TV Formats Guide 2019

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GUIDE 2019

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Contents A Note from the Editor . . . . . . . . . . . . . .6 Interviews . . . . . . . . . . . . . . . . . . . . . . . . .7 Distributors . . . . . . . . . . . . . . . . . . . . . . .17 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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Business Affairs Manager Andrea Moreno

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A Note from the Editor Kristin Brzoznowski

Along with all the chatter in the TV industry about the never-ending array of high-quality dramas that are coming from all over the world, there continue to be moans about the lack of a fullscale global entertainment juggernaut to launch in recent years. Don’t declare the quest for the “next big thing” fruitless though. It seems there’s a nice wave of innovation hitting the entertainment sector. From singing competitions with celebrities in zany costumes to dance shows featuring athletics likened to a sporting event, entertainment is surely showing its might.

Part of this innovation is, perhaps, being driven by the streamers, which are increasingly making some bold moves in the unscripted arena. The FAANGs have announced a number of recent reality-based originals to accompany their already quite hefty scripted slates. While some are being touted as global series, there are others that promise local treatments.

The question remains of how to deal with the “live” factor that is so intrinsic in many of the big competition shows that are popular today, but producers and distributors are already rising to the challenge to come up with ways to make unscripted entertainment a viable play for on-demand platforms.

As traditional channels strengthen their offerings in a bid to lure viewers to linear, they too are getting bolder in their choices. Yes, there are still many long-running format behemoths holding onto peak-time slots, but that doesn’t mean commissioning has come to a halt. In prime time, there are opportunities to use the big brands as lead-ins for new entertainment shows. There are still plenty of formats being stripped in daytime and access prime as well. Also, interest in scripted formats continues to rise. Even markets like the U.S. have opened up to adapting scripts, and not just from the typical format-creation hubs either.

This edition of the TV Formats Guide contains a wide array of innovative new offerings, alongside those with proven track records—all of which can be ripe for adaptation on any platform.

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INTERVIEWS

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Sophie Turner Laing CEO Endemol Shine Group TV FORMATS: How much reinvention do returning non-scripted shows require?

TURNER LAING: We’re very fortunate to have some of the largest super-brands in the non-scripted world, MasterChef and Big Brother—and also Your Face Sounds Familiar, another big one, which is well known beyond the Anglo-Saxon world and is equally brilliant.

Obviously, an enormous amount of care and attention goes into making those shows feel as relevant as when they first started, and they have been running for many, many years now.

But the important thing is to treat the format as a franchise, as a brand. We have brand guardians who help preserve the essence of a show while continuing to evolve it each year to keep it fresh.

One of the key gatherings that happens every year is a meeting of all the main Big Brother and MasterChef producers to exchange ideas and discuss what has worked, and what hasn’t—all drawing on an enormous shared pool of intelligence and resources.

Alongside this, we are actively investigating how technology can play a big part in production, particularly for shows like Big Brother, for which hundreds and hundreds of hours are produced.

TV FORMATS: What has contributed to the continued success of MasterChef?

TURNER LAING: MasterChef is the ideal traveling format. It is so easily adapted to the cultures and cuisines of each country, and it continues to roll out with different versions. It is really a worldconnector. The other thing that drives the success of MasterChef is how it offers such great opportunities for advertisers and brands, particularly through off-screen extensions such as cookware, publishing and even restaurants and cruises.

Peter Salmon [Endemol Shine Group’s chief creative officer] and Lisa Perrin [CEO of creative networks] launched a global initiative called Masters of Food, building on our strength in the genre. We have more than 100 cooking formats in our archive, and MasterChef is the cherry on top of the cake.

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Robert Mills

Senior VP, Alternative Series, Specials & Late-Night Programming ABC TV FORMATS: Are you looking at new format concepts from the international market?

MILLS: Absolutely. That’s the lifeblood of this business. The one format that is domestic that has been a juggernaut is The Bachelor; everything else comes from international. It’s so much easier to find these things now. It’s fascinating to see what’s working and what isn’t. The biggest thing is finding things that are new. You have formats that are not going anywhere. What is the newest thing? What is the evolution of these shows? You have to look to see what’s working abroad.

