TV Formats Guide 2017

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G U I D E 2017

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Contents A Note from the Editor . . . . . . . . . . . . . .6 Interviews . . . . . . . . . . . . . . . . . . . . . . . . .7 Distributors . . . . . . . . . . . . . . . . . . . . . . .15 Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati

Ricardo Seguin Guise President

Editor Mansha Daswani

Anna Carugati Executive VP

Executive Editor and Editor, English-Language Guides Kristin Brzoznowski

Mansha Daswani VP of Strategic Development and Associate Publisher

Production Director Victor L. Cuevas

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Managing Editor Joanna Padovano Tong

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Associate Editor Sara Alessi

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Online Director Simon Weaver Senior Sales and Marketing Manager Dana Mattison Sales and Marketing Assistant Nathalia Lopez

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Business Affairs Manager Andrea Moreno

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A Note from the Editor Kristin Brzoznowski

It’s no secret that the format market has been in a state of flux for a few years now.

Broadcasters, producers and distributors continue to play the blame game about why there’s not more risk-taking and innovation. The industry is still searching for its next international megahit.

And big-budget drama is dominating the prime-time schedules (and pulling at the pocketbooks) of broadcasters globally.

What has emerged as a silver lining to these challenging times is creativity. Producers and distributors have gotten more creative in working directly with brands and advertisers to come up with concepts that can work for a specific target. They have also become more resourceful in forming alliances with broadcasters to jointly develop formats that can travel.

Alongside the promises of creative collaborations, the format industry is being invigorated by advancements in technology. It seems as though seamless audience engagement and real-time interactivity are finally becoming viable propositions, and even VR and augmented reality are making their way into shows nowadays. There is also a new crop of formats with concepts rooted in instantaneous transformations being presented in time travel-style reveals.

There are new players getting into the unscripted game as well that are sure to shake up the format market. Netflix recently launched its first reality competition, Ultimate Beastmaster, with six different versions of the show tailored to local audiences. Apple, too, is breaking into original unscripted content, with the reality competition Planet of the Apps launching this spring. Format producers and distributors will surely be keeping an eye on the opportunities presented by SVOD and OTT platforms as they look ahead.

The companies featured in this edition of the TV Formats Guide have a diverse range of offerings ready to fill the needs of whatever the market demands next—from low-cost, highvolume series for daytime or access prime to shiny-floor shows positioned for prime time.

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INTERVIEWS

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John de Mol Founder Talpa Media Group TV FORMATS: What benefits have you derived from ITV’s acquisition of Talpa?

DE MOL: After the deal with ITV, we organized our management team in such a way that now I only spend 10 percent of my time dealing with management issues, whereas before it was much more.

I can spend much more time and effort and energy creating new formats with my team, selling them and making pilots. So there has been an immense increase in the pipeline of formats at Talpa. Another benefit of the ITV deal is that we are seeing an increasing number of Talpa formats on ITV channels.

TV FORMATS: Are you exploring new partnerships or joint ventures in any specific markets?

DE MOL: When we started to think outside our borders in Holland, the expertise and experience I gained at Endemol had taught me that it doesn’t make a lot of sense to have subsidiaries or joint ventures in small markets. The amount of work and attention you have to give them is the same as having a joint venture in a big market, but as far as the bottom line goes, they hardly pay off. So we have decided that in the main markets we try to have wholly owned subsidiaries and we have succeeded with that in the U.S., the Middle East and in Germany. In other big markets, like the U.K., France, Italy and Australia, we have joint ventures with very good local producers with whom we work exclusively. We have minority stakes in production companies in Russia and Africa.

TV FORMATS: Do you try to give audiences material for their mobile devices?

DE MOL: Almost every format and TV show, at least what we develop, has elements for connecting with digital platforms. We want to maintain our position as a forerunner in connected formats and engage both traditional [viewers] as well as millennials.

On the other hand, I am still convinced that once in a while, people want to sit down on the couch, relax and just enjoy an entertainment show without pushing buttons.

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Paul Telegdy President, Alternative & Reality Group NBC Entertainment TV FORMATS: America’s Got Talent is still going strong for NBC, 11 seasons in. How have you been able to achieve that?

