Tom Fussell
BBC Studios
Jennifer Mullin
Fremantle
Jane Turton
All3Media
Henrik Pabst
Seven.One
Entertainment
Dr. Markus Schäfer
ZDF Studios
Herbert L. Kloiber
Night Train Media
Jonas Engwall
Bedrock
Adrian
WORLD VIEW
By Mansha Daswani.
UPFRONTS
New content on the market.
SPOTLIGHT
Bedrock’s Jonas Engwall.
IN THE NEWS
Night Train Media’s Herbert L. Kloiber.
CRIME PAYS
GoQuest Media’s Ofelya
Tov masyan on the two new Polish crime dramas added to the company’s catalog of diverse series.
ARTISTRY OF JAPAN
A look at the dramas that NHK Enterprises is targeting for remakes and new docs that showcase the artistry of Japan.
TRENDING ON
Trending clips on our video por tals.
Amid fears of a global recession and escalating costs, leading distributors share how they are preparing for the new era in the streaming wars. This special report also includes interviews with All3Media’s Jane Turton, Seven.One Entertainment Group’s Henrik Pabst and ZDF Studios’ Dr. Markus Schäfer.
The CEO of the BBC’s commercial arm articulates the company’s new global ambition.
The company’s CEO on serving as an attractive home for talent, incubating breakthrough IP and pioneering flexible models to meet clients’ needs as they adjust to the fast-changing dynamics in the business today.
BOTH INSIDE WORLD SCREEN AND AS SEPARATE PUBLICATIONS:
WHERE’S THE MONEY?
CHASING HITS
WILDBRAIN’S ERIC ELLENBOGEN
MATTEL’S RICHARD DICKSON
9 STORY’S VINCE COMMISSO CHRIS NEE
NATURAL ORDER
THAT’S ENTERTAINMENT!
MICHAEL MOSLEY
CURIOSITY’S BAKORI DAVIS
Publisher
Ricardo Seguin Guise
Editor-in-Chief
Mansha Daswani
Editor-at-Large
Anna Carugati
Executive Editor
Kristin Brzoznowski
Associate Editor Jamie Stalcup
Editor, Spanish-Language Publications
Elizabeth Bowen-Tombari
Associate Editor, Spanish-Language Publications
Rafael Blanco
Contributing Editor
Elizabeth Guider
Production & Design Director David Diehl
Online Director
Simon Weaver
Sales & Marketing Director
Dana Mattison
Sales & Marketing Manager
Genovick Acevedo
Business Affairs Manager
Andrea Moreno
Contributing Writers
Steve Clarke
Andy Fry
Chelsea Regan
Joanna Stephens
David Wood
Ricardo Seguin Guise President
Anna Carugati Executive VP
Mansha Daswani
Associate Publisher & VP of Strategic Development WORLD
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PROGRAM LISTINGS FOR 50-PLUS DISTRIBUTORS
BY MANSHA DASWANI
Everything is in flux (and how many times have we said that in the last few years?). The streamers that were all insistent on owning everything everywhere are adjusting. The studios that were keeping everything for their own direct-to-consumers are reconsidering. AVOD has resurrected the old moans about digital pennies, even as that sector seems awash with opportunity. And the rush to launch FAST channels mirrors in many ways the land grab that happened in the early days of pay TV.
Just as the rollout of the streamers disrupted and upended the media ecosystem, the changes happening today feel like another shift; or, as many executives we spoke to for this edition described it, a rationalization. Was there too much content being produced? Probably.
FX Chairman John Landgraf has predicted that we may finally be done with peak TV, which is likely a blessing for consumers who were starting to feel positively overwhelmed by the array of options.
Our main feature in this edition explores this new dimension in the streaming wars, with distributors weighing in on how they plan to navigate a year that looks to be filled with hurdles. Better financing models, more flexible deals with broadcasters and platforms, more affordable programming and upping trade with ad-supported services are all high up on companies’ priorities for the year. Not surprising, given what’s ahead. The media business has been awash with news of layoffs.
Content strategies at the platforms remain in a state of evolution. The outlook for the ad market—as war continues and the cost of living increases—isn’t great, especially in an off-year with no major sporting events to help juice brands’ willingness to spend.
And yet, the people we spoke to are feeling optimistic about their prospects. Tom Fussell, CEO of BBC Studios, revealed to me how bold British creativity and risk-taking are translating into gains at the pubcaster’s commercial arm. I had a wonderful chat with Fremantle CEO Jennifer Mullin about the company’s ability to be flexible and agile when working with clients. CEO Jane Turton is bullish about All3Media’s ability to cater to clients’ wide-ranging demands for content. Dr. Markus Schäfer revealed how ZDF Studios’ new integrative model enables it to tap into all the opportunities in the marketplace. Henrik Pabst, the chief content officer of the Seven.One Entertainment Group, is a firm believer in the ad-supported model, even amid this year’s outlook. Herbert L. Kloiber, who launched Night Train Media during the pandemic, is certain the outfit’s unique approach to the streamers and diversified investment strategy will help it mitigate the hurdles in the landscape. Jonas Engwall, CEO of Bedrock, articulated how the company he leads is helping
broadcasters adjust to the on-demand era with streaming technology that can offer multiple ways to access—and pay for—content.
And having an AVOD tier today is crucial given how consumption trends are changing. Of note, Fox Corporation-owned Tubi cracked Nielsen’s The Gauge Total TV and Streaming Snapshot for the first time in February, securing 1 percent of viewing minutes, putting it in the same company as Peacock and just behind HBO Max (1.3 percent) and Disney+ (1.8 percent). In its 2023 Technology, Media & Telecommunications (TMT) Predictions, Deloitte said that by the end of this year, two-thirds of consumers in developed countries will use at least one AVOD platform a month—and all major SVODs will have added an ad-supported tier. With the resurgence of the ad model, Deloitte observes, “Content that was commissioned for an adfree service may require re-editing to identify natural breaks to show ads. Some licensed content may not permit the insertion of ads, so agreements may need to be revised. Content providers may also need to replicate the episodic release of content that broadcasters have perfected over the decades such that their tentpole releases are popular enough to drive the national conversation.”
All of these themes will surely be discussed as the entertainment business convenes again in Cannes and at any number of events taking place across the globe this year. I’ve heard some rumblings about that too; as in, in the rush to move past Covid, are there just too many conventions on the calendar? After all, the pandemic taught us how much we could execute from the comfort of our own homes. I’ve been thinking a lot about that as I plot our calendar of virtual events this year. We know we can’t replicate that chance encounter in the Palais that translates into a deal, but that’s not our goal either. I covered our recent TV Kids Festival live, but I find I’m still going back to those sessions on-demand to get the intel I need. As others battle it out for most compelling reason to travel, we’ll be bringing you the information, analysis and intelligence you need to get through the choppy waters ahead.
Just as the streamers disrupted the ecosystem, the changes today feel like another shift.
For more information: Natalie Lawley natalie@escapademedia.com.au
Nights in Tefía / Tramps / UPA Next
Top highlights from Atresmedia Televisión include Las Noches de Tefía (Nights in Tefía) and Zorras (Tramps). The former has three narrative lines: the life of a group of prisoners in a concentration camp in Canarias during the Franco dictatorship, the present of some survivors that remember their lives in these camps and the magical world of Tindaya cabaret, a place of reverie where imagination achieves the impossible. Zorras (Tramps) is a dramedy about three women who have nothing in common other than their desire to have fun, take risks and be free. UPA Next sees the return of one of Atresmedia’s most successful franchises: UPA (Un Paso Adelante—One Step Forward). “The series of eight 50-minute episodes is one of our most eagerly awaited products,” says Miguel García Sánchez, sales director.
Robyn Hood / Slip / Orphan Black: Echoes
A contemporary reimagining of the Robin Hood legend, Robyn Hood is a lead offering from Boat Rocker. It features a fearless heroine and anti-authoritarian masked hip-hop band. In the comedy arena, Slip tells the story of Mae Cannon (Zoe Lister-Jones), a 30-something who finds herself restless inside a marriage that works. The audience will follow her through a fantastical journey of parallel universes as she enters new relationships, trying to find her way back to her partner and, ultimately, herself. Meanwhile, Krysten Ritter and Keeley Hawes star in Orphan Black: Echoes. “Our much-anticipated scripted series Orphan Black: Echoes is set in the same universe as the award-winning original series, which has a loyal and dedicated global fan base,” says Jon Rutherford, president of Boat Rocker Studios, Rights.
Cinevest Interactive’s catalog features a diverse array of programming across genres. Leading its highlights, the new travel series Wine Outsiders spotlights winemakers throughout Spain and dives deep into wine culture. Also on the slate are a variety of Nigerian films. “We discovered a producer and director making arthouse-quality movies that raise the bar for Nigerian films,” says Arthur Schweitzer, CEO and president. Underbelly, Herdsmen and Takers all come from Nigerian producer Tunde Aina and director Toka McBaror. Music specials featuring two of the most popular country artists are on offer as well: Willie Nelson at Billy Bob’s Texas and Charlie Daniels at Billy Bob’s Texas. The two programs see the stars perform live at a venue in Texas. Daniella’s Court is available from the children’s slate.
“Tramps is, above all, a story of friendship and sisterhood.”
—Miguel García Sánchez
“The home for creative visionaries, Boat Rocker’s purpose is to tell stories and build iconic brands across all genres and mediums.”
—Jon Rutherford
“New artists and good storytelling are critical for success in today’s viewing market.”
—Arthur SchweitzerWillie Nelson at Billy Bob’s Texas Robyn Hood
CJ ENM has seen worldwide success with the format Grandpas Over Flowers and is touting that there will be some good news to share at MIPTV regarding the series. The company has also seen The Genius Game continue to garner international attention, with success in the Netherlands and developments in the U.K., the U.S., Norway, Denmark and elsewhere. The company is introducing its latest format, The Time Hotel, in which ten participants are invited to the Time Hotel, where time is the only currency used and is essential for survival. The participants must accumulate as much time as possible through the games using their intelligence, physical abilities, wit and luck to avoid being checked out. “Get ready for an exciting and thrilling experience,” says Diane Min, head of format sales.
Inspired by the biblical story of Saul and David, Hammam is among the lead offerings from Dori Media Group. The six-part drama is set against the backdrop of an abandoned military base in the desert. Further highlights include the psychological crime drama Mercy on Us and the entertainment show Heaven Can Wait . “ Mercy on Us builds on the genre’s success by giving viewers what they love about the genre while adding a twist that will keep them returning after every episode,” says Carolina Sabbag, VP of sales for Western Europe, the U.S. and Canada. “It also meets current viewer appetite for shorter seasons and episode durations.” Heaven Can Wait sees celebrities witness their own fake funerals. Sabbag says it is “easy to adapt for audiences all over the world.”
Eccho Rights is highlighting the Turkish romance drama Endless, produced by Sürec Film. The drama centers on a man who sets out to avenge his sister’s death and eventually kidnaps the killer’s sister. Another Turkish series, the family drama Golden Boy, features in Eccho Rights’ catalog as well. The OGM Pictures drama was the most-watched Turkish drama of 2022 and has continued to score top ratings each week this year. New to the catalog, As Long as We Live , starring and created by Aníta Briem ( The Tudors), comes from Iceland’s Grassriver. It “is something completely new from the Nordics,” says Fredrik af Malmborg, CEO of Eccho Rights. “A relationship drama that is thrilling, touching and completely honest about the struggles in holding a marriage together—it is totally unique.”
“Eccho Rights continues to bring the most exciting titles from the wideranging territories we are active in.”
—Fredrik af Malmborg
“Dori Media remains committed to our clients with a diverse catalog of awardwinning, popular and buzzworthy content.”
—Carolina SabbagGolden Boy
“With the end of the Covid pandemic, we are gearing up for a new season of Grandpas Over Flowers (Better Late than Never) across Europe.”
—Diane MinGrandpas Over Flowers
Grassroots / Whisky Trails / Hacking Evolution: Lionfish
Set in a post-Brexit and post-Covid world, Escapade Media’s Grassroots is a drama about community, triumph over adversity and hope for a better future. “This brand-new drama from StoryFirst and created by John Godber is Yorkshire’s Friday Night Lights,” says Natalie Lawley, managing director of Escapade. In the way of factual highlights, the company is presenting Whisky Trails, which follows Luke McKenzie on a globe-trotting journey to examine the new “worlds” of whiskies, and Hacking Evolution: Lionfish, commissioned by PBS Nova and narrated by Danni Washington. “The blue-chip natural history documentary Hacking Evolution: Lionfish will appeal to buyers across the world,” says Lawley. “It examines a global problem of the invasion of the lionfish across the Atlantic coast, Mediterranean, Caribbean and the Middle East.”
Animal Control / Krapopolis / Daughter of the Bride
The comedy Animal Control, part of the FOX Entertainment Global slate, follows a group of local animal control workers whose lives are complicated by the fact that animals are simple, but humans are not. The slate also features the adult animated series Krapopolis and the romantic comedy Daughter of the Bride. “We announced the establishment of FOX Entertainment Global before MIPCOM 2022, and the response from industry partners has been overwhelmingly positive,” says Fernando Szew, CEO of FOX Entertainment Global and MarVista Entertainment. “We benefit from distributing FOX Entertainment’s full portfolio of owned intellectual property across animated series and movies, liveaction scripted series, unscripted content and formats, as well as made-for-platform movies.”
Leading Global Screen’s slate, the espionage drama DAVOS tells a story based on real events that occurred in the early days of European secret services. A spa town in neutral Switzerland appears to be an oasis, but behind the scenes, it takes center stage in a battle between secret agents of the world powers. From best-selling authors Vincent Kliesch and Sebastian Fitzek, Auris: The Hegel Case and Auris: Frequency of Death center on forensic phonetics. In R.I.P. Henry , a surgeon is diagnosed with an incurable brain tumor and begins a secret battle to discover a cure. “In this year’s lineup, we are able to deliver the best storytelling with complex characters, combined with astonishing production values made in Europe,” says Julia Weber, head of international sales and acquisitions.
“We’re proud to bring all this thrilling, original and high-quality content to worldwide audiences.”
—Julia Weber
R.I.P. Henry
“These titles highlight Escapade’s collaborative approach to projects to ensure they resonate with global audiences.”
—Natalie Lawley
“Our initial slate represents our most exciting year of programming ever and is filled with globally appealing series and films that will be a draw for international audiences.”
—Fernando Szew
The Write One / Hearts on Ice / Crocodile Whisperer
For MIPTV, GMA Network is offering a combination of drama, romance and fantasy-action titles. The Write One is a romantic drama series that follows Liam, an unsuccessful writer in a failing marriage who stumbles upon an antique typewriter and magically starts to write a revised story of his life. Billed as the Philippines’ first-ever drama series about ice skating, Hearts on Ice is the story of a young lady with a disability who is determined to fulfill her mother’s dream of becoming a figure skating champion. In Crocodile Whisperer, Lolong, together with his crocodile friend Dakila, battles an evil system in order to bring justice to himself and to the townspeople. “The fantasy-action series was the mostwatched TV show in the Philippines in 2022,” says Roxanne J. Barcelona, VP of GMA Network’s Worldwide Division.
Icons Unearthed: Marvel / 7 Queens: Luck Be a Lady? / Relative Justice
On offer from GRB Studios, Icons Unearthed is premiering its fourth season, this time focusing on the global sensation that is Marvel. The docuseries comprises eight one-hour episodes. The company is also presenting 7 Queens: Luck Be a Lady? , a series of specials featuring seven drag queens performing live from the 2022 Tribeca Film Festival. In the arbitration-based reality court show Relative Justice , family squabbles play out in front of Judge Rhonda Wills. “ Relative Justice is a wildly entertaining and unique spin on courtroom drama,” says Hud Woodle, executive VP of international sales and operations. “These are not actual court cases, but a reallife judge settles these personal disputes with the insight of a professional litigator.”
TIMS&B Productions’ Deception leads the Inter Medya spring slate. It tells the tale of a family court judge who discovers that her entire family has been keeping secrets from her. Her husband has a secret second family, her son loses a lot of money after investing in crypto, and her daughter plans to move to the U.S. TV8 and Fabrika Yapım’s Tuzak , meanwhile, centers on two sets of siblings. One group had their childhood stolen from them, while the other grew up believing their father’s approval and their comfortable lives were more important than each other. In Another Chance, from BKM, a man leaves his bullying past behind and becomes a geography teacher. Other titles in the Inter Medya catalog include Poison Ivy and The Girl of the Green Valley.
Another Chance
“We are always on the hunt for new programs in need of a distribution partner.”
—Hud Woodle
“These programs each have a unique appeal for buyers looking for stories that transcend cultural and racial boundaries.”
—Roxanne J. Barcelona
Video Monetization / Localization / New Revenue Models
Merzigo is a cutting-edge monetization company, providing a range of innovative services to broadcasters, producers and distributors. “Merzigo’s pioneering approach to channel cre ation and management is increasingly of interest in the international marketplace, and it is helping numerous lead ing entertainment brands to grow their AVOD business, finding them new audiences and increasing revenue streams,” says Yigit Dogan Celik, chairman and co-founder. Merzigo collaborates with more than 100 clients from around the world, managing and owning branded channels across a range of social platforms and OTT VOD services. Merzigo manages more than 1,500 monetizable channels on YouTube and Facebook in more than 20 languages and has experience in all kinds of content as part of its wide catalog.
Romance at the Vineyard / Dance of the Heart / A Perfect Christmas Pairing
Nicely Entertainment has on offer Romance at the Vineyard, a new film starring Susie Abromeit and Tim Ross that is set to debut in the U.S. on the Great American Family channel. Another romance, Dance of the Heart, stars Kelley Jakle and was shot on the islands of Hawaii. A Perfect Christmas Pairing, the company’s latest holiday romance, takes place entirely on a vineyard and features Ansley Gordon. “All three of these films not only focus on fun and easy-viewing romances, we deliberately set them in beautiful locations that allow our viewers to escape with the characters,” says Vanessa Shapiro, CEO. “Whether a Napa Valley vineyard or a Hawaiian resort, the locations and imagery of Nicely’s films are equally as important as the stories themselves.”
Available from OGM UNIVERSE, Miracle of Love follows a commander who fought and died in battle but was resurrected and stopped aging, causing him to lead different lives through various aliases. In Stickman, a boy and his sister are abandoned at an orphanage. When the boy finds success as a game developer as an adult and buys a large mansion, his parents return, and he must try to forget his painful past. Broken Destiny sees a man wake up from a five-year coma to a family he doesn’t remember. “By pushing the boundaries of storytelling and challenging traditional character patterns and plot lines, we hope to inspire viewers to think differently, feel more deeply and connect more authentically with the world around them,” says Ekin Koyuncu Karaman, global distribution and partnership director.
“At OGM UNIVERSE, we envision a world where entertainment is not just a form of escape but a vehicle for meaningful connections and cultural exchange.”
—Ekin Koyuncu Karaman
“Nicely’s main focus is to bring cozy, feelgood content to the global marketplace.”
—Vanessa ShapiroStickman
“We are once again excited to attend MIPTV to strengthen our partnerships and find new ones to expand our business.”
—Yigit Dogan Celik
Godless John / The Wind Sentries / Real Madrid: The White Legend
Onza Distribution is highlighting Godless John, based on a true story about an internationally famous “healer” in Brazil. Known as “John of God,” he was visited by the likes of Bill Clinton and Oprah Winfrey before rape allegations brought him down. The Wind Sentries, another new addition to Onza’s catalog, follows the investigation into the rare Eleonora’s falcon that lives on a remote islet in the Canary Islands. After 17 years of studying the species, scientists discovered a link between the falcons, trade winds and climate change. “It is the first time the local authorities have allowed a TV crew to be that close to the falcons, meaning this has never-before-seen footage of this species,” says Carlos Garde, managing director. Real Madrid: The White Legend looks into the Real Madrid football club.
Days That Never Were / A Raven’s Tale—Mystic Czechia / Clash of the Crown Princes—Rudolf, Wilhelm and a Europe in Turmoil
Leading ORF-Enterprise’s slate, the eight-episode series Days That Never Were centers on the complex relationships between four friends whose loyalty is tested when they are pulled into a murder investigation. “The stories around love, loss, betrayal and loyalty among the female-led cast are universal and can resonate with audiences from different cultural backgrounds,” says Armin Luttenberger, head of content sales international. Part of the UNIVERSUM Nature brand, A Raven’s Tale—Mystic Czechia combines the natural history genre with fairy-tale elements, showcasing enchanting landscapes and animals throughout the Czech Republic. The docudrama Clash of the Crown Princes—Rudolf, Wilhelm and a Europe in Turmoil details the lives of two 19th-century European crown princes.
Run Rabbit Run / Lamborghini: The Man Behind the Legend / Darkness of Man
SPI International’s highlights include the thriller Run Rabbit Run, starring Succession’s Sarah Snook as a fertility doctor who notices increasingly strange behavior from her daughter that forces her to confront her past. Also on offer, Lamborghini: The Man Behind the Legend provides a look at the life of Lamborghini’s founder. Frank Grillo (The Purge: Anarchy) plays the lead role of Ferruccio Lamborghini. Darkness of Man, meanwhile, features Jean-Claude Van Damme (Lionheart, Bloodsport) as an Interpol agent who becomes a father figure to someone whose real father, an informant, dies in a raid. “These titles not only feature star-studded casts and powerful stories that resonate with viewers worldwide, but they also possess high production values that offer an unmatched viewing experience,” says Berk Uziyel, CEO.
“We continue to invest in quality and premium content for our catalog.”
—Carlos GardeLamborghini: The Man Behind the Legend Godless John
“At SPI, we are always open to exploring various business models for cooperation.”
—Berk Uziyel
“Our team is on the road again and is happy to ensure the best possible support for buyers at the market looking for high-quality content.”
—Armin Luttenberger
Based on Alexandre Dumas’s classic The Count of Monte Cristo, TelevisaUnivision’s Montecristo stars William Levy as an enigmatic figure who bursts into the public eye and raises concerns among the elite due to the unknown origin of his fortune. The six-part series Volver a caer , a contemporary retelling of Leo Tolstoy’s Anna Karenina , sees Kate del Castillo play a gold medal-winning Olympic diver and Mexican national hero who falls in love with a young musician. The telenovelas El amor invencible and Pienso en ti are on offer as well. All four series made their debuts earlier this year. “Between our original series on ViX and Televisa’s library of telenovelas, we’re able to work with a wide spectrum of clients,” says Guillermo Borensztein, senior VP of international content licensing.
The Swarm, leading ZDF Studios’ spring slate, follows a group of scientists who look into strange happenings that are occurring around the world’s oceans, from ice worms destabilizing the continental shelf and triggering tsunamis to whales aggressively attacking boats. The tween program Spellbound, a spin-off of Find Me in Paris, follows a vivacious 15-year-old who discovers her family’s book of spells and unknowingly casts an antidote to the protection spell that has been masking her magical identity. From the factual slate, The Six Continents Revealed provides “a geographical and cultural-historical biography of the world, revealing how nature shaped and influenced cultures,” says Dr. Markus Schäfer, president and CEO. “Realistic 3D animations take viewers on a journey through time.”
Topping Zone3’s highlights, Après le déluge (Still I Rise) takes place in a disadvantaged Montréal neighborhood, where a policewoman introduces four troubled young adults to mixed martial arts. It “is a profoundly human story that will leave no one indifferent,” says Mélanie Ratté, senior director of international distribution and business development. “I believe that most territories will relate to the amazingly strong yet vulnerable characters and the ordeals they are facing.” Motel Paradis, a police drama, sees 22-year-old Jen become convinced that her 14-year-old sister did not commit suicide and was actually murdered. The live-action kids’ series L’île Kilucru (WhimsyWonder Island) follows the daily life of the Loving-Laughing family, who live on a magical island.
WhimsyWonder Island
“Both the quality and volume of our premium original content are unmatched.”
—Guillermo BorenszteinMontecristo
“Zone3 produces elevated, awardwinning content across all genres in both scripted and unscripted.”
—Mélanie Ratté
“The Swarm is a gripping, visually powerful, topical and globally relevant series.”
—Dr. Markus Schäfer
James Todd Smith, better known as LL Cool J, is a rapper, songwriter and acto r. He has won two Grammy Awards, received a Kennedy Center Honor and was inducted into the Rock & Roll Hall of Fame. One of the first hip-hop artists, LL Cool J crossed over into acting and appeared in numerous films and series. In 2009, he joined NCIS: Los Angeles , a spin- off of NCIS , as Sam Hanna. He talks to World Screen about his journey through 14 seasons of the show, which is coming to an end this spring.
