TV Real April (MIPTV & MIPDOC) 2023

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Distribution Trends / Michael Mosley / Curiosity’s Bakori Davis

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SCREENINGS.COM

The only video portal for the factual programming industry.

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Anna Carugati Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Associate Editor

David Diehl

Production & Design Director

Simon Weaver Online Director

Dana Mattison Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

Andrea Moreno Business Affairs Manager

Theory of Evolution

As a potential writers’ strike looms in the U.S., reality TV producers are gearing up for what could be a significant uptick in activity. The 2007-08 strike helped boost the fortunes of the genre as networks rushed to find ways to keep audiences tuned in and deliver for advertisers.

The possibility of a boom in U.S. commissions comes alongside increasing demands from global streamers. Per recent Ampere Analysis research, the number of unscripted originals commissioned by the global subscriber-based services rose by 35 percent last year. While conceding that non-scripted still represents a small part of global SVOD budgets, Ampere notes: “As the competition in the streaming industry continues to grow, platforms must continue to explore cost-effective unscripted formats to keep audiences engaged, emphasizing the importance of balancing quality and affordability in optimizing content strategies.”

FEATURES

NATURAL ORDER

From exploring the burgeoning FAST landscape to managing the complexities of financing increasingly ambitious premium docs, leading distributors weigh in on trends shaping the factual business today.

THAT’S ENTERTAINMENT!

Our latest TV Formats Screenings Festival spotlights some of the most compelling new and returning unscripted brands available.

Ricardo Seguin Guise President

Anna Carugati Executive VP

Mansha Daswani Associate Publisher & VP of Strategic Development TV

The distributors I surveyed for a piece in this edition about the key trends shaping the factual business today all cited growing interest from the global platforms. That development—combined with sustained interest from broadcasters and the potential to increase sales of library titles to FAST channels eager for content—has those in the factual distribution business feeling upbeat about the sector’s ability to navigate through a choppy economic climate. As Anne Olzmann, managing director of Albatross World Sales, told me, “With more and more broadcasters and platforms popping up worldwide, we’re really in a golden era for docs and factual content.” And as audiences increasingly demand greater access, better visuals and innovative narrative techniques, distributors are finding new ways to work with producers to get budgets pulled together and shows off the ground.

Curiosity has been expanding its slate of originals as it builds its global business. Bakori Davis, who is leading Curiosity’s international drive, talked to me about the company’s winning approach to partnerships across SVOD, pay TV and FAST. This edition also features a conversation with Michael Mosley, a former psychiatrist who now presents and executive produces popular science-based content in the U.K. Mosley spoke to TV Real about his latest project with the BBC, Secrets of the Superagers Mansha Daswani

Albatross World Sales

Cactus Hotel / Bearland / Crimes That Changed the World

On offer from Albatross World Sales, Cactus Hotel tells the story of one old cactus with its wild tourists, quirky residential communities and long-term tenants who manage to make this seemingly prickly cactus fortress their home. Bearland features a brown bear mother trying to protect her cubs, hungry polar bears waiting for the pack ice to arrive and three Asian black bear cubs who must survive on their own. There’s also Crimes That Changed the World , which explores how certain crimes changed laws in Western society. “Our company is known for its blue-chip wildlife titles and quirky stories, but we also think that the natural history and documentary landscape is evolving, so that’s what we want to bring to the table this year,” says Lisa Anna Schelhas, sales director.

APT Worldwide

Rick Steves Art of Europe / Modern Ninja: The Last Grandmaster / Kasturba Gandhi: Accidental Activist

Presented by APT Worldwide as a six-part series or as stand-alone specials, Rick Steves Art of Europe gives a view of art through the ages—from prehistoric to modern times. “The sweep of the series is quite broad, but Rick makes the content fun and accessible for general audiences,” says Judy Barlow, VP of international sales and business development. The documentary Modern Ninja: The Last Grandmaster looks at the 34th Grandmaster of Ninjutsu, Dr. Masaaki Hatsumi. “It’s fun to peek behind the curtains at a ninja training school,” says Barlow. Also on offer from APT Worldwide, Kasturba Gandhi: Accidental Activist is a film that profiles Kasturba Gandhi, while Anahita: A Mother’s Journey is a doc about a woman who fled Kabul with her five children when the Taliban took over in 2021.