TV FORMATS: How do you see the health of the unscripted landscape at present? And what innovations are you excited about?

MILLS: I think the state of reality TV is as strong as it’s ever been.

Certainly broadcast is the one place where it’s thriving. For scripted it’s difficult because you’re competing with streamers and cable. It truly is the golden age of TV. When shows like Survivor and Idol and Bachelor started with massive, Super Bowl-type numbers, it led everyone to think that this was going to happen forever. Nothing lasts that long. And it’s the attrition rate of TV in general. The pie has gotten so big. But these are still among the biggest hits on TV. If I went on the street and asked ten people about The Bachelor, seven of them would be able to have a conversation with me about it. There are some exciting things [to come]—I don’t know what they are exactly—in live TV. One of the things that we did with Idol that I loved was a simulcast nationwide on our live shows. Everyone can vote at the same time, and to me, that was exciting, and that was a boundary that had never been [crossed]. No one thought it could be in broadcast TV. You’ve seen what the HQ app has done as a live game that everyone plays. Is there an interactive alternative show that can be done? People have been trying to crack it for years. I don’t know if they can, but that’s exciting to think about, that there’s undiscovered territory there.

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Mike Fleiss Creator The Bachelor

TV FORMATS: How did you craft the pillars of The Bachelor?

FLEISS: I wanted to mirror the stages of an actual relationship: first impression, first date, more romance down the road, then some physical connection and then meeting the families and then overnight dates and then the finale. When I sold the show at first, it was only six one-hours. So the beats were: [introductions on] night one, group dates and single dates in episode two, mostly one-onone dates in episode three, episode four was the hometowns and episode five was the overnight date and then episode six was the finale. So when I was treating it as a six-episode arc, those beats were just natural. The first night is the first date, the finale is the finale, two and three had random dating stuff and the rest was much more structured. Now that we do 22 hours, there’s a lot more of everything.

TV FORMATS: Has the casting approach changed over the years?

FLEISS: I don’t think it’s changed too much. We still want sexy and sincere. That’s my Aaron Spelling-derived mantra, first sexy, then sincere, or sincere, then sexy. Do we always get that? No, but we’re always looking for it, not just in the lead but in the 25 [love interests] as well. It’s not the casting that has changed; it’s the cast. The advent of social media and its dominance in culture today has changed the way young people approach the show. They’re so much more comfortable in front of the camera and exposing their potentially vulnerable side.

TV FORMATS: What advice do you give the producers who are making The Bachelor globally?

FLEISS: Every year or year and a half we have these international symposiums. It sounds very prestigious, but it’s just a bunch of us Bachelor producers getting together to talk about casting and storylines and format devices. We share our secrets; they share their secrets. It mostly comes down to the differences in each culture.

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Craig Plestis Executive Producer The Masked Singer TV FORMATS: How did you discover The Masked Singer?

PLESTIS: I was at dinner with my wife and daughter. We went out to have Thai food. I still think to this day that if we had decided to have Indian or Mexican or Italian, there would be no Masked Singer right now! So we’re at a restaurant and my back is to the TV. My daughter said, Dad, look at this, there is the craziest thing on. I turned around and all the diners in this small restaurant were watching the TV screen. I saw a kangaroo in black pleather singing a pop song. At that moment I said, Oh my gosh, I love this! It was bizarre. It was flypaper. It was in a foreign language and you didn’t know what was going on, and it was still working. I found out that it was a hit format in Korea, it was a hit show in Thailand. And no one had the [U.S.] rights. It was so bizarre and so strange, I think people looked at it and said, that’s a crazy show, no one is going to buy that here. I got the rights fairly quickly, with the help of Steve Wohl at Paradigm. I called Rob Wade at FOX on a Friday night and said, I need to come in Monday. I was so passionate about it. I pitched it and he loved it.

FOX was the right home at the right time for this brand. Also, Rob Wade did Dancing with the Stars. Who thought ballroom dancing would work in the States? That was a gamble that paid off.

TV FORMATS: Did you have to make adjustments to the format to make it more suitable for an American audience?