WS: What is the legacy of NCIS: Los Angeles?
LL COOL J: The legacy is determined by the people who view the art. So I’ll leave that up to the fans to decide. For me, it’s been a growth journey. I learned humility and patience. I learned to have more empathy for people around me. Working with so many people from all over the world in such a tight-knit family unit, not just in front of the camera but behind the camera and even further into the production all the way up to the office, has been an amazing journey.
WS: And along that journey, what factors have kept the show fresh year after year?
LL COOL J: As actors, we always respected the moment that we were in and never treated it like an afterthought. That’s why these characters will hopefully live on for a long time because we just didn’t take it for granted. When you honor the art, you honor the moment, and you honor the opportunity to speak to people’s lives through art with entertainment, to help them forget about their problems, to help them [enjoy] some heroic stories. You honor that by putting your best foot forward and putting 1,000 percent into everything you do. That was what kept us fresh. Plus, the writers always paid attention to current events and what was going on in the world. Then they would incorporate that into whatever we were doing. It was built very well. One thing I will say is Shane [Brennan], in establishing the trajectory, and then R. Scott [Gemmill], manning the ship, did a great job of delving into those stories that were happening worldwide every day and tying them to our characters. So our characters lived in a real world.
WS: How has NCIS: Los Angeles contributed to the worldwide popularity of the NCIS franchise?
LL COOL J: For many years, we were the new kids on the block, and we took full advantage of that. We put our own—no pun intended—spin on a spin-off and gave people something that they could vibe to. It had action. It had humor. It had banter. We all got along as a cast. That’s very important, too, walking
By Anna Carugatiin the door with humility. To have friends, you’ve got to befriend them, and as a cast, we all got along very well.
WS: How did the character Sam Hanna evolve over the years? He’s been through a lot. Did that give you a broad range to play with?
LL COOL J: It did. This is a guy who experienced a lot. This is a guy who was a former Navy SEAL. Once a SEAL, always a SEAL in your heart. He was always a team guy. He joined NCIS, and he did everything he could to protect his family, his team and his colleagues. He evolved over the years. I think he grew as a man, getting a better relationship with his son, getting a better relationship with his daughter and gaining a deeper understanding of his partner. On some levels, Callen was a mentor to Sam, and Sam was a mentor to Callen. Sam Hanna is a super solid character. And I’d be honored to play Sam Hanna at any point—if he survives the finale! [Laughs]
WS: He has an extreme sense of duty, doesn’t he?
LL COOL J: Extreme sense of duty, a high sense of honor, strong integrity, strong character. He puts his life on the line every day. This is the guy who runs into danger. He runs at danger, not from it. And that speaks for many men and women around the world who are in the military or law enforcement, who deal with danger and crazy, wild scenarios every day. He is the embodiment of them. He represents them. He’s the archetype of someone who’s about duty and honor and putting the world first, laying down his life for the world. He’s an honorable guy.
WS: So the show is fiction but inspired by real events?
LL COOL J: 100 percent. There were stories that were loosely based on what may have happened in the world. We solved the cases a lot quicker than NCIS solves the cases in real life every day! Some cases might take two years or six or seven months, but we might solve them in a week! But that’s for the audience. But [the show] is based on the real world, the kind of work these men and women do every day.
W S: How is Bedrock serving the needs of broadcasters as they adjust their business models to the on-demand era?
ENGWALL: Broadcasters are challenged in this new envi ronment—where tech and scale suddenly play a very big role—with the increased competition from global streaming players. Broadcasters used to compete with local players, but now they are thrust into head-tohead competition with companies operating on a global scale with deep pockets. Streaming has brought a huge amount of entertainment propositions, both from the content and platform and user experience points of view, and consumer expectations are now set by the global giants. This means that local broadcasters have to keep up with global streamers in terms of the platform and user experience, which is an extremely costly adventure. This is precisely where Bedrock helps, as we are creating scale across several big players in multiple countries. By pooling technology developments, expertise and talent, Bedrock delivers state-of-the-art streaming services at an affordable cost.
WS: What are the biggest challenges “legacy” media players must overcome as they take on the global tech giants?
ENGWALL: We like to say that while content is king, the platform is queen. Creating great entertainment is still the biggest challenge, but now broadcasters have to think about how it is brought to their audience. In the past, the delivery was a given as the technology was standardized and didn’t offer any choice. It was a oneto-many way to interact, and everyone provided the same service, meaning it wasn’t a competitive edge; the only focus was on the storytelling.
Today, the technology is much more advanced and offers an amazing array of choices and possible differentiation in monetization, loyalty and marketing codes, editorial tools, hyper-personalization and cutting-edge features. This all makes a huge difference in connecting to your audience one-to-one and improving the enduser experience and consumption.
By Mansha DaswaniReporting record revenues for 2022, European media giant RTL Group highlighted improvements in its streaming subscriber numbers as it faces headwinds in the ad market. The group is targeting 10 million paying customers for its streaming platforms RTL+ and Videoland by 2026, up from 5.5 million last year. Both platforms are powered by RTL Group’s own Bedrock venture, which is off ering its streaming technology services to partners across the globe, helping traditional linear broadcasters shift to an on-demand era. Bedrock CEO Jonas Engwall shares with World Screen his perspectives on how the company is help ing its partners monetize content across AVOD and SVOD tiers and upgrade the customer experience.
Creating appealing streaming platforms is a whole new skill set that is very easy to underestimate. It’s not only about a great UI, hyper-personalized experience, cutting-edge features or device support; it’s also about creating a stable platform that never goes down and making sure it’s scalable. It can be particularly difficult to achieve scale for broadcasters if they are not in very large countries like the U.S., India or China. But with the proper support and a solid scalability plan, broadcasters are well-positioned to compete with global giants and become national leaders.
WS: How impactful has it been for the company to have RTL Group as a 50 percent owner since 2020?
ENGWALL: From a Bedrock perspective, having RTL Group on board means taking a giant step toward much-needed scale. As a result, we have grown from 150 to 400 talents, and we are continuously making huge investments in tech, cloud, AI and the user experience, to mention a few examples. From an RTL Group perspective, working with Bedrock is key to pivoting from a broadcast legacy business to a streaming-first business with national champions competing with global streaming giants.
WS: What factors do you urge your broadcast partners to consider as they craft their on-demand strategies?
ENGWALL: The obvious advice is to not underestimate the power of streaming and its complexity and the need for huge scale to succeed, particularly in cost efficiency. Broadcasters working on their on-demand strategies will find that while streaming doesn’t change their underlying way of monetization, it can certainly broaden their scope. A free-to-air player going streaming probably means a predominance of AVOD but doesn’t exclude a portion of SVOD revenue. And vice versa—a pay-TV player going streaming most likely translates into an SVOD service with an AVOD tier included. In a nutshell, streaming is an opportunity to broaden the monetization strategy, but that doesn’t mean they have to change how they monetize content completely. They can consider it an adaptation to new ways of consuming rather than a change in direction.
WS: How crucial is it for platforms to have multiple tiers (SVOD, ad-lite, ad-free) today?
ENGWALL: If you come back to the roots of broadcasters, in the live broadcast era, they didn’t have a way to offer their content without advertising, although that might have been a good idea. Nowadays, there are more possibilities, and I think it’s very important to experiment with business models.
We have seen from music streamers that users are willing to pay for less or no advertising. I am convinced that we will see a lot of people choosing to spend a few euros per month to enhance their viewing experience, be it with fewer ads, more devices or better features. This behavior will naturally differ between audience segments and countries, and it may take some time, but
I am quite convinced that we will end up in this direction. After all, if you spend several hours per day watching local content, “investing” the price of half of a Star bucks coffee (that you probably buy daily) isn’t a big monthly investment to drastically improve your view ing experience.
WS: You have initially focused on Europe. Given your background in international media, are you looking at growth opportunities in other parts of the world?
ENGWALL: Indeed, we are getting more and more interest from outside Europe. We are investigating these opportunities with great enthusiasm, and I would see Bedrock exploring other continents fairly soon.
WS: What have been the benefits of coming from a TV background in your work at Bedrock?
ENGWALL: Our 15-year tech experience in the broadcasting world is key to understanding the challenges that legacy broadcasters are facing. Indeed, in most cases, we have already lived through those challenges and have solutions ready. In addition, we are laser-focused on building state-of-the-art platforms that are on par with (or better than) the global streaming giants so that our clients can engage with their end users in the same professional way as the big players. Having been in the media and tech space for more than 20 years, I believe Bedrock is in a unique place to help leading media and content companies leverage their experience and expertise and overcome these new challenges.
WS: What are your goals for the company in the next 12 to 18 months amid what appears to be a new era in the streaming wars?
ENGWALL: The tech and streaming space is moving fast, and we will continue improving our platform, making it even stronger and more personalized. Although we are like an “exclusive members club” in the streaming space, we are open to adding more stakeholders who share our ambition. Bedrock is more than just a tech solution; it’s a strategic partner for media companies. In the coming years, our goal will remain the same: cre ating streaming champions that can survive in the streaming wars and guaranteeing that local content gets a chance to thrive in the tougher global competition.
Wi th the backing of private equity firm Serafin Group, Herbert L. Kloiber established Night Train Media (NTM) in 2020 with a focus on co-funding and co-financing content for the global market. He quickly invested in BossaNova Media to secure a foothold in the factual space and in Eccho Rights to bolster the company’s drama distribution capabilities. Kloiber talks to World Screen about his plans for the company.
WS: What was the goal when you set up Night Train Media?
KLOIBER: I was previously running Tele München Group. The focus there was buying films and distributing them in German-speaking Europe. With the new company, my focus is almost exclusively international. I wanted to be in a broader, bigger market with Night Train and utilize the vast network of partners in the industry in a different way.
I launched NTM on February 20, 2020, during Berlinale. I had a plan of co-financing and developing Englishlanguage drama series and was in conversation with a few investors. The pandemic hit and all of these conversations were out the window. But a few months later, I was fortunate to find a financial investor not in the entertainment
space: Serafin Group. They agreed it was an opportunistic move to get into entertainment when it was in a difficult spot due to the pandemic. I partnered up with Serafin and started building up Night Train in September 2020. The focus was on series that either producers would bring to us or that we would find through distributors that needed help with gap financing. We were able to come onto the marketplace with a well-capitalized company to be a flexible and reliable partner to everyone.
WS: What appealed to you about BossaNova Media?
KLOIBER: We felt it was a good way of de-risking the scripted business we’re in. The scripted business is the riskiest, the most volatile and ties up cash for the longest time. A factual distribution company like this is a faster-turning machine that brings some diversification to our scripted business.
WS: And what about the investment in Eccho Rights?
KLOIBER: Eccho Rights is a much more strategic investment. We partnered with external distributors initially because we wanted to be a lean team and didn’t want to build up our own distribution business with big overheads. We didn’t have the product flow to sustain that. Eccho has built a huge business on the Turkish drama side. At the same time, they’ve started building their own English-language and Western drama development and co-pro slate with a similar approach to how we see that market opportunity. We felt it was a great fit to have a successful distributor that is a well-oiled and profitable machine but, at the same time, is looking in the same direction for growth. That was the perfect fit and allowed us to vertically integrate into distribution.
WS: Are you looking at other M&A opportunities?
KLOIBER: We are looking more into the scripted production space. But it doesn’t mean we necessarily have to buy a company. It might mean we’re just going to work with great writers and producers, whether it’s on a project basis or as an overall strategic alliance. It’s always a case-by-case decision. We also like the talent management side of things in some European markets. Currently, we’re looking not only at English-language but also the Scandinavian and Turkish markets. Ultimately, we need to secure great product for the bespoke avenue to market we have built.
WS: Are streamers becoming more open to new models?
KLOIBER: They are becoming more flexible and pragmatic. We try to be nimble partners to all and always have bespoke relationships where we say: How can we help you with a particular project and the budget you can make available? What markets do you need that product in? Can we find ways of working with you in co-financing or co-producing that allow us to exploit some of that content elsewhere, where it might not be key for you in the first window? We are co-producing more and having more discussions between partners in various markets to bring them together for a specific project. It is a way for streamers, networks and platforms to freshen up their content while allowing their restricted budgets to extend across more new shows.
We always have distribution in mind, which is why we acquired BossaNova and Eccho Rights. We believe in the distribution and co-production model, bringing buyers and creatives together with a high probability of greenlighting a show this way.
Peak TV does finally appear to ha ve peaked; that’s what FX Chairman John Landgraf, who coined the term in 2015, told reporters at the Television Critics Association (TCA) Press Tour earlier this year. Last year saw the release of 599 scripted shows across broadcast, cable and streaming; a new record—and one that is likely to stand. As it turns out, unlimited expenditure on content is not enough to overcome the compounding factors of inflation, market saturation, escalating costs and a weakened advertising market. There’s also the matter of viewer fatigue with multiple subscriptions and what may have been an untenable amount of content.
As the streaming wars take on a new dynam ic—different battlegrounds, reallocated content spend—and channels and platforms struggle with diminished ad revenues, the challenges for content distributors are significant. But those surveyed for this piece were bullish on the prospects for the business this year despite the worrisome economic headwinds— as long as you know how to be agile.
“The days of commissioning shows just to have volume are gone—it was never sustainable,” observes Cathy Payne, CEO of Banijay Rights. “While we will always see the high-end, premium and expensive original signature
pieces, the rest of the slate needs to reflect a more affordable price point. How we produce at these price points will require innovation.”
And innovation is happening across the landscape as everyone tries to figure out how to navigate the current climate. We’re seeing wide-scale international co-productions like The Swarm, which features a slew of broadcast and streaming partners, several producers and two distributors: ZDF Studios and Beta Film. Amazon Studios is experimenting with building a global tentpole franchise with Citadel , which launches with a U.S. series to be followed by Italian and Indian chapters. Disney+ secured a landmark deal with BBC Studios to become the global home of Doctor Who, the latest proof of a new openness on the part of many streamers to explore models outside of fully funding productions for the world.
“Producers are slightly shaken that platforms will not buy as much as they did before,” says Fredrik af Malmborg, CEO of Eccho Rights. “When the platforms are cutting their budgets, we go to them with more of an acquisition route than a commissioning one. We have series where we get an anchor somewhere, and then we sell the rest as an acquisition.”
“With higher interest rates, we’ve had to rethink our financing models on several projects,” adds Vanessa Shapiro, CEO of Nicely Entertainment. “ And the real problem within all of this is that the license fees and MGs paid out from traditional outlets have essentially remained unchanged—which has caused those dollars to no longer stretch as far as they once did, especially when payment terms extend over multiple quarters.”
Af Malmborg adds that some producers have become disaffected with the cost-plus model at the global streamers, creating opportunities for companies like Eccho Rights— which now has the backing of Herbert L. Kloiber’s Night Train Media—to step up with development funding and find ways to get shows off the ground with multiple partners.
“I’ve always believed that IP should stay with the producers,” af Malmborg says. “We produce high-level series for $25 million to $40 million, we use tax breaks and other things around the world and our own investment and then sell the license to the U.S. [and other markets].”
Kloiber, CEO of Night Train Media and chairman of Eccho Rights, agrees that this new climate can benefit companies like his.
“Our business model is well-suited to this change,” Kloiber says. “We are financing shows, films or documentaries that, if commissioned
costs, leading distributors share how they are preparing for the new era
by a big streamer, would cost them a lot of money, and they’re all rolling back budgets. We can get these things into production with smarter budgets using local subsidies and tax credits out of Europe, mostly, and then offer them to the marketplace as a co-pro or acquisition, probably at a more affordable rate and a faster path to production than through the commissioning route. Not everybody needs to own rights for the world forever. In that sense, our model is well-suited for the shift that’s going on.”
Shapiro also sees her company’s positioning as a strength amid the changes in the market.
“We have sensed that streamers have become more collaborative in their D2C content strategies. For a while, streamers and TV networks both had a fear of cannibalization that time has proven isn’t a true concern. A traditional broadcast feed speaks to one audience, while a streaming platform speaks to an entirely different audience; they don’t contaminate one another. So yes, we’ve seen that many of our streaming partners have grown much more receptive to windowing strategies and creative financing models. We’re excited to continue growing with our streaming partners—both on originals and second-window releases.”
Shapiro adds that the budgets Nicely is operating with are far more manageable in the current climate than the eye-popping amounts spent by the streamers over the last few years.
“Although there has certainly been a great deal of belt-tightening from larger players, the type of content Nicely Entertainment provides tends to be quite reliable and low-risk. We speak to a core need in the market: modestly budgeted genre films. Our titles organically target female audiences and are very co-viewer friendly, making them perfect for advertisers, streamers and traditional broadcast outlets.”
Dori Media Group, similarly, has seen sustained demand for its slate, both in terms of tape sales and formats. “The rise of new platforms that need content has had a positive effect on our sales since we have a deep library,” says Nadav Palti, chairman and CEO. As for managing escalating production costs, Palti says the company is pursuing more co-pro alliances and tapping into private equity funding.
“If you’re an independent boutique company, it is very important that you have reliable financing or capitalization available to weather uncertain situations for a few years,” says Kloiber, whose Night Train is backed by Serafin Group. “It’s also the relationships and reputation you have with your banks. How well have you performed in the eyes of the banks with the projects you’ve embarked on? Were they profitable on average? How quickly is the investment monetized? It is helpful for us to have a partner like Serafin to allow us to continue investing and maybe take six months longer to recoup money from the marketplace because we don’t want to be forced to take a poor deal today. The good thing is that our private equity investors aren’t the typical, ‘We need to build this and, in five years, sell it.’ If you have that type of private equity backing, this marketplace is challenging because you constantly need to show growth every quarter. That can create adverse pressure and might push you into poor investments. Luckily, our investors are long-term oriented.”
Night Train’s investments—Eccho Rights, BossaNova Media and Curve Media—were part of the wave of consolidation across the distribution and production sector last year. Banijay, Fremantle, BBC Studios, ITV Studios, All3Media and many others snapped up successful producers or distribution catalogs. Scale remains important, especially in a challenged economy,
but the executives we spoke to for this piece are far more focused on ensuring they have the titles that the marketplace needs—from the topend, costly series to shows with more manageable budgets and easier timelines—that will be able to cut through the clutter.
“In scripted, broadcasters and platforms still want those big premium series,” says Banijay Rights’ Payne. “But they also want those returning, middle-of-the-road pieces, good crime stories, relationship shows and thrillers. There is always a constant demand for what I call the ‘super domestic’ rather than ‘premium.’ ”
Distributors are also watching the developments in the AVOD and FAST spaces to see if the success seen in the U.S. will extend internationally. “Both provide new avenues for exploiting libraries and catalog, which makes up most of these channels,” Payne notes. “Banijay currently runs 21 unique FAST feeds that are syndicated more than 80 times globally, and all of these operate on a revenue-share basis—so AVOD and FAST are part of the distribution life cycle of all content.”
“We’re excited about the growth of ad-based models, especially as the major U.S. AVOD companies continue their international expansion,” says Nicely’s Shapiro. “Unlike subscription— which is a clear-cut model—advertising does play out differently territory by territory. Some nations have heavy regulations in place— especially as it relates to children’s content—but on a larger scale, metrics and ratings will allow advertising entities to better calculate AVOD placement and integration. We know this change will greatly shift how media properties are financed on a global scale; it’s a move we’re both anticipating and excited about participating in. AVOD has been a massive growth vehicle in the U.S.; although price points are currently lower in Europe and elsewhere, the numbers will calibrate, and it will be a major payday.”
The buzz around the increased usage of adsupported platforms prompted MIPTV organizer RX France to introduce the FAST & Global Summit at the market in Cannes this year.
“We see FAST channels as the biggest boom in the distribution business because it puts the distributors back in power,” says Lucy Smith, entertainment division director at RX France. “Traditional distribution was supposed to be falling by the wayside, but it’s never felt more dynamic—not only with the emergence of FAST but with studios and platforms loosening global stands on rights and licensing to third parties again.”
Ultimately, Palti notes, “Clients are always looking for quality content—both new or library. More than ever, they are open to content from all over the world in different languages. If the story is good and the production quality is high, clients will be interested.”
WS: I hear that some broadcasters and platforms have become more risk-averse than they used to be. Have you found this to be the case, and is that impacting commissions?
TURTON: There’s a theory that in times of economic challenge, buyers tend to favor the familiar and well-established, hence the conversation around the number of spin-offs, reboots and adaptations with popular, proven IP considered a safer bet. We’ve had success with Lingo in the U.K. and the U.S., and then there’s the return of Big Brother, Survivor and Gladiators. Meanwhile, at the same time, and in the same market, innovation is incredibly strong, with new shows in both scripted and nonscripted launching every week. Buyers are taking risks across all
With some 40 production companies located across a footprint that extends from the U.K. to Germany, the Netherlands, Belgium, New Zealand and the U.S., All3Media provides a wide range of programming to worldwide clients. A leading independent, it offers scripted series, formats and premium factual shows produced by its labels and third parties through its distribution arm, All3Media International. CEO Jane Turton is always looking out for new production companies to invest in, as IP and talent are critical to success in the content business. She also believes scale is of particular value in today’s rapidly evolving media landscape. It allows for flexibility in dealmaking and greater adaptability to changing consumer habits.
WS: How do you view the market today? What has changed?
TURTON: Demand for high-quality content is very strong, and we had our biggest year ever in 2022. The impact of the streamers on the production sector has been huge and continues to play a critical role in high-quality program commissioning. We produced 41 shows for streamers in 2022, up from 22 the year before. We also developed and produced more than ever for traditional buyers—both broadcast net work and cable—and they remain a bedrock for producers, building and supporting some of the most popular franchises in the world. Change is a constant in media, and the market is more dynamic than ever. The pace of change is faster, and the impact is more global. Both of which create exciting opportunities. Nothing about this market is slow or parochial! As always, the key to success is excel lence— creative and commercial.
plat forms, and audiences are excited by both established favorites and new series launches. I think the common feature in success is quality as opposed to the age of the show.
WS: Given today’s market, what has been All3Media’s strategy for scripted series?
TURTON: For us, scripted is critical to the program slate. Our drama titles form a broad and diverse catalog that drives primary and secondary margins over several cycles of exploitation.
Scripted builds reputations and profiles and creates value for our production and distribution business. We again had a fantastic slate of dramas in 2022. We have 30 series commissioned for 2023 and our highest-ever drama buyer base of 43 customers, which includes new relationships with Disney+, Paramount+ and Amazon Freevee.
People in television talk a lot about the incredible talent of development and how crucial it is to sell, but perhaps don’t emphasize enough how important production excellence is. There is nothing better than a returning scripted series that sells internationally and establishes a reputation for quality.
WS: What trends do you see in factual and unscripted?
TURTON: For us, premium factual and formats have contributed to recent success. In premium factual, we have had ratings success and critical acclaim with single films and miniseries like The Tinder Swindler, The Puppet Master, Saving Venice, Fever Pitch: The Rise of the Premier League, Stolen: Catching the Art Thieves, My Dead Body, The Playboy Murders and The Anti-Vax Conspiracy. And in natural history, we have had huge, high-profile series like Silverback Films’ The Mating Game and Wild Isles for BBC One
“When the market is as dynamic as it is currently, it’s helpful having a wellestablished, scaled business with supportive shareholders where you can move fast to respond to opportunities and invest to grow.”
We’ve also placed much emphasis on developing factual and factualentertainment formats that can travel globally. A great recent example is The Traitors. It’s a homegrown format coming out of our Dutch business and is now in 15 territories, including the U.K. and the U.S., where it’s made by Studio Lambert. It was the best-selling format of 2021, ahead of Optomen’s Sort Your Life Out. Of course, titles like Gogglebox, Undercover Boss and Lingo continue to travel around the world.
WS: The last time we spoke, you mentioned that talent and IP were your guiding principles in acquiring or investing in companies. Is that still the case, and are you looking to expand the company’s footprint and make other investments?
TURTON: Yes, that is still the case. It’s all about talent and IP. To deliver a long-term and sustainable business, the quality of the team and the programs that are developed and produced are fundamental. Are we still looking? Yes. As I have said, we are always keen to look at an opportunity to add exceptional talent to the business. And, of course, IP is, in itself, an interesting potential area for investment, either as rights catalogs for All3Media International to exploit or as IP that can be adapted into TV shows. We are also interested in the potential of adding new geographies to the business as, today, we do not have a particularly broad production footprint. There aren’t many opportunities, and we’re very selective. But we are keen to continue to grow the business.
WS: And scale still makes a difference, doesn’t it?