BossaNova Media

Ancient Egypt By Train / Castle Secrets / The Rise and Fall of Hugh Hefner’s Playboy

BossaNova Media has among its lead offerings Ancient Egypt By Train , produced by Spark Media. “We have partnered with Channel 4 to co-finance the series, resulting in a unique hybrid show that combines history and travel as professor Alice Roberts uses one of the world’s oldest rail networks to explore one of the world’s most ancient civilizations,” says Tatiana Grinkevich, head of sales. Castle Secrets tells the stories of 24 of the world’s most famous castles dotted across Europe and Asia. “We are already seeing how appealing the concept is to international buyers,” says Grinkevich. The Rise and Fall of Hugh Hefner’s Playboy, commissioned by Channel 5, focuses on the real story behind the Playboy mansion and the disturbing realities of the lives of the Playboy bunnies.

“We’re bringing more documentaries to MIPTV than ever before.”

—Lisa Anna Schelhas

“Beyond documentaries, our slate includes lifestyle programs, travel, science, nature, history and more.”

—Judy Barlow

“History combined with mystery is, without doubt, one of our best-selling genres.”

—Tatiana Grinkevich

Ancient Egypt By Train

Bearland

Rick Steves Art of Europe

Curiosity

CSI on Trial / Lift the Ice / Oddly Satisfying Science

There are new offerings from Curiosity in the science and crime genres, including CSI on Trial. “Crime is a genre that continues to generate viewership globally in scripted and unscripted formats,” says Bakori Davis, global head of partnerships and distribution. “We’ve all seen the TV shows—how the smallest, most innocuous clues lead investigators to solve puzzling crimes. But just how much ‘science’ is in forensic science? It’s time to examine crime scene investigation methods in our series CSI on Trial.” In the science arena, Lift the Ice follows experts as they investigate mysteries emerging from under layers of thawing ice, while Oddly Satisfying Science sees host Nick Uhas and his guests test visually appealing experiments designed to blow viewers’ minds.

NHK Enterprises

Not Yet There / ISSEY MIYAKE: The Human Inside the Clothes

The NHK Enterprises slate features the one-off documentary Not Yet There, following a year in the life of renowned chef Ishihara Hitoshi, who works at the Michelin-starred Mizai kaiseki restaurant. “He continuously hones his art, inspired by the Zen Buddhist notion that one must never stop training in pursuit of the elusive goal of perfection,” says Seiichi Shinno, senior producer in the global content development division. “At Ishihara’s restaurant, the cuisine and the artistry with which it’s presented embody Japan’s time-honored culinary culture.”

ISSEY MIYAKE: The Human Inside the Clothes provides a look at the life of fashion designer Issey Miyake, who died last year. The documentary sheds light on his feelings about the bombing of his hometown of Hiroshima and how he created the designs that gained him international recognition.

Passion Distribution

JFK: The Home Movie That Changed the World / The Royals: A History of Scandals / The Crossing

The hour-long documentary JFK: The Home Movie That Changed the World leads Passion Distribution’s factual highlights. The company is also presenting the four-part The Royals: A History of Scandals . In the series, Suzannah Lipscomb explores what role the press, parliament and public have played in generating outrage and spreading rumors about the British monarchs across centuries—exploring some royal scandals viewers might know about but many they won’t. The slate also features the one-hour doc The Crossing. Nick Tanner, director of sales and co-productions, says these programs have global appeal because they are “high-quality, relevant factual programming that explores today’s global dilemmas, marks one of the most defining moments of the 20th century and dives into our fascination with the royals behaving badly.”

Crossing

“We want to know: what piques your curiosity?”

—Bakori Davis

“NHK Enterprises is proud to highlight Japanese beauty and traditions with these documentaries.”

—Seiichi Shinno

“Passion is proud to present a range of purposeful but playful nonscripted content that gives a real point of difference.”

—Nick Tanner

The

PBS International

New Eye on the Universe / Casa Susanna / Putin and the Presidents

Leading PBS International’s MIPTV highlights, New Eye on the Universe brings audiences the latest images and discoveries from the James Webb Space Telescope, which launched in late 2021 and had its first images revealed to the public in July 2022. Also on the slate, Casa Susanna tells the story of the first clandestine network of transgender women and cross-dressing men in the U.S. Putin and the Presidents, meanwhile, traces the history of Russian President Vladimir Putin’s clashes with U.S. presidents. “The highlighted programs focus on themes and events that regularly occupy headlines worldwide; from cutting-edge space exploration to LGBTQ rights to the war in Ukraine, PBS International is proud to offer relevant and enriching content on topics that resonate with global audiences,” says Joe Barrett, VP of sales.