TELEGDY: I’m not going to take any credit whatsoever for anything other than caring that that be the case. I care deeply that we raise the bar creatively and that we market it well. There’s a group of people who care deeply about sustaining this global franchise, including our partners who produce the show: FremantleMedia and Syco. Executives at both of those companies understand that they are on to a good one here, and we should all work really hard to keep it going. I applaud the executive producers of the U.S. show as they are absolute leaders in creativity. They are prepared to make a thousand small changes that you and I wouldn’t notice, but that they do. I’ve also got to say we’ve had brilliant and fun talent every year. Meredith [Ahr, president of the Universal Television Alternative Studio] and Simon Cowell together hatched America’s Got Talent based on a broken pilot for ITV with Paul O’Grady. America’s Got Talent has broken every global format record that is available to break and is a Guinness World Record holder.

TV FORMATS: You’ve also kept The Voice fresh with changes every year.

TELEGDY: The Voice is a fantastic show that sustains 90 hours a year. We love it and want it to continue to thrive. Using the Olympics to introduce a new coach lineup [last fall] was an obvious thing for us to do. Broadcast television is still really special.

That’s part of what the message here is. Think about what we do differently than Netflix and the big over-the-top services that are hand-delivering niche programming, in many cases, directly to consumers on a direct marketing basis. We do the events that join generations of families together. We have millions of research data points around the extremely special relationships [audiences have] with mass-marketed, co-viewed, familyfriendly, multigenerational programming: sports, live events, big reality competition shows.

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Rob Clark Director, Global Entertainment FremantleMedia TV FORMATS: Is there still strong demand for game shows?

CLARK: Millennials, which is a sweet spot for a lot of broadcasters, have never seen game shows in prime time. That idea of a constructed studio show is really fresh for them. So game shows all of a sudden are very vogue, they’re very fashionable again. And you could see on ABC, the Sunday night schedule, which had FremantleMedia’s Match Game and Celebrity Family Feud, was a huge success. We’ve been replicating that with broadcasters around the world, with different shows from our catalog.

We have one of the biggest game-show catalogs of classics. And we’re still investing in developing game shows. We still feel that it’s a very rich area for television. For digital exposure, games work well. For app play-along, they’re probably the best that you’ve got.

TV FORMATS: What are some of your key returning shows?

CLARK: One of the great things about looking after—being the curator of, if you like—the FremantleMedia catalog is that we’ve got such depth in shows. So it’s very nice having a show that’s older than me—The Price is Right is 60 years old. We’re having huge success with Idols, the daddy of all the music shows. It came back after eight years in Holland with huge success. We sold it again in Scandinavian territories where it’s not been on. And it will probably be on air in many countries where it was on and it hasn’t been on for a while. And I think that’s because of its purity.

It’s not a very gimmicky show. It’s the original Cinderella music show. And that seems to have found a resonance with the broadcasters at the moment.

TV FORMATS: Any other trends you’re seeing?

CLARK: We made a number of investments in creative people and setting them up in their own companies and part-owning their business. I can see what’s in the pipeline from all of those new people and new companies that we’re associated with now. And that’s very exciting for the future because they’ve got great shows.

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Fredrik af Malmborg Managing Director Eccho Rights TV FORMATS: What’s your sense of the current climate in the formats market?

AF MALMBORG: The overall trend is that everybody is going for drama at the moment. We’ve had consolidation in the entertainment business with all the independents being bought up and buying each other, leaving very little space for creating new formats. Now that all the broadcasters seem to have invested massively in dramas, audiences will maybe get a bit tired of them and want to see entertainment again. Also, the broadcasters are looking for less costly shows. So in our development meetings, we are seeing some good things for entertainment for the first time in a little while.

TV FORMATS: Has the demand for drama given a boost to the appetite for scripted formats?

AF MALMBORG: There is a tremendous demand for scripted formats. We’ve done no less than 20 adaptations over the last two years around the world. With the Turkish series The End, we had a successful run with the first adaptation in Holland. We’re in production in Spain and have finished editing the Russian version, and there is a German version coming up as well. We have four different versions of the same script in Europe.

We also have a Finnish medical drama called Nurses. The first season [of the local adaptation] has wrapped up in Sweden, and a second season is coming. We have also signed a representation deal with Star India for some of its top series. Scripted formats are very important for us. We look for scripts from all over the world.

TV FORMATS: Is it important for Eccho Rights to offer a breadth of formats that can suit all broadcasters’ budgets?