TURTON: It makes a difference more now than ever for a number of reasons. One, it gives you extra insight and greater optionality when you’re dealmaking, whether it’s in attracting talent, buying rights or exploiting rights on a global basis. It also gives you more resilience. When the market is as dynamic as it is currently, it’s helpful having a well-established, scaled business with supportive shareholders where you can move fast to respond to opportunities and invest to grow.
WS: Talent drives the business. How is the group discovering and nurturing new talent and diverse voices?
TURTON: We have invested in our portfolio of startups, most recently the sports-focused producer 3 Rock and BYO Films with Vicky McClure. We have overall deals in the U.S.—Jen Casey and Nick Gilhool came on board in January with their Los Angeles-based documentary and unscripted company, One Traveler. It’s about ensuring we’ve got the best people not only in all of the key creative roles but also in commercial positions in each of our companies.
Diversity of talent is a key focus for us across the business, on- and offscreen. We have appointed a head of diversity, equity and inclusion. Our talent, HR and resources team work closely with industry bodies, agencies and individuals to diversify our talent pools and reflect our diverse audiences and communities.
Across the group, we run numerous initiatives—including script writing, directing, accountancy and production—to support diverse voices, and we also provide training on disability, unconscious bias and so on. Attracting talent is key, but retention is also crucial. We’re helping people develop careers and making sure that there’s a place that’s fulfilling for them within the business. We’re never complacent, and there’s still a lot to do.
WS: In the U.K., there’s been a lot of discussion about the role of the public-service broadcasters. How do you see their future?
TURTON: Speaking as an independent producer, they underpin this whole sector in the U.K. We want them to be strong because this ensures a strong independent production community.
The PSBs have gone through, and continue to go through, numerous challenges, structural and cyclical. Linear television consumption is a key consideration as competition for viewers intensifies, as is the aging audience demo and how they transition those business models from the appointment-to-view schedule to the disaggregated platform.
We have always worked closely with the PSBs. We have modernized, for example, the Terms of Trade, the most important stimulus to the U.K. media market and fundamental to the long-term viability and success of the indie sector. We’ve worked very closely for years trying to ensure that we develop and produce content that appeals to U.K. audiences.
able to contribute to that strategically. That’s why we decided that we were no longer the best owners of these companies. They were part of a different strategy at a different time, but also a great time!
WS: As ProSiebenSat.1 has transitioned from being a traditional linear television business to operating multiple linear and nonlinear platforms, what is the strategy today for offering content and reaching viewers?
PABST: Our strategy is best illustrated by a triangle: We have our linear platforms, a strong AVOD offering and an exclusive SVOD offering. Within this triangle, we play our programs always with
Last No vember, the German media company ProSiebenSat.1 reorganized its production and distribution businesses. It formed Seven.One Studios, which encompasses eight subsidiaries in Germany, the U.K., Denmark and Israel—known for formats like Married at First Sight and scripted series like Vienna Blood —along with the global sales outfit Red Arrow Studios International. Henrik Pabst, the chief content officer of the Seven.One Entertainment Group, was named CEO of Seven.One Studios. Pabst explains the rationale for the realignment, the focus on German content while not abandoning U.S. films and TV series, and stresses the urgent need to deal with rising production costs.
WS: How and why did Seven.One Studios come about?
PABST: We established Seven.One Studios as our new production umbrella last November, bringing together all our production sub sidiaries in Germany, the U.K., Denmark and Israel, and our worldwide distribution arm. With the growing demand for local programming, Seven.One Studios is producing across all our platforms and for the external market.
WS: Seven.One Studios sold the U.S. production companies it owned to Peter Chernin’s The North Road Company. Why was that move necessary?
PABST: Our entertainment strategy today is primarily local and focused on the German market. The U.S. companies were no longer
the goal of maximum reach and the best monetization. Having flexibility here is key to us. We recently announced a major partnership with NBCUniversal, granting the rights we need within that triangle.
WS: Many people believe AVOD is the future of the business. Is AVOD a primary way you are monetizing content?
PABST: We strongly believe in advertising. Our in-house media marketer, Seven.One Media, is the largest, strongest and most innovative sales organization in the German market. Ad-supported content is here to stay, and with Joyn, we have a well-established streaming platform with a clear focus on AVOD. We also have the right ad-tech solution tools across the ecosystem to meet the needs of our advertisers. And let’s not forget that people are used to watching ad breaks. The strategy shift from some global players toward AVOD is a clear sign that the strategic approach we started with the setup of Joyn was the right one.
WS: Do viewers watch different types of content on the group’s linear and nonlinear platforms?
PABST: Some content is better suited to linear, be it magazines, news, infotainment or certain kinds of entertainment shows. The more niche and younger the content, the consumption is primarily on VOD with no fit on the linear broadcast. But a huge range of content works well in both worlds, such as reality, scripted and factual programming. Some of the bigger entertainment shows are platform-agnostic, and we see great total numbers [of viewers] and growth. The brands are more important than the platform.
“We have our linear platforms, a strong AVOD offering and an exclusive SVOD offering. Within this triangle, we play our programs always with the goal of maximum reach and the best monetization.”
WS: When we last spoke, Seven.One Entertainment was emphasizing local programming in its schedules. Has that strategy paid off?
PABST: It’s been a journey, but we have steadily increased our local share on our main channels in prime time and will continue with that. We have also invested in our own news offering that we have been producing in-house since the beginning of this year, and we have steadily increased our volume in relevant programming. But licensed [programming] still plays a role for us and [makes up] a big volume in the grids. And we have seen good numbers across our platforms for features and series.
WS: How are you finding and nurturing young talent?
PABST: To remain attractive to a young audience, young talent is crucial. So, the question is: How can you, as a media company, be attractive to young producers and creators? One example: More than a year ago, we got in touch with a group of very creative people, a young production company called Kleine Brüder (Little Brothers). They are extremely talented and creative people with fresh ideas—and more importantly, they are close to communities and audiences we can hardly reach these days. We have brought them together with our scripted company Pyjama Pictures. The results so far have been highly encouraging. Together, they have created a huge hit for Prime Video in Germany, Die Dis counter , a young mockumentary going into its third season. Another format is the comedy Intimate, which premiered on Joyn and then on our freeTV channel ProSieben.
Finding ways to connect young talent to our classic production business will be one of the growth areas of Seven.One Studios, as we also see a clear shift in budgets on all fronts toward younger content.
WS: I imagine they can produce at lower costs.
PABST: I am not sure that they produce cheaper in general. But they are more flexible and open to looking at the system with a fresh and new approach, which can lead to lower costs. We all must look even closer at production costs nowadays and find new and more efficient ways to produce.
WS: What are the advantages of ProSiebenSat.1 fully owning Joyn?
PABST: Since the end of last year, Joyn has been wholly owned by ProSiebenSat.1. They are now part of the Seven.One Entertainment Group and the center of our digital ecosystem. Full ownership leads to many advantages and synergies, such as, for example, a much more integrated windowing and content strategy.
WS: What can you tell us about the deal with NBCUniversal?
PABST: NBCUniversal [worked] with the RTL Group for more than 20 years. We now have a deal that is groundbreaking for our future content acquisition. For the first time with a major studio, we have the flexibility to choose the order in which we release the strong content—whether first on linear TV, AVOD or SVOD, or Joyn. Classic TV and on-demand will benefit from this approach. We can ensure that their content reaches the widest possible audience.
WS: What are your priorities as you look ahead for 12 to 24 months?
PABST: For the Seven.One Entertainment Group, we will continue the transformation to a platform-agnostic content organization. For Seven.One Studios, we will continue to grow our group in a disciplined and gradual way with the right balance between M&A and organic growth.
from documen tary to entertainment and scripted. We are a multi-site group with premises all across Germany, and we also have footprints in the Netherlands and the U.K. Last but not least, our shareholder, ZDF, is one of Europe’s largest broadcasters. It takes some time to get the overall picture. But soon after the learning phase, we took a look at our strategy as a group and intertwined this with our shareholder, ZDF, which itself had started a strategy process under its new director-general, Norbert Himmler. Although we only started this process a few months ago, there are already some significant outcomes. The key is to drive our internal integration in three dimensions: across our various production businesses, between production and distribution, and, of course, between ourselves and our
Ayear ago, the commercial arm of the German public broadcaster ZDF rebranded from ZDF Enterprises to ZDF Studios. As Dr. Markus Schäfer, president and CEO, explains, the new name communicates to the market that the company’s teams can shepherd a project from inception to screen, making the most of the complete value chain. Schäfer’s priorities include continued integration of the company’s three main businesses— production, distribution and services—dealing with rising production costs and serving the programming needs of clients and its shareholder, ZDF.
WS: What have been the benefits of the rebrand?
SCHÄFER: Our value proposition to the market has become much clearer. ZDF Studios is a fully integrated media group from creation to production and exploitation. In this regard, we see ourselves in the same bracket as other studios—branded businesses like, for example, BBC Studios or ITV Studios. The new brand was very helpful in conveying to the market that we are not just a distribution business, which is our heritage, but we cover the full value chain. As such, we appeal to a much broader range of partners in the international market.
Also, within our group, the new name has an impact as it supports our ambition to become a more integrated company.
WS: What have been your priorities since you took over?
SCHÄFER: First of all, learning, learning, learning! The ZDF Studios Group comprises many companies spread across three business areas: produc tion, distribution and services. We cover all major genres,
shareholder, ZDF. We are convinced that such integration will service our key objectives and serve both the overall market and ZDF. We want to offer innovative, outstanding, high-quality programs. The integration will also help narrow our ability to produce and exploit such programs. If you’ve got outstanding programs, you can attract excellent talent. We think we are a great place for talent to work and want to show that to the markets, be it in Germany or elsewhere in the world. We value talent very highly and offer an inspiring creative environment with a huge amount of freedom for new and fresh ideas.
WS: Are there plans for more investments in production companies?
SCHÄFER: Our group comprises a number of production companies. It’s a mix of companies we have founded and majority-own and those in which we are joint shareholders with public and private partners in the market. As part of the ZDF group, our main purpose is to help our shareholder achieve its strategic objectives. For us, this means providing ZDF with successful programs that fit its programming needs. At the same time, we also serve the international market, where you can only compete with outstanding IP and a unique, attractive catalog. The core of our business is the ability to generate top-level programs, and, on the one hand, we are very proud to have a number of fantastic production companies in our group. On the other hand, we are keen to enlarge our portfolio, first of all, with outstanding shows. Adding more talent to the group is one way of achieving that. Thus, partnering with talent, whether startup companies or investing in existing businesses, is a viable option to reach such goals.
WS: How is ZDF Studios working with producers or production partners?
SCHÄFER: In principle, we say we are model-agnostic, so collaborations vary from project to project. First and foremost, we make sure the
“On the production side of the business, we need to be open to new approaches to how shows are made. And, of course, that applies to broadcasters and streamers as well. If everybody sticks to the past, we won’t prosper.”
interests and needs of the partners around the table are aligned and clearly defined, so everybody knows what they are contributing and what they cannot contribute. Any kind of collaboration or structure model should be designed following such a setup of needs and interests. Our general approach is to be a complementary partner who brings skills and assets to the table that our partners don’t have and vice versa.
WS: Inflation has hit many countries. Have you seen that impact the programming budgets of broadcasters and platforms?
SCHÄFER: Yes, broadcasters and streamers are suffering from inflation. Private broadcasters and AVOD services see a decline in advertising income, and SVOD services see stagnating and even declining subscription numbers. In Europe, public-service broadcasters experience pressure on license fees. This is partly driven by inflation, at least for subs and ad income. On the other hand, programming budgets are the most flexible items in any broadcaster’s P&L, so it’s natural for them to look at their slates and budgets per commission. However, that creates what I would call a toxic situation. Because on the other side, the producers are also affected by inflation. Production costs have gone up significantly over the last three years, especially. We have a situation in which producers need more money and broadcasters have less money, and what did the ancient Greeks call that? A dilemma!
It’s not rocket science to expect that, at least in the short term, there will be fewer commissions so that the remaining commissions are sufficiently budgeted. Otherwise, production companies would dry out and disappear from the market. We are also seeing that the big-budget shows are being scrutinized on the streamer side—shows are not getting recommissioned or not getting commissioned at all, sometimes even being stopped just a few days before shooting.
On the other side, there is a challenge to reconsider production models and production procedures. On the production side of the business, we and other companies need to be open to new approaches to how shows are made. And, of course, that applies to broadcasters and streamers as well. If everybody sticks to the past, we won’t prosper.
WS: What genres of programming are linear channels and SVOD platforms investing in? You have a broad range, so I imagine you can satisfy various needs.
SCHÄFER: Absolutely. We see a demand for shows with feel-good elements, more cozy, even escapist. There is less demand for programs you would describe as being kind of dark.
De-risking is important for buyers, so shows that are returnable, mul ti-season shows, book-based or otherwise IP-based are in demand so that one can build a show based on a certain awareness of the IP among viewers.
Scripted formats are also on the rise, as there is less risk when taking proven stories from other territories. The third element of de-risking is to reduce the number of episodes per season. We see broadcasters and streamers not commissioning eight but rather six episodes, at least for the first season. Maybe this is also due to a change in viewership behavior. The audience is less inclined to watch long seasons before getting to the end of the story.
And the economics of shows are becoming more and more important; budget, returnability and shelf life are key parameters. What we are experiencing in many places in the market are new windowing strategies on many sides. There is increasing complexity in the mix of the three parameters: rights, license periods and exclusivities. It’s slicing the cake into finer slices and sharing the pieces in different ways.
WS: What is the outlook for ZDF Studios for the next 12 to 24 months? There are challenges in the market, but also opportunities.
SCHÄFER: The times ahead of us will not be easy for the industry. Inflation will remain high. We have seen the peak in demand; it’s coming down and might—depending on inflation and the economy—come further down. However, to put this into context: Overall, there is still a historic level of demand.
However, we’ve made very good progress in building new businesses alongside our B2B business with broadcasters and streamers. We now have strong and growing B2C or B2B2C businesses, which deliver a constantly growing contribution to our overall revenue mix. Thus, we are positive that we will continue to be successful, not only due to the rebranding but also by developing the company further. Looking ahead, we believe we will become an even more interesting partner in the international market for both sides of the business: buyers and creative and production partners.
I’ve been holding off on watching new seasons of some of my favorite shows for one rather embarrassing reason: it’s been so long since I last saw them that I feel like I need a rewatch of past episodes to be entirely up to speed.
Honestly, when there’s so much to consume, who has time to go binge through seasons one through X of that show you last saw up to two years ago so you can figure out just where all your favorite characters are? Determining where you want to invest your time is a struggle. Some shows were canceled before I got to season one, leaving me wondering if it is still worth the investment. One and done is where I’ve been leaning to these days, and I’m not the only one, it seems. Per my conversations with leading drama distributors about trends in Europe today, even broadcasters are keen for a good slate of limited-run event pieces they can put their marketing weight behind. But, of course, commissioners immediately explore the potential to bring something back once a show does well. There’s been speculation that Prime Video might try further episodes of Daisy Jones & the Six following the success of that drama. I’m torn; while I loved every second of the ten-parter and remain fully invested in those characters’ lives, it is the perfect encapsulation of a limited series. It’s based on a single book; it ends in a place where I have questions, but none that are keeping me up at night; it tells a complete story. Would a second season be as perfect? I doubt it.
Thankfully, smarter people than I are making those decisions, which are more consequential than ever as everyone figures out how to do more with less. Co-production models are evolving. Producers are chasing every possible source of soft money possible as a way to bring down costs. Everyone is in the midst of a strategy shift when it comes to launch campaigns—one episode a week, two, all ten at once? That last one is less likely these days, with the emphasis on fewer projects that remain in the conversation for longer periods of time versus burning through shows at a rapid pace. I’m binge ing far less than I used to, preferring to savor shows rather than emerging bleary-eyed from some twisty tale—that probably won’t be back for another two years anyway.
We hear from the people who are fronting some of the stories making their way to screens across the globe in this edition: Adrian Dunbar shares his experience on the British crime drama Ridley, Emilia Schüle discusses her turn as Marie Antoinette, and Jane Seymour talks about her journey in Harry Wild Mansha Daswani
European drama distributors weigh in on the trends at play in the landscape.
The third edition of the TV Drama Screenings Festival spotlights some of the hottest new and returning scripted properties available today.
Street Birds / A Little Sunshine / The Father
A brand-new launch for atv this year, Street Birds is about five friends who take care of a baby from the streets and all the obstacles that inspire them to become ruthless adults. “The story is about protecting their loved ones and experiencing life despite its cruelties,” says Müge Akar, atv’s head of sales for Europe, Asia and Africa. “People nowadays expect more realism from their TV screens, and our series satisfy this demand.” A Little Sunshine and The Father launched on atv in the 2022 season. A Little Sunshine is about motherhood and love, while The Father is based on a strong man who struggles between the two most important things in his life: his country and his family. “Their success continues with incredible ratings,” says Akar.
Codex 632 / Chaos / Alice
Bavaria Media International is presenting the six-part suspense and adventure series Codex 632, based on the best-selling novel of the same name by José Rodrigues dos Santos. “Stories about secrets and conspiracies around well-known historical figures and events have always attracted big audiences,” says Helge Köhnen, head of content sales. “Codex 632 contains exactly this key element. The main intrigue is built around the world-famous historical figure Christopher Columbus and his origins, and the plot cleverly brings together historical heritage with a detective story.” The company is also presenting the Canadian thriller Chaos, set around a dramatic explosion during a concert by a popular band. Meanwhile, the two-parter Alice, which premiered on German TV last year, uncovers the life and work of 1970s feminist icon Alice Schwarzer.
BEC World produces 25 to 30 Thai dramas per year, with a wide range of genres catering to free-to-air broadcasters and streaming platforms. Among its new highlights is Love Destiny 2 , a sequel to the successful 2018 series Love Destiny that will reveal the secret of the age-old Krishna Kali manuscript. Nobody’s Happy If I’m Not features a dark story of betrayal and revenge, while To the Moon and Back takes a lighthearted comedic approach to underscore the social intolerance toward LGBTQ+ families. The latter was adapted from a Thai novel about a child raised by same-sex parents. “We continue to challenge ourselves to be the best storyteller and compete with content from the region for the rest of the world,” says Surin Krittayaphongphun, president of the TV business at BEC World.
“The reality of our dramas is one of the key factors in their success.”
—Müge Akar
“In addition to sales, we are actively acquiring new content for distribution at all stages of production.”
—Helge Köhnen
“Our dramas have traveled throughout Asia and have a strong fan base.”
—Surin Krittayaphongphun
Adela / Farah / Twisted Lives
Calinos Entertainment is distributing at MIPTV Adela, the Romanian remake of That’s My Life, which has four seasons available. Also in its catalog, Farah, the Turkish adaptation of the Argentinean series La chica que limpia (The Cleaning Lady), follows an Iranian woman who runs away from her country to Istanbul, where she works as a cleaning lady to afford her son’s medical treatment. Through her work, she ends up becoming an accomplice for the mafia. Twisted Lives tells the story of two best friends who become each other’s worst enemies while protecting their own children.
“It is shot in Bodrum, one of the most beautiful coastal towns of Turkey, with a great cast,” says Asli Serim, head of international sales. The Calinos slate also includes Forbidden Fruit, Woman and Our Story
Farewell Letter / That Girl / Three Sisters
On offer from Kanal D International, Farewell Letter sees former lovers cross paths again after 30 years when their grown children meet. Though their children have different plans in life, they choose to walk the path together, without realizing that their parents were once betrothed, until one disappeared just before the marriage. That Girl centers on a young girl who dreams of being a social media influencer to escape her poor life, in which she has to take care of her disabled father and deal with his angry, abusive family. Adapted from İclal Aydın’s novel, Three Sisters tells the story of siblings who had a fairy-tale childhood with a close-knit family and promising futures. They are forced to face the harsh realities of life when past secrets begin to surface.
Part historical drama and part political thriller, the series Bonn is on offer from LEONINE Studios. Bonn features the true untold story of a young woman’s struggle to find her place in a male-dominated society amid the battle between Germany’s separate intelligence agencies formed after WWII. LEONINE Studios also has in its slate the ecothriller The Seed . In the series, two detectives searching for a missing journalist in Norway’s Arctic wastes find their lives on the line when they uncover a conspiracy of global proportions. Another highlight in the catalog is the crime drama Troppo , centered on ex-police detective Ted Conkaffey, who finds himself drawn into the criminal cases of an eccentric private investigator who is also a convicted murderer.
“We continue to widen our catalog with dramas and movies from different countries, in addition to Turkish dramas.”
—Asli SerimThe Seed That Girl Adela
Blanca / Violet Like the Sea / Good Morning, Mom!
The crime drama Blanca, part of the Lux Vide catalog, is the story of a blind profiler who works in the police force as an intern. It features an explosion of color, funky music and irony, according to Barbara Pavone, chief sales and marketing officer. Season two is in production. Violet Like the Sea is a light crime series that follows Viola, a journalist who assists Inspector Demir (Can Yaman) in solving cases thanks to her synesthesia: seeing other people’s feelings through colors. There are two seasons of the family mystery drama Good Morning, Mom!, which Pavone calls “an engaging journey between tears and laughter, past and present,” that is full of mystery. “These titles have global appeal for their themes of inclusion, family values and beautiful Italian settings and epitomize Lux Vide’s broad, family-oriented, multi-genre portfolio,” Pavone adds.
MISTCO has among its lead offerings Bahar , a coproduction with Üs Yapım. In the drama, Bahar witnesses her father’s murder and tries to prove that her stepmother is the culprit. At the same time, she falls in love with someone her stepmother is obsessively attached to. In Secrets of an Angel, a domestic violence victim ends up in the hospital and leaves behind a letter for her lawyer to open after she dies. MISTCO’s slate also features The Patriots. “The age of chaos that started in the world caused all countries to review their security policies,” says Aysegul Tuzun, managing director of MISTCO. “Türkiye creates elite teams that carry out point-and-shoot operations within the scope of special forces in the country and abroad. One of these teams is the Patriots.”
Among ZDF Studios’ drama highlights, The Swarm comes from Emmy Award-winning showrunner Frank Doelger (Game of Thrones). It follows scientists around the world as they frantically try to figure out what is causing strange, aggressive behavior in ocean creatures. “In a very short time, all human life is at stake—and the fate of the entire world population rests in the hands of a small group of scientists,” says Dr. Markus Schäfer, president and CEO. Dear Vivi uncovers the mystery behind the shocking murder of a wife and mother by her husband. When he is taken in by police, their daughter Vivian must fight for custody of her siblings. Also on offer, the reboot of Chicho Ibáñez Serrador’s Historias para no dormir, Stories to Stay Awake, has a second season available.
“
producers produce very high-quality and sustainable dramas every year.”
Stories to Stay Awake
Stories to Stay Awake returns with its second season to offer audiences the best of the thriller genre combined with the great potential and talent of modern cinema.”
—Dr. Markus Schäfer
“Turkish
—Aysegul Tuzun
“We continue to bring broad, heartwarming family stories with proven international appeal to buyers.”
—Barbara Pavone
In March, the highly anticipated, big-budget ecothriller The Swarm opened to almost 7 million viewers on German pubcaster ZDF after racking up more than 10 million views on its digital service locally. The s how also scored a 23 percent share on Austrian outlet ORF.
From showrunner Frank Doelger (Game of Thrones), the ambitious eight-parter features a wealth of partners; it is produced by Schwarm TV Productions—itself a joint venture between Intaglio Films and ndF International Production—for ZDF, France Télévisions, Rai Fiction, Viaplay, Hulu Japan, ORF and SRF, in co-production with Bravado Fiction and Beside Productions and co-operation with ATHOS. ZDF Stu dios and Beta Film are jointly handling distribution.
“There is no better deal than when several partners with similar values and production strategies come together and co-produce,” Norbert Himmler, director-general of ZDF, told World Screen last year. “You pay for one or two episodes and receive eight to ten for your program in return! And it is the only way for us to match financially the streamers’ deep pockets in production.”
The streamers’ deep pockets may not be as bottomless as they were a year ago amid a slowdown in the growth of subscribers, but broadcasters are still having to find innovative ways to pool their resources to take on the global giants, especially as inflation drives up the cost of production. The streamers, while scaling back, are still making
sig nificant investments in scripted; per Ampere Analysis, spending on original titles by global streamers will top $26 billion in 2023—a quarter of all commissioning worldwide—with some 90 percent of that going on script ed. And per many operating in Europe’s drama landscape, even the platforms that for a time wanted nothing but global rights are becoming more open to new financing models as they look to meet local content quotas and drive subs in a slightly more cost-efficient manner.