TV Tomorrow

Evacuation / Women Guardians / We’ll Re-Build

TV Tomorrow is distributing “Ukraine at War” in association with Lacey Entertainment. The collection of documentaries hails from the country’s top producers. “It is a compelling, multifaceted expression of the existential threat to the culture and structure of the nation, which started in 2014,” says Tim Horan, CEO and founder of TV Tomorrow. Highlights of the collection include Evacuation, which follows the stories of five characters who defied all odds to evacuate during the hostilities. Women Guardians tells stories of the energy, support and love of women who fight side by side with men and inspire the nation to believe in victory. We’ll Re-Build is an expression of optimism about the museums, libraries, cultural centers, churches and theaters that have been destroyed or damaged and their plans for restoration.

ZDF Studios

The Six Continents Revealed / Naked—Generation Gender / Bison—An American Icon

ZDF Studios’ The Six Continents Revealed unveils how nature has shaped and influenced cultures around the world throughout history. With a combination of 3D animations, CGI and aerial shots, it “reveals a rich treasure trove of remarkable findings that connect history, science and everyday culture,” says Dr. Markus Schäfer, president and CEO. Naked—Generation Gender explores the role gender plays in determining almost every aspect of our lives—from birth to old age. Bison—An American Icon follows a bison from the day of his birth through his endurance as a young calf to his development as a strong bull. “In his story, we witness the indomitable spirit of a true survivor and recognize the bison as a symbol that is inextricably linked to the American identity,” Schäfer says.

“The integrative power of ZDF Studios allows for the development of innovative, outstanding, highquality programs.”

—Dr. Markus Schäfer

Bison—An American Icon

“Our mission is to partner with clients who are passionate about bringing award-winning public-media content to global audiences.”

—Joe Barrett

Casa Susanna

Women Guardians

“ ‘Ukraine at War’ looks at reactions to the invasion from many different viewpoints.”

—Tim Horan

Albatross World Sales’ Cactus Hotel.

ORDER NATURAL

Producers of non-scripted television are, by default, infinitely adept at problem-solving and adapting when circumstances change. And things have been changing rather rapidly. Just over a year ago, the industry was buzzing with the potential new opportunities brought forth by CNN+, a brand-new entrant with a global remit and ambitious content plans. The service went live at the end of March 2022 and was shuttered in a month amid a series of strategy shifts at the new Warner Bros. Discovery. In the ensuing year, there have been lots of unanswered questions about the content approach at the merged HBO Max/discovery+ service (which should finally be clarified this month when the rebranded platform is unveiled), and indeed at all the streamers as everyone’s strategies appear to be in transition. Broadcasters, meanwhile, are having to make their own adjustments as they face down what looks to be a challenging year on the advertising front. What hasn’t changed, the distributors surveyed for this state of the industry report indicate, is the ever-present demand for unique access, pristine visuals and revelations.

“With more broadcasters and platforms popping up worldwide, we’re really in a golden era for docs and factual content,” observes Anne Olzmann, managing director of Albatross World Sales. “This can also be observed in the ongoing merger and acquisitions movement in the market, which doesn’t stop but rather embraces factual.”

Nikolas Huelbusch, Director Unscripted at ZDF Studios, adds: “Many major broadcasters and streamers are trying to find their own niche with originals, specific styles, approaches, brandbuilding and faces unique to the respective service. There is still an enormous need for carefully crafted, well-researched,

narration-driven specialist factual series and one-offs. Visually strong and inspiring history, science and wildlife programs with some surprising ‘watercooler knowledge’ are an evergreen genre that will probably always find its audience worldwide.”

Holly Cowdery, head of sales at BossaNova Media, has witnessed “a huge swing toward premium docs with unique, high-quality storytelling. It’s an all-encompassing area, but where we are focusing on in particular is the crime and ‘stranger-than-fiction’ space, where we’ve had great success with Con Girl . We do still seek to work across all forms, though, with returning brands such as Borderforce USA and exciting one-offs on a broad range of subjects. In terms of the business, it’s great to see new factual channels still being launched, like Foxtel’s Real Life in Australia. A very encouraging sign, if we needed one!”

STORIES THAT MATTER

Natalie Lawley, managing director of Escapade Media, is also bullish about the sector. “Escapade has seen a noticeable growth in documentary sales over the past 12 months, which applies to both one-offs and series,” she notes. “There is still a really solid market internationally for well-made local content that resonates with the international audience.” For Escapade, there has been interest from buyers in documentaries that offer a “sincere and genuine insight into ‘new’ subject matters but that are about topics that different territories can relate to.”

Olzmann at Albatross sees a move toward “more innovative and emotionally engaging storytelling techniques, leveraging the latest filmmaking technology and approaches to provide audiences unique and compelling viewing experiences. Especially when it comes to wildlife films, we observe a focus on the

From exploring the burgeoning FAST landscape to managing the complexities of financing increasingly ambitious premium docs, leading distributors weigh in on trends shaping the factual business today. By Mansha Daswani

intimate and emotional stories of individual animals rather than just presenting a broad overview of a particular species or habitat. It could be described as character-driven, though it has to remain scientifically accurate at all times, which can be tricky. But it seems to be working well with the audience and can be a great tool to get the viewer emotionally engaged.”