AF MALMBORG: In the scripted field, we’ve had a scripted reality format from Belgium, The Clinic, which has been a very big hit in Spain. The budget is quite low. TVE commissioned another 100 episodes. Nurses is a glossy, high-end drama but at a more reasonable budget. The budget doesn’t matter if it’s a really good script.

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Izzet Pinto Founder & CEO Global Agency TV FORMATS: How has Global Agency’s format business evolved since the company’s inception and where does it stand today?

PINTO: The format business is booming for us. We started with one format in our catalog, and we now have over 70.

This number even excludes the ones that we have taken out of our catalog; if there are titles that are not selling well over time, we remove them. On average, we add 15 titles to our catalog throughout the year. We usually launch around seven new formats at MIPTV and another seven or so at MIPCOM. In the last few years, our best-selling titles have been Shopping Monsters, Blind Taste and Keep Your Light Shining. Lately, we are having some good luck with Lucky Room and My Wife Rules, and there is a lot of attention on The Legend.

TV FORMATS: What types of formats are most in demand in the marketplace nowadays?

PINTO: Talent is still selling. Cooking formats are also doing well; I see this with Blind Taste and My Wife Rules.

We also see an appetite for formats that can be stripped.

Shopping Monsters is a good example of this. In Germany, 1,100 episodes have been produced over the last five years. It’s massive! In France, there have been 850 episodes. We also have the daily quiz show Joker, which has seen over 200 episodes produced in France. We have good a track record with stripped formats.

TV FORMATS: When someone approaches you with a format concept, what types of materials do you like them to have in place?

PINTO: We work with formats in all stages. Many companies are not interested in paper formats. For us, it’s different; we believe in paper formats because it’s the ideas that are valuable. If I see potential in an idea, I will be happy to invest in it.

Of course, if there’s a trailer, sizzle or pilot, it’s a big advantage.

The most important thing is the idea.

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Can Okan Founder & CEO Inter Medya TV FORMATS: What led Inter Medya to enter the format business?

OKAN: The decision to enter the format business was part of our plan back in 2010. We had prepared a longterm plan to determine Inter Medya’s structure and target. Our most important aim was the distribution of Turkish drama series and feature films, which has been our core business since 2008. Our second goal was to expand our product range even more. Since formats are a new and still undefined area with huge potential in Turkey, we decided to create a format department to not only develop and distribute formats but also produce them in Turkey and its surrounding territories.

This year, in planning our 25th anniversary, we polished our company structure even more by launching new subbrands: distribution, creation, production, post-production, digital and animation.

TV FORMATS: Why did you choose game shows as the first genre to focus on?

OKAN: Since Turkey has a lot of creative potential in this genre, our format catalog does include many game shows. Of course, audience trends in Turkey and around the world were also a big factor in that decision. Now, we are trying to diversify our catalog by adding reality shows, dating shows, cooking formats, and action and adventure formats, among other genres.

TV FORMATS: Which formats have been performing well from the initial slate?

OKAN: Join Instant is definitely one of our most attractive formats. An online interactive quiz show, Join Instant uses a second-screen technology that provides live participants the chance to win as much as those who join the show’s online portal through the internet. First broadcast on TGRT Europe, it has now been licensed to India and Pakistan, two very important territories.

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Michael Schmidt Chief Creative Officer Red Arrow Entertainment Group TV FORMATS: What have been your priorities and goals since setting up the New York office?

SCHMIDT: Since Red Arrow generates over 70 percent of its revenues in the U.S., being closer to the U.S. production companies is the main driver for us having an office here. Today, nine American companies are part of Red Arrow, and just by the volume of shows and talent here in the U.S., it is the creative hub of the TV world. It is important for us to be in constant exchange with our production companies on development and to identify interesting properties in early stages to have a good chance of retaining rights and rolling the show out around the world.

Also, a presence on the ground ensures we are close to the U.S. creative community and able to forge new partnerships. We also have shows in our portfolio that run with other American partners, and we are constantly looking to grow our creative partnerships. The U.S. is a great place to do that.

TV FORMATS: How do you work with the various Red Arrow production entities to identify shows and ideas that have the potential to travel?

SCHMIDT: First, it is obviously in our production companies’ interest to come up with shows that travel. But we do not approve or disapprove their slate—they work very independently, with their local opportunities in mind. That said, they trust us to provide guidance on format beats, international potential and coordination across the group.