“Drama production is getting more and more expensive everywhere,” observes Béatrice Nouh, head of sales at Spain’s Onza Distribution. “Streamers are trying to maximize revenues and offer more content, so co-productions are a great way for them to face these challenges. Platforms are more open than a few years before to sharing rights and windows to enter projects with higher production values without assuming all the risk. At Onza, we are always trying to push the possibilities of multi-windowing, either in the same territory (for example, a streamer and a free-to-air channel) or between territories.”
Nouh continues, “What is missing in Europe is one big European streamer that would foster European coproduc tions. For now, most of the streamers present throughout Europe are from the U.S. and focus more on local production country by country and not so much on several countries at a time. The main organized strategic attempt to create these kinds of European co-productions is The Alliance with France Télévisions, Rai and ZDF, but for streamers, it is still very [rare] in Europe.”
The team at Bavaria Media International has also seen new flexibility on the part of SVOD operators to second windows and non-exclusive rights sharing. Broadcasters, meanwhile, are becoming slightly more risk-averse given the potential of a looming recession alongside reduced ad revenue forecasts.
“Clients are looking for titles that perfectly fit their slot requirements in terms of format, genre and content,” says Helge Köhnen, head of content sales at Bavaria Media International. “Unless you have a strong and unique show, they tend to minimize the risk by looking for well-proven formats. Also, there has been a trend for relicenses to cut expenses in acquisitions.”
Onza’s Nouh, meanwhile, has seen increased requests from linear clients for “big prime-time event series; the ones that can [bring in big] audiences and thus help them generate ad revenues.”
She elaborates: “There is a trend in prime-time series to reduce the number of episodes to create a short event (one or two nights). Ten years ago, most of the seasons were between 12 and 24 episodes, and now broadcasters are sometimes asking for between three and six episodes. We see that the idea is to get more premium event series than filling a slot.”
Global Screen lands at MIPTV with the new event series DAVOS, made by Contrast Film Zürich and Letterbox Filmproduktion Hamburg. “The cinematically stunning and thrilling six-part show is being co-produced by Amalia Film, Swiss television broadcaster SRF and the German production company ARD Degeto,” says Julia Weber, head of sales and international acquisitions. “The exciting series will feature an outstanding cast led by Dominique Devenport, Jeanette Hain and David Kross. DAVOS finished shooting in March and will be broadcast as a holiday season highlight.”
Whether a one-off or a returning brand, there is a sense in the market today that audiences are seeking slightly lighter fare when it comes to their drama offerings.
“I hear that brands do not want to be associated with topics that are too violent or dark, especially for daytime, so some linear free-to-air clients are asking for lighter content, but still premium enough to attract the audience,” Onza’s Nouh explains.
She adds, “With risks on ad revenues, linear broadcasters need to rely on safer options when they produce something. It’s not the moment for them to try something transgressive.”
Broad appeal is the focus of the lineup from Italy’s Lux Vide, with Barbara Pavone, chief sales and marketing officer, highlighting the company’s slate of “family-oriented, long-running TV series of all kinds of genres—crime drama, light crime, mystery and comedy. We continue to bring broad, heartwarming family stories with proven international appeal to our buyers,” she says.
Fredrik af Malmborg, CEO of Eccho Rights, is of a similar opinion, noting, “There’s an appetite to be a bit safer. In Turkey, it’s the same—we’re going back to the roots of how shows were made some time ago.”
While broadcasters are looking for high-profile event pieces, they need a steady, reliable supply of content that will engender viewer loyalty as they brace for what is expected to be a challenging year. Turkish distributors are ready to fill that demand.
“The appetite for Turkish dramas continues to grow worldwide,” says Asli Serim, head of international sales at Calinos Entertainment. “Turkish scriptwriters [have] started to evolve stories according to daily social media feedback. This flexibility and pace positively affect the global audience and the local ones. And the buyers love this trend.”
Turkey’s atv arrives in Cannes with a slate of long-running, established hits, reports Müge Akar, head of sales for Europe, Africa and Asia. To appeal to buyers—and audiences— atv is emphasizing that its shows all boast “successful directors and producers, well-known casts and high-quality production [values] with unique stories.”
Aysegul Tuzun, managing director of MISTCO, highlights the “sustainable” nature of Turkish dramas and points to the company’s openness to co-productions as it expands its global footprint. “We aim to create an international title with the contribution of our partners all around the world—so we are quite open to co-production discussions,” Tuzun notes.
Whatever the origin, crime dramas and known IP remain in demand as buyers and commissioners look for safer bets to stand out in a crowded landscape. ZDF Studios, for example, is showcasing a wealth of suspense and thriller series, including Before We Die, an English-language remake of the beloved Scandinavian series for Channel 4; and two seasons of the Stories to Stay Awake anthology reboot. “Four top Spanish directors—Rodrigo Cortés, Rodrigo Sorogoyen, Paula Ortiz, Paco Plaza—bring Chicho Ibáñez Serrador’s iconic horror series back to life with a modern cinematic edge,” reveals Mirela Nastase, Director Drama.
All3Media International also has an abundance of thrillers to showcase of varying stripes, including Better , which David Swetman, senior VP of content and commercial strategy, describes as a “messy, human, crime-filled story from the award-winning team at Sister, set in the atmospheric Leeds and led by gripping performances from BAFTA-nominated Leila Farzad and Andrew Buchan.” Meanwhile, from Australia, Black Snow is a crime drama meets coming-of-age series from Goalpost Pictures “that
champions unique, distinct voices from the local South Sea Islander community and features outstanding performances from Travis Fimmel and newcomers Talijah Blackman-Corowa and Jemmason Power.”
Indeed, “topics such as diversity, female empowerment and sustainability have gained much higher importance,” reports Köhnen at Bavaria Media International. “Also, the number of youth-related themes has been growing.”
With war ongoing and an abundance of clutter to cut through, the region’s key scripted distributors know that 2023 is set to be a challenging year. Still, the opportunities are clear, especially as a writers’ strike looms in the U.S. During the last one—which ran for 100 days in 2007-08—international content was a blip on the radar for American viewers; today, that situation is vastly different as audiences embrace subtitled content and stories from across the globe.
The third edition of the TV Drama Screenings Festival spotlights some of the hottest new and returning scripted properties available today. Hailing from across the globe, these selections span the breadth of the landscape, from crime and suspense to romance, lighthearted comedy and more.
Fresh off its strong ratings debut, The Swarm leads off ZDF Studios’ highlights in the latest edition of the TV Drama Screenings Festival. “Based on Frank Schätzing’s international bestseller of the same title, The Swarm is an eight-part thriller series from Emmy Award-winning showrunner Frank Doelger ( Game of Thrones ),” notes Mirela Nastase, Director Drama at ZDF Studios. The high-profile international co-production follows a group of scientists investigating strange
ZDF Studios’ The Swarm
happenings in the ocean. ZDF Studios is also highlighting new installments in the English-language adaptation of Before We Die, which has been a hit for Channel 4, and the Spanish anthology Stories to Stay Awake.
The All3Media International lineup speaks to the diversity of the company’s scripted offering. On the thriller front, there’s Better starring Leila Farzad and Andrew Buchan. David Swetman, senior VP of content and commercial strategy, also highlights Mayflies, which stars Martin Compston and is produced by Synchronicity Films, adapted from Andrew O’Hagan’s best-selling novel, presenting “a powerful look at a male friendship that faces the ultimate test.”
All3Media International is also showcasing the Aus tralian crime drama Black Snow, set in two different time periods as it follows a murder investigation. Meanwhile, the lush period piece The Confessions of Frannie Langton is set in Georgian London and hails from the team at Drama Republic. “Adapted by author Sara Collins from her celebrated novel, this acclaimed series combines a compelling murder mystery with a searing depiction of race, class and oppression,” Swetman notes.
ABS-CBN Corporation’s Dirty LinenFrom the Philippines, ABS-CBN Corporation is touting two new offerings for global buyers. Dirty Linen is a thriller that “tackles poverty and inequality and does not shy away from portraying horrific acts that the powerful and wealthy feel privileged to carry out against ordinary people,” says Pia Bacungan-Laurel, department head for international sales and distribution. “We’re very proud to tell this story together with such fantastic actors, including the first Filipino Volpi Cup winner, John Arcilla, and Golden Globe and BAFTA nominee Dolly de Leon.”
2 Good 2 Be True , meanwhile, is a romance series focused on the love story between Eloy and Ali. “2 Good 2 Be True was one of our most successful projects in 2022,” Bacungan-Laurel says. “It dominated online viewership in the Philippines for 26 straight weeks. With its highly
entertaining story, viewers get to enjoy a good mix of romance, drama, comedy and light action.”
Global Agency is also offering international buyers a slate of successful romance dramas, including One Love , which “tells the captivating story of the idealistic Doga falling hopelessly in love with a charming man from a devout family whose values clash with those of her mother, creating a powerful drama as they seek to overcome their differences and find harmony,” says Izzet Pinto, CEO. Pinto also highlights Vendetta , which “tells the moving story of Dilan and Baran and the marriage they are forced into to end a blood feud, despite the hostility of those around them, igniting a passion that will either blossom into love or bring devastation.”
Since the 1980s, Northern Irish actor, producer and director Adrian Dunbar has worked in film, theater and television. Early in his career, he starred in the feature films My Left Foot and The Crying Game, followed by dozens of roles in stage productions and TV series. Most recently, he played a cop called in from retirement in Ridley, for which he is also an associate producer. While portraying detectives is familiar to him, Ridley is different and complex, as Dunbar explains, not only for his penchant for jazz. Dunbar talks about stepping into the role, the quality on display in today’s TV series and the ongoing popularity of detective shows.
TV DRAMA: What appealed to you about the project? It’s different from other things you’ve done, right?
DUNBAR: Yes, it certainly is. What appealed to me, first of all, was that I got some excellent scripts from Paul Matthew Thompson, whom I had known for years. I knew Paul was a really good writer, especially in this genre. And I was working with Jonathan Fisher again, who had been the producer on a series called Blood that I did for All3Media. Ridley was coming from a good place already. Then I started reading the scripts and thought the first episode was really good. I thought the denouement was great. The dynamic between the central characters was interesting. It’s not the normal [setup]. Here is a guy who’s retired and brought back in; therefore, he’s not operating under the same rules as everybody else. He’s a bit more off the wall. But he’s dealing with a lot of very serious stuff that happened in the past. He lost his wife and daughter in a horrible house fire. That is the theme that’s running through all four episodes. And it brilliantly comes together in episode four, where they tie everything up. Ridley was four 90-minute episodes—quite a lot. So, yes, it’s a big piece.
TV DRAMA: How did you step into the role, especially since you had previously played a cop, Superintendent Ted Hastings, in Line of Duty?
DUNBAR: I look at it sometimes from the outside in rather than the inside out. The inside-out stuff looks after itself because you’re saying to yourself, this is his past history. How will that affect his attitude, mood and feelings about the world? And how will he get dragged back into a world that the tragedy came out of? But from the outside in, it’s amazing what happens when you step out of uniform. I knew from just doing a few scenes in Line of Duty where I wasn’t in my cop uniform how transformative that was. I was confident that once I’d get into civvies, once I didn’t have to have a cop haircut, and I didn’t have to lean hard in my Northern Irish accent, as I did in Line of Duty, things would completely change quite rapidly. And that seems to be what has happened. The character is very distinctive, and he’s [outdoors]. My character in Line of Duty was an
By Anna Carugatiinterior character. He was very rarely outside. I’m always on the hoof during this show, which is great. I thought all those elements would allow an audience to let me reinvent myself.
TV DRAMA: And you didn’t need to say, “catching bent coppers,” did you?
DUNBAR: No. [Laughs] He doesn’t do any of that stuff. He’s not a catchphrase guy, that’s for sure.
TV DRAMA: Ridley co-owns a jazz bar. You have musical skills. Did you bring those skills and your passion for music to the show?
DUNBAR: Absolutely. I started reading the scripts and having conversations initially, and I said, We will be filming this in Manchester in the north of England in the winter. It’s pretty bleak. So why don’t we invent a place and give him something to do? My idea was that his retirement would be running this jazz club. He’s a jazz head. So he would be running this jazz club with an old friend called Annie, played by Julie Graham. I do a bit of singing myself. Maybe he gets up and sings the old song. Then I said, I’d also like somewhere warm because everything else is so cold and bleak. Somewhere we can go where it’s a bit more colorful, there’s a bit more warmth and a bit of music. Then I started thinking, well, we’ll need a jazz band. Let me see if there are any people up north. I came across this incredible artist, Richard Hawley. I started listening to Richard’s work. A lot of it is located in that beautiful area of male grief. It’s got that thing about it. He has some amazing songs. At the end of each episode, we do one of Richard’s songs and cut in and out of the story. The songs are not specifically to do with the storyline, but emotionally they’re in the right area. It was a bit of a gamble. Suddenly, at the end of a cop show, the band kicks in, and we sing a song, and you see the denouement play out, but it’s working. People have warmed to it. It hasn’t been an issue. It’s like, oh, that’s what this show is like. That’s been a real triumph for me, in particular, to suggest it. And the guys were brave enough to run with it.
TV DRAMA: To what do you attribute the ongoing popularity of crime series and detectives?
DUNBAR: First and foremost, that’s the access point for all the big stories. Where do you go to find the real human interest? Where do all the moral dilemmas exist? Well, the first person to access them is usually the detective. He’s usually the one putting it all together and going, This happened, and that happened; these are the elements, and this is the person. What’s the motive? We’ve been clever in TV; we get vets or doctors and try to find other means of access. But ultimately, it’s the detective. And, it all started, way back, with Eliot Ness and Damon Runyon and all these guys who were initially given access. Journalists, especially in America, have been given access to the crime scene much quicker than [in the U.K.]. Of course, we also had Arthur Conan Doyle and Sherlock Holmes types, scientifically working things out.
I think we’re interested because we are interested in moral dilemmas. We all have moral dilemmas in our lives and wonder how we would respond to the situation [depicted in the TV show]. That’s what makes shows like Happy Valley, Vera and others in this genre good: the moral dilemma. What’s changed about them is that the leads have become female, and the dilemmas have become more specific. And you can explore [issues] or attitudes that are current. That’s what’s feeding into the storylines, which I think is really good.
TV DRAMA: You have worked in film, theater and television. What are the different creative challenges of each, and do you have a favorite?
DUNBAR: I don’t have a favorite. The challenges are different. TV is where it’s at, at the moment. People used to call it the “medium” of television because it was never rare or well done. But it’s changed since then. When I came to TV in the 1980s, it was pretty slow. It was like walking through molasses sometimes—the dialogue, the mise-en-scène, everything. Now, because you’re watching on big screens and you’ve got catch-up, the production values have gone through the roof. The quality is so much [greater]. Many major stars have crossed into TV, giving it a new standard. When we look back in 50 years at what television was
doing, people may not be looking entirely at what was happening in the movies. I find a lot of the movies pretty light. I don’t think the same rigor is being applied to filmmaking as is being applied to television. You’d think it would be the opposite. But films are pretty light—Triangle of Sadness and The Banshees of Inisherin and so forth. They’re not throwing you about like television can. Now and again, some wonderful films come out, and I like independent films. I’d like to be doing a bit more with independent cinema. But at the moment, TV is where it’s at.
The theater is always going to be close to my heart. But theater is so expensive, and only a certain number of people can see it these days. It’s hard to know where you will go in the theater to make a difference to people. It’s great to see revivals like To Kill a Mockingbird and be reminded of the classics.
But the disciplines for an actor are completely different. You’re using your whole body in the theater, and that’s an entirely different language. TV, you’re bang up front. TV and film are much closer. At the moment, I think TV has the edge on everybody.
TV DRAMA: How have you seen Northern Ireland’s television storytelling evolve in the past two decades—since the end of the Troubles?
DUNBAR: There has been an evolution in the amount of work being done there, the quality of the work and the upskilling of the technicians and facilities we have. And the actors who have come out of there, of course. The BBC and [other] companies were trying to do things in Northern Ireland whereby they were explaining what was going on there to the rest of the world. Most of the storylines were based around somebody from the outside who came in and was trying to understand why everybody was killing one another. You can’t do that without being patronizing. We were being patronized for a long time in terms of our storylines until the local people started [taking] over for themselves. And then that’s difficult because sometimes they don’t want to allow local attitudes onto the screen as local attitudes can be polarizing. So, it was difficult, but there are many more interesting things politically coming out of there.
Made by West Road
Emilia Schüle has performed since she was a young girl, first as a dancer, then as an actor. Born in Russia but brought to Germany by her parents as an infant, Schüle has starred in leading and supporting roles in more than 55 German films and TV shows. International audiences had the opportunity to see her in the series Berlin Station and Treadstone. She currently plays the title role in Marie Antoinette, the TV series that offers a modern take—including the misogyny and manipulation of the court of Versailles—on the Austrian princess who became the last queen of France, wife of Louis XVI.
TV DRAMA: How did you prepare for the role of Marie Antoinette?
SCHÜLE: There is a lot of information about her, but also a lot of prejudice toward her. My preparation was very broad. I first had to relearn my accent. Before the show, I was speaking American English. I had never spoken British English before, so I had a lot of voice coaching. Then I kept flying in and out of Paris and had millions of wig and costume fittings. That was very good prep because the French don’t speak English, and I didn’t speak French. So it was a very Marie Antoinette experience, coming to this weird new world and feeling like an alien. French people are ashamed that they don’t speak English, so they come off rude, but they’re just shy and embarrassed that they’re not fluent.
Then we visited Versailles. There’s a historian who has been working there for some 30 years. He showed us all the inaccessible parts of the chateau, and we got a sense of what life must have been like there. Then I worked with acting coaches, read tons of books and sat down with [creator and writer] Deborah Davis. I told her how many books I had read, and she got really angry because I’d read Stefan Zweig’s book about Marie Antoinette. She said, “Oh, my God, when I read that book, I wanted to throw it against the wall!” Stefan Zweig didn’t think that Marie Antoinette was a very smart woman. The book’s title is Marie Antoinette: The Portrait of an Average Woman. This was when I understood that I had to make my own sense of her and use the work I’d done in my prep, trust the scripts, let go and create my own Marie Antoinette.
TV DRAMA: How did you connect to a woman who lived in such different circumstances?
SCHÜLE: It always comes down to the trauma people experience or what they long for or are struggling with. Marie Antoinette was, after all, a lonely woman. She was looking for a role in life as a woman, wife, mother, queen and rebel. She wanted to be all those things. Life at the court was making it difficult for her. There’s this prejudice about her that she’s all about fashion, beautiful dresses and partying. She was 14 when she left her country, when her mom sent her away. She
By Anna Carugatiwould never see her mom again in her own country. She was married off to a guy [Louis XVI of France] she had never met. Her only job in life was to produce an heir. Her existence was reduced to this. And her husband wouldn’t even sleep with her for seven years. [Upon learning] this is when I understood why she threw herself into partying and beautiful dresses. I would have done the same because she was trying to fill this void, this emptiness and unhappiness. I connected with her because I saw where [her behavior] came from.
TV DRAMA: You mentioned Deborah Davis. She offers a different take on Marie Antoinette’s life. What do you hope the audience will take away?
SCHÜLE: I’m sure the audience will empathize with Marie Antoinette and understand that her life was not what we thought it was. I think people will understand that she was living in a hostile environment where people hated her for being Austrian and for being different. There were always forces working against her and trying to get rid of her. Our show is not about her great addiction to dresses and all this stuff. Of course, the dresses get more beautiful. In episode four, there’s one very beautiful dress, and we give it a moment. But other than that, we don’t focus on that. It’s a family drama, it’s very intimate, and you get a sense of how much she was struggling.
TV DRAMA: Did makeup and wardrobe require a lot of prep before going on set?
SCHÜLE: Yes. They tried to go as fast as they could because no one wants your lead to be in prep for three hours before you start filming—each day over five months. That’s just unbearable. So they were trying to be fast. But it was about two-and-a-half hours every day. Then when we would wrap toward the end of the day, it was again an hour to get everything off. But you get used to it. And I started to enjoy the prep time. I had 96 filming days, so I always had stuff to prep. And I feel like I had some of my best ideas in the makeup chair.
Jane Seymour came to the attention of international audiences in her role as a Bond girl in Live and Let Die. She continued starring in movies while branching into theater and television, earning critical acclaim, including Emmy and Golden Globe awards. She was a role model to girls and young women, portraying a fearless, daring doctor in Dr. Quinn, Medicine Woman. Today, she is a role model for her generation of women in the mystery series Harry Wild. She plays an assertive, determined, straight-talking retired English professor who uses her knowledge of literature to solve crimes. Seymour talks to TV Drama about Harry, characters that appeal to her, and how she always finds time for her artistic passions and her nonprofit, the Open Hearts Foundation.
TV DRAMA: How did Harry Wild come about?
SEYMOUR: They sent me the script and asked me if I wanted to meet the creator, Dave Logan, which I did in London. Harry Wild was a show I’d never seen before—[with] a character close to my age who is intelligent, irreverent, independent; she ticks many boxes that many women would like to be. It was humorous but, at the same time, grounded in humanity. It’s intelligent because it refers to books and information you might not know and are now intrigued by. It doesn’t take itself too seriously.
I love the relationship between my sidekick [Fergus, played by Rohan Nedd] and me because usually [the audience would wonder if it’s a romantic relationship], and instead, here is a pure kind of love and appreciation between two people who come from such different worlds—they usually would have never met. They both enhance one another’s lives. Then there’s the crime [element] that is very different. And I love playing her. We’re doing series two and three right now, backto-back, 12 episodes, and it’s even better. The character gets more fun. We’ve got amazing backstories going on with some of the other characters.
TV DRAMA: You’re also an executive producer on the series. What does that entail?
SEYMOUR: When we first started, it was a choice of who’s directing, what we thought about the scripts and all of that. But because I’m working such ridiculous hours and am in
By Anna Carugatievery scene pretty much, I’m not an admin person. I’m most useful on the set. I’m the one who sets the pace. All the actors hang out together. We don’t sit in separate dressing rooms. We rehearse together. We play together. We have fun together. We get to know each other. So by the time we come on set, the director knows we’re ready. Rather famously, we’ve been told it’s the happiest set in Ireland! Everybody wants to be on our show. I think it’s because I like working with people where all the egos are left behind, and everyone’s abilities and talents come together. We realize that we’re in it together and nothing’s ever perfect. It’s a team effort.
TV DRAMA: You’ve played dramatic and comedic roles. Do you have a preference? Is one more challenging than the other?
SEYMOUR: The most challenging thing is when I’m given material that isn’t good. The trick is to get great material. I feel as comfortable in drama as I do in comedy. So, doing something like Harry is perfect because it combines all of the above. I love doing out-and-out comedy. But to do good comedy these days, the style has to be more real than real. It’s not set-up, set-up, joke, laugh. No, that’s gone. What makes it funny is that it is deeply entrenched in something dramatic and real.
TV DRAMA: What do you look for in a role?
SEYMOUR: When I first came to America, they told me that if I could lose my English accent, I’d never stop working here.
When I arrived, I couldn’t even get a work permit. My agent fired me from England, saying I had made the biggest mistake of my life. So, many of those early credits were me proving I could play Americans from all over America, and I could play anything because I come from England, where you play everything. And very early on, they pigeonholed me as a Bond girl, which is a curse and a blessing at the same time, because it presupposes that you have looks, but you can’t act. I broke the mold by going back into the theater and doing all the classics. And people said, she’s a failure; she’s going to the theater for £50 a week. No, I’m playing Lady Macbeth and doing Henrik Ibsen’s A Doll’s House. I’m playing catch-up in my craft.
If I look at my career, honestly, I’ve forgotten half the stuff I’ve done! My favorites have always been playing biographies. I loved playing Marie Antoinette in The French Revolution. I did that in two languages. I loved playing Wallis Simpson, and, of course, Maria Callas was incredible. I’ve always been a character actor. When I did Amadeus on Broadway, [director] Peter Hall said he had me because I was a dangerous actress. What does that mean? He said, Oh, you never make normal choices. You come up with very different ways of doing it that make it interesting.