Huelbusch reports that ZDF Studios is experiencing strong demand for shows that allow audiences to discover parts of the world “underrepresented in documentary filmmaking in the past,” citing the unique perspectives presented by Africa from Above . In ZDF Studios’ other core focus of history, meanwhile, “there is a big appetite for rediscovering archivedriven programs, especially if the archive is technically restored, brushed up or colorized, thus bringing history to life again for new generations of viewers.” He cites as examples the World Media Rights series Greatest Events of World War II in Colour and WWII in Colour: Road to Victory , both coproduced by Netflix.

NHK Enterprises, the commercial arm of pubcaster NHK, has been rolling out doc specials and series that showcase new perspectives on Japanese culture and society, such as ISSEY MIYAKE: The Human Inside the

Clothes , about the acclaimed fashion designer, and Not Yet

TITLE HUNTING

NHK Enterprises and ZDF Studios benefit from being affiliated with broadcasters that continue investing in high-end doc fare, enabling a steady supply of content for the global market. ZDF Studios also partners with third-party producers, focusing on titles that fit into the company’s core factual genres of history, science and wildlife and, crucially, feature a “global approach,” Huelbusch says. That generally means “no host and not too much on-site dialogue, which might be difficult to localize. Producers should always ask themselves: Is this a program viewers in countries like Australia, Japan, Germany, Italy, Canada or Mexico would equally enjoy?”

Huelbusch continues: “We focus on 50 to 52 minutes lengths, one-offs, miniseries or longer series, mostly in an anthology style where each episode tells a different story. A track record of similar programs a production company has produced in the past is extremely helpful, as is a sizzle.”

At Albatross, Olzmann and her team are always seeking out new properties that deliver captivating images and narration, along with “new ideas regarding sustainability, environmental issues and inclusion, cutting-edge science as well as new historical insights and diverse and inspiring travel programming. We can work with projects as well as finished programs. In general, we evaluate the content and check whether it would fit our current content strategy and program needs. We’re looking for long-term partnerships built on trust with the goal of growing together. We explore the producer’s goal for the program and the best strategy to make that goal happen. Of course, we all want to make as much as possible from license fees. However, for some producers, it is more important to have as many public broadcasters as possible, while others just want to be everywhere, including online, quickly. We explore the ideal sales strategy together and see if it’s a fit for both of us.”

As for when a distributor should get involved in a project’s life cycle, the days of picking up fully funded completed projects are likely long gone. Asked how soon BossaNova tends to board projects, Cowdery notes, “Early—really early. That way, we can secure the funding and get a broadcaster on board that will editorially run the project rather than the distributor.”

As for what the independent outfit, founded by Paul Heaney and now part of the Night Train Media group, is looking for, Cowdery notes: “We’re still relatively new on the scene and

There, on chef Ishihara Hitoshi.

ISSEY MIYAKE: The Human Inside the Clothes is on offer from NHK Enterprises.

BossaNova Media’s new slate includes the ob-doc series The Casketeers

feel it’s important to build a strong, balanced slate rather than rushing to form a mobbed library. Rather than being an opportunist and acquiring whatever is available, this helps us build a slate we believe in as we go to markets and sell, rather than employ a scattergun approach.”

And beyond a project’s core conceit and storytelling approach, the BossaNova team also focuses on a producer’s credentials. “We want a producer to communicate freely and easily with us through the process, to deliver on time, on budget and on brief,” Cowdery notes.

Escapade, too, likes to get on board early, Lawley says. “We are happy to look at project concepts that may be simply just an idea or are further developed, but definitely before preproduction has started. It’s paramount that our projects appeal to the international marketplace, so we look to have input to ensure this is the case.”

At ZDF Studios, Huelbusch says the ideal time to partner with a producer is generally “when a large share of the financing is already in place via one or two broadcasters and/or film funding, and the last gap is to be filled. But we are happy to look at projects at earlier stages to give producers a first impression if something is generally in our ballpark.”

Olzmann says that the Albatross team prefers looking at projects that already feature a “detailed treatment and, if possible, a trailer. All the projects we take on have at least some financing in place, and it should be very clear what editorial angle the film will have. Depending on the finance gap, we can then work out a detailed strategy for each project individually.”

FAST TIMES

Given the investments distributors are making in shows, having a wellthought-through windowing strategy to maximize the return on investment is critical, and AVOD and FAST are an increasingly important part of that value chain.

