dealing with the first signs of Alzheimer’s disease, intensifying her personal conflicts.
“All
of our titles have proven their success and quality in various markets.”
“We are committed to pushing creative boundaries while reflecting the rich cultural fabric of Turkey.”
—Ekin Koyuncu Karaman
“Our goal is to increase sales for our best-selling telenovela Cacao, as well as for the rest of our telenovela catalog.”
—Aysegul Tuzun Yildirim
Cacao Come What May
—Béatrice Nouh
Dilemma
The Mediapro Studio
Quiet / Celeste / The Head
The Mediapro Studio’s upcoming thriller series Quiet is based on the true story of a serial killer who targeted homeless people in Barcelona in 2020. Celeste, coproduced with Movistar Plus+ and created by Diego San José, follows Sara Santano, a nearly retired inspector from the Spanish tax agency. She soon receives an assignment to prove that Celeste, a global Latin music superstar, resides in Spain and must pay taxes there. The Mediapro Studio is also highlighting the third and final season of The Head. The classic whodunit is set this time in the Sahara Desert and delves into a new mystery involving genetically modified algae and human testing. It’s “an impressive setting to conclude the series,” says Marta Ezpeleta, director of distribution, international offices and co-productions at Mediapro.
“This year, we have a very extensive catalog.”
—Marta Ezpeleta
Paramount Global Content Distribution
Matlock / NCIS: Origins / Poppa’s House
Kathy Bates stars in Matlock , inspired by the classic CBS series of the same name and part of the Paramount Global Content Distribution slate. She plays Madeline “Matty” Matlock, a brilliant septuagenarian who achieved success in her younger years and decides to rejoin the workforce at a prestigious law firm where she uses her unassuming demeanor and wily tactics to win cases. NCIS: Origins is part of the successful NCIS franchise, “which continues to resonate with global audiences,” says Lisa Kramer, president of international content licensing. The series follows a young Leroy Jethro Gibbs in 1991, years prior to the events of NCIS Poppa’s House sees the pairing of Damon Wayans and Damon Wayans Jr. in a comedy about a legendary talk radio host who is happily divorced.
Viaplay Content Distribution
Mafia / The Hunt / Secrets
The Viaplay Content Distribution highlight Mafia is set against the backdrop of the transformation of 1990s Sweden. The story follows the rise of Radovan “Jakov” Jakovic from rags to criminal riches and the lone cop who recognizes the mafia threat lurking behind cigarette smuggling. “Mafia offers a thrilling, high-stakes narrative with universal themes of greed, loyalty and ambition, set against a politically charged backdrop,” says Vanda Rapti, executive VP of Viaplay Select and Content Distribution. The Hunt is a period drama inspired by the real-life murder of Marianne Vaatstra, a case that gripped the Dutch nation for more than a decade. The Danish drama Secrets watches adult siblings Mads (Pilou Asbæk, Game of Thrones, Borgen) and Eva (Iben Hjejle, High Fidelity) navigate family relationships, abuse and co-dependency.
“MIPCOM is the optimum market for us to showcase highlights across all Paramount Global studio brands to valued clients from all over the world.”
—Lisa Kramer
“Our goal in Cannes is to reconnect with global partners, showcase our diverse premium Nordic and European series and highlight the power of Viaplay Select and our SVOD channels for streamers and aggregators worldwide.”
—Vanda Rapti
The Hunt
Celeste
NCIS: Origins
Atresmedia Televisión’s Santuario (Sanctuary).
Dramatic Future
As the drama commissioning landscape undergoes a course correction, Mansha Daswani checks in with leading distributors about how financing
and windowing strategies are evolving.
We’ve all seen the reports about the end of peak TV and the dramatic slowdown in commissioning across every sector, including what had been a severely overheated market for drama. The producers and distributors surveyed for this piece are employing a range of strategies to adjust to the new normal, including finding smarter, savvier ways to finance shows—and fully mine their monetization potential across every window.
“Like a lot of businesses, we’ve adapted and become more flexible in how we approach the financing of a series,” says Tom Misselbrook, senior VP of scripted sales and development at Cineflix Rights. “For us, it all starts with the creative, and we take it from there, looking closely at the ambition and scale of a series to understand whether it fits within our model, and if so, plot out how to best piece it together.”
“I think it’s more important than ever that your creative development is done in parallel with an executable
busi ness plan,” says Dan March, managing partner at Dynamic Television. “Shows now tend to fall into one of two buckets: you can still swing for bigger-budget global streaming commissions or finance smart and efficient coproductions through multiple partners. But know what your plan is as early as possible.”