I bury myself in material that I really like. If I can find some good material, I go full-on and do my best. Recently, in B Positive, executive produced by Chuck Lorre, I played an 85-year-old woman, Bette, who thinks she’s a 20-yearold rock chick and is a sexual predator in an old people’s home. That was hilarious. Brilliantly written. The Kominsky Method is brilliantly written. What a great, great role that was! Sometimes a very small role like that becomes something you’re remembered for. The speech at Norman’s [played by Alan Arkin] funeral was magical. Wedding Crashers, what a gift that was. And then a movie you probably haven’t seen called Ruby’s Choice, which I’m very proud of, and I play a woman with dementia who has a very special relationship with a grandchild. I love what I do. If I think [a project] is good, there are good people attached to it, and I think I have something to offer, whether it’s a small or large role, I do it.
TV DRAMA: You were a role model as Dr. Quinn. It wasn’t usual to see a woman who thought she could do anything a man could do and do it with grace. And now Harry Wild. She’s vibrant, determined and brilliant. And she has a mouth, I have to say!
SEYMOUR: A mouth and a taste for red wine! Harry Wild is very much an independent woman who’s smart but also learns; she is compassionate but not overly soppy. She’s very sexy and sexually aroused but has never been married. If she sees what she wants, she enjoys it and then moves on. Like some men we know, right? Harry is still very feminine, but she doesn’t have to be in lace and frilly feminine [clothes]. You made a point about Dr. Quinn being a role model. Harry Wild has become a role model for my generation now—for many women who gave up and said, well, I did the marriage, and then he ran off. I did the kids, and they’ve gone off. I’m lost as to who I am or what I’m doing, and I realize I didn’t do anything with my life. Or they were intellectuals, and they never had children. It’s about being a whole woman and not being afraid to be it. Harry is around murderers and dangerous people with a stun gun—quite useless! But she uses her wit, intellect and snarkiness to win cases. I love that. I’m hearing from a lot of women and men. Men love this show, too, by the way. And it crosses generations. My son is the know-it-all detective who doesn’t know it all. He’s got a wife who has programmed their child to be the perfect child. She doesn’t know it all. Fergus’s family are alcoholics. And then there’s my granddaughter, whom I now have a relationship with on the show. That’s fun because she’s also getting in on the act. So it’s quite a young show. But whereas in most shows, I would just be the grandmother, this is my show, and there are two other generations. I love that because Harry’s life is a three-generational, day-to-day life on the show. And in real life, I’m very close with my grandchildren and my children. I love their friends and doing what they love to do. I haven’t put my feet up and just said, hey, I’m going to try to play bad golf. I’m perfectly capable of bad golf, and I enjoy it. But I don’t need to do that.
TV DRAMA: I recently read an article that said the key to remaining mentally young as one ages is to be with younger generations as much as possible.
SEYMOUR: I produced the movie I’ll Be Me about Glen Campbell and then played a woman with [dementia] in Ruby’s Choice. I realized I want to challenge myself now. I went back into the theater. I did The Vortex on stage in Singapore. I feel I’m in my prime now. I know that sounds ridiculous, but I don’t feel like some people I know who are doing what they can to look younger. I appreciate every moment that I have. I’ve lost so many friends already, and so many are ailing. I know it’s my time next, too.
TV DRAMA: What other projects are you working on?
SEYMOUR: I always have projects waiting in the wings for when there is time for them. I’m doing a voiceover for a very important filmmaker. It hasn’t been announced yet, so I can’t tell you, but I’m very proud of it. I’m doing that while doing Harry Wild. I’m an artist, so I’m receiving an award at the Plein Air Convention & Expo for my work in art. I’ve got art shows and monumental sculptures going up. I design scarves, fabrics and jewelry. I have a major nonprofit called the Open Hearts Foundation that I’m proud of.
By Mansha Daswani
old British creativity underpins the ethos at BBC Studios, but as CEO Tom Fussell explains, the vision for the commercial subsidiary of the leading public-service broadcaster is very much global. Posting its highest-ever revenues in 2021-22 of £1.6 billion ($2 billion), BBC Studios produced 2,400 hours of content in its last fiscal year; a quarter of which were for entities other than the BBC, while threequarters of its revenues came from third parties.
Speaking at MIPCOM last October as BBC Studios received the inaugural Studio of Distinction Award, Fussell had a clear message to the international content community: BBC Studios has a new global ambition and it is very much open for business.
The business has been steadily expanding its production capabilities, absorbing the kids’ and family unit previously housed under BBC Children’s and upping its investments in well-regarded U.K. production outfits. BBC Studios fully or majority owns Lookout Point, Sid Gentle Films, Clerkenwell Films, Firebird Pictures and
Baby Cow Productions—all key players in the scripted space—and the factual producer Voltage TV. It also holds minority investments in Turbine Studios, Bo ff ola Pictures, Expectation Entertainment, Moonage Pictures, Various Artists Limited and Mothership Productions. The company’s distribution team is bringing BBC Studios and third-party productions to broadcasters and platforms across the globe, generating £400 million ($491 million) in revenues in 2021-22 driven by megahits like Doctor Who—which recently scored a significant global deal with Disney+—factual landmarks such as Universe and a thriving format-sales trade across entertainment and scripted. BBC Studios is also looking to drive its direct-to-consumer revenues, including via its joint venture with ITV, BritBox, and through its successful UKTV channels business.
In this wide-ranging interview, Fussell articulates his goals for BBC Studios, which include doubling commercial revenues in the next five years; a singular focus on distinctive, bold storytelling; and fostering and nurturing a new generation of talent across the organization.
WS : Y ou discussed BBC Studios’ “new global ambition” at MIPCOM. How is that approach dictating your overall strategy today?
FUSSELL: When Tim [Davie] became the BBC’s directorgeneral, he set a strategy, supported by all of us on his executive committee, called “Value for All.” For the first time, one of the four key tenets of the BBC’s overall strategy was to grow commercial income. For us, it starts with the BBC and begins with the content. We’re a fully fledged global content studio across all three genres [kids, scripted and non-scripted]. Kids joined us on April 1, 2022. And people are coming to us, including Kate Ward, who joined us from Vice Studios [as managing director for factual at BBC Stu dios Productions]; and the teams from Sid Gentle Films and Firebird Pictures, where we have cemented our rela tionship this year, with them moving to full BBC Stu dios ownership.
For us, it starts with being a BBC company. Globally, we’re all driven by the mission and the purpose of the BBC. The joy is that we’re seen as an ideal partner to work with. In a world where many people aren’t taking risks anymore—and I understand the economic challenges—we are, making us an attractive place for creatives to come and do their best work.
WS: What other opportunities are you exploring in terms of M&A? What would lead to an investment over a first-look deal?
FUSSELL: We’ll do both and things in the middle as well. The key thing is that we’re open for business on investment. That includes acquiring and investing in the gaming side of the business, linear channels in some parts of the world and production labels in genres that are in our portfolio. The key thing is ensuring our partners share our values; they’re driven by the BBC’s mission and purpose. They want to take creative risks
in the ways we want to, and we can work well with them. We now own seven labels and have equity stakes in six more. We’re actively looking at partnerships, but we’re very choosy. There are some deals we’ve passed on, and I wish everybody the best of luck. We know we’re happy with what we have. We’re the most commissioned producer in the U.K. We certainly have a high bar of excellence and are proud of the ones in the fold.
WS: How has the global kids’ community responded to the introduction of your new children’s unit within BBC Studios?
FUSSELL: It’s taken me aback. I spend a lot of time on the West Coast talking to our partners. This is the first time in the BBC’s history that Kids & Family has been able to make shows for the commercial sector. [Our partners are] delighted they can have content driven by the BBC’s mission and purpose to scale. And shows like the megahit Bluey are a great example of how BBC Studios combines commercial and creative teams to deliver success. Our president of brands and licensing, Nicki Sheard, has taken Bluey to new audiences. Bluey has busted through the 2 million followers mark on TikTok and has 30 million likes. It’s the fastest-growing preschool channel on TikTok in history. That gives us new audiences and new ways to find people. There are other shows you may not be as familiar with. We have Supertato, a superhero that is a potato, with a sidekick that’s a broccoli. This is one of the most indemand shows on the iPlayer and CBeebies.
WS: What are the plans for expanding your U.S. scripted slate, especially now as the streamers seem to be pulling back their spending?
FUSSELL: We’ve acquired six scripted labels now, all based in the U.K. Mark Linsey oversees those [as managing director of scripted]. Mark has relocated to L.A., not because we’re going to shift our production base to L.A., but because I think it’s very important when so much funding comes from L.A. for us to have a senior leader who is plugged into our U.K. scripted producers so close to the customers. The commercial business in the States will still be run by [CEO of global distribution] Rebecca Glashow’s team, with Janet Brown [as president of distribution for North America and Latin America].
I still see our sweet spot as making content, scripted content, primarily from the U.K. Our shows, often commissioned by the BBC, do not always share the budget of programs on other platforms; they’re not on the scale of a £10 million ($12.3 million), £20 million ($25 million) an ep. They’re sometimes limitedrun, made with a U.K. tax credit, and quirky British. And they bring viewers. Happy Valley, made by our production label Lookout Point, is doing some big numbers on the iPlayer. The finale achieved the largest overnight rating— 7.5 million [viewers]—for a drama on U.K. tele vision since the Line of Duty season six finale in May 2021. We’re so proud of it because it’s not something anybody else would make. We have Extraordinary on Disney+ [which has
the global rights]. The premise is that the lead character is the only person in the world who does n’t have a superpower. The writer is Emma Moran—Sid Gentle Films found her through a competition they ran. It’s a unique story, and it’s been recommissioned straightaway by Disney+ for a second season. This is a great example of how we’re bringing new stories, often British ones, to a global audience. We have Rain Dogs, also from Sid Gentle, that’s premiered in the U.S. on HBO and will be coming to the BBC. It has new, interesting voices that we’re getting a lot of traction with. Mark’s working with our drama and comedy production units and labels to bring those characters and voices into the business.
WS: What’s driving your successful formats business? I know you’ve seen a ton of traction on the scripted side, especially in Asia. What’s the latest on the entertainment formats side?
FUSSELL: Many streamers want their local formats for their local audiences on their platforms. Local linear channels want the same. So whether it’s Dancing with the Stars on Disney+ out of L.A., Ghosts season three [for CBS], or shows we’re making in India like the remake of Luther , they’re working. Behind that, we have shows coming out of the scripted side, like Boiling Point . We’re also taking different risks with more traditional entertainment formats. We’re working across the globe with partners, sometimes using British creativity, sometimes using relationships in other parts of the world, to
get them away. Formats are still a colossal business for us; whether it is Top Gear, Mastermind, Bake Off , Strictly Come Dancing/Dancing with the Stars or scripted, it’s working. They’ve proven themselves, often on a channel like the BBC. From that, you can scale up. It’s got a stamp of Britishness and excellence from the BBC to begin with.
WS: Are you finding broadcasters are slightly more risk-averse these days, with the economy being what it is? On the entertainment side, it feels like nothing has broken since The Masked Singer
FUSSELL: In entertainment formats across the industry, there hasn’t been a new breakout success for a while now. We have seen content cuts stemming out of the West Coast. In BBC Studios, we’ve still got the strongest pipeline we’ve ever had. A lot of it is because we’re making documentaries and scripted shows years in advance. We already got the orders. But when we talk about high-end premium natural history like Prehistoric Planet for Apple TV+, we’re one of the only producers in the world who can make these. We’re known for it and therefore are very much in demand. We’re doing multimillion-dollar deals with the major streamers worldwide. I hear [concerns about risk-aversion]—we’re not seeing it yet. I don’t want to be overly confident
around the market. I just think the fundamentals of the industry are being reset. People are more open now to co-productions, to licensing. We are a studio that adapts and is not using one model, and that’s why partners want to work with us and producers want to work with us.
WS: What’s the approach to franchise management? You have several crown jewels across the catalog that keep coming back, from Dancing with the Stars to Doctor Who
What’s the key to keeping those fresh and engaging, season after season?
FUSSELL: We’ve encouraged the team to take risks and stand by them. We’re managing a portfolio. We say, take those creative r isks, keep taking them, work with your partners and be in it for the long term. I’m not driven by short-term success. We have been incredibly successful in the last five years. We’ve doubled in size. When you take a show like Dancing with the Stars in L.A. and move it from ABC to Disney+, that is a risk, but we are
so thrilled to be doing it with a partner like Disney+ and that it’s such an audience success. We’re driven by wanting to ensure audiences love our content, and then the commercial will flow. We are also delighted to partner with Disney+ on Doctor Who . The key is to find partners and to keep taking risks.
WS: You’ve set a goal of doubling commercial revenues in five years. What’s the roadmap for getting there? And have you had to course correct at all, given developments in the broader macroeconomy?
FUSSELL: We have had great commercial success in the last five years. I know where we’re heading this year, and I am proud of the com pany. We have the support of a new BBC commercial board chaired by the well-respected U.K. businessman Damon Buffini. We’re in it for the long term and making long-term investments. We’re investing in UKTV, our linear business. UKTV has doubled its VOD views since pre-Covid from 50 million to over 100 million a year. There will be more investment there to take it even further. We’re investing in the BBC’s website outside of the U.K. It’s the most trusted news brand in North America. We want to build on that. We’ll buy labels. We will do first looks. We are continuing our investment in distribution rights and building for the future. We’ve had good successes in the short term, but we’re also set up for long-term success. The path doesn’t need course correcting because it is the right pace and the right lev el of risk-taking. That creative risk-taking, driven by the BBC’s mission and purpose, makes us unique. People know what the BBC stands for.
WS: Let’s talk about direct-to-consumer revenues. How are you looking to drive that area?
FUSSELL: In the U.K., we have our UKTV business. It’s an increasingly AVOD model. We’ve launched FAST channels and are looking at more around the world. We have BBC.com. That has a huge number of viewers. We expect the coronation and the U.S. elections to drive even greater audiences. We’re proud of our shareholding in BritBox with ITV and delighted with the success of that business. We’ll carry on looking at more opportunities. Podcasts are an exciting area for us, and we have announced a multi-title deal with Spotify. One of our new, highly acclaimed documentaries, Fight the Power: How Hip Hop Changed the World, with Chuck D, sprang out of our first podcast with Spotify. Sometimes D2C models like podcasts or exclusives with Spotify lead to other exciting projects.
WS: As you look at the year ahead, what other priorities will you be focused on?
FUSSELL: Part of our strategy is about empowering people around the organization to be their authentic selves to help them deliver their best work. Inclusivity is something I am passionate about. We’ve been hearing from individuals around the company and what drives them. What doesn’t get written about that much is how proud people are to work for BBC Studios (over 90 percent) and how many people strongly recommend us as a place to work (in the high 80s now). This, to me, is fantastic. We’re the most transparent organization in the U.K.’s media business for voluntarily disclosing protected characteristics. And that culture is very important to me because we’ll get the best storytellers when we reflect the most authentic organization. We spend time as leaders doing that, and that’s one of my key priorities. So relentless
focus on the strategy and creating a highperformance culture where people can come here, celebrate themselves and do their best work.
WS: It’s funny; the BBC’s Goodness Gracious Me was the first show I ever watched where it felt like I was seeing myself and my culture represented on-screen. Back in the late ’90s! My friends and I still quote from it all this time later.
FUSSELL: And those clips are working for us on social media. A new generation is finding them. Those sorts of shows work very well in our U.K. VOD business. Those sorts of storytellers, whether it’s Small Axe or I May Destroy You—that’s what we do. We tell stories. I can’t tell you which of them will be commercial successes. What I can tell you is that they’re going to be creatively successful, and they’re going to work in the portfolio. The teams are doing well taking those creative swings and bringing different voices into the organization. We want to represent all the voices of the country. We are trying to make sure that we are bringing the best people in and allowing them to be themselves and be representative at the same time. We say, let’s talk about stories, not statistics. Tell the stories about who you are and what drives you. It’s a lot easier on Zoom when you can talk about things that are very personal as opposed to in front of 500 people. It’s meant that people could be very proud of where they work and share their stories and things they haven’t done before. When you do that, you can be yourself and do your job much better. That’s the thing we’re trying to work on. Everyone is interested in the programs and the numbers, but that’s the key thing for us.
Acquisition Strategies / Funding Models / WildBrain’s Eric Ellenbogen
Our Playground is Getting Bigger
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Simon Weaver
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Dana Mattison
Sales & Marketing DirectorGenovick Acevedo
Sales & Marketing ManagerAndrea Moreno Business Affairs Manager
Problem-solving is at the heart of so many kids’ shows; it also needs to be at the top of executives’ agendas as they navigate a landscape markedly different from the one just 12 months ago.
Funding has always been a challenge; it’s even more of one now as some services scale back their original spend and broadcasters brace for the ad downturn that is projected for this year. Channels are going online only; CITV is the latest to announce that move. Kids are still spending a lot of time on free digital services, so figuring out how to have a presence there is para mount—while also being attuned to the needs of whoever contributed to the funding that got the show off the ground.
Having a YouTube strategy was among the key topics discussed at our third annual TV Kids Festival. “One of the things that is so exciting about YouTube is it’s the most datarich environment we’ve ever had and the richest with engagement as well,” David B. Williams, senior VP and general manager of channels for pocket.watch, said during our Making Sense of YouTube panel discussion. “Sometimes I call it the Galapagos Islands of the media because it’s like this fiercely competitive environment where you see all these new forms of life evolve.”
Francesca Newington, director of the POP Channels at Narrative Entertainment, said that YouTube is a key priority for the portfolio this year. “Both as a platform for discovery but more than that. We’re currently assessing all our rights situations. We’ll be focusing on growing our subscribers and then providing lots more unique content that isn’t available on our other platforms. We have big plans for growth across YouTube for this year.”
As dynamics in the kids’ industry shift again, leading kids’ producers and distributors are returning to traditional co-production models to piece together the financing puzzle.
Several programmers share how they are finding breakout properties amid the abundance of content available on the market today.
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The crucial role of YouTube in brand-building strategies came up across the conversations with WildBrain’s Eric Ellen bogen, Mattel’s Richard Dickson and 9 Story Media Group’s Vince Commisso in this edition. We touch on the rising prominence of AVOD in a show’s overall value chain in a piece on funding models. And we hear from buyers about their approach to rights in our report on acquisition trends.
While their needs differ, the programmers we spoke to all stressed the importance of co-viewing and representation. Chris Nee, who created Doc McStuffins, has built a successful career developing shows that bring kids and families together. She shares with TV Kids how she is using her resources to expand opportunities for underrepresented talent in children’s media.
Quantum Heroes Dinoster / Super Wings / Petronix Defenders
Alpha Group is highlighting its brand-new show Quantum Heroes Dinoster, about four kids who travel secretly to a world of dinosaurs. Together, they complete missions to save and protect dinosaurs from natural dangers and from a mad scientist, Bex Hunter. “We are very excited to present this promising show with a high level of production, compelling stories and full of comedy,” says Silene Chaves, VP of international, media and consumer products. There’s an eighth season of Super Wings, which sees the heroes gain new powers and get updated transformation suits to match a fresh new electric concept, which celebrates clean, green, renewable energy. Alpha Group is also promoting Petronix Defenders, in which Matt, Emma, Jia and Tom rescue endangered animals with their high-tech pets and equipment.
The live-action series Crazy Fun Park, from the Australian Children’s Television Foundation catalog, features horror and comedy as it follows a shy teen who wants desperately to fit in and enjoy his high school years—if only his dead best friend and a posse of rotting ghouls would stop sabotaging him at every turn. In the preschool arena, the animated series Kangaroo Beach follows four young animal friends who share an action-packed summer training as cadets with their lifeguard heroes. Phil Breslin leads the factual adventure series Built to Survive, in which the host gets up close to some of the world’s most unique creatures to reveal the ultimate survivors of Australia’s most extreme habitats. The company also has on offer the live-action drama MaveriX, featuring six young motocross riders.
A brand-new season of Angry Birds Bubble Trouble is on offer from CAKE, this time following the daydreaming birdies as they leave the safety of their bubble garden and venture into the big city. “The latest installment from Rovio promises to entertain viewers of all ages,” says Ed Galton, CEO of CAKE. “440 episodes of non-dialogue Angry Birds content are now available and working well across all platforms.” There’s a new special in Fresh TV’s Total Dramarama franchise: Total Dramarama—A Very Special Special That’s Quite Special CAKE is also presenting the African animated superhero show Super Sema, produced by the London- and Nairobi-based female-led studio Kukua. Super Sema is executive produced by Oscar-winning actor Lupita Nyong’o and written by BAFTA winner Claudia Lloyd.
“We aim to always offer high-quality productions with unique storytelling propositions.”
—Silene Chaves
“Our focus at this market is to acquire new content for distribution and to build on our exciting new development slate with unique stories from around the world.”
—Ed GaltonSuper Sema
Droners / Gigantosaurus / Taffy
The first episodes of Droners season two are being presented by Cyber Group Studios at MIPTV. “Comedy, adventure, action, girl leaders and eco-consciousness are key words in this series,” says Raphaëlle Mathieu, executive VP. The MIPTV slate also includes season three of the hit preschool dinosaur series Gigantosaurus and seasons one and two of the slapstick comedy Taffy , for kids 6 to 10. Titles from the Splash Entertainment catalog, such as Chloe’s Closet and Sabrina: Secrets of a Teenage Witch , plus specials such as Norm of the North , are on offer through Cyber Group Studios as well. “We are committed to being a one-stop shop for our buyers, ensuring that they can always find what they need in the realm of kids’ and family animation,” Mathieu says.
Mystery
Leading HARI’s highlights, Mystery Lane follows detective hamsters around London as they solve cases that Scotland Yard cannot. Sophie “Kido” Prigent, head of sales, describes the series as “Scooby-Doo meets Sherlock Holmes.” In The Weasy Family, HARI combines non-dialogue slapstick comedy with a heartwarming narrative to tell the story of a burglar weasel who becomes a father to two girl ducklings and finds new meaning in life. Grizzy and the Lemmings World Tour sees the characters embark on a journey when their Rangers’ station accidentally takes off. “We produce shows that will make kids laugh their heads off no matter where they are in the world,” Prigent says. “Any kid can identify with our extraordinary animal characters. Their personalities—whether they’re wacky, bold, quirky or shy—will inspire them.”
Mediatoon Distribution is shining a spotlight on The Marsupilamis, a comedy originally commissioned by M6/Gulli. It gathers “all the ingredients we love in a kids’ comedy series: awesome stories, iconic characters, premium CGI, a colorful universe and a double scoop of comedy,” says Jérôme Alby, managing director. Various anime titles feature on Mediatoon’s slate, including the newly acquired Edens Zero, which comes from Hiro Mashima. “This acquisition further reinforces our anime slate, which already features star shows such as Naruto, Hunter x Hunter and Fairy Tail,” Alby says. The upcoming family sitcom Living with Dad sees four daughters take over a household managed by their single dad. “By breaking stereotypes, this comedy series will definitely have global appeal,” notes Alby.
“We are proud to offer a diverse array of content, including cartoons, anime, CGI, preschool, kids’ and family content.”
—Raphaëlle Mathieu
“We look forward to seeing our friends and partners, getting to know new ones and having passionate talks about their programming needs.”
—Jérôme Alby
The Marsupilamis
“We produce premium IPs with strong brand potential and develop a unique editorial line, focused on comedy and slapstick that resonate with family audiences worldwide.”
—Sophie “Kido” Prigent
The Sound Collector / The Ghastly Ghoul / Flix
The Sound Collector , represented by Serious Kids and produced by Eagle Vs Bat, has Keira Knightley as narrator. It centers on the world of sound, as heard through the ears of a small being who is hard of hearing but enjoys exploring the noises of the world around him, including the hissing of the tide on a pebble beach and the popping of sea anemones. The Ghastly Ghoul, from Dream Logic Studios and Lupus Films, features a diverse cast and colorful designs. Also on offer, Flix is the first animated series based on Tomi Ungerer’s work. “The core values of the show are widely sought after, such as tolerance, courage, friendship, community and family unity,” says Leila Ouledcheikh, senior VP of global distribution and commercial development at Serious Kids.
Phoenix Rise / Alma’s Way / Odd Squad
The Sinking Ship Entertainment slate features the brand-new school drama series Phoenix Rise, from BBC Studios. It centers on six students who form an unbreakable bond as they navigate the trials and tribulations of life in school. From Fred Rogers Productions, the bridge preschool series Alma’s Way follows 6-year-old Bronx-born, Puerto Rican Alma, who is just beginning to think on her own. She takes moments for “Think Throughs,” in which she reflects on what has happened and what could happen next. The long-running math comedy series Odd Squad is also on offer. Kate Sanagan, head of sales and distribution at Sinking Ship Entertainment, notes that these series feature “high production values, entertaining subject areas for kids across broad age ranges and a window into kids’ authentic lived experiences.”