“AVOD and FAST services are becoming a significant revenue stream for us,” Olzmann explains. “We have been working with different operators for quite a while now, and while it has taken some time to set up, it is becoming more and more lucrative each year, especially for titles that have made their TV round and are ready for third and fourth runs. We work with big AVOD and FAST platforms and small owned-andoperated channels, which is a good combination to generate feasible revenues. It is important for us to branch out and have multiple sources of revenue from each territory. It is safe to say that we have extended the shelf lives and have longer distribution periods for suitable genres, such as nature and wildlife, which don’t get old. With a well-working infrastructure in place, we will increase our AVOD and FAST business.”

Huelbusch is of a similar perspective on the increasingly lucrative AVOD business. “We collaborate with numerous platforms such as Pluto TV and Samsung TV Plus, licensing programs to their AVOD services, owned-and-operated FAST channels or entirely single IP channels, both in the German- and English-speaking territories, with other regions of the world envisaged for the near future. Our German-speaking Terra X channel on Samsung TV Plus is especially successful, building on a well-established ZDF factual brand. There’s more to come.”

BossaNova has its eye on the AVOD space but is taking a measured approach to the segment, Cowdery notes. “They are clearly having a growing influence and there are revenues available everywhere. However, we are being strategically minded and taking our time to do the right thing for our producers. The brands we are painstakingly building need to be protected and there is the fear of going FAST too quickly.”

Indeed, as Olzmann stresses, succeeding in the marketplace today requires a delicate balancing act between following trends and charting new ones.

“As a specialist factual distributor, we have to carefully navigate between following trends, increasing our catalog volume, and at the same time keeping our editorial angle tight to a great mix of strong storytelling and visually stunning productions. We keep an eye on trends, of course. Still, when it comes to acquisitions, we will always carefully evaluate whether it is in line with what we stand for: well-curated, premium content that creates added value for the viewers, offers new and different perspectives and encourages us to make the world a better place.”

For the Love of Pets has been a strong seller for Escapade Media.

ZDF Studios’ nature and wildlife lineup includes The Six Continents Revealed

That’s Entertainment!

With the prospects of a looming writers’ strike in the U.S. and broadcasters and platforms across the globe looking for more cost-effective ways to entertain audiences, format distributors have reason to feel upbeat about the year ahead. Our latest TV Formats Screenings Festival spotlights some of the most compelling new and returning unscripted brands available today.

Wit h a track record of success in its home market of Germany, Wanna Bet? is a key format offering from ZDF Studios. “Wanna Bet? once stood as the most successful Saturday evening show in Europe, entertaining millions of viewers,” says Sylvia Brucker, director, entertainment, Unscripted, at ZDF Studios. “The format has been sold around the world and works well in the most diverse territories: in nations close to Germany either geographically or emotionally, such as the Netherlands, Great Britain, Poland and Turkey, as well as in far-away Russia

All3Media International’s The Traitors

and even China.” Brucker is also optimistic about the prospects for Quiz Hunt, a game show that has similarly fared well in Germany. “The simple and clear game principles of the game show, coupled with the thrill of the chase, make Quiz Hunt so captivating,” Brucker adds.

All3Media International is showcasing a diverse lineup across reality, lifestyle and factual entertainment, including The Traitors, which continues its global march with 20 local versions commissioned worldwide. The “intelligent reality” format features “psychological gameplay that creates incredibly tense, must-watch moments for global audiences, making it as compelling as the most addictive dramas on our TV screens,” says Nick Smith, executive VP of formats. On the fact-ent front, Smith spotlights The Last Resort , which “balances personal drama and lighthearted humor as it offers young people at a crossroads in their lives an opportunity in the highly demanding world of high-end hotel hospitality,” while Reunion Hotel brings individuals together with someone from their past in a lush location. There’s also Future Food Stars in the mix, focused on food and drink entrepreneurs, which has been renewed in the U.K. and MBC’s

Keep Talking, I Love It

ZDF Studios’ Wanna Bet?

com missioned in the U.S. Rounding out the offerings are the feel-good Sort Your Life Out and the reality game show/social experiment Rise and Fall.

Korean broadcaster MBC, which originated the megahit The Masked Singer, is bringing to the market the competition/game-show format Keep Talking, I Love It . “ Keep Talking, I Love It is a storytelling battle among eight contestants: the ‘tongues fighters,’ ” explains Jean Hur, director of format sales. “They go into an MMA fighting ring and unfold their original stories. Each story is halted at its climax, and the 100-member audience votes for a story they wish to listen to further.”