PLESTIS: We did. The Korean format has a smaller burst of people and one winner. And they carry over a King of Masked Singer every few episodes. I liked the idea of following a character, not eliminating one so quickly as the Korean format does. The outfits, first of all, are really expensive. I don’t want to spend a lot of money on an outfit and then it’s done! Also, I like the idea of figuring out who it is.

Weeks go by and you get that pent-up energy, I need to figure it out!

When the singer is revealed, it releases a huge amount of endorphins and you get a thrill that you were right in your calculations.

This show follows that simple dynamic. And there’s the spectacle.

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Sumi Connock Creative Director, Formats BBC Studios

TV FORMATS: What’s driving the scripted formats business?

CONNOCK: In terms of scripted, we are going from strength to strength. We had a huge rise in our scripted formats, particularly in Asia. We are the number one non-Asian distributor of scripted formats in Asia. Life on Mars is huge for us. We did it in Korea. It was on a pay-TV channel and was number one in its time slot across the country. It’s a brilliant adaptation. We’re doing Life on Mars in China. We did the first adaptation of Doctor Foster in France for TF1.

They are a slightly slower burn in terms of speed of travel. Our biggest scripted formats are Life on Mars, Luther, Doctor Foster, The Office and Criminal Justice. Big characters are working. Dr. Gemma Foster, David Brent, Gene Hunt, John Luther. Same with Thirteen and Ivy Moxam. That’s one that we will see beginning to travel more.

TV FORMATS: How are you dusting off classic brands in the BBC library to introduce them to a new generation of viewers?

CONNOCK: There are two different ways that can happen. We brought back The Weakest Link for a Christmas special in the U.K., that performed really well. So sometimes it’s because someone in the U.K. wants to bring a show back out. Elsewhere we work with our creative networks team. We say, What is the demand out there at the moment? We know game shows are in demand. We know there have been lots of reboots. So we will re-look at the materials and we’ll start talking to the international production territories. Can we take one of these tentpole titles and put it back into the market? We’ll think about what we could do, how it could be refreshed. Weakest Link came back in France. RTL4 in Netherlands is bringing Weakest Link back. Cyprus did 360 episodes. They brought it back with a slightly more comedic host, so it didn’t go down the stern, dismissive route. It was more sarcastic and tongue in cheek, a bit more playful. That has done brilliantly well in Cyprus and it’s coming back in other territories as well.

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Melanie Leach Chief Executive Twofour Group

TV FORMATS: How are you positioning your format business?

LEACH: The format business sits at the heart of everything we do within the group. It’s always our ambition to be creating the next show that’s going to really travel. We had great success with This Time Next Year. In the last 12 months, we’ve seen success with What Would Your Kid Do?, which we’ve put in nine territories. That puts it pretty near the top of the table in terms of performance for a brand-new show. We’re going to be pushing hard on a new format called Undercover Girlfriends, which debuted last year on Channel 5 and is coming back for an extended run. Beat the Chef is a new competitive format that sees cookery married to a money ladder for the first time, so essentially a cookery game show. That’s for Channel 4. We have high hopes for that internationally; it looks like it might have the versatility to play in a wide range of territories across a number of day parts.

TV FORMATS: What are the benefits of being part of the broader ITV Studios portfolio?

LEACH: As part of a global production entity, we have expertise on the ground in so many key markets. We know our formats are going to be best-served in terms of the people who are pitching them to the broadcasters and ultimately then going on to produce those shows. No matter how good your format is, in the wrong hands it’s less likely to succeed. If you can rely on a network of really strong producers who know their local market and who have a track record of delivering high-quality shows—that’s a real competitive advantage. The access that gives you to local information is also really important. ITV is very good at making sure that all of the international labels are very connected—we meet four times a year for creative collaboration. We feel very much part of a network where we know not only what’s required of us in the U.K., but what’s required of us globally in terms of what the markets are looking for. That intelligence is really valuable.

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Izzet Pinto Founder & CEO Global Agency TV FORMATS: What seems to be working best in the marketplace nowadays?