At Boat Rocker Studios, the emphasis has been on “being flexible in the types of deals we pursue and projects we make,” says Nick Nantell, executive VP and head of scripted creative. “During ‘peak TV,’ we were much more focused on the American market and cost-plus deals. We have been able to pivot in the face of the evolving market there and utilize our size, financing ability and incredible distribution team to find new opportunities throughout the world to make premium, high-end content.”
Miguel García Sánchez, sales director at the distribution arm of Spain’s Atresmedia Televisión, also emphasizes the importance of flexibility, “adapting to the new times, strengthening international relationships and exploring new collaboration strategies with third parties through different formulas and agreement models.”
Carlos Garde, managing director of Onza, says the market’s course correction has created new opportunities for the Spanish distribution and production outfit. “It may sound paradoxical, but we have seen growth opportunities in these times of budget realignment for content platforms. Onza has been a pioneer in finding creative financing solutions and taking advantage of the best tax incentives in the market. This, combined with our experience in closing sales in different windows to different clients, has allowed us to gain a competitive advantage in the market.”
Meanwhile, at Electric Entertainment, despite the industry upheaval, the financial model behind that company’s boutique stable of shows has largely stayed the same.
“The budget will start with a domestic license fee and what you can get between a rebate and foreign sales,” says CEO Dean Devlin. “That’s been our model from the beginning. We’ve also been fortunate enough to make ‘traditional’
television. The entire industry moved away from that toward dark, edgy, serialized, expensive shows. There’s been a resurgence of blue-sky shows where bad guys get their comeuppance. We’re doing more shows now than we’ve ever done. It’s because we’ve been in this unique position of figuring out how to do more for less without it showing up on the screen.”
For Natalie Lawley, managing director of Escapade Media, one of the most significant shifts of the last few years has been the “greater need to ‘package’ each project well before it goes to market—ensuring you have your cast and creative team attached and have sourced a percentage of your budget. The bigger, the better. We have looked at all sources of financing, from private funding, brand support and contra budget line items to presales to striking smarter deals with potential commissioners and platforms.”
FUNDING JIGSAWS
As Lawley indicates, there are a variety of funding routes to pursue, but co-productions and tapping into soft money remain key to most international drama distributors’ strategies for getting shows made.
“We are still seeing the need to secure the anchor sale/commission, preferably in a major territory, but then build the finance plan via an international co-production or multi-territory presales,” Lawley says. “Escapade is seeing a big appetite for presales in the scripted genre.”
Boat Rocker is tapping into the benefits of its home base of Canada, Nantell notes. “We are adept at tapping into the strategic soft money to help us keep our projects in the Canadian marketplace and make them more economically than elsewhere. Having said that, in this more international marketplace, we are looking for partners around the world to help tap into their local soft money to help make the best project possible.”
Similarly, Onza is well-versed in accessing funding systems following its own experience in Spain. “We have always used them in most of our productions, and they have allowed us to develop productions with tighter budgets,” says Garde. “We are producing a major series in Bilbao with incentives from the Basque Country, and we have several productions planned for the coming months. Onza is not only focused on taking advantage of these incentives in our productions—we are also offering our production services to companies in the U.S., Latin America and other territories. We are offering them the opportunity to record part of their production with us in the Basque Country, the Canary Islands or other areas of Spain with incentives, which
Boat Rocker Studios is distributing Mix Tape, an Australian and Irish co-production.
Crave in Canada, NRK in Norway and ITVX in the U.K. were among the early partners on Cineflix Rights’ So Long, Marianne
will allow them to save a lot of money on their productions, and thus be able to carry out projects that would otherwise not be viable.”
Misselbrook at Cineflix Rights explains that it has become “much more common to pull together financing from multiple sources, be that local or state funding bodies, tax incentives, third-party financers or co-producing partners in which a specific project creatively lends itself to two or more territories.”
Misselbrook adds that multi-territory co-pros have been on the rise and notes that soft money tends to form a signif icant part of the productions the company invests in. “When assessing new material, these types of incentives can make all the difference in closing the financing of a series and make the case for investment much more straightforward.”
Naturally, you have to look at those incentives carefully, Electric’s Devlin explains. “It will always be a combination of the rebate versus the cost of shooting in that country. Some places have quite big rebates, but shooting there is so expensive that you lose most of the rebate due to the increased costs. We shot in Portland, Oregon, for 11 years. They only had a 17 percent rebate, but everything else was much less expensive. As we calculated it, even though it was only a 17 percent rebate, we saw a 30 percent reduction in costs from the show’s first season, which was shot in Los Angeles. The rebate is super important, but it’s not everything.”