On offer from Passion Distri bution are two factualentertainment formats that deliver new spins on the wellworn dating and relationship genre. Better Date Than Never, per Agnes Mbye, senior sales manager for formats, “is a celebration of love being open to everyone, especially those seen by society as a little bit different from the ‘norm.’ It’s heartwarming and authentic and a real point of difference in the dating genre.” One Night Stand, meanwhile, “follows singles who shared one night of passion in the past as they meet again on a surprise date to find out if their romance can be rekindled,”

Passion Distribution’s Better Date Than Never

BBC Studios’ The 1% Club

Mbye says. “The show brings honesty and good laughs and was hugely successful with the young audience of E4.”

Out of its extensive formats slate, BBC Studios is spotlighting the game show The 1% Club and the celebrity property/lifestyle show Amanda & Alan’s Italian Job. The 1% Club premiered in the U.K. less than a year ago and has “won multiple awards and had commissions around the world,” says Andre Renaud, senior VP of global format sales. “All they have to do is answer a series of brain teasers that don’t test what you know—only how your brain works.” Amanda & Alan’s Italian Job “sees celebs attempt everything from plumbing to plastering, with some sight-seeing and soul-searching along the way. As they live out their dream holiday renovation, viewers get a unique window into their friendship and learn about the local community, too.”

The TV Formats Screenings Festival also includes a slate of titles from Korea’s CJ ENM, including the survival reality/game show hybrid The Genius Game. “Since the launch of The Genius Game through NPO in the Netherlands, it continues to garner international attention,” says Diane Min, head of format sales. Also on offer are the game shows The Time Hotel and Zero Sum Game.

All3Media International’s The Last Resort

CJ ENM’s The Genius Game

Michael Mosley

By Mansha Daswani

Michael Mosley has parlayed his in-depth medical knowledge and engaging presenting style into a successful career fronting popular factual shows for the BBC. His latest, Secrets of the Superagers, explores the keys to staying healthy as it peeks into the lives and habits of people who seem to have unlocked the secrets of staying forever young—at least biologically. Backed up by scientific research and offering up easy tips for viewers, the show hails from the BBC Studios Science Unit. TV Real caught up with Mosley to discuss the origins of the BBC Studios-distributed series and hear his perspectives on the keys to explaining complex scientific ideas to audiences.

TV REAL: How did Secrets of the Superagers come about?

MOSLEY: I’m interested in the science of aging. Not necessarily because I want to live to 101, but I want to beat my dad. My dad died at the age of 74. And indeed, no male family member has made it beyond 74. I would like to live a bit longer than that. Primarily I want to live in good health. And I was interested in looking at the science of aging because ten years ago, I made a Horizon [episode] called “Eat, Fast and Live Longer,” which was about intermittent fasting. It became a worldwide phenomenon. I was convinced that science must have moved on. BBC Studios came to me with a brilliant proposition, which was essentially to make a six-part series looking at signs of aging, but very much focusing on the super-agers. These people are in their 70s, 80s and 90s and still in terrific shape and, in many ways, decades younger than what it says on their passports. I love the combination of human stories with some fantastic science. I’m immersed in this world, so I was quite blasé; I assumed I knew it all, and I discovered, wow, there is a lot of stuff out there that is utterly fascinating. It also delivers lots of take-home tips, which is what people want to know. Most people don’t want to live to 101, frankly, but they do want to live healthy and see their kids grow up and, ideally, grandkids. That was the motivation.

TV REAL: What were some of the most surprising insights for you while doing this show?

MOSLEY: Epigenetic tests are available now that can measure your biological age with a very high degree of accuracy. This is research coming out of California. We’ve had tests that could measure your blood pressure, cholesterol, blood sugars and things like that. These are all markers. But this test can tell you pretty precisely what your biological age is and the age of your different organs. We went off and filmed with a guy. I took the test, and he took the test. I’m 65, and it said I’m biologically 61, so I’m four years younger. He’s 57; it said his biological age is four years older, so he’s 61. There’s an eight-year difference in passport ages, if you like, but we are twins! I like to think I also look younger than him! You have to watch the documentary to see. You’ve got to have a degree of vanity if you want to grow old gracefully—well, perhaps disgracefully!

Once we’ve got these biological tests, we can also start looking at things people claim will make you younger. But do they? One of the really weird ones is getting [an infusion of] fresh, young blood to reverse biological age. It’s been done in rats and mice; now they do it in humans. We filmed in the U.S. This woman had Parkinson’s disease, and this was a way to try and preserve her brain, if you like, using blood products from young volunteers.

TV REAL: Tell us about the structure of the series and how each episode is mapped out.