PINTO: Daily stripped formats are still doing well. We have seen good success with Momsters, a cooking format with brides cooking and their mothers-in-law on the judging panel. We [launched] Auction Queens from Hervé Hubert. This format [premiered] on M6 in France. It’s a major European production. We also have formats from Russia, Ukraine, Turkey and Spain—so there’s a lot of diversity from international territories. I’m expecting big success from a Spanish format called Runaway Women. It’s a social experiment where we take 11 women and tell them they’re going to an event. At the event, we reveal that they are actually not going home. They are staying to have an amazing luxury week in a villa, to see if their husbands can survive without them.

We are filming all the husbands to see how they are running the house and managing the children on their own. It’s a great reality show and has been a huge hit in Spain.

TV FORMATS: Growth is always top of mind for you. What’s the next frontier?

PINTO: We are working on opening a new department for eSports. We have plans to move into the eSports business, and I expect major success there. Each year, we have between 20 and 25 percent growth, which is a serious rate. The expected growth rate for 2019 is around 25 percent as well. We are still in a growth phase. Even though it has been 13 years, things haven’t leveled off for us; we keep on growing!

TV FORMATS: Are you noticing a greater demand for game shows?

PINTO: There’s a trend going on in terms of game shows in the last three or four years. It has been quite stable. In the past, we have seen declines in talent shows, but the trend is mostly on game shows and it’s quite stable. It’s based on the budget. If it’s a big game show that takes place in a hub, then people are staying away from that. People are mostly looking for cost-effective game shows.

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Avi Armoza Founder & CEO Armoza Formats

TV FORMATS: What makes The Four stand out from other prime-time entertainment formats?

ARMOZA: The strongest point of the format is the nonlinear element—the fact that we are able to bring excitement and tension to the screen every five or ten minutes. There are the face-offs and the auditions, and everything is very immediate. It’s not a story that is going to be told over eight or ten weeks.

Younger viewers, especially, have a very short attention span. They see the audition, they see the battle and they know immediately whether someone wins or loses—this was key to making the show a success.

Another element is that the show is pretty much built for being live or live-to-tape. You don’t shoot the show three or four months in advance; then it would be very heavily edited.

The audience now is sophisticated. They can see the edited structure, and the fact that our show is happening one week to another and they can follow it on social media means there’s a whole 360-degree world that’s happening on all platforms. This made a strong connection for viewers of all ages to the show. It generates traffic from the TV to online and from online to TV. TV FORMATS: What is the USP of Dance Revolution?

ARMOZA: It’s what is described as “the revolution moment” and the revolution technology—the ability of the technology to capture a 360-degree angle of the dancer. The key [point] here is that it was not created just to add to the production value; it’s an integral part of the storytelling in the format. It’s a key tool for the judges to evaluate the dancer.

It’s a key moment from the point of view of the dancer to prove their capability and improve their dancing from one stage to another. The success of the format is in its ability to integrate the technology and the visual elements into the storytelling.

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Laura Burrell

Head, Formats Viacom International Studios (VIS) TV FORMATS: What’s guiding the format strategy at Viacom International Studios?

BURRELL: Firstly, our commitment to unearthing local formats that have the power to entertain global audiences.

Looking back to when I first joined Viacom International Studios in 2009, channels were mostly driven by U.S. content from our domestic pipeline. Now it’s completely different. In ten years, VIS has become a truly universal distribution business, with a portfolio brimming with formats from around the world that have a proven power to entertain global audiences on a local level. Standout hits include Ex on the Beach and Lip Sync Battle. With exciting new titles recently joining our format slate, we are better equipped than ever to serve global audiences, and build on our rich history of standout formats spanning our brand pack.

Our second key focus is the impact of SVOD, which has significantly changed the rules when it comes to creativity, consumption habits and expectations. Creators have far greater freedom to try different things, without being fixed to time slots, episode lengths and audiences. SVOD has provided an alternative new home for braver, edgier formats, creating new opportunities for existing series.

TV FORMATS: What makes a Viacom format stand out?

BURRELL: VIS has a rich history of delivering high-quality, highly compelling, innovative formats that have a simple concept, with a clear structure and clearly defined production elements. In order to stand out from the crowd, it is essential that we target our audience carefully. We never try to be everything to everyone.