LIBRARY CLOUT
With commissions on the downswing, distributors are looking to drive additional value from back libraries.
“We’re always on the lookout for series that can run for multiple seasons and have a long shelf life because that’s how you maximize your return,” Misselbrook says. “Library offers buyers high-quality series, high volume and a strong track record at a more affordable license fee. In a time when commissions are down and budgets are tight for buyers, library series are a great option to offer our customers.”
“Atresmedia has an extensive catalog of series, including some of the biggest successes in Spanish-language fiction,”
García Sánchez notes. “Our library is a vital asset, allowing us to offer clients the opportunity to relicense beloved productions that continue to captivate audiences even years after their original release.”
And with the AVOD and FAST sector quickly becoming a critical window, having a solid back catalog of series can be an important advantage. “Nearly every distribution company is ultimately buoyed in challenging markets by its catalog,” March says. “With the growth of AVOD, this is certainly applicable now.”
WINDOW WATCHING
The emergence of AVOD and FAST is helping to change the conversation around holdbacks and exclusivity as IP owners look to expand the monetization potential of shows.
“At Atresmedia, we always strive for maximum visibility and the best exploitation of our series,” Garciá Sánchez says. “We have historically negotiated exclusive and nonexclusive deals, depending on the specifics of each negotiation. This flexible approach allows us to adapt to the evolving conversation about exclusivity in the scripted space and optimize our content’s reach and impact.”
Misselbrook adds: “Historically, there was much more emphasis on exclusivity in the scripted space, as platforms and broadcasters sought to take ownership of content in a more robust way. More recently, we’ve seen a move away from this to an extent; the first window will always be key as this is where platforms and broadcasters realize the most value, but that window has become shorter for many services. There is evidence of more flexibility around secondary window exploitation. This works well for commissioners and distributors as they look more closely at cost and revenue potential. There is an ecosystem in which the same series can sit across multiple services at one time, that audiences can access on their preferred service and that these series can still perform well.”
SVOD streamers, in particular, are starting to be less insistent on being the exclusive home of titles; that strategy helped drive Suits to the top of streaming charts in the U.S. with its homes on Netflix and Peacock.
“You’ll always have full ownership by the platforms, especially on the bigger-budgeted shows,” Devlin says. “But if
The Ark from Electric Entertainment for SYFY is in its second season.
they want to have enough new content that their subscribers feel good about paying a monthly subscription all year, they will have to maintain a certain level of new product. If they want to do that on a budget that’s not going to continue to give them crippling debt, they’re going to go back to the license deal. It makes it a little bit trickier for us because now we’re not just selling it to one person in one territory, but it allows us as an independent to create more realistic modeling on the value of our library. If you’re not reselling the library—if you’re just letting it sit on a hard drive—you’ve lost an enormous amount of that value. It makes more work for us, but it’s better for us at the end of the day.”
Electric Entertainment made an early bet on AVOD and FAST with its ElectricNOW app, delivering access to some of its key franchises. The monetization aspect is important,
but Devlin highlights that the service does more than just generate additional revenues. “We need to aggregate our fans. We need to create a place where, if you like our stuff, you can come to this home and feel like it’s yours and have a sense of proprietary involvement. That’s been successful for us. When we launch a show on SYFY or TNT, we can communicate to [our fans]. It’s been working at a level that’s been surprising.”
FAST TIMES
Cineflix Rights operates a portfolio of FAST channels in the unscripted space and has seen their value, especially when it comes to data and analytics.
“AVOD and FAST provide an exciting opportunity to exploit series in our library that, for whatever reason, we may no longer have a home for through a traditional licensee,” Misselbrook says. “We’re seeing very strong engagement from audiences on these services being reconnected with their favorite series in a free environment, and this area of business remains a real growth engine for us and an integral window in a show’s lifespan. What’s also particularly interesting is the rich level of data we get from these platforms, which we can feed back into the business to inform broader editorial decisions.”
AVOD and FAST aren’t teeming with originals yet, with just a few of the major players— among them Roku, Amazon Freevee and Tubi—commissioning their own productions. But producers and distributors are eagerly watching this space.