MOSLEY: It’s divided into parts. The body, the brain, appearance, the internal self, what’s going on inside you and the

senses—smell, taste and things like that—and then the future. What is future medicine looking like? There is some overlap, but at the heart of each of these stories is some new science plus fantastic super-agers. We get to know these characters. There’s an 80-year-old karate master and a 90-year-old surgeon. There’s someone in his late 80s who’s still playing jazz. You would imagine his hearing would be shot. And indeed, on the physical test, his hearing wasn’t that great. But when we did a brand-new brain test on him, you could see that he was picking up the nuances everywhere. That’s because years of playing music had trained his brain to listen to sounds. The ears are knackered, but the brain can still bypass the hardware. That’s one of the messages of the series. You can bypass the hardware to some extent. There’s a wonderful perfumer whose sense of smell is fantastic. That is because he’s constantly challenging it. One of the tips is that there are four distinct smells—you can buy them in four bottles—and you can keep your sense of smell up to date by having a little practice sniff every morning. It’s equivalent to doing press-ups for your nose.

Another one of my favorites: We went to the Faroe Islands and filmed with a group of footballers. They had started perimenopausal, all with signs of osteoporosis— early signs of bone decay. Over the five to six years of the study, you’d expect their bone health to [deteriorate]. But because they were playing football and having terrific fun, their bone health was fantastic. They managed to reverse the age of their bones by at least a decade. I have the spine of a 30-year-old, it turns out, because I do lots of press-ups.

We filmed in Japan, the U.S. and all over Europe. We filmed with monks and with Wim Hof, who is vastly entertaining in Holland with his ice-cold buckets and challenges. It’s a very entertaining and colorful series. You get to know and meet some lovely people. You learn some fantastic science, and you also get lots of take-home tips. So what’s not to love?

TV REAL: Over your television career, what have been some of the best lessons learned about making complex topics digestible for viewers?

MOSLEY: You have to work with talented people. You need really good producers who understand this. And to be honest, they do a lot of the work. It’s a matter of, what are the stories? I chat with people quite a lot. I like to give precise instructions. I do a BBC podcast series called Just One Thing. It might be, have a cold shower. With something like press-ups or squats, do it first thing in the morning when you get out of bed because you won’t do it any other time. Do it with your partner if you’ve got a partner because you’re more likely to do it. Start with trying to hit, say, 30. The benefits are for your muscles, your spine and your brain. You’ve got to keep reminding yourself why you’re doing it. Balance is another one. Try to do 30 seconds standing on one leg. I do it when brushing my teeth: 30 seconds on one leg, 30 seconds on the other leg, then switch over. If I tell you to go and do yoga, you probably won’t unless you’re already doing it. If I tell you, you can improve your balance by doing this while you’re brushing your teeth, you might. It’s finding these sorts of tips, if you like, that people will do. People love clear instructions.

Michael Mosley unpacks the secrets to healthy aging in BBC Studios’ Secrets of the Superagers

Bakori Davis Curiosity

We test where the market is, we’ll talk to various partners, and if they are still trying to push pay TV, that’s what we will offer. If they want to get into the growth area of streaming, we will partner with them to help promote that. We read the market and decide where we think our biggest partners can be beneficial in building the brand. Trying to build a brand from the ground up on your own is very difficult. A local partner can offer ways to get the brand out there to the customers. That helps dictate how we approach any market.

TV REAL: And what about the approach to revenue models? Your channels are ad-supported. Are you looking at an AVOD model in streaming as well? And what about adjusting pricing for different markets?

DAVIS: We’ve had consistent pricing across markets. We’re now testing the waters in many markets, but I think we will always, first and foremost, be a subscription service. We have always been very reasonably priced. We will always have content that supports an ad-based model, but I don’t think a hybrid tier in our case would make sense. We have content that we put on AVOD—we have FAST channels. It’s all part of building an increasingly strong presence in front of the paywall.

TV REAL: Tell me about the FAST channel. How is it faring? And are you looking at launching more?

By Mansha Daswani

Launched by cable TV pioneer and the founder of Discovery, John Hendricks, Curiosity has been steadily building its brand across the globe through a variety of avenues, including its SVOD service Curiosity Stream, pay-TV channels and a new FAST service. Aligning with key players in local markets has been central to the company’s success thus far, Bakori Davis, global head of partnerships and distribution, tells TV Real.

TV REAL: What’s been Curiosity’s overall approach to international expansion?

DAVIS: We have our streaming service and TV channels, we license content, and we have studios. At heart, we are a content company and we are trying to grow in every way we can. A huge part of that will be as we expand international ly. We’re already available in 175 countries with our SVOD service. We have other partnerships in various regions worldwide and want to expand those.