We are constantly having creative conversations about shows across all 19 production companies, and help with funding and making international connections. Of course, we especially know what the German ProSiebenSat.1 stations need, but also have a global outlook. It could be that a Danish idea first works better in the U.S. or vice-versa.

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DISTRIBUTORS

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Armoza Formats ADDRESS: HaArba’a St., Tel Aviv 64739, Israel TELEPHONE: (972-3) 540-8333 WEBSITE: www.armozaformats.com CEO: Avi Armoza COO: Amos Neumann HEAD, SALES: Sharon Levi ACQUISITIONS MANAGER: Michal Itzhaki CONTACT: info@armozaformats.com PROGRAMS: The Final Four: 90-120 min., prime-time singing competition, Armoza Formats; Sex Tape: 60-90 min., factual entertainment, Armoza Formats; The City Inspector: 8x60 min., factual entertainment, 1+1 Productions, 1+1, Ukraine; Play Date: 30-60 min., factual entertainment, Armoza Formats/ Createit Studio; Separated: 13x30 min., scripted comedy, Black Sheep Films Productions, Channel 2, Israel; No Return: 13x45 min., drama, Panorâmica & Chatrone, Record TV, Brazil; Curvy Supermodel: 10x60-120 min., prime-time reality, Tresor TV, RTL II, Germany; The Ex Team: 60 min., factual entertainment, Artza Productions; Babushka: 60 min., studio game show, Armoza Formats; Still Standing: 60 min., studio game show, July-August Productions, Channel 10, Israel.

“Since 2005, Armoza Formats has specialized in bringing the best of Israeli and international content to the market and is proud to have become a leading independent TV formats development and distribution company. With over 120 formats in our catalog and productions across the globe, we have a proven track record of success across all genres. Our spectacular prime-time entertainment show I Can Do That! has now been licensed in over 25 countries and aired in over 90 countries, while our hit game show Still Standing has now aired more than 4,000 episodes globally and our docu-reality Marry Me Now is soon airing in Germany.

This MIPTV, Armoza Formats is launching a diverse lineup of new shows set to challenge all the rules, from game-changing prime-time shiny-floor entertainment to value-adding factual.”

—Avi Armoza, CEO

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Banijay Rights ADDRESS: Gloucester Building, Kensington Village, Avonmore Rd., London W14 8RF, U.K. TELEPHONE: (44-207) 013-4000 WEBSITE: www.banijayrights.com CEO: Tim Mutimer VP, FORMATS: Andrew Sime HEAD, FORMAT ACQUISITIONS: Carlotta Rossi Spencer CONTACT: contactus@banijayrights.com PROGRAMS: Undressed: 30 min., entertainment, Magnolia Italy, NOVE, Italy; Fort Boyard: 45 min.-100 min., adventure game show, Adventure Line Productions, France 2, France; The Best Singers: 60 min., entertainment, FTV Productions, AVROTROS/ NPO, Netherlands; The Secret Life of 4 Year Olds: 60 min., factual entertainment, RDF Television, Channel 4, U.K.; The Bravest: 60 min., adventure, Mastiff Denmark, TV3, Denmark; Fantastic Duo: SBS Korea, SBS Korea, South Korea; The Legacy: 60 min., game show, Italy; Superstar Ding Dong: 60 min., game show, Vision Independent Productions, TV3, Ireland; All Against 1: 60 min., studio-based entertainment, Nordisk Film TV, DR1, Denmark; Wife Swap: 60 min., factual entertainment, RDF Television, Channel 4, U.K.

“Banijay Rights is the international distribution division of Banijay Group, a leading creator and producer of TV content worldwide. Banijay Rights represents quality, excellence and experience in the business of television and ancillary sales across all platforms. It is one of the world’s biggest independent distributors, with a catalog of more than 20,000 hours of globally best-selling content across all genres, including drama, formats, factual, entertainment and theatrical. Fifty percent of the catalog is third-party programming from independent producers and networks throughout the world. Format highlights include the global smash format Wife Swap; the legendary adventure game show Fort Boyard; the Rose d’Or-winning game show Wild Things; the innovative, hands-on social experiment Undressed; the extreme reality race 71 Degrees North; Popstars, the original talent-quest reality format refreshed for a new generation; the classic, controversial reality format Temptation Island; the ratings and format hit The Secret Life of 4 Year Olds; the long-running premier property brand Location Location Location; and the revelatory special forces selection program SAS: Who Dares Wins.”