“We’ve seen impressive growth of AVOD services in recent times, and we’ll continue to see expansion,” Misselbrook says. “AVOD services are already investing in the scripted space, albeit it’s quite limited when compared to SVOD or broadcast, but with the continued trajectory of AVOD, my feeling is we will see an increase in investment across both film and scripted series.”
Escapade Media’s slate includes the 1970s-set drama Portobello Road, executive produced by Eric Clapton.
As MIPCOM celebrates Spain this year, Onza Distribution arrives at the market with Traffic Jam, a Prime Video original.
Ncuti Gatwa & Millie Gibson Doctor Who
An iconic BBC institution, Doctor Who has been delighting fans since the 1960s. The series, about a humanoid extraterrestrial who bops through time and space in what looks like an old British police box, ended its initial run in 1989 before being successfully rebooted by acclaimed showrunner Russell T Davies in 2005. Davies left the show in 2010 as David Tennant’s Doctor gave way to Matt Smith’s. Eleven years later, Davies was lured back, telling World Screen earlier this year: “In 2021, the BBC was already looking at the property and thinking, Let’s move this forward to the next stage and look at those international streamers—what if it stepped up in production, visuals, style and broadcast to become a show that drops internationally? I loved that ambition.” The latest season arrived this year on a new home outside of the U.K., Disney+, with a brand-new face as the Doctor, Ncuti Gatwa, in his biggest role since his breakout performance in Sex Education. Gatwa is joined by Millie Gibson as his traveling companion, Ruby Sunday. By Mansha Daswani
TV DRAMA: Tell us about the work you had to do to prepare for a role like this.
GATWA: I watched a lot of the show. I kept rereading Russell’s scripts time and time again; the typical actor work you do—lin ing out your intentions and your objectives and all of that. But it was very useful for me to watch as much of it as possible and immerse myself in the world.
GIBSON: I remember my first audition being a self-tape, and I sent it off to my agent, and he said, Don’t ask why; do it again. I remember I wore a Tardis jumper, and I did it again. My agent said, That’s perfect! I said, Let’s see what happens. I went off and got a callback, and from then on, it was madness and magic. Their bond is there from the off.
TV DRAMA: How much of the past—the legacy of past Doctors— do you bring with you to the role, especially as the season launched on a new platform with the potential to reach lots of new audiences?
GATWA: In that preparation, I remember thinking, I don’t have enough time to go back 60 years and do character research on every single one from classic up to now. All I can do is immerse myself, watch it and let whatever happened by osmosis happen. In terms of intentions, objectives and unity, that has to happen with the scripts I’ve got here and now. So, in terms of that actor process, it can only be from the here and now and going forward, which is quite handy when you’re thinking about this
new era that we’re in. There’s a certain amount that you have to just part with and do your own thing and not be tied to the chains of the past, no matter how informative they are.
TV DRAMA: What was that process like for you, Millie, as you looked back at some of the past companions?
GIBSON: As much as I admire and take on all of their performances, I ultimately left them all behind and wanted it to be my own. Ruby is so unique. The purpose of her youth plays into how I play her. There’s a certain level of innocence to her and a curiosity that the Doctor and Ruby relate to. I had a free-for-all with her and wanted her to be completely different but equally effervescent as the previous companions.
TV DRAMA: Tell us about the overall arc you’re on in the eightepisode season.
GATWA: The mystery of Ruby Sunday is the arc and all the adventures we get up to. The Doctor has seen something so special in Ruby Sunday. From the off, there are supernatural creatures following her. There are goblins. The universe has spotted her for reasons; there’s something special about her. The next time he sees her, she’s jumping on a ladder that’s controlled by goblins to go up in the sky. And he goes, That’s my girl! Their connection is constantly solidifying. That’s a really nice theme that also runs through the series—their friendship and [the idea of a] chosen family.
All3Media International’s Joan
A WORLD OF DRAMA
The latest edition of the TV Drama Screenings Festival spotlights some of the hottest new and returning scripted properties available today.
Airing on ITV, Joan, which leads off All3Media International’s TV Drama Screenings Festival highlights, tells the true story of the U.K.’s most notorious jewel thief, Joan Hannington. “Starring Game of Thrones’ Sophie Turner, this new drama is brought to the screen by a stellar creative team, including The Thief, His Wife and the Canoe director Richard Laxton and Mrs. Wilson writer Anna Symon,” says Jennifer Askin, senior VP for North America. “Having presold in six continents and with a host of premium partners attached, including U.S. co-producer The CW, CBC and BritBox, Joan is a sparkling, exhilarating and emotional drama that we’re excited to continue to take to international buyers.” Askin also highlights the three-part Lost Boys & Fairies, “which explores the universal themes of
fam ily, love and parenting through the perspective of gay adoption,” Askin says, adding: “With an impressive round of international sales recently announced, including BritBox’s acquisition in the U.S., we are thrilled to see this remarkable series traveling to such premium partners around the world.”