We also embrace our brand USPs. With MTV, we can dare to be edgy, provocative, irreverent. With Nickelodeon, we are playful, entertaining and educational. At Comedy Central, we’re all kinds of funny. If you give all of those factors due diligence, the result is a highly distinctive, highly compelling VIS format with a unique power to cross borders and drive conversation and culture.

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DISTRIBUTORS

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Armoza Formats ADDRESS: HaArba’a St., Tel Aviv, 6473916, Israel TELEPHONE: (972-3) 540-8333 WEBSITE: www.armozaformats.com CEO: Avi Armoza HEAD, SALES: Sharon Levi HEAD, DEVELOPMENT: Nehama Cohen HEAD, ACQUISITIONS: Michal Itzhaki CONTACT: info@armozaformats.com PROGRAMS: Muna: 8x30 min., scripted/drama, Drama Team, Kan, Israel; Red Lines: 13x60 min., scripted/drama, Tedy Productions, Kan, Israel; The Conflict: 60 min. eps., factual entertainment, AIM Marketing & Eran; My Life in 60 Seconds: 18x30 min., scripted/comedy, Tedy Productions, Reshet, Israel; Mind Blowing: 30 min. eps., factual, Art Media; The Four: 90-120 min. eps., prime-time singing competition, Armoza Formats; Dance Revolution: 11x90 min., prime-time dance competition, Fair-Play/Québecor Content, TVA, Canada; Sex Tape: 60-90 min. eps., social experiment, Armoza Formats; Singerella: 60 min. eps., prime-time factual, Armoza Formats; Still Standing: 60 min. eps., studio game show, July-August Productions, Channel 10, Israel.

“Armoza Formats has become a key player in the international content market, rapidly growing to be one of the top independent creators and distributors of global content. Taking the best of Israeli and international creative talent, Armoza Formats spearheads the emergence of compelling content in today’s dynamic market. Our mission is to meet the challenges of the fastchanging media industry with creative broadcast solutions.

Armoza Formats has a proven track record of success across all genres, from our prime-time singing competition The Four, with two hit U.S. seasons; to the spectacular prime-time entertainment show I Can Do That!, now licensed in over 20 countries; and the hit game show Still Standing, with over 5,500 episodes globally.

This MIPTV, we are focusing on our scripted offering, launching three new series. Red Lines, Muna and My Life in 60 Seconds all come from Israel, a market that has become synonymous with high-quality dramas. Each of these titles comes with its own compelling and unique take on their genre, supported by the strong and successful figures behind their stories.

In addition, we will be bringing two new non-scripted formats to MIPTV that aim to change our perspectives and bring us closer to understanding, whether it’s understanding each other in The Conflict or understanding the supernatural in Mind Blowing.”

—Avi Armoza, CEO 18

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Banijay Rights ADDRESS: Gloucester Building, Kensington Village, Avonmore Rd., London W14 8RF, U.K. TELEPHONE: (44-20) 7013-4000 WEBSITE: www.banijayrights.com CEO: Tim Mutimer VP, FORMATS: Andrew Sime HEAD, FORMAT ACQUISITIONS: Carlotta Rossi Spencer CONTACT: sales@banijayrights.com PROGRAMS: Temptation Island: 60 min. eps., entertainment, Banijay Studios North America, USA Network, U.S.A.; Catch!: 60 min. eps., entertainment, Brainpool, SAT.1, Germany; Shipwrecked: 60 min. eps., adventure/reality, RDF Television/ Motion Content Group, E4, 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 Shipwrecked, a popularity contest set in paradise where two tribes battle against each other to win the hearts of new recruits and prove they’re the better group, with the winning tribe ultimately taking home a sizable cash prize. In other island-centered reality fare, Temptation Island tests couples’ relationships by letting them live the ‘single life’ on Maui to see if they’re really committed. The show got a reboot on USA Network with the tone of the 2019 production subtly updated so the format feels contemporary and fresh.

Another highlight, Catch!, breathes new life into the timeless game of tag and sees teams compete against each other in fast-paced rounds.”