Spellbound , a spin-off of Find Me in Paris , leads ZDF Studios’ MIPTV Junior catalog. It centers on a 15-year-old girl who has relocated from a small U.S. town to France to study at the Paris Opera Ballet School. Her life is turned upside down when she discovers a book of family spells and unknowingly casts the antidote to a protection spell that has hidden her identity since she was a child. The preschool series Maari—Adventures at the Reef follows a squid and her friends as they solve problems, such as human garbage polluting their home. “The very timely topics of diversity and environmental protection are core themes of the series,” says Katharina Pietzsch, Director Junior. In Superhero Academy , a group of first graders attend an unusual boarding school for future superheroes.
“We want to send a positive message, educate kids and put things in context, but also empower children and give them a voice.”
—Katharina Pietzsch
“All of these shows include key ingredients that make them internationally appealing.”
—Kate Sanagan
Spellbound
“Our high-end slate continues to grow steadily.”
—Leila OuledcheikhFlix Phoenix Rise
The TV KIDS SUMMER FESTIVAL is a four-day must-attend virtual event taking place a week prior to Annecy/MIFA.
Set to be held from June 6 to 9, 2023, the third edition of the TV KIDS SUMMER
FESTIVAL will feature keynotes and panels with leading executives and creatives discussing the major trends in the children’s programming business. It will be streamed live and available on-demand for two months in TVKidsSummerFestival.com. For sponsorship opportunities, please contact Ricardo Guise at rguise@worldscreen.com or Dana Mattison at dmattison@worldscreen.com.
With the soon-to-be renamed HBO Max amid an overhaul as it merges with discovery+, strategy changes at Netflix and other streaming services and broadcasters, commercial and public, figuring out how to do more with less, funding models are being upended yet again. But distributors who have been in and around the sector for a long time don’t seem too stressed about the changes afoot; as usual, they are relying on the creativity that has long defined the kids’ programming industry to get great shows made.
“Officially, we’re not in a recession, but I would say the entertainment industry probably already is in a recession,” concedes CAKE CEO Ed Galton. “Buyers are being more cautious about the content they are trying to acquire. Budgets have been put on hold. I anticipate 2023 to be somewhat of a different difficult year. But I think once we get past 2023, in 2024 or 2025, things will start getting better again.”
Frank Falcone, president and executive creative director at Guru Studio, believes that the market is beginning to settle somewhat after the spending spree that happened before and during the pandemic.
“There was an abundance of content created with overexuberance and enthusiasm for the people trapped at home that were suddenly a captive audience. A lot of that content isn’t attracting the eyeballs. It’s time to regroup and look closer at what we’re commissioning. It’s healthy for the business to make things people watch and not burn money on shows that never find an audience.”
It is a challenging landscape today, though, when it comes to putting budgets together. “We see consistently 20 to 30 percent gaps in our financing across all shows,” Falcone explains. “You have an anchor tenant and other broadcasters, and then you’ve got this large nut to crack. The discussion can only move toward venture capital and private equity financing. That creates many challenges for producers because the business for that show has to be greater than just selling content to other broadcasters. It has to be a much larger package of a larger offering. I feel for anyone entering the business right now as a TV producer who wants to just make a show. If your company’s positioned with the ability to flex in licensing and other areas, you can at least bring that to the table. For an independent producer, it becomes a lot more challenging to raise the financing. You’re dependent in some ways on the graces of a public broadcaster or the belief that the show will matter from an executive. And that’s dwindling, given the lack of success some of these big swings have created on the platforms in the last couple of years.”
Raphaëlle Mathieu, executive VP at Cyber Group Studios, says that the changing market dynamics mean that the number of models available to assemble a show will likely multiply.
“I do not believe there is going to be a shift from one model to another; I trust different models will co-exist, and depending on the type of momentum or content, we will turn to a specific one.”
Katharina Pietzsch, Director Junior at ZDF Studios, says the key to dealing with funding challenges today lies in getting the right partners on board a project. “As well as the financials, the rights needed and taken by each partner need to be aligned as well as the editorial line—all partners must share the same creative vision for the project.”
As dynamics in the kids’ industry shift again, leading kids’ producers and distributors are returning to traditional co-production models to piece together the financing puzzle. By Mansha Daswani
Cyber Group Studios has a slew of partners on board 50/50 Heroes, including France Télévisions.
And flexibility is paramount, explains Sophie “Kido” Pri gent, head of sales at HARI. “Finding compromises on rights, license periods, territories, feeds, etc., enables producers to add funding partners at the financing stage or right after the green light; that’s a must these days when the broadcasters’ and platforms’ budgets get reduced.”
The influx of money into the ecosystem over the last few years did set unreasonable long-term expectations, observes CAKE’s Galton. “When you have people like Net flix giving you 100 percent finance to make a show; they’re giving you $15 million to $18 million to produce a series, and then suddenly that starts to go away, that’s becoming a problem for a lot of people. We’re relying on a small number of platforms that were doling out a lot of
money to get shows off the ground. We’re almost going back to the model that some of us were very successful at for many years, which is putting multiple partners together to get to 100 percent. That is the model that we’re looking at. We would love to continue working with people like Netflix, Disney and all the other platforms that can get you to 100 percent faster. But there will also be those co-pro models that we will cobble together deals to get us to 100 percent so we can go into production.”
As costs rise and budgets are restricted, “there continues to be a great demand for working together and sharing costs,” ZDF Studios’ Piet zsch says.
As for making those collaborations work, Cyber Group’s Mathieu emphasizes the need to “establish clear communication, set realistic expectations and align on creative vision and objectives. It’s also important to have a thorough understanding of each territory’s regulatory and cultural landscape, as well as a willingness to adapt to local market conditions.”
Of course, exclusivity can often be a sticking point, with platforms’ and broadcasters’ need to have something unique to offer their viewers often at odds with rights holders wanting to have ubiquity to build a multiplatform brand.
“If we are talking about an original series, the desire for long exclusivity is extremely strong,” Mathieu says. “If we are working based on co-production and presales financing, there is more flexibility. However, this flexibility is often linked to the amount invested—the more invested, the less possibility of a short-term window until now.”
Indeed, Mathieu does see the rights-ask situation evolving, “especially for content with strong potential for merchandising,” she says. “After a window of exclusivity, it is very helpful to have other potential exposure to maximize merchandising revenues.”
“I’ve been a big advocate of sharing rights and nonexclusive rights for as long as I’ve been doing this job,” says Galton at CAKE. “Brands can’t exist on one platform anymore. You don’t have enough eyeballs anymore to allow brands to succeed. You have to be on multiple platforms to get maximum eyeballs. The platforms and the broadcasters are all now starting to understand that. It’s not perfect yet, and there’s still a long way to go, but we’re seeing a lot more cooperation than we have in the past. I hope this will continue without degradation of investment and license fees from our partners.”
Pietzsch at ZDF Studios reflects a similar sentiment, explaining: “Some global partners are willing and able to carve out or hold back in certain territories and on rights if the overall model makes sense to them. At the same time, partners from ‘smaller’ territories and with limited
acquisi tion budgets are increasingly interested in coming on board early to secure content that would otherwise end up in a multi-territory deal and not be available to them.”
Prigent at HARI agrees that clients are becoming more flexible. “With open communication, we manage to find ways to make things work according to the budgets allocated, but also because IPs that work well elsewhere are attractive to all to drive and retain the audience.”
As such, FAST and AVOD services are becoming increasingly crucial to distributors as they look to build awareness and maximize revenues across the value chain.
“AVOD is crucial to the exposure of IP,” Prigent adds. “Retaining some flexibility to exploit at least clips and a few episodes benefits both the producers and the broadcasters. It’s impossible to want brand recognition without YouTube exposure; for Grizzy & the Lemmings, we have 1 billion views per year on YouTube fed by our content and our partners’ promotional efforts.”
Prigent continues: “We’re having a lot of discussions with our free-TV partners around the FAST model because they’re moving in that direction to either offer a simultaneous service or one meant to replace their linear channels in some cases.”
Mathieu believes that “AVOD/FAST is a must now. At this stage, we focus more on the back catalog content that is available. Still, we are working on creating digital native content as we did with Giganto Club, a great spin-off of our flagship series Gigantosaurus.”
Galton says he is a firm believer in the ad-supported VOD business. “It’s just a matter of how that shakes out and how the platforms come together and allow that to happen. I believe that that will be where we will ultimately profit in the future.”
Between the raft of new commissions making their way onto the market and shows that have been canceled by one streamer or another as they refocus their strategies, there is an awful lot of kids’ content available in the landscape today. As buyers sift through this abundance of choice, they’re having to be especially selective as they look for new ways to keep young ones engaged amid the myriad other options they have for their entertainment—while also making sure those shows are available on all the platforms kids are using today.
At Paramount Global in the U.K. and Ireland, Louise Buc knole, general manager of kids and family, heads up a portfolio that includes the Milkshake! free-to-air block and the Nickelodeon portfolio of channels. “We have VOD, linear channels, a FAST platform with Pluto TV and an SVOD with Paramount+,” she explains. “We’re always looking for content for all of these platforms, so acquisitions are really important.” These sit alongside the company’s internal content pipeline.
“We do a lot of commissioning in the U.K. for the Milkshake! block, which is on Channel 5, so we look at about two to three additional acquisitions to bolster what we have and complement that in the U.K. And for the Nick network, this could be anything from preschool to older kids, live action and animation. We look at what gaps we have. It could be franchises or particular IP that is of interest to us.”
As director of kids’ content for Sky in the U.K. and Ireland, Lucy Murphy is catering to an audience of 1- to 10-year-olds. They expect to see “premium entertainment” across multiple genres and formats, she says. “We have around 10,000 episodes of on-demand content, and a lot of that comes from the partner channel deals that we have.” New to her remit is a Sky Kids linear service, targeting children aged 1 to 7. “In terms of the acquisition deals we do, we buy large packages, e.g., from LEGO or DreamWorks Animation, but we also cher ry-pick one-off titles so that we’ve got that entire demographic served with the right shows that they want to watch.”
Leading programmers share how they are finding breakout properties amid the abundance of content available on the market today.
Acquisitions are also crucial at French-Canadian broadcaster TFO, according to Marianne Lambert, director of acquisitions and co-productions, noting they make up about 85 percent of the slate. “We also do co-productions and independent productions, but mostly, for all our platforms, it’s acquisitions.” TFO operates a linear channel for kids, an educational website for teachers and TFO.org, “which we’re transitioning into an OTT platform with our linear channel. We also have a YouTube channel, but we mostly use it for promotional purpos es. When we buy, it’s for all those platforms at the same time.”
HappyKids, meanwhile, a connected TV streaming app, is entirely reliant on acquisitions. David Di Lorenzo, senior VP of kids and family for Future Today, the app’s parent company, is on the lookout for a broad range, “whether it’s earlylearning content from CoComelon or user-generated content in gaming from Roblox or Minecraft or popular IPs like Transformers or Ninjago to YouTube [channels] like K-City or Kids Diana Show. Today’s audience is looking for broadbased content across multiple platforms. Our job is to find content that our audience wants to watch.”
As for what fits that bill, each buyer surveyed here has specific brand remits they keep in mind when filtering through available options. Murphy at Sky Kids says she starts with, “Are kids going to love what they see? Is it premium, distinctive and original? Just as important, are parents going to love it too? Especially when you’re acquiring and commissioning shows for younger children, it’s really important that parents feel good about what their children are watching.”
Bucknole stresses the importance of British content for Milkshake!, although she and her teams will consider shows from elsewhere. “We celebrate kids and families within this content.” Nickelodeon’s approach is “kids first,” Bucknole notes. “We want to focus on their point of view. It’s largerthan-life characters and how we bring that slice of life into our content. We follow the brand values of heart, smart and fart! We want it to be entertaining to them. We want them to learn something and also feel that emotion as well.”
For Lambert, content has to be in French, “which is not that easy to find,” she says. “We started programming a lot of dubbed series, so that’s helped a lot. It has to be educational, but it doesn’t have to be about a specific [subject] like math or science. It can be loosely educational. It can be about social-emotional responses, living in a group, relationships, critical thinking. It’s really important to us that casting be diverse. We want our shows to represent Canada as it is today, being inclusive of all communities, people with all kinds of bodies, different backgrounds and abilities, without making that the center of the story. We want the kids we’re casting to represent all communities and all shapes and sizes. We like to look for material that’s different, a unique way of telling that story. We’re always looking for innovation. And I guess our model is, how can we make them learn a little bit as they are having fun? Humor is really important. We want kids to laugh.”
Murphy also references the importance of representation. “We lean into inclusion and diversity and do an awful lot in that
respect. We also have very clear principles around the environment. We want to have shows that demonstrate clear, planet-friendly principles. It doesn’t mean that all our shows are eco because they’re not. But we want shows that do represent planet-positive behaviors. We would shy away from shows with planet-negative behaviors unless we’re talking about that from a news or current-affairs perspective. We’re creating positive TV shows that kids will get something out of. It’s not an empty viewing experience.”
As for what programmers are eager to find now, Lambert highlights a need for content that skews older—“It’s difficult to find content for teenagers”—as well as shows for the core 6-to-9 set. “We want innovation and different ways of telling stories. We have a hard time finding content for 6to 9-year-olds. Live action also is difficult for us because it has to be dubbed. Since we are educational and our content is used to teach, there are certain things like STEM and examples of girls in science, those kinds of role models. It’s really hard to get a show about math, so we’re always on the lookout for that. Indigenous perspectives are really important. And also, environmental concerns are big right now.”
“We’re looking for killer, not filler,” Bucknole quips. “We want the shows that are going to stand out. We’ve got a lot of franchise shows on the Nickelodeon channels. Comedy is really important, and that could be with animation or live action. Those are the formats that we’re looking for that will work globally. It needs to be lovable characters that will carry globally for the Nickelodeon networks. Specifically for animation, we will look for characters and storylines that will complement what we already have on the channels. How is this going to sit with SpongeBob SquarePants and PAW Patrol? For Milkshake!, we’re very interested in game shows at the moment and also slapstick and comedy silliness. We’re also looking for content that has a lot of STEM. Sustainability is also very important to us. We know kids love animals, so we’re looking at various animal and pet care [shows]. We obviously would look at
any shows that have a great story or are book-based IP, or have the potential to be a franchise. Fact-ent formats are quite interesting for Milkshake! because we’re a public-service broadcaster. Those formats where they’re representing kids and showing their world. Preschool animation is very important to us. It’s always looking for that uniqueness and what makes this stand out. What will make the kids draw the picture, hum the theme tune and play based on that show? They’re always going to be the winners for us.”
Murphy at Sky Kids, meanwhile, is especially on the lookout for “half-hour specials with that real evergreen longevity. We’re keen to find something for younger viewers that gets them up and moving around. We’ve got lots and lots of songs and sing-alongs, so we’re not necessarily looking for that but something that encompasses music and singing. We’re also looking for shows that spark a bit of curiosity in a child. It’s not necessarily a didactic educational show but something that will make them wonder about the world around them. We’re looking for shows that have followthrough and a lasting value to them.”
HappyKids is fairly well served on the preschool front, Di Lorenzo says.
“Our focus right now is really on our 6-plus audience. We’ve been focusing on live-action series, trying to find more movies for our audience, looking at science exploration and things that will bring the family together to watch.”
Of course, spotting an idea you love is just one part of the puzzle; securing the rights you need is a whole other challenge.
“We don’t need exclusivity,” says TFO’s Lambert. “We work well with other French-Canadian broadcasters, having co-exclusivity or sharing rights. We do have exclusivity for our independent productions, and that’s fine. But acquisitions, we’re fine with sharing.”
For Murphy, “it’s not a deal-breaker,” she says, but a show that isn’t exclusive to her services “won’t attract the acquisition fees it would if it were! There are some shows you want to have because they’re really popular. But if it is everywhere all at once, it will be a much lower fee. The key for us is transparency. We need to know where else shows are going to be playing. We are a pay service, so our customers don’t want to be paying for things that are everywhere. We need to make sure there’s a balance of premium shows that we do have exclusivity for and popular franchises that may be on more than one platform.”
“For us, it’s not really about the exclusivity of owning a show, but maybe exclusive content around a particular show,” Di Lorenzo says. “For example, we did a deal with Moonbug last year where we got exclusive content around Blippi Blippi is on several platforms, but we were able to take ownership in some specific episodes that were only available on HappyKids.”
Milkshake! is “flexible in the rights and the shows,” Bucknole says. “It depends on the lane you go down, whether it’s a commission or a co-pro or an acquisition, and it depends on the price point. Some shows are franchise IP, so exposure on lots of different platforms is beneficial to build that brand. For the Nick content, it depends if it’s a local pickup or something we look at that is multi-territory or a global pickup—in which case, we probably would want all exclusive rights for all platforms. It depends on the IP, the show and the deal itself. We share a lot of content in the U.K. with other broadcasters, particularly indigenous languages.”
Ultimately, though, Bucknole notes, “We’re much more fluid now because we know that budgets are very challenged, and we have to be smart in our commissioning and acquiring.”
TV KIDS: How have you been using WildBrain’s IP activation strategy to grow your brands?
By Anna CarugatiWildB rain offers fans around the world many beloved franchises. Its studio in Vancouver is busy producing various titles, including The Snoopy Show , Sonic Prime and Chip and Potato . The distribution team sells a library of 13,000 half-hours of inhouse and third-party shows worldwide. WildBrain Spark entertains and engages kids and families globally on AVOD platforms with award-winning, broadcast-quality content. WildBrain CPLG handles licensing and merchandising. This route from creative ideas to the content on-screen to products on shelves is what Eric Ellenbogen, CEO and vice chair, refers to as the company’s 360 approach. It provides a roadmap for ensuring his teams reach and engage audiences and consumers wherever they are. He talks to TV Kids about managing brands and prioritizing creativity and IP.
ELLENBOGEN: It’s all about IP. Our studio and the entire organization are driven by prized, beloved and well-known intellectual property. That has enabled us to attract some of the greatest talent in the business—showrunners, writers, producers and animators. Content development is the first stage of everything. It is the start of our 360 model, and getting it right is very important. We’ve been very deliberate and careful in the rollout of that IP. That content then feeds our global distribution business, across every platform, including our own WildBrain Spark network. That, in turn, drives brand awareness, affinity and engagement with those audiences that ultimately results—for some properties, not all—in consumer product sales. These brands, many of which have been around for decades, continue to feed and build the library and then go back to other forms of distribution as we go through different windows. One of the things I find fascinating is that the business is moving from a model of pure exclusivity, although there are certain exceptions for certain telecasters, to the ubiquity of content across many platforms so that for audiences, no matter where they are, what language they speak, that content is always on, always available in different forms. But the availability and ubiquity of that content are critical to driving, particularly, the kinds of IP brands that WildBrain possesses. I can give some examples. In 2025, Peanuts will be 75 years old, which is remarkable. It has incredible engagement. When you think about its origins as a newspaper comic strip and how beloved this has become worldwide, it’s interesting because many audiences worldwide have never seen any Peanuts content. Those television specials I grew up on have had very little exposure outside North America. What has changed in this new world is the incredible, far-reaching relationship we now have with Apple TV+. They are the exclusive home of our new Peanuts content. And with a billion iPhones out there, this content is available to audiences now worldwide, obviously in multiple languages on a day-and-date basis. That content has been rolling out for several years. It’s getting increasing audiences and exposure, and Apple has been a remarkable partner for the marketing and awareness of that content. They understand the IP and have been supportive as well of the talent that we’ve attracted in production. The other interesting thing is rolling out that content in Chi na, [where] it’s had no exposure before. Apple TV+ doesn’t have a presence in that market, so we are distributing that content and creating awareness for Snoopy and the entire family. Snoopy in Space is not only just a show—Snoopy went into space with Artemis I. That has also fueled enormous growth in consumer products. While many may think of this as a kids’ property, it isn’t. It’s an all-family property. In Japan, which represents nearly 50 percent of all consumer products worldwide, they’ve seen no content. There are Snoopy cafés and hotels. So that has grown now into over $2.5 billion at retail.
The other IP we’re incredibly excited about and [released] on Netflix is Sonic Prime, in partnership with Sega. This is the biggest CG show ever to roll through our studio. It’s a good example of how we work with partners. Mattel is another one where it’s not IP we own, but we partner with them across consumer products, marketing, promotion and creative development.
TV KIDS: WildBrain has made some significant deals in the last year. What can you tell us about them?
ELLENBOGEN: To me, deals are just a reflection of successful creative and development. I use that as a measuring stick of how we’re doing in deploying, reactivating and unlocking those IPs. We generally never talk about development because my concern has been that you create an expectation, and I need to give the teams all the time in the world to get creative right. That is the priority at the company. It’s not just about creating the show or those deals, but do we have the 360 put together? Do we have the organization that supports creative development across the entire value chain, around every way of consumer engagement, and in particular, how audiences learn about new things? Our Spark division and YouTube channels are important in creating awareness and building an on-ramp to those properties. The deals, just as a measure of creative success, which is really what I care about, are myriad. We’ve had Caillou specials that are going on Peacock. That property, by the way, lived for a very long time just on YouTube. Then we started creating new made-forYouTube Caillou episodes, and then the Caillou library landed itself on Cartoon Network, and then new specials for Peacock. Yo Gabba Gabba!, another amazing audience favorite, is now with Apple TV+, [which] acquired the entire library. We’ve been making new Teletubbies on our YouTube channels and now have a new Teletubbies series [on Netflix]. The deal flow is important, but what’s more important is sustaining these [shows]. One-and-done is not the nature of our business at all. We are unique as a company with the ownership, care and feeding of these incredibly beloved franchises.
TV KIDS: Some prominent streamers have cut back on their children’s offerings. How do you see that impacting producers, distributors and children?
ELLENBOGEN: I think the headlines have been exaggerating the rationalization happening in the business. There has been enormous, unprecedented investment in content. Much of it was about audience acquisition and retention as the business moved from linear to nonlinear. We’re seeing rationalization now—more careful choices and development by the streamers. The level of investment is still extremely high. Kids’ content has always been a cornerstone of these services. It’s very hard to unplug your kids from any of these services. It’s what keeps churn down. One of the things that we’re enjoying, as the choices are becoming more deliberate on the part of the streamers, is brand
recog nition. With known content, not only does the name mean something, but the reason that they’ve endured is because of a fundamental DNA that is highly repeatable. Some services are de-emphasizing kids’ content, but we are seeing growth in FAST channels. There’ll be continuing shifts in the marketplace, but our business has always endured those things. Again, it’s about great creative, and that cream always rises to the top. We don’t want to be alarmist about it because we’re experiencing incredible audience loyalty against the content and great interest from all the services in branded entertainment.
TV KIDS: With WildBrain Spark, what are you learning about how children watch content?
ELLENBOGEN: WildBrain Spark is an important part of our 360 approach to the business. We have many learnings. One trillion minutes of content have been seen on WildBrain Spark. Even with all the emerging and competitive platforms, YouTube remains the most important discovery platform and the most popular one for brand relevance. We continue to see incredibly high engagement on that network. It is highly curated, and [as] on our channels, it is one of the few places where full episodes are seen. So it’s not only promotional. One of the measures that we use is watch time. How long does our audience stick with the content that they are seeing? That’s the engagement figure. Engagement is the story. While a trillion minutes is a great number, I look at repeatability. Is our audience with us? Do they move from one piece of content to the next? [What are the] favorite episodes? Do we lean into certain characters? We are data-informed but not data-driven. We’re not making shows by AI. But we can share information about how popular a character would be. [From] the learnings we get from our Spark network—[about] a storyline, a character or something that has great audience engagement—we can then determine if we should lean into that character, make more episodes, etc. It is that flywheel of audience engagement across multiple distribution channels and different types and lengths of content and stories. It’s not just our content on that network. We manage any number of channels for our partners and supply them with the same learnings we get from our own content.
WildBrain refreshed the Strawberry Shortcake brand with Berry in the Big City, available on Netflix as well as a raft of other platforms.TV KIDS: Many of your brands trigger nostalgia in adults and parents, prompting them to share their experiences with their children. How do you balance that nostalgia against newness when refreshing brands?