TV REAL: As you look at opportunities in any given market, how do you determine if you want to focus on your pay-TV, FAST or SVOD services?

DAVIS: First and foremost, it is a partnership-driven approach. So, a lot of our strategy comes from where the partners are.

DAVIS: We have Curiosity Now in the U.S. We are looking to expand that in other regions. People say FAST is all about niche; you get in and carve your lane—maybe it’s a science and tech channel or a history channel. We’re trying to determine the best way to reach the end consumer. As much as FAST is mature in the U.S., it’s still tough to tell who is watching in many other markets. What is the best offering? Is it just a play to take up shelf space? We know we can’t be too scientific about it, but we do want to expand.

TV REAL: It does feel like everything old is new again; FAST feels like the early days of pay TV!

DAVIS: It is a shelf-space grab. I also think platforms are getting smarter about not having too many and finding the ones that have appeal.

TV REAL: What’s been the key to managing those very different relationships—from legacy pay-TV players to telcos to direct-to-consumer?

DAVIS: One of our biggest advantages is our wide range of products. There are many ways we can partner with providers, which means there’s room to work with many different people without stepping on each other’s toes. Even the traditional platforms want to try new things—they’re asking if they can partner with us on our SVOD service and help promote that as part of their offerings. At the same time, telcos, which historically have not been as steeped in content, are putting out loads of apps and saying, let’s just see what sticks. I don’t think those two negate each other. We’ve done both. We’re targeted about whom we

partner with. Integration can take months to get your service up and running, let alone managing that after the fact. So we need to be selective about whom we partner with.

TV REAL: Every region is dealing with its own unique issues right now, be it war and a banking crisis in Europe or the state of the economies in Latin America. As you look out globally, where would you like to be doing more?

DAVIS: One filter is where we made an investment in localizing. Our content is offered in 11 languages now. So then it becomes, how do we further monetize the content we’ve now localized? Those, by default, will be markets where we want to go deeper in our partnerships. That’s a helpful filter. And then there are also places where we know the opportunity is wide. I take Africa as a good example. We have an existing relationship that takes the Curiosity channel across 55 countries in Africa. As they move into the streaming world, and with the sheer population of the territory, how do we go deeper and expand our offerings even further? India is the same thing. We are launching with Amazon in India. The size and economic opportunity of that market beg the question, What else can you do? Latin America is the same. It was difficult four or five years ago, but now it’s so alive. We need to move with those trends.

TV REAL: I’m curious if being a leaner independent operator gives you certain advantages today compared with the behemoth tech giants, where decision-making has far more layers. Does it give you a greater ability to be agile?

DAVIS: We can be more flexible. We can jump on our opportunities more quickly. Our partners have benefited from that. They want to try new things within their businesses, and we can be opportunistic in that regard. I have been at larger companies where you can get analysis paralysis. You have to appreciate your position in the market. You have to exploit that as an advantage. Let’s move quickly and tackle opportunities when they come.

TV REAL: What other opportunities are you pursuing in the year ahead?

DAVIS: We have some exciting new partnerships that are coming. We have a partnership in Australia with Fetch for a linear channel. That will be a first for us in Australia. We have a lot of activity happening in Germany right now. We have a JV there with two partners, Spiegel TV and Autentic. In that market, we’ve made the first localization of our SVOD app. So separate from our global site, we now have a Germanbased version. All the content is in German, and the UI and UX as you navigate the site are also in German. That’s hopefully the first of many of making the Curiosity Stream experience localized. We hope to replicate that in other markets where we can.

TV REAL: What factors do you consider in a territory to determine if that’s the route you should take? I imagine localization on that scale isn’t cheap!

DAVIS: The truth of the matter is, once you do the initial reskin, the initial localization, the subsequent markets are much easier. Once you have the full template in place, I won’t say it’s plug-and-play, but it’s less effort than the first one was. The things we considered first were: Are we with the right partners on the ground? Can they help promote it and help make sure that the word is out? Do we have localized assets? For our SVOD platform and our pay channels there, we had already localized a bunch of German assets. And then you say, how else can you further monetize this content?

TV REAL: A lot of platforms are keen to go it alone, direct to the consumer. Why has the partnership model been so crucial for Curiosity?

DAVIS: You see other streamers go out and just launch in markets, based on their consumer site, and then they search for partners. Ours happen first. It is all about our partnership strategy. We are open to integrating our app. We’re open to having some sort of business relationship with those partners that helps them enjoy in the growth as well. That’s the message we want to get out. We want to ensure that it’s a win-win for us and our partners.

Curiosity Stream’s expanding slate of originals includes Bessie Coleman: Queen of the Skies