—Andrew Sime, VP, Formats

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CJ E&M ADDRESS: CJ E&M Center, 66 Sangamsan-ro, Seoul, Korea 03926 TELEPHONE: (82-2) 371-9587 WEBSITE: lineup.cjenm.com PRESIDENT, MEDIA CONTENT BUSINESS: D.J. Lee GENERAL MANAGER, GLOBAL CONTENT BUSINESS DIVISION: Jangho Seo PROGRAMS: Grandpas Over Flowers: 11x60 min., reality entertainment, CJ E&M, tvN, South Korea; I Can See Your Voice: 12x70 min., CJ E&M, Mnet, South Korea; Golden Tambourine: 11x70 min., CJ E&M, Mnet, South Korea; Crazy Market: 13x60 min., game show, CJ E&M, Olive, South Korea; The Gobbler Race: 46x50 min., reality entertainment, CJ E&M, Olive, South Korea; Voice: scripted crime series, CJ E&M, OCN, South Korea; Another Miss Oh: 18x60 min., CJ E&M, tvN, South Korea.

“CJ E&M is Asia’s leading content and media company, headquartered in Seoul, South Korea, with regional offices in China and the United States. With five main business departments in broadcast, film, music, live entertainment and animation, CJ E&M currently employs over 2,000 people worldwide.

Through the company’s ‘one source, multi-content’ strategy, CJ E&M has been promoting Korean culture around the world since 2011. Among CJ E&M’s globally recognized events and productions are the Mnet Asian Music Awards (MAMA), leading K-Pop convention KCON, Tony Award-winning musical Kinky Boots, record-breaking box-office films Roaring Currents and Ode to My Father, and the hit television series Grandpas Over Flowers, I Can See Your Voice, The Incomplete and Goblin.”

—Corporate Communications

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Eccho Rights ADDRESS: Gamla Brogatan 26, 111 20 Stockholm, Sweden TELEPHONE: (46-8) 5560-9380 WEBSITE: www.ecchorights.com MANAGING DIRECTOR: Fredrik af Malmborg MANAGING PARTNER: Nicola Söderlund HEAD, CO-PRODUCTION & SCRIPTED: Laura Minarro CONTACT: info@ecchorights.com PROGRAMS: The End: 50x45 min., scripted drama thriller, Ay Yapim, ATV, Turkey; Nurses: 40x45 min., scripted medical drama, Yellow Film & TV, YLE, Finland; La Casa Del Mar: 12x50 min., scripted crime drama, Cisne Film & Story Lab, DIRECTV, Latin America; Crack Them Up: 45 min., comedy game show, Studio Kvartal 95, 1+1, Ukraine; The Clinic: 30 min., scripted reality, Tuvalu, VTM, Belgium; Unexpected Love: 30 min., scripted drama, Star India; Memory: 16x60 min., scripted drama, CJ E&M, tvN, South Korea; Insider: 126x45 min., scripted drama, Ay Yapim, Show TV, Turkey; Fatmagul: 180x45 min., scripted drama, Ay Yapim, Kanal D, Turkey.

“Formats remain an important part of our offering, and in the past 12 months, we have seen a number of interesting developments in the area. By this summer we will have four different versions of the amazing script The End from Ay Yapim, while we have recently extended our scripted catalog with series from producers such as CJ E&M from Korea and Star India.

In time for MIPTV, we have strengthened our team on the development side with Laura Minarro joining us to lead our co-production and scripted strategy. Entertainment formats are still a part of our business, of course, and interest in innovative shows like Black Sheep and Crack Them Up remains high.”

—Fredrik af Malmborg, Managing Director

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Global Agency ADDRESS: Abdi Ipekci Caddesi, Park 19, K:3, 34367 Nisantasi, Sisli, Istanbul, Turkey TELEPHONE: (90-212) 240-5769 WEBSITE: www.theglobalagency.tv CEO: Izzet Pinto HEAD, ACQUSITIONS: Umay Ayaz CONTACT: umay@theglobalagency.tv PROGRAMS: Bring Your Fame Back: weekly, prime-time singing talent show, Turkey; Beat Me If You Can: weekly, prime-time singing game show, Turkey; Thank You: weekly, prime-time factual entertainment, Tanin Productions, Israel; The Clique: 50 min./weekly, prime-time dating game show, Afrokaans, South Africa; Eye Love You: 60 min./daily, access prime-time dating show, Effervescence, France; My Wife Rules: daily, access prime-time cooking show.