DICKSON: There is a true connection to our brands, and it’s always rewarding and heartwarming to see adults rediscovering our toys and our brands, either through their own children or becoming collectors themselves as they reunite with that particular part of their lives. I believe that we’re striking the right balance. We use our Mattel playbook. It’s a game-changing approach to brand reinvention that essentially balances the art and science of creativity to deliver what we call brand longevity. Our playbook focuses on four key areas. The first one is brand purpose. And this is the distinctive reason for being that lives in every one of our brands [and is] meaningful and motivating to our teams and collaborators. Brand purpose is also increasingly important to consumers who want to align their purchases and decisions with their values. The second piece of our playbook is what we call design-led innovation. This creativity comes from knowing our consumers and then exceeding their expectations with a truly amazing purpose-driven product. For brands like Barbie, that means dolls and playsets that reflect the world that kids see every day. The third part of our
By Anna Carugati
Founded as a toy company in 1945, Mattel has made and sold some of the most popular dolls, cars and games—such as Barbie, Hot Wheels and UNO—in the world. Over the past few years, the company has repositioned itself as an IP-driven entertainment company, giving evergreen brands new life on the big and small screens. Richard Dickson, Mattel’s president and COO, talks about the development slate of films and TV series, ongoing diversity and inclusivity initiatives and maintaining cultural relevance when refreshing brands for the young and young at heart today.
TV KIDS: Mattel has transitioned from a toy company to an IP-driven entertainment company. What have been the benefits of this strategy?
DICKSON: Following the completion of our turnaround in 2021, we evolved our strategy last year from transforming Mattel into an IP-driven, high-performing toy company to growing our IP-driven toy business and expanding our entertainment offering. Film and television, consumer products and digital experiences like games and NFTs are directly adjacent businesses to the toy industry. We’re making a lot of progress in capturing the full value of our IP in what we really believe are highly accretive business verticals. And while it’s still at the early stage, we’re very excited about the progress we’re making, and in success, this can be truly transformative for Mattel.
playbook is what we call cultural relevance. This is about connecting brands and products with popular culture to drive demand, and something Mattel does particularly well. The fourth and most important is executional excellence, bringing great ideas to market better and faster. Great ideas are great ideas, but if you can’t execute them and bring them to life at retail, they’re nothing but great ideas. The Mattel playbook is the heat behind the incredible Barbie brand turnaround we’ve led over the past five years and a blueprint for re-energizing brands across the entire Mattel portfolio.
TV KIDS: Tell us about your development slate of films and TV series. How are you finding and working with talent to ensure that their visions align with the values of the brands?
DICKSON: We are so excited about our work in the television and theatrical space. We work with the very best in the industry to bring feature films derived from Mat tel’s rich library of IP to life. Currently, we have projects in development for American Girl, Barney, Magic 8 Ball and Major Matt Mason, which maybe you haven’t even heard about but is one of the archival brands of Mattel. We’ve got [movies coming based on] Matchbox, Masters of the Universe, Polly Pocket, Rock
’Em Sock ’Em Robots, Thomas & Friends, UNO, View-Master and Wishbone. We’ve also developed a concept called Christmas Balloon based on an all-new IP. And, of course, the highly anticipated Barbie movie starring Margot Robbie and Ryan Gosling. That will be debuting in theaters on July 21, 2023. When we set out to do a film, it is our top priority to find the best creative partners whose visions will align with our brand purpose and add a unique perspective that ultimately shapes a project into something unforgettable. Our collaboration with Greta Gerwig and Warner Bros. on the Barbie movie is a perfect example.
TV KIDS: In what ways has Mattel increased inclusivity and diversity in its brands?
DICKSON: At Mattel, we are passionate about the positive impact our brands can make in the world, and that’s why we’re evolving from a culture of mass marketing to mass-mattering—cultivating a mindset of: purpose times influence creates impact. We’ve created UNO decks celebrating Pride and launched a braille edition last year so that sight-impaired people could play the number one game in the world for the first time. We partnered with Aaron “Wheelz” Fotheringham to create one of the coolest RC products. It’s a remotecontrolled wheelchair that allows kids to experience the incredible talents of Aaron himself. We recently introduced an autistic character, Bruno, into our iconic Thomas the Tank Engine content. American Girl offers several other specialized items. We have an asthma and allergy set and service dog gear. We’ve got crutches, wheelchairs, a diabetes kit, [and] hearing aid placement is also available for our 18-inch dolls. When you boil it down, it’s all about thoughtfulness, inclusiveness and details. Another great example is that we redesigned all our transportation vehicles in Little People to be wheelchair-accessible. And over 50 percent of our Little People represent diversity. I could go on and on with all of these different examples, and we’re so proud of them.
TV KIDS: Mattel has another iconic brand, Hot Wheels. Tell us about the movie and the TV content in the works.
DICKSON: Hot Wheels is the single largest vehicle toy brand in the world, multiple years running. We are so proud to work with best-in-class partners on unlocking the brand in the content arena, including Warner Bros. Pictures and J.J. Abrams’ Bad Robot, to create a liveaction film based on Hot Wheels. The high-throttle film will bring to life our beloved multi-generational franchise. It will showcase some of the world’s hottest and sleekest cars and launches around toys, digital gaming and even Web 3.0. We’re also gearing up to announce several TV titles based on Hot Wheels. We look forward to unlocking the value of Hot Wheels and bringing it to life for new audiences for multiple generations to come.
TV KIDS: Besides films and television shows, Mattel produces a broad range of content, including short-
form and digital gaming. Tell us more about this additional content.
DICKSON: Our objective is to always put our brands where our consumers are, and Mattel will always meet the fans of our iconic brands wherever they are and make sure that our brands are also discoverable in innovative and exciting ways: physical toys, television, film, digital gaming, YouTube, Web 3.0, the metaverse, literally everywhere and anywhere in between. Our television slate has 12 series in the making and specials on streaming and broadcast platforms globally. We also continue to rapidly expand our digital gaming footprint. In 2022 alone, we saw the Roblox debuts for Masters of the Universe, Barbie and Polly Pocket. We launched the highly anticipated Forza Horizon 5: Hot Wheels game. We executed collaborations between Masters of the Universe and several of the most popular gaming platforms in existence, such as Fall Guys and Stumble Guys. We also launched the Barbie “Brooklyn” Roberts YouTube series, Barbie: Life in the City . We will continue doubling down on content and digital gaming in 2023, and I can’t wait to share more exciting projects our team is working on across multiple brands. But ultimately, everywhere that our consumer engages, Mattel brands will be there.
TV KIDS: Is digital gaming eroding physical play? Because, after all, a considerable part of Mattel’s business is also physical toys.
DICKSON: We get that question a lot. Physical play is not going anywhere. We see the industry of physical play continue to grow. It’s projected to grow by Euromonitor. But as technology advances and new platforms emerge, consumers are hungry to see Mattel IP in cutting-edge spaces such as digital gaming. We don’t view traditional play and digital experiences as competitive but rather complementary to one another. It’s just a larger playground. We’re excited about Mattel’s unique opportuni ty to pioneer what’s possible in both the digital and the physical worlds, continuously bridging the gap between the two and creating unforgettable experiences for our fans.
By Anna Carugati
With facilities in Toronto, New York, Dublin and Bali, 9 Story Media Group creates, produces and distributes high-quality programming for young viewers. Although budgetary challenges are impacting commissioners of children’s programming, Vince Commisso, president and CEO, is confident in 9 Story’s ability to meet current and future demands for content. The company is intent on reaching broader audiences. It has branched out into live-action shows and continues its commitment to increasing representation and embracing diversity.
TV KIDS: How do you view the current children’s content landscape?
COMMISSO: We’re seeing a belief, and an accurate one, that the current business model, as a result of streaming content, is not as lucrative as the one that preceded it. That’s caused a bit of a pause in the marketplace, manifesting itself in two ways. One is a reduction in commissions, and the second is a reduction in budgets. I think that’s going to be the case for the foreseeable future. And the macroeconomic factors— interest rates and reduction in consumer spending— certainly don’t help. This will all have to sort itself out until new perceptions emerge as a result of more efficiencies that production companies, streamers and distribution platforms play out. It’s time for companies like ours to take a look at how we do everything and reassess and adjust for how the world is moving forward, especially in content.
TV KIDS: Where do you see opportunities for 9 Story?
COMMISSO: I always think times like this are good opportunities because you can look internally and say, what we’ve strategized before doesn’t apply to the market today. We probably need to reorient how we do things. That means there’s an internal review of all our processes, which we’re undertaking, and that’s healthy. We’re no different from any other company in the space. Looking at how they bring things to market and [their] unit costs is very important, but I think there are also great opportunities to do things differently with outside groups. We’re looking at all kinds of partnerships that we’ve not looked at before, and I think we have willing participants on the other side, which two years ago [might not have been the case].
We will continue doing what we’ve done before with our animation. It’s still best in class, ranging from preschool to 6-to-11. It’s terrific stuff; we’ll never change that because delivering high-quality content is important to our audience. Digital is becoming more relevant in how kids consume content today, especially the young ones. So that’s an area we’re looking to grow. We’ve established a live-action division in the U.K. that has a show in production that will be aired soon on CBBC and a platform in the U.S. that we’re excited about. Those opportunities are available to us as a result of consistently looking at what we do and how we do it, which probably would not have been the case if we were always trying to catch up to market demand. That is always good. Companies need that opportunity, and I’m excited about how we are moving forward as a company. Content will be in great demand, always. There’s a little bit of a pause now. Once that pause is worked through the system, the great demand will emerge again.
TV KIDS: How do you see the budgets of broadcasters and AVOD platforms? Is everyone being cautious right now? COMMISSO: Budgets are coming down. I think that’s healthy. There was money being spent that probably didn’t need to be, and there was an artificial inflation of budgets for shows that perhaps didn’t have the return given the spend. Now we’re being forced to be more efficient, and every dollar spent has to have value on the screen, which is a better outcome for our clients—the children. I also think there’s a focus on content that is broad-ranged and serves mass audiences. There was a bit of a focus on content that super-served segments of the population, [to the point that] we probably didn’t do a good enough job serving other segments or broad audiences. When you create a show, you first have to get an audience. Once you do that, you can serve segments of it as necessary, given the authentic creative conceit of the show. I think we’re going back to that, which is great.
TV KIDS: What types of projects are broadcasters, SVODs or AVODs willing to invest in?
COMMISSO: Budgets are reduced. The change is more toward moving us back to where we were with lower budgets and shows that work for mass audiences. But that doesn’t mean we can’t celebrate things that are unique voices or that come from distinct groups. A great example is a show we’re doing with PBS KIDS called Rosie’s Rules, which launched in October. A young Mexican-American girl is the lead. That has a massive audience because it’s about family structure and her role in it, which we can all relate
to. It celebrates the things we have in common. But it also celebrates Mexican and American cultures, which are not mutual ly exclusive. There’s a relatability for everyone involved. That’s more of what I think we’ll see.
TV KIDS: What motivated branching out into live-action series?
COMMISSO: We determined that we have to serve our audience with a broader content offering. We had the opportunity in 2020 to bring on board an award-winning development executive named Gráinne McNamara. She was at Disney and King Bert Productions. We are doing a liveaction show called A Kind of Spark that Gráinne optioned and brought into the company. It’s based on a book of the same name written by a neurodivergent author named Elle McNicoll. It’s set to launch this spring on CBBC. We’re also in production on Blue’s Clues & You!, with several new series in development. We did a series for Apple TV+ called Hello, Jack! The Kindness Show, created by Jack McBrayer and Angela C. Santomero. Live action is a focus because we think it’s a growth opportunity. There’s a movement toward it from kids’ perspectives, especially as they get older. We decided to serve our younger kids with animation and then bolster that by serving the older kids as they leave animation and move to live action.
TV KIDS: 9 Story has made significant strides in increasing its diversity and inclusion initiatives. Tell us about the strategy. COMMISSO: First, [we acknowledged] that we didn’t know what we didn’t know. It started by bringing our chief inclusion and people officer, Farrell Hall, on board in September 2021, which has made a tremendous difference. Farrell has an extensive background in DEI and HR, which is a great combination, given the number of people we have and the diversity of our shows. That educated us about what we have to do versus what we have been doing. As a children’s animation company, we always took the responsibility of authentically presenting characters from all different walks of life and cultural backgrounds. We did that in a way we thought was authentic. Farrell helped us realize that we could take that level of authenticity higher, and we have.
We’ve had several shows that represent underserved groups and [illustrate] issues in society positively but do not take away from the entertainment value of the content. We’ve dealt with issues like racism and microaggressions in Karma’s World. We have LGBTQ+ characters like Fred the bison, who’s non-binary, in Chris Nee’s Ridley Jones. We have a new character in Daniel Tiger’s Neighborhood, Max, who is living with autism. In Xavier Riddle and the Secret Museum, we featured Temple Grandin as one of our real-life heroes. In A Kind of Spark, the lead character is neurodivergent. We want our shows to represent the world kids live in as authentically as we possibly can.
TV KIDS: Are AVOD and FAST extending 9 Story’s reach?
COMMISSO: AVOD has given new life to some fantastic older properties in our library, like Barney, Garfield and
Friends and Angelina Ballerina. That’s a good outcome because these brands live on. We often see parents who used to love these shows as kids introduce them to their children. There are great legacy properties that now have new outlets and new ways to access children. We’re just starting to expand our reach on FAST channels. We used to view these channels as competitive or potentially cannibalistic to other platforms and channels. But we now believe that the best strategy is “more is more” since audiences are consuming content in different ways. Because there are so many platform opportunities, audiences are fragmented. Whenever we can access them with great content, we take that opportunity. FAST channels give us a significant opportunity to do that.
TV KIDS: Given the fragmentation, what are some of the best strategies to build a brand in today’s market?
COMMISSO: It’s about getting eyeballs on the content, and that’s a continuous challenge. We started this business when there were three platforms in the U.S., and now there’s a sea of content across [a vast number of] platforms. There’s no one-size-fits-all approach when we talk about bringing content to market. You have to lean into what makes each brand unique and then create a strategy around presenting that brand to the targeted audience. You must be willing to invest in that brand to ensure its discoverability. This includes all the basic tenets of marketing, from publicity to paid spend, from a digital strategy to on-the-ground events. As the brand owner, all marketing tactics can no longer be left to the broadcast partner because many platforms that deliver and distribute the content no longer create opportunities for promotion in linear spaces, so we have to. I often say to our people that, as producers, more of the [promotional and advertising] weight is on us. We have to figure out how to do it as efficiently as we can and be as consistent with the brand as we can. We may use certain tenets in all of it, but the tone of each will have to be tailored to the brand. YouTube is a key to that and should be part of any smart discoverability strategy.
Rosie ’s Rules, focused on a young MexicanAmerican girl, launched on PBS KIDS last year.
With 20 Emmy Award nominations to her credit, Chris Nee has shown a passion for driving forward diversity and inclusion in children’s media. Her roster of hits includes Doc McStuffins, which centers on a 6-year-old African-American girl, and Vampirina Through her overall deal with Netflix, Nee has delivered such shows as Ridley Jones and Ada Twist, Scientist , on which she collaborated with Barack and Michelle Obama’s Higher Ground Productions. Nee also worked with the Obamas on We the People and is shepherding Spirit Rangers , which is from a Native American creator and counts an entirely Native writing tea m.
TV KIDS: Has representation and thinking around inclusivity in children’s TV evolved from when you pitched Doc McStuffins over a decade ago?
NEE: A lot has changed since then. For one, I would not run a show like Doc McStuffins now. I was not the showrunner of Ada Twist. I agreed to come on, which is a model that I’ve been using to elevate often first-time showrunners and creators, letting them be the showrunners and executive producers of their shows and taking this kind of aggressive [stance of], Look, we would take this leap with a white guy. Somebody has to be the one
who gives them that [opportunity], but it’s also about being there to guide people through because I’m so familiar with the process.
With Ada Twist, I did the bible and the pilot, and after that, we brought on a Black showrunner, Kerri Grant, who’s amazing. I look at Doc, and I’m like, I would not be making that show anymore. And yet I’m glad we made that choice then; we were in a different world. The business has definitely changed. When we did that show, we really thought [having a Black lead character] was going to hurt the ability to merchandise that series. We made it despite the fact of, Look, this means it’s probably not going to be [easily merchandised]. And, of course, that turned into a huge product show! That’s actually the biggest influencer of why it opened so many doors. Businesses are businesses, and it was about them seeing that there was a deep merchandising path, as well as the fanbase—they’re all connected. But that is the piece that [made them say], We’re going to do more. And yet it’s never as much as it should be; it just isn’t.
TV KIDS: How much work is still to be done regarding inclusivity and representation on screen?
NEE: It’s important that you’re seeing it on screen, but also, you’re not going to see it on screen properly if we’re not starting to see real change in the halls in which we work. In that respect, I still get frustrated because, of course, we’re not there. We tend to do three steps forward and two steps back. I wish we could just do a ten-step leap forward. We have so much to catch up on. But I do get excited when I look around a place like Netflix or Disney. I do see a lot more diversity in the ranks. I’m seeing a lot more diverse communities becoming showrunners and having that aspiration. So, I’m hopeful, and I also am not hopeful that it will happen at the speed [it needs to]; it should have already happened. My big thing is we have to stop having so many programs and just hire people into the jobs. That’s really what I try to do.
TV KIDS: Talk to us about your creative process. What drives you, and how do you go about crafting a show? NEE: I’m very character-based, as in, what is the world that I’m going to be able to play in for a really long time? I’ve been in this business for close to 30 years, so I’ve seen many different cycles. Right now, we’re in for these very short-order, two-season things. God help me if I can’t find enough stories for that! But when you look at Doc , we had to come up with 400 stories for that series. So, you want to make sure you have a world that there’s an engine in. You want to be able to very easily say, I can come up with stories for two or three seasons. My biggest secret is that I am only trying to amuse and delight myself. If you ask me who I am writing for, I think I’m supposed to say the kids—but I am not writing for the kids. I need to laugh at the characters. I need to be able to write monologues that make me laugh; I want to be able to be brought to tears. If I am feeling that invested and building something that can be for me, it does seem to be the way in which I bring all these other people along.
By Mansha Daswani
n the face of challenging headwinds amid recessionary fears, a squeeze on ad revenues and further fragmentation in viewing trends, RTL Group has earmarked its content arm, Fremantle, as a significant growth opportunity. Indeed, the European media giant has set an ambitious target of making Fremantle a €3 billion ($3.2 billion) company by 2025. The unit reported revenues of €2.3 billion ($2.5 billion) in 2022, a 22 percent gain on 2021.
RTL Group heavily invested in Fremantle’s growth trajectory in 2022, backing a string of acquisitions, including a 70 percent interest in Italy’s Lux Vide, 25 percent in Bosch producer Fabel Entertainment in the U.S., upping its investment in Dancing Ledge Pro ductions—behind the award-winning U.K. drama The Responder—picking up an interest in film producer Element Pictures, taking full ownership of Eureka, and securing interests in the factual producers 72 Films, Wildstar Films and Silvio Productions. This was in addition to a string of first-look and talent deals, including a landmark alliance with Angelina Jolie. The M&A activity has continued into
this year with a majority investment in the Belgian company A Team Pro ductions (ATP).
Fremantle has a presence in almost 30 territories across its impressive footprint of production labels, producing some 12,000 hours of new content every year. Its international distribution arm helps to support those producers, and third-party ones, with market intel, gap financing and presales, representing a slate of finished tape and formats totaling more than 40,000 hours.
Arguably best known for its iconic format brands, including Got Talent, drama and factual are key priorities for the company alongside its core of entertainment, CEO Jennifer Mullin tells World Screen . Having been with Fre mantle since 2005, starting in its North American business and rising through the ranks to become CEO in 2018, Mullin has tracked the evolving trends in the global media business. She remains firmly focused on keeping Fremantle as an attractive home for talent, an incubator of breakthrough IP and a pioneer in flexible models to meet its clients’ needs as they adjust to the fast-changing dynamics in the business today.
WS: Fremantle continues to deliver strong financial returns for RTL Group. What contributed to those gains in 2022?
MULLIN: It was a combination of different things. We had strong organic growth across all our content genres of entertainment, scripted and documentaries. We also had a number of M&A transactions last year, which added to the top and bottom line as we acquired or took majority stakes in a number of companies.
WS: Let’s discuss the target of €3 billion ($3.2 billion) in revenues for 2025. What’s the plan for getting there? Are you adjusting that strategy in the face of the increasingly challenged economic climate? MULLIN: The roadmap does change and evolve, and hopefully, the key to our success is remaining agile. We are open-minded when it comes to our business models. We recognize the fact that our broadcast and streaming partners are refining their strategies, and our job is to stay on top of that, be communicative and make sure that we’re good creative partners. Fundamentally, it’s all about developing, producing and executing great content. That’s what we do locally and globally across all our content pillars. If we stay the course, remain flexible in our business models and continue executing at the level that we do, we’re in very good shape.
WS: Scripted has been a big push for Fremantle over the last few years. What’s the overarching strategy there, and how is it evolving given the cutbacks happening at the streamers and the ad pinch the broadcasters are feeling?
MULLIN: Our strategy is simple: We work with the best creatives that we possibly can. Great IP is key, whether it’s books, originals or reboots. My Brilliant Friend for
Rai in Italy and HBO in the U.S. is a testament to that. The team in Italy has told the story beautifully over the four books for four seasons. As mentioned, we recognize where our broadcast and streaming partners are challenged and remain agile in our dealmaking, financing and distribution.
WS: Regarding the business models, are you finding that the streamers are a bit more open now to content licensing or co-productions than before, when they were so insistent on global rights and owning everything everywhere?
MULLIN: We are seeing a shift. It’s great to see because we’re well-positioned to support
with our great content. We’re seeing opportunity on all sides of the business, including the entertainment side. As the streamers’ strategies evolve, we adapt.
WS: Let’s talk about the entertainment side. It does feel like The Masked Singer was the last breakout hit globally. What’s Fremantle’s approach to nurturing the megaformat brands that continue to dominate while also looking for the next big thing?
MULLIN: We talk about this a lot. Entertainment is our core. Keeping our great franchises alive and buoyant is a real focus for us at a global level, but also key to that is
supporting our teams locally. Where those shows are on air, it’s of paramount importance that they stay on the air as long as possible. These big brands have longevity. For example, in Italy, Got Talent was on Sky for many years, and we are producing a new version for Disney+. So we have a global platform that three years ago needed global rights—and we now have our most successful franchise, and we are producing a local version. That’s a big shift right there. Fremantle is well-poised—because of our brands, global reach, execution and agility in the dealmaking—to add value to our partners.
WS: That format is remarkable in terms of its global reach and the number of spin-offs.
MULLIN: It’s a great format; I was part of the U.S. launch 17 years ago, and it’s amazing to see the number of versions, the quality of the show and the scale. The great thing about Got Talent is that it can be scaled. And the beauty of it and all of our entertainment shows is that you’re never going to run out of talent. New IP is equally important. You’re right; I think The Masked Singer is probably the last big one, and that’s four years [since the FOX U.S. launch]. We have great development teams around the world—if we see a great idea, we invest in it, we might pilot it. We have an acquisitions team on the lookout for content in some of our key markets that we could pick up the rights to, which is what happened with The Masked Singer . It was from South Korea, FOX did the deal for the U.S., and we picked up a significant number of other territories. We have also just done a deal for the global
production rights for The Piano [outside of the U.S. and U.K., from Love Produc tions]. Those hits are hard to come by. With so many different platforms on which to view content, getting the massive num bers we were used to seeing 10 or 15 years ago is challenging.
WS: You mentioned Got Talent moving to a streamer. The same happened with Dancing with the Stars in the U.S. I’m curious if the DNA of a format like that, which has long been seen as a driver of live, linear viewing, has to change when shifting to an ondemand environment.
MULLIN: We’ll find out! I watched Dancing with the Stars on Disney+, and I thought they did an excellent job. It was the same show that you would have seen on ABC, but on Disney+, stripped of the commercials, it didn’t seem like they changed the format at all. Great content is great content. People are consuming it on different devices and platforms. The value of big brands for these streaming platforms is instant audience recognition. If you’re a fan of the show, you’ll go to the show regardless of where it is. We don’t want to tinker with the DNA of these legacy formats too much because they have proven successful.
WS: Is the strategy for factual still focused on high-end, premium blue-chip, or are you exploring other opportunities as well?
MULLIN: We’re looking at other opportunities. If you look at what Fremantle does, it’s a portfolio approach. In the factual space, we want premium high-end films or very limited [series]. Then there’s a whole middle tier that is quite commercial that our creatives are interested in. For example, our U.S. company Original Productions is doing a three-part series on the Waco, Texas, siege for Netflix as the 30-year anniversary of that is coming up.
WS: I’d like to talk more about the approach to the streamers specifically. There is so much change afoot, constantly. How are you approaching them as their needs shift and the sector matures?