—Andrew Sime, VP, Formats

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BBC Studios ADDRESS: 1 Television Centre, 101 Wood Lane, London W12 7FA, U.K. TELEPHONE: (44-208) 433-2000 WEBSITE: www.bbcstudios.com CREATIVE DIRECTOR, FORMATS: Sumi Connock VP, GLOBAL FORMAT SALES: Andre Renaud CONTACT: sumi.connock@bbc.com PROGRAMS: The Split: 6x50 min., scripted, Sister Pictures/ SundanceTV, BBC, U.K.; Couples on the Couch: 45 min. eps., reality, BBC Studios, BBC, U.K.; Life After Prison (working title): 45 min. eps., reality, Flicker, Channel 4, U.K.; Dating Detectives: 45 min. eps., reality, Zig Zag/CJ ENM/IMTV, tvN, South Korea; Home Is Where the Art Is: 45 min. eps., reality, BBC Studios, BBC, U.K.; Babies—Their Wonderful World: 50 min. eps., reality, Voltage TV, BBC, U.K. “BBC Studios has a catalog of over 200 formats and is home to huge global hits like Dancing with the Stars and feel-good competitive format Great Bake Off, which continues to be an international ratings winner.

Game shows continue to dominate, and our catalog offers both heritage game shows such as Weakest Link and Mastermind, and also brand-new innovative daily game shows like Wonderball and !mpossible (six seasons in the U.K.). One Hot Summer, Dementia Choir and Meet the Humans are just a small selection of the thought-provoking social-experiment formats available, plus our innovative factual-entertainment formats Top Gear, Stupid Man Smart Phone and The Driving Test demonstrate the creative ambition at the heart of everything we do.

Our scripted formats offer world-class dramas and comedies, which have been licensed to a wide range of territories, from China and Japan to France and the U.S. The Office, Luther, Life on Mars and Doctor Foster are all award-winning, brilliantly crafted scripted formats.”

—Sumi Connock, Creative Director, Formats

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Global Agency ADDRESS: Abdi Ipekci Caddesi, Park Apt. 19-1 Kat:3 Nisantasi, Sisli, Istanbul, Turkey TELEPHONE: (90-212) 241-2693 WEBSITE: www.theglobalagency.tv FOUNDER & CEO: Izzet Pinto HEAD, ACQUISITIONS: Umay Ayaz CONTACT: info@theglobalagency.tv PROGRAMS: Upgrade: daily/access prime time/reality/game show; The Villa—Battle of the Couples: daily/reality; Auction Queens: daily/fashion show; Momsters: daily/access prime time/weekly/prime time/cooking competition; The Legend: weekly/prime time/singing talent show.

“Global Agency, the world’s leading independent TV content distributor, offers a broad portfolio of powerful dramas and innovative formats that continue to capture the imagination of audiences worldwide. Putting customers first, our dedicated team blends top quality and original content with a dynamic marketing approach. Growing quickly to encompass more than 150 projects, Global Agency has enjoyed international hits with hard-hitting dramas such as 1001 Nights, Magnificent Century, Broken Pieces and Mother.

Its executives attend more than 15 major entertainment content market events annually to reinforce its worldwide reach.

With its powerful programs, trendsetting formats and innovative strategies, Global Agency is well placed to keep providing ‘Content that Creates Buzz.’”

—Izzet Pinto, Founder & CEO

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GMA Worldwide ADDRESS: 10/Fl., GMA Network Center, EDSA corner Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (632) 8333-7633 WEBSITE: www.gmaworldwide.tv VP: Roxanne J. Barcelona ASSISTANT VP: Ana Racquel A. Sevilla SENIOR VP, ENTERTAINMENT, GMA NETWORK: Lilybeth G. Rasonable CONTACT: aasevilla@gmanetwork.com PROGRAMS: Until We Meet Again: 42x45 min., scripted/drama, GMA Network, Philippines; Legally Blind: 47x45 min., scripted/ drama, GMA Network, Philippines; Meant to Be: 60x45 min., scripted/drama, GMA Network, Philippines; My Husband’s Lover: 50x45 min., scripted/drama, GMA Network, Philippines; The Rich Man’s Daughter: 35x45 min., scripted/drama, GMA Network, Philippines; The One That Got Away: 48x45 min., scripted/drama, GMA Network, Philippines; The Clash: 26x45 min., audition/talent competition, GMA Network, Philippines; Picture, Picture: 29x45 min., game show, GMA Network, Philippines; Celebrity Bluff: 50x45 min., game show, GMA Network, Philippines; StarStruck: 50x45 min., audition/talent competition, GMA Network, Philippines.