“Established in 2006, Global Agency is the world’s leading independent TV content distributor of series and formats for global markets. Global Agency was founded in the second half of 2006 with only one project and a team of two people. It now has 150 projects and a team of 25 people. Our company slogan is ‘Content that Creates Buzz’ and we live up to it through distribution of our hit content, including Magnificent Century, 1001 Nights, Broken Pieces, Keep Your Light Shining, Perfect Bride and Shopping Monsters.

At Global Agency, we are committed to acquiring the highest quality, most original new content through our partnerships with leading broadcasters and production companies in all the major territories. With an international team and bases in Turkey, the U.K. and the U.S., our knowledge of the global entertainment industry allows us to find and sell cutting-edge formats that can be adapted in territories around the world.”

—Corporate Communications

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Inter Medya ADDRESS: Istanbloom, Kore Sehitleri Caddesi 16/1, Zincirlikuyu, 34394 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: www.intermedya.tv FOUNDER & CEO: Can Okan COO: Ahmet Ziyalar CONTACT: info@intermedya.tv PROGRAMS: Join Instant: 60 min., prime-time game show, Inter Medya; Oasis: 90 min., prime-time game show, Inter Medya; The Box Challenge: game show, Inter Medya; Guess Who: 60 min., prime-time game show.

“Founded in 1992, Inter Medya established itself as one of the most successful content distributors in Turkey. Specializing in the sales of Turkish TV series and feature films, the company has also recently started to develop and produce entertainment and reality-show formats, taking important steps to becoming a significant content distributor in the field.

The company managed to earn its clients’ trust and loyalty through a satisfactory and sustained service record and a library that always manages to stay current. Consistently and reliably spreading the Turkish TV, film and format industry to the foreign market, the company is adamant about developing and increasing this contribution in the coming years.

In 2017, Inter Medya celebrates its 25-year anniversary with a new name and a fresh look.”

—Can Okan, Founder & CEO

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KABO International ADDRESS: 2-4 allée de Seine, 93200 Saint-Denis, France TELEPHONE: (33-1) 8578-7331 WEBSITE: www.kabointernational.com MANAGING DIRECTOR: Arabelle Pouliot-Di Crescenzo CONTACT: arabelle@kabointernational.com PROGRAMS: Tilt: 10x30 min., virtual reality game, Reflect, TV6, Finland; Cops on the Block: 32x30 min., scripted comedy, Thalie Images, M6, France; Our Crazy Family: 200x30 min. & 3x52 min., scripted comedy, KABO Family, M6, France; Who’s Who?: 30-60 min., game show/entertainment, Rose Bay Media; High Score: game show/entertainment, Reflect; Together: factual/social experiment, Reflect; Hot Pepper: 56x30 min., comedy/game show, Avanti Ciné Vidéo, TVA, Canada; Cash or Splash: 20x30 min., game show/ entertainment, KABO Family, RTL 9, France.

“KABO International is the distribution arm for KABO Family, one of the leading production groups in France. In addition to distributing KABO Family formats, KABO International acquires and distributes third-party formats from countries such as the U.K., Finland, Canada, Italy and Spain, to mention a few, and across a wide range of genres, including game show, prime-time entertainment, VR, social experiment, factual, dating and more. Parent company KABO Family Group (with more than 150 writers, over 80 comedy writers and 70 hours of fiction per year) was established in 2005 and operates various production entities under the KABO umbrella brand, including VRLINES, which launched a year ago in partnership with KABO and is specialized in the development and production of VR and communication dedicated to brands.”