Leading Distribution Partners (LDP) is targeting the healthy appetite for movies with its MIPCOM lineup. The slate includes My Norwegian Holiday. “Set in the enchanting town of Bergen, Norway, this heartwarming holiday film follows Lukas and JJ as they navigate family tensions and personal challenges,” says Gavin Tyler Reardon, president of global distribution. Sealed with a List, meanwhile, is a “charming, feel-good story,” Reardon says.
Best known for its U.K. drama slate, All3Media Inter national is also coming to MIPCOM with Australian offerings like the six-part Crit ical Incident. “We’re thrilled to collaborate with leading partners in the AsiaPac region, particularly in Aus tralia, where Matchbox Pictures, a storytelling powerhouse, has brought this project to life,” says Tony Ziran Tang, VP of sales for China, Japan, South Korea and Taiwan.
“Critical Incident is a psychological crime thriller that dives deep into universal themes like policing, justice, crime and morality. With a cast led
Leading Distribution Partners’ Sealed with a List
Atresmedia Televisión’s Eva & Nicole
by Akshay Khanna and Zoë Boe, powerful performances bring true authenticity to the story, elevating the series to a whole new level.” Tang will also be highlighting to his AsiaPac clients the Company Pictures detective drama Ellis.
With Spain being celebrated as the Country of Honor at MIPCOM, the territory’s strong capabilities across multiple genres will be on display, including in compelling scripted series. Atresmedia Televisión’s content-sales department arrives in Cannes with Eva & Nicole, which Jose Antonio Salso, head of acquisitions and international sales, bills as a “visually striking dramedy that brings the vibrant nightlife of 1980s Marbella to life with glamour, extravagance and intrigue.” Also on offer is the period drama Beguinas (Beguines).
Turkey was feted as the Country of Honor at MIPCOM almost a decade ago and continues to see its exports conquer new territories. Among the wealth of Turkish content distributors heading to Cannes, atv Distribution is unveiling The Nightfall, “a mesmerizing tale of impossible love, set against the
Calinos Entertainment’s Hidden Garden
breathtaking views of Pamukkale and Istanbul’s Asaf Bey mansion,” says Müge Akar, head of sales.
Calinos Entertainment, meanwhile, will be at the market “celebrating our 25th year of leading the international sales of Turkish dramas,” says Asli Serim, head of sales. The company’s lineup at MIPCOM is led by the brand-new Hid den Garden, starring Ebru Şahin and Murat Yıldırım, alongside returning hits like Farah, adapted from La chica que limpia.
Also showcased in the TV Drama Screenings Festival is All3Media Interna tional’s Dead and Buried from Three River Fiction and Vico Films and starring The Split’s Annabel Scholey. “Universal themes of grief and obsession, complex, fascinating, funny characters and a compelling, twist-filled script make Dead and Buried a fantastic addition to our standout slate of four-part psychological thrillers,” says Jonathan Hughes, VP for France, Germany, Benelux, Austria and Switzerland.
All3Media International’s Dead and Buried
SERVING DRAMA
GoQuest Media’s Vivek Lath talks about the company’s new “make-to-sell” strategy.
By Kristin Brzoznowski
Building and nurturing relationships with content creators and global platforms over the last 11 years has equipped GoQuest Media with a keen ability to identify stories that resonate internationally. “We wanted to advance to the next stage of the creative process by developing our own IPs and expanding their licensing opportunities through our distribution expertise,” says Vivek Lath, managing director. The company has employed a new “make-to-sell” approach that not only diversifies its revenue streams but also creates multiple channels to reach audiences, “thereby generating various income sources for all involved parties,” Lath says. “We
GoQuest Media’s Kuma (The Other Wife).
aim to enhance market resilience by producing content tailored for multiple countries, mitigating exposure risks in a volatile economy. Our extensive client network worldwide provides us leverage in negotiations, enabling us to secure favorable terms and agreements for our content.”
GoQuest is applying its distribution experience to select and back projects that meet global audience demands, starting with the Turkish romance and family drama Kuma (The Other Wife).