“GMA Worldwide Inc. (GWI) is the distributor of content for GMA Network, the Philippines’ largest and most-trusted broadcaster. GWI is recognized in the global arena as the premier source of quality Filipino programs and innovative formats. GMA prides itself for its drama formats with unique storylines that have relatable themes common to many markets, especially in Asia and Latin America. Themes of family values, faith/spirituality and enduring friendships are topics that are common to a global audience. We make sure that the formats we offer in each market suit the audience’s taste. We also make sure that the scripts we offer to a particular territory are flexible enough to introduce local elements that will make them more appealing to their local viewers. GWI hopes to establish partnerships with broadcasters and aggregators across the globe by providing both scripted and non-scripted formats that help boost ratings.”

—Roxanne J. Barcelona, VP

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Inter Medya ADDRESS: Istanbloom Offices, Kore Sehitleri Caddesi 16/1 Zincirlikuyu, 34394 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: www.intermedya.tv CEO & FOUNDER: Can Okan CONTACT: info@intermedya.tv PROGRAMS: Exathlon: 150 min. eps., prime time/sports/ reality; The Perfect Couple: 60-90 min. eps., prime time/ dating; 19: 60 min. eps., prime time/quiz show.

“Founded in 1992, Inter Medya has 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 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.”

—Can Okan, CEO & Founder

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Nippon TV ADDRESS: 1-5-1 Higashi Shimbashi, Tokyo 105-7444, Japan TELEPHONE: (81-3) 6215-3036 WEBSITE: www.ntv.co.jp/english PRESIDENT, INTERNATIONAL BUSINESS DEVELOPMENT: Atsushi Sogo MANAGING DIRECTOR, INTERNATIONAL BUSINESS DEVELOPMENT: Kako Kuwahara CONTACT: intlprog@ntv.co.jp PROGRAMS: Beat the Rooms: studio game show; Old Enough!: family entertainment; Silent Library: comedy game show; Mother: scripted; Woman-My Life for My Children-: scripted; OASIS-a love story-: scripted; Your Home is My Business!2nd Attack-: scripted; anone: scripted; Abandoned: scripted; Weakest Beast: scripted.

“Nippon TV is Japan’s viewer-ratings champion and production powerhouse. We are proud to introduce Beat the Rooms, an action-packed format co-developed with Red Arrow Studios International. Beat the Rooms is the only show where players are challenged not to do something: don’t breathe, don’t get nervous, don’t fall, and more—all with wacky, hilarious results. This is your ultimate ‘crazy Japanese game show!’

One of our biggest formats is Dragons’ Den/Shark Tank, a successful business show format that has more than 35 versions in territories across the world. Following closely is the success of our drama series Mother, a scripted format that became a megahit in Turkey and South Korea, and WomanMy Life for My Children-, which became an even bigger hit in Turkey. The Turkish versions of both series are sold to many territories, enjoyed by drama lovers around the world.”