—Arabelle Pouliot-Di Crescenzo, Managing Director

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Red Arrow International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-7303 WEBSITE: www.redarrowinternational.tv MANAGING DIRECTOR: Henrik Pabst SENIOR VP, GLOBAL SALES: Bo Stehmeier VP, NON-SCRIPTED: Harry Gamsu CONTACT: info@redarrowinternational.tv PROGRAMS: Married at First Sight: Second Chances: reality, Kinetic Content, FYI, U.S.A.; Look Me in the Eye: reality, CPL Productions, RedSeven Entertainment, Sat.1, Germany; The Old People’s Home For Four Year Olds: reality, CPL Productions, Channel 4, U.K.; Kiss Bang Love: entertainment, Snowman Productions Denmark, TV3, Denmark & RedSeven Entertainment, ProSieben, Germany; The Decision: reality, Studio Glam, Channel 10, Israel.

“Red Arrow International is a world-leading TV distributor of scripted, factual and formatted shows from a global network of in-house production companies, outstanding third-party producers and digital-content partners.

Red Arrow International is a major coproducer of global entertainment, providing substantial production financing for scripted and non-scripted projects. Recent international highlights include Bosch (Amazon) and Married at First Sight (A&E/FYI).

With offices in Munich, London, New York and Hong Kong, Red Arrow International has a truly global reach and distributes acclaimed, quality content to over 200 territories worldwide.

Red Arrow International is part of Red Arrow Entertainment Group, made up of 19 production companies across seven countries. The group’s significant production output includes scripted, non-scripted and factual television programs; feature films; and digital content for an array of global networks and platforms. In addition, Red Arrow has creative partnerships and joint ventures with Studio71, STV Productions, The Imaginarium Studios and Sync Media.

Red Arrow Entertainment Group is part of ProSiebenSat.1 Media, one of Europe’s leading media groups.”

—Henrik Pabst, Managing Director

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Twentieth Century Fox Television Distribution ADDRESS: 2121 Ave. of the Stars, 19/Fl., Los Angeles, CA 90067, U.S.A. TELEPHONE: (1-310) 369-0150 WEBSITE: www.foxfast.com VP, FORMAT LICENSING: Dorothy Crompton MANAGER, FORMAT LICENSING: Jennifer Yamada SENIOR VP, CURRENT PROGRAMMING, TWENTIETH CENTURY FOX TELEVISION (TCFTV): Steve Sicherman CONTACT: foxformats@fox.com PROGRAMS: 24: 60 min., scripted drama, TCFTV, FOX, U.S.A.; Empire: 60 min., scripted drama, TCFTV, FOX, U.S.A.; Lie to Me: 60 min., scripted drama, TCFTV, FOX, U.S.A.; Sons of Anarchy: 60 min., scripted drama, TCFTV/Fox21, FX, U.S.A.; Tyrant: 60 min., scripted drama, Fox21, FX, U.S.A.; How I Met Your Mother: 30 min., scripted comedy, TCFTV, CBS, U.S.A.; It’s Always Sunny in Philadelphia: 30 min., scripted comedy, TCFTV, FX/FXX acq., U.S.A.; Last Man Standing: 30 min., scripted comedy, TCFTV/21 Laps, ABC, U.S.A.; Life in Pieces: 30 min., scripted comedy, TCFTV, CBS, U.S.A.; Modern Family: 30 min., scripted comedy, TCFTV, ABC, U.S.A. “A unit of 21st Century Fox, Twentieth Century Fox Television Distribution is a global leader in the distribution of awardwinning motion pictures, television programming and entertainment content across pay TV, broadcast television and SVOD. Twentieth Century Fox Television Distribution connects audiences around the world with premium content from the production divisions of Twentieth Century Fox Films, Twentieth Century Fox Television and FX, as well as other 21st Century Fox companies.”

—Corporate Communications

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WDR mediagroup ADDRESS: Ludwigstrasse 11, 50667 Cologne, Germany TELEPHONE: (49-221) 2035-2123 WEBSITE: www.wdr-mediagroup.com/en HEAD, CONTENT: Stefanie Fischer SENIOR SALES MANAGER: Nicole Offergeld CONTACT: sales@wdr-mediagroup.com PROGRAMS: Made with Love: home renovation, imago.TV, WDR, Germany; My Garden on a Plate: daily, access primetime cooking competition, ITV Studios Germany, WDR, Germany; Suck It Up!: fictional comedy/remake, Molina Film, WDR, Germany.

“Our format catalog is characterized by great diversity. It includes game, quiz and comedy shows, various kinds of reality formats as well as fictional series. Over the last few years, the range has been growing continuously to include something for everyone. However, high quality and originality are integral to all of them.”

—Stefanie Fischer, Head, Content

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