“We are heavily investing in engaging local writers to pitch their stories to us. ”
—Vivek Lath
“We are heavily investing in engaging local writers to pitch their stories to us,” Lath says. “Once selected, we identify suitable production partners who can do justice to the story. Together with our financial backing and distribution expertise, we aim to elevate these projects to an international audience. We also seek international partners to share costs and risks, ensuring our projects are both safer and more manageable.”
As the company has a drive to make content that will appeal to many people, producing a Turkish series was always on the cards. “We deliberated over the story for Kuma for nearly a year before giving it the greenlight,” Lath says. “Kuma offers a complete package for Turkish dizi enthusiasts, featuring a love triangle set against the backdrop of two families with contrasting values.”
SecretPearls of
The cast of Secret of Pearls takes TV Drama behind the scenes of the Turkish drama. By
Kristin Brzoznowski
In the Turkish drama Secret of Pearls , Azem, once a beloved literature teacher with a happy life, finds everything upended when he’s imprisoned for murdering his wife—a crime he didn’t commit. The series, produced by BKM for Kanal D and sold globally by Kanal D International, debuted earlier this year to much success.
Screenwriter Yılmaz Erdoğan, who also stars, said that it was the concept of sacrifice that he wanted to play off of. “I was captivated by the relationship between love and sacrifice,” he says. “My hero took the blame for someone else’s crime and spent ten years in prison because of it. I wanted to think and write about the reasons and consequences of that. This man was a wise man, a teacher and a relic of an older moral code in modern times.”
He also highlights the concept of family and the fragile, thread-thin bonds between family members. “People are like precious pearls, but the thread that brings them together into a necklace is fragile,” Erdoğan says. “Once that thread breaks, can it ever be mended the way it was before?”
Co-star Selma Ergeç says she was impressed with the script right from the start, “especially the beautifully crafted dialogue.” She adds that a good story may seem local, but it
is actually universal. “ Secret of Pearls raises questions about humanity. It delves into how what appears on the surface can be so different from the underlying reality. Like life, tragedy and comedy are intertwined.”
For co-star Hazar Ergüçlü, “the flow of the script and the depth of the characters, how close they feel to reality” were the attractions. “Looking at the characters, we fully see human nature. There’s a part of all of us in each of them. I think this is what makes the series universal. Everyone who watches it finds a piece of themselves.”
Kubilay Aka, co-star, agrees that the international appeal lies in the “deep and universal themes about human nature.” He adds, “It’s a local production that also addresses real societal issues. Yılmaz developed a narrative in the series that carries elements of both Turkish culture and universal human experiences. Themes such as family ties, love and pain born from loss are universal, allowing viewers from all over the world to find themselves in the story.”
The project was a departure for Erdoğan, though. “Before this, I mostly made films. I worked on one sitcom, which became a phenomenon and introduced me to the public, for seven years, writing and acting in it. I’ve worked on some dramatic films, but this is the first time I’m writing a long-format television series. The structure of this dramedy (a dramatic story that doesn’t forget the ironic, contradictory and humorous details of life) is different from any thing else I’ve done. Since we’re essentially shooting a 140-minute film every week, as is common in our country, it’s different in every aspect. While it’s exhausting, when you manage to reach the audience, it brings immense joy. As more people connect with it, the story and the project take on greater meaning.”
Erdoğan also speaks to the appeal of Turkish dramas in the global market. “It’s a multi-faceted issue, both in terms of content and storytelling,” he says. “But the main reason is that women, particularly in daytime slots around the world, have shown a strong interest in large-scale, wellcrafted productions that convey emotions to the audience. The reason for this interest is that they’ve grown to love our storytelling and style. They believe in our love stories, conflicts and so on. The impact of star actors on audiences has also helped create a lasting viewer base. What makes a story is conflict. People around the world have found our conflicts relatable. If our conflicts are similar, then our lives are too.”
There’s also an excellence in production quality, adds Ergeç. “We have people who can work at a global level in every area of the industry. We’re fast, and now we have a black belt in problem-solving. Additionally, we produce work in a broad spectrum of genres. However, I believe the Turkish film and TV industry has the potential to achieve much more.”
Ergüçlü agrees that the production quality of Turkish dramas shines through. “From the decor to the setting, costumes and editing, each aspect receives a lot of effort, attention to detail and quality.”
Aka, meanwhile, puts it down to the universal themes and strong characters. “Turkish series integrate local cultural touches with effective storytelling, attracting the interest of viewers. This enables Turkish dramas to reach a wide audience.”
Kanal D International’s Secret of Pearls