—Atsushi Sogo, President, International Business Development

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Twofour Rights ADDRESS: Plymouth Studios, Estover, Plymouth PL6 7RG, U.K. TELEPHONE: (44-1752) 727-400 WEBSITE: www.twofour-rights.co.uk CHIEF EXECUTIVE, TWOFOUR GROUP: Melanie Leach HEAD, SALES OPERATIONS; VP, SALES, NORTH AMERICA, U.K., IRELAND, AUSTRALIA & NEW ZEALAND: Holly Hodges CONTACT: sales@twofour-rights.co.uk PROGRAMS: What Would Your Kid Do?: 60 min. eps., game show, Boomerang, ITV, U.K.; Beat the Chef: 30 min. eps., game show, Twofour/Motion Content Group, Channel 4, U.K.; This Time Next Year: 60 min. eps., entertainment, Twofour, ITV, U.K.; Undercover Girlfriends: 60 min. eps., reality, Twofour/Krempelwood Entertainment, Channel 5, U.K.; A Night with My Ex: 60 min. eps., reality, Twofour/Krempelwood Entertainment, Channel 5, U.K.; Weekender: 60 min. eps., reality, Twofour/Motion Content Group, ITV2, U.K.; The Junk Food Experiment: 60 min. eps., factual entertainment, Twofour, ITV, U.K.; The Hotel Inspector: 60 min. eps., factual entertainment, Twofour, Channel 5, U.K.; Give It a Year: 60 min. eps., business, Twofour, Channel 5, U.K. “We’ve seen This Time Next Year produced in 15 territories, and [it was] the number two bestperforming format in 2018 (The WIT). In the last 12 months, we’ve enjoyed success with What Would Your Kid Do?, which has now been adapted in nine territories with more in the pipeline. It returns to screens in the U.K. for a second run this spring. Undercover Girlfriends, which debuted last year on Channel 5, is coming back for an extended run. New launch highlights include Beat the Chef, in which passionate home cooks battle against professional chefs. If they cook well, they’ll climb up the money ladder, but lose and they walk away with nothing. This brand-new format promises to unite game show and cookery competition in a unique and compelling way.

There’s a real desire at the moment for warm, funny, emotional and uplifting formats. We have a new show coming up called Secret Teacher. In this new four-part series, a cast of four successful business owners—all of whom struggled at school—want to give others the helping hand they never had so they’re going undercover as school support staff.

It’s exciting times ahead and along with the Twofour Rights team, I’m looking forward to seeing you all at the upcoming markets across the year.”

—Holly Hodges, Head, Sales Operations; VP, Sales, North America, U.K., Ireland, Australia & New Zealand 32

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Viacom International Studios ADDRESS: 17-29 Hawley Crescent, London NW1 8TT, U.K. TELEPHONE: (44-20) 3580-2000 WEBSITES: www.viacom.com; b2b.viacom.com PRESIDENT & CEO, VIACOM INTERNATIONAL MEDIA NETWORKS: David Lynn HEAD, FORMATS: Laura Burrell PROGRAMS: True Love or True Lies?: 60 min. eps., competitive reality, Lime Pictures, MTV International, U.K.; Make or Break: 60 min. eps., reality, Elephant House Studios, Channel 5, U.K.; The Viral Factory: 30 min. eps., factual entertainment, Ondertekend, Nickelodeon, Netherlands; Double Dare: 30 min. eps., game show, Fremantle, Nickelodeon, U.S.A.; Roast Battle: 30-60 min. eps., comedy, Central Productions, Comedy Central, U.S.A.; Stranded with a Million Dollars: 60 min. eps., competitive reality, Tollbooth TV, MTV, U.S.A.; Face Value: 30 min. eps., game show, Push It Productions, BET, U.S.A.; The Challenge: 60 min. eps., competitive reality, Bunim-Murray, MTV, U.S.A.; Drunk History: 30 min. eps., comedy, Gary Sanchez Productions/Funny or Die, Comedy Central, U.S.A.; Are You the One?: 60 min. eps., competitive reality, Lighthearted Entertainment, MTV, U.S.A. “Viacom International Studios (VIS) is a division of Viacom International Media Networks (VIMN) and represents all of Viacom’s content, production and distribution activities outside of the U.S. From the early pioneering days of The Real World to recent smash hits like Lip Sync Battle, Drunk History and Ex on the Beach, we are proud to represent an extensive catalog of inspiring, provocative, highly entertaining formats spanning a range of genres that will resonate with audiences worldwide.

In the last ten years, VIS has significantly evolved its formats business, resulting in one of the most comprehensive and varied portfolios on offer to international clients. With a catalog brimming with popular format titles spanning multiple brands, including MTV, Comedy Central, Nickelodeon, Channel 5 and Telefe, our unique position as a producer, broadcaster and distributor makes us an ideal partner, helping clients to deliver formats with both local flavor and global appeal.”

—Laura Burrell, Head, Formats

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