MULLIN: We spend a lot of time talking to them; we hear what their current needs are. And again, it’s about staying agile and focused on their strategies and how we can support and be a great partner creatively and strategically.
WS: What are you hearing from your traditional “linear” clients about how they are
fac ing increased competition from streamers and the pressure on ad revenues?
MULLIN: I think there’ll be a lot more scrutiny on commissions on both sides, whether streaming or linear broadcast, and, of course, there’s pressure on budgets. Linear broadcast networks have a schedule to fill; the streamers don’t. But recognizing the pressure they’re under and the challenges they’re navigating is key for us.
WS: We have to talk about M&A, of course! Are you looking at further acquisitions?
MULLIN: Because we’ve been so prolific over the last 18 to 24 months, we have a lot of incoming opportunity. We don’t do anything that doesn’t fit within our strategy. When we look for opportunities with either talent or companies, it’s quite specific. We’re either filling a need geographically or in a genre. That’s why you saw the slew of announcements in the documentaries space at the end of last year; we were filling that need externally and bringing amazing creatives into the fold to build our capacity. And with talent— what talent is out there? What great writers, directors and producers are out there? How do we bring them into the fold? But everything we do is complementary.
WS: How did the wide-ranging deal with Angelina Jolie come about?
MULLIN: We heard through a consultant we work with that she was looking for a home. We had a series of meetings with her; we heard her ambition and the types of stories that she wanted to tell. We felt we were the right home for her because we’re platformagnostic—we can sell to anybody—and we’re global. She’s global, she wants to tell stories around the world, she’s a humanitarian and she has a unique voice and perspective. It just resonated with us that we could help her realize her ambition, whether it’s in film, television series or documentaries. We want to be the place creatives want to call home. We can provide talent with the best flexibility and support to realize their creative vision.
WS: It looks like it will be a difficult year for everyone. What are the priorities you’re focusing on as you navigate Fremantle through this challenging market?
MULLIN: Supporting our teams locally in their territories, supporting our creatives in their storytelling ambitions and given how prolific we have been in the last 18 months with M&A, it’s also about embedding those teams and ensuring they feel part of Fremantle’s culture.
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
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.”
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.
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
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.
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 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 GrinkevichAncient Egypt By Train Bearland Rick Steves Art of Europe
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.
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.
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.”
“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 TannerThe
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.
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.
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 BarrettCasa Susanna Women Guardians
“ ‘Ukraine at War’ looks at reactions to the invasion from many different viewpoints.”
—Tim Horan
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!”
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
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.
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.”
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.”
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
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,”
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.
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.
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 DaswaniLaunched 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.
NHK Enterprises’ ISSEY MIYAKE: The Human Inside the Clothes.
A look at NHK’s dramas that NHK Enterprises is targeting for remakes around the world as well as new documentaries that showcase the artistry of Japan.
By Kristin BrzoznowskiNHK dramas are highly regarded as finished programs in countries across Asia, and NHK Enterprises is looking to shore up deals for these scripted successes to be remade in local markets. NHK Enterprises recently signed its first drama adaptation deal with a partner in South Korea for I’ll Still Love You Ten Years from Now.
“Japanese dramas (and this is especially true of NHK dramas) tend to pay a lot of attention to depicting the emotions of the characters so that they touch viewers emotionally,” says
Afumi Watanabe, senior manager at the content distribution department of NHK Enterprises. “NHK dramas have meticulously crafted screenplays and storylines that are a strong point not only in Japan but also in other parts of the world.”
The list of scripted format highlights also features The Aromantics , Zombies Made Me Reconsider My Life , Teen Regime, First Love, Second Virgin and Contrail.
There are also two new doc highlights on offer from NHK Enterprises that promote a Japanese sense of beauty and culture.
ISSEY MIYAKE: The Human Inside the Clothes spotlights clothing designer Issey Miyake. “In our documentary, viewers will see how Miyake constantly evolved in his creation of clothes, hear him speak in interviews and hear from people who had a close-up view of his approach to life,” says Yukari Harada, senior producer in the global content development division of NHK.
Not Yet There provides an inside look at the Mizai restaurant in Kyoto. “Mizai’s incomparable hospitality is a kind of Japanese culture that deserves to be preserved,” says Yuichiro Suda, director of Not Yet There. “Time-honored Japanese aesthetic sensibilities and traditions are starting to be forgotten. We created this documentary out of a desire to bring them back to Japanese people’s attention and share them with people around the world.”
“NHK dramas have meticulously crafted screenplays and storylines.”
—Afumi Watanabe
The team at GoQuest Media has developed expertise in introducing international dramas, hailing from all corners of the world, to global audiences. Two of its latest, Erinyes and Crusade, are crime dramas from Poland’s TVP.
“We discovered and recognized that Erinyes , as a period crime drama starring the formidable Marcin Dorociński and with its unconventional narrative and setting, would cause quite a stir internationally,” says Ofelya Tovmasyan, who heads up sales for CEE, CIS and Western Europe at GoQuest
Media. “Crusade, on the other hand, was a thrilling, keeps-youon-the-edge, unputdownable experience that we just knew would be a big hit with audiences that love pacy, actionpacked crime dramas. Both titles have it in them to make it big internationally, and we’re so privileged to have the opportunity to present them to platforms worldwide.”
Erinyes is based on short stories by Marek Krajewski, the setting of which are pre- and postwar Lviv and Wrocław. The main character is Edward Popielski, a detective inspector of great intellect and physical strength who is tormented by visions caused by epilepsy, which he uses to his advantage in investigations. He works as an officer of the law but operates outside of it.
Crusade focuses on the investigations conducted by Detective Jan “Manjaro” Góra and his colleagues from the crime and criminal terror division of the Warsaw Metropolitan Police. The victims include celebrities and powerful people. The detectives eventually discover that behind these crimes stands an anti-system terrorist organization operating in Warsaw.
“Whenever we add titles to our catalog, the intent is always to ensure that the content is not only rooted locally but also speaks the language that audiences can understand wherever they are in the world,” says Tovmasyan.
“Both titles have it in them to make it big internationally.”
—Ofelya Tovmasyan
O (49-341) 4428-2450
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Cactus Hotel (Nature/wildlife, 1x52 min.) Set in the American Southwest, the humorous wildlife film tells entertaining stories about an old saguaro cactus and its various wild visitors.
Crimes That Changed the World (History, 3x45 min.) Some spectacular criminal cases made history by shaping our understanding of morality and law. The Canary Islands (Travel/nature/wildlife, 5x52 min.) Uncover the different faces of the archipelago and discover the unique fauna, flora and people the islands are home to.
Bearland (Nature/wildlife, 1x52 min.) The Pacific Ring of Fire is home to three incredible bears: polar, brown and black. The film tells their story and takes a paw-swipe at a few bear myths.
Europe’s Highlands (Travel/nature/wildlife, 4x52 min.) Experience the unique nature and wildlife that Europe’s low mountain ranges are home to and meet the locals working to preserve it.
Canada’s National Parks (Travel/nature/wildlife, 5x52 min.) Canada’s unique landscape and culture are brought to life in this series about the successful conservation story of its unique flora, fauna and habitats.
Wild Isles (Nature/wildlife, 1x90 min.) A cinematic journey through key British wildlife locations, showcasing the people making a difference and showing us the way to a brighter, wilder future.
Nature’s Cleanup Crew (Science/wildlife, 1x52 min.) The story of the busy scavengers living among us in cities, recycling the mountains of waste our consumer society leaves behind.
Sudden Silence—How Animals Reclaim a World in Lockdown (Wildlife/science, 1x52 min.) In April 2020, Covid-19 brought the outside world to a halt. How did wildlife respond to this unique break from humans?
Lethal Leaks—On the Track of Escaping
Methane (Science, 1x43 min.) Over 80 million tons of methane escape into the atmosphere every year. This film goes on the hunt for those responsible for the dramatic rise in this hazardous leaking.
ALL3MEDIA INTERNATIONAL
O (44-20) 7845-4350
m international@all3media.com
w www.all3mediainternational.com
PROGRAM HIGHLIGHTS
Better (Drama, 5x60 min.) Police officer Lou has worked for a powerful crime boss for decades, but when her son experiences a sudden illness that almost kills him, it leads her to fight and atone for her misdeeds.
The Dog Academy (Fact-ent. format, 60 min. eps.) From Five Mile Films, tracks the journey of misbehaving mutts and their owners as they try to find a happier, more harmonious relationship.
and begins to uncover an international mystery linking the assassination of Sweden’s Prime Min ister Olof Palme with Larsson’s own detective work.
Rise and Fall (Ent./game-show format, 60 min. eps.) Follows people from all walks of life who either find themselves in a position of power living in an opulent penthouse or as part of the powerless living in a basement workplace.
Steeltown Murders (w.t.) (Drama, 4x60 min.)
Set across two separate timelines, 1973 and the early 2000s, centers on the hunt to catch the killer of three young women in the Port Talbot area.
Detective #24 (Drama, 8x60 min.) Explores the complex relationship between a unique and distinctive duo: recently fired prosecutor Tilda and a skilled detective and Somalian refugee, Ibrahinn, also known as Number 24.
Picture Slam (Game-show format, 60 min. eps.) Teams face a series of pictures that are worth prize money. The more the teams can name, the more they win, but for the jackpot, they need to name all pictures.
Parole (Doc., 4x60 min.) Sheds light on the complex, life-changing decisions made by Britain’s parole boards for prisoners and their victims.
The Messenger (Drama, 8x60 min.) Based on Markus Zusak’s best-selling novel, follows a directionless teenager who inadvertently becomes a local hero after he stops an armed robbery. Soon after, he starts receiving cryptic messages on playing cards.
The Man Who Played with Fire (Doc., 4x60 min.) Journalist Jan Stocklassa discovers the personal files of best-selling crime writer Stieg Larsson
ALPHA GROUP
O (33-1) 8080-7646
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Stand: P-1.G6
PROGRAM HIGHLIGHTS
Quantum Heroes Dinoster (Kids adventure/ comedy, 52x11 min.) Discover the amazing world of dinosaurs with the Dinoster team. Through their adventures, they’ll overcome great challenges to protect dinosaurs.
Super Wings (Kids edutainment adventure, S17: 300x11 min.) Follow the airplane Jett in his deliveries, discover new cultures and traditions and learn about using creativity and imagination to save the day.
Petronix Defenders (Preschool comedy/ adventure, 52x11 min.) Matt, Emma, Jia and Tom sneak out from school to save endangered animals with their high-tech gadgets—they’re the Petronix Defenders.
O (33-1) 8508-7017
m lionel.marty@apckids.com
w www.aboutpremiumcontent.com
Stand: P-1.M4
Jade Armor (Kids CGI, 26x22 min.) Lan Jun suddenly becomes a legendary hero, thrust into actionpacked adventures, with the help of her friends and the mystical Beasticons.
Sky (Kids live-action sci-fi mystery, 72x22 min.) A young alien stranded on Earth hides in the body of Millie, the most popular girl in high school, with the help of three goofy friends.
On Our Own (Kids live-action comedy, 56x22 min.) When their parents get stuck abroad, four siblings are forced to manage on their own, with only the help of their uncle.
Sheep’s Hotel (Preschool 2D, 104x5 min.) Little lambs Bella and Benny and their close-knit family of sheep run a small, independent hotel for guests and their kids.
Kididoc (Kids 2D, 52x11 min.) Two kids and their extraterrestrial friend travel to a parallel universe to find answers to any question, on any topic, while on exciting adventures.
Galactic Agency (Kids 2D, 52x11 min.) These allrepair specialists come to the rescue at any destination in the galaxy. But with freaky creatures and oddities, nothing ever goes as expected.
Kid-E-Cats (Preschool 2D, 208x5 min., 3x10 min., 5x2 min., 1x65 min.) Three little kittens—Cookie, Pudding and kid sister Candy—are ready to jump into action with endless enthusiasm and energy.
DinoCity (Preschool 2D, 104x5 min.) In a world where dinosaurs live an urban life like ours, Ricky and his elder sister Tyra turn most everyday situations into something quite extraordinary.
Tinka (Live-action fantasy/adventure, 72x26 min.)
Fifteen-year-old pixie Tinka discovers she is also half human and embarks on a true adventure to save the kingdom with her new friend Lasse.
Jade ArmorHello Maestro (Family 2D, 7x26x26 min., 78x7 min.) The cult series to learn about the human body, the history of humankind, the discoverers and explorers of the world, sustainable development and more.
APT WORLDWIDE
O (1-617) 338-4455
m judy_barlow@aptonline.org
w APTWW.org
Stand: P-1.K68
PROGRAM HIGHLIGHTS
Anahita: A Mother’s Journey (Doc., 1x60 min.) The story of a mother and her five children who avoided capture by the Taliban and resettled in the U.S. Behind the Wings (Aviation/space/history, 16x30 min.) Go “behind the wings” to explore new and historic aircraft, pilots, astronauts, aerospace organizations, new frontiers of space and more. The Burren: Heart of Stone (Natural history, 2x60 min.) Unveils human and natural secrets of Ireland’s ancient and mysterious wilderness known as The Burren.
Islands Without Cars (Travel, 12x30 min.)
Explore charming cultures on unique islands where motor vehicles are not allowed.
Jack Taylor: The Enterprise (History/bio., 1x60 min.) The inspiring story of Jack Taylor, a WWII veteran and founder of the iconic global business Enterprise Rent-a-Car.
Modern Ninja: The Last Grandmaster (Bio., 1x60 min.) An in-depth look at the life and influential work of the legendary 34th Grandmaster of Ninjutsu, Dr. Masaaki Hatsumi.
The Seabees on Iwo Jima (History/military, 1x60 min.) A look at “The Seabees,” who built airfields and bases for the U.S. Navy, including key runways on the coral islands in the Pacific during WWII.
Welcome to My Farm (Lifestyle, 16x30 min.)
Welcome to Lisa Steele’s farm in Maine, where she shares DIY projects and tips on everything from raising poultry to baking bread.
m sales@atresmediatv.com
w international-sales-atresmedia.com
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Doug’s Geology Journal (Nature/science, 5x30 min.) Explore tectonic plates, volcanoes, rocks and geologic wonders with geologist Doug Prose. Highpointers with the Bargo Brothers (Travel, 5x30 min.) Two adventurous brothers travel around the U.S. to eat, compete and climb the highest points in all 50 states.
Las Noches de Tefía (Nights in Tefía) (Drama, 6x50 min.) Between 1954 and 1966, the Francoist regime sent homosexuals and others condemned under the law to a penitentiary colony in Tefía. In 2004, Airam Betancor, one of those prisoners, receives a visit from a documentary filmmaker. Zorras (Tramps) (Dramedy, 8x30 min.) Alicia, Diana and Emily found a new social club, the Sex
Friends Club. They have only one goal in mind: to fulfill all their sexual fantasies.
UPA Next (Drama, 8x50 min.) Carmen Arranz’s performing arts school is back. More than 15 years have passed and Rober returns from the U.S. to create a great new musical.
Anglés. Historia de Una Fuga (Anglés. The Fugitive of Alcàsser) (Doc., 3x50 min.) Tells the story of the desperate chase for Antonio Anglés, the main suspect in the Alcàsser crime.
El Novato (The Rookie) (Ent., 12x60 min.) Wellknown and respected professionals in different fields talk to one of Spain’s best-loved footballers, Joaquín, about their careers to help him discover what he could do when he leaves the sport.
El Desafío (The Challenge) (Ent., S1: 8x120 min., S2: 10x120 min., S3: 10x120 min., S4) A talent show where eight celebrities must overcome impossible physical and mental challenges to win the competition.
La Ruta (The Route) (Drama, 8x50 min.) The journey of five friends from Valencia during the years of La Ruta Destroy, the clubbing movement that revolutionized electronic music, beginning in 1981 and ending in 1993.
Cardo (Thistle) (Drama, S1: 6x30 min., S2: 6x30 min.) In season two, María is released from prison determined to make up for lost time and with the firm intention of rebuilding her life.
Heridas (Mother) (Drama, 13x50 min.) Traumatized by having been abandoned, Manuela vows to never be a mother. When she finds little Alba, a journey begins that will force her to confront the demons of her past.
(True crime, 5x50 min.) The first crime shared on WhatsApp: in the summer of 2016 in Pioz, a small town in the Alcarria region, the lifeless bodies of a Brazilian couple and their two children were found.
ATV
O (90-212) 354-3701
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PROGRAM HIGHLIGHTS
Street Birds (Drama, 45 min. eps.) Five street kids discover a baby, Gülayşe, in the trash. Years later, as adults running a café, everything falls apart after a policeman comes looking for Gülayşe.
A Little Sunshine (Drama, 45 min. eps.) After his sudden death in a car accident, Elif discovers that her husband, Hakan, was living a double life—including having a daughter, who she takes under her wing.
The Father (Drama, 45 min. eps.) A former secret service assassin fakes his own death after avenging the murder of his brother, but is drawn back to his old life and torn between two women.
For My Family (Drama, 200+x45 min.) After the sudden death of their parents, Kadir and his siblings find themselves in a new life without any money in their pockets and no shelter.
The Ottoman (Drama, 321+x45 min.) The young and brave Osman will fight both internally and externally to defeat his enemies and empower the Kayı tribe in Anatolia.
Destan (Drama, 91x45 min.) Akkız swore to take revenge on Alpagu Khan, the killer of her father. After shooting him with an arrow, she becomes a slave to Gok Palace and a new legend begins in history when she encounters Batuga, the oldest son of Alpagu Khan. Wounded Heart (Drama, 107x45 min.) A story of revenge between two families.
and enjoy his high school years—if only his dead best friend and a posse of rotting ghouls would stop sabotaging him at every turn.
Kangaroo Beach (Preschool animation, 26x12 min.) Four young animal friends share an actionpacked summer training as cadets with their lifeguard heroes, keeping the water safe at the spectacular Kangaroo Beach.
O (61-3) 9200-5500
m info@actf.com.au
w www.actf.com.au
Crazy Fun Park (Kids live-action horror comedy, 10x30 min.) A shy teen wants desperately to fit in
Built to Survive (Kids factual adventure, 10x30 min.) Phil Breslin gets up close to the world’s most unique creatures to reveal the ultimate survivors of Australia’s most extreme habitats.
MaveriX (Kids live-action drama, 10x30 min.) Six young motocross riders come together to form a team, make the national titles or crash out trying.
Barrumbi Kids (Kids live-action comedy, 10x30 min.) A coming-of-age adventure about two best friends, Tomias and Dahlia, dealing with the dreams and challenges of childhood in a remote Northern Territory community.
More Than This (Teen/YA drama, 6x30 min.) A slice-of-life teen drama that explores the experiences of five teenagers as they navigate contemporary issues that will shape who they are becoming.
FOR A FREE SUBSCRIPTION, PLEASE VISIT SUBSCRIPTIONS.WS
The Inbestigators (Kids live-action comedy, 20x24 min.) When 10-year-old Maudie, a freakishly gifted observer of human behavior, forms a detective agency with her classmates Ezra, Ava and Kyle, no school or neighborhood crime is left unsolved.
Hardball (Kids live-action comedy, S1: 13x24 min., S2: 10x24 min.) When Mikey moves from New Zealand to Western Sydney, he finds himself in the thick of the competitive schoolyard game of handball.
Little J & Big Cuz (Early childhood animation, S1: 13x12 min., S2: 13x12 min., S3: 14x12 min.)
Whether it’s at school, in the backyard or beyond the fence, Little J and Big Cuz find out about culture, community and country with the help of Nanna and their teacher Ms. Chen.
First Day (Live-action drama, 8x24 min.) It’s Hannah Bradford’s first year of high school. As a transgender girl, Hannah not only has to navigate the challenges that come with starting a new school but find the courage to live as her most authentic self.
O (49-89) 6499-3097
m international@bavaria-media.de w www.bavaria-media.de
Stand: R7.E45
PROGRAM HIGHLIGHTS
Codex 632 (Thriller, 6x45 min.) Based on the best-selling novel of the same name by José Rodrigues dos Santos, follows Tomás Noronha, a history professor and specialist in cryptology as he investigates and decrypts a document that might change our perception of the past.
Chaos (Thriller, 10x45 min.) Ten excited teenagers have VIP passes to a concert by their idol INVO. An explosion will kill some and injure others, changing their lives forever.
Alice (Drama, 2x90 min.) From young journalist to feminist icon, Alice Schwarzer shook Europeans’ understanding of gender roles. Based on her biography Life’s Work
Martha (Drama, 1x90 min.) WWII drama tells the story of Martha Liebermann, wife of the famous painter Max Liebermann, as she tries to escape her deportation by the Nazis with the help of the Solf Circle, a resistance group led by women.
White Silence (Drama, 1x90 min.) A drama based on the true story of the so-called “death nurse” Niels Högel, who was convicted of killing 85 patients under his care.
Featuring Ella (Feature film, 1x100 min.) A comingof-age story about Ella and her friends, who start the band Virginia Wolfpack.
The Heart of Cape Town (Event movie, 1x100 min.) Event drama about the first heart transplant, inspired by true events in 1967.
Cold Valleys (Crime, 10x90 min.) Two Austrian police officers from very different sides of the tracks
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make for an unlikely team to solve the twisted rural crimes in the insular Alpine countryside.
Bambuti—No Place for Wild Animals
(Nature/wildlife, 1x75 min.) A 1956 feature documentary on the topic of protecting our planet, directed and produced by the Academy Award winner Bernhard Grzimek and his son Michael Grzimek.
Serengeti Shall Not Die (Nature/wildlife, 1x85 min.)
A 1959 documentary feature written and directed by Bernhard Grzimek. His son, cinematographer Michael Grzimek, died on-location during filming when a plane he piloted collided with a vulture.
O (66) 262-3249
m inter-sales@becworld.com w www.becworld.com
Royal Doctor (Mor Luang) (Romance drama/comedy, 22x70 min.) Bua, a medical student from the present, is swept back to King Rama III’s reign. When a mysterious storm is forecasted, will Bua choose to return home or stay in the past for love?
Because of Love (Pror Rak) (Rom-com/action, 18x70 min.) Rhing is an orphan with supernatural powers to foresee the dangers of people she touches.
Eclipse of the Heart (Tai Ngao Tawan)
(Romance drama, 20x70 min.) Two brothers fall for the same perfect girl in search of the truth behind her father’s untimely death.
Devil in Law (Sapai Sai Strong) (Rom-com, 17x70 min.) The gloves are off and the battle of the in-laws begins.
Doctor Detective (Sueb Lub Mor Rabard) (Drama, 18x70 min.) When a deadly infectious disease resembling the Ebola virus ravages a small village, a team of epidemiologists races against time to contain the spread.
The Betrayal (Game Rak Torrayod) (Thriller, 16x70 min.) A successful psychiatrist’s pictureperfect life shatters when she discovers that her husband is having an affair with a young college student. Never Enough (Loke Moon Rob Ter) (Romance drama, 22x70 min.) A coming-of-age drama about the friendship, rivalries and love of three best friends.
Love at First Night (Jon Kwa Ja Dai Rak Gan) (Rom-com, 20x70 min.) Charming and sarcastic Mueang is an outspoken eco-warrior geologist. View is an overworked architect who was recently dumped by her company and cheated on by her boyfriend. Cupid strikes the moment they set eyes on each other. You’re My Universe (Rak Sudjai Yai Tua Saab) (Romance drama, 28x42 min.) Despite struggling to take care of herself and her grandmother, Kaew is a young, optimistic and hard-working lady who continues to view life through rose-colored glasses.
The Legend of Nang Nak (Nang Nak Prakanong) (Romance/thriller, 28x42 min.) Nang
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Nak is Thailand’s most infamous ghost legend, an alleged true love story of different worlds of the living and the dead, between Nak and Mak; even death cannot separate them.
O (1-416) 591-0065
m sales@boatrocker.com
w www.boatrocker.com
Stand: R7.M20
Dino Ranch (2-5 comedy/adventure, 156x11 min. & 2x22 min.) Follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical, “pre-westoric” setting where dinosaurs still roam.
The Next Step (Teen/tween live-action, S8: 27x30 min.) Follows the lives of a group of dancers at The Next Step Dance Studio as they attempt to win regional, national and international dance championships.
(and oldest) monster hunter by doing his strange, supernatural chores.
Robyn Hood (Drama, 8x60 min.) Robyn Loxley and her masked hip-hop band, The Hood, decide to fight back against local property developer John Prince and the Sheriff, righting the wrongs of the corrupt elite to give back to the people. Slip (Comedy, 7x30 min.) When Mae “slips” and has a one-night stand with Eric, she wakes up the next morning in a panic, only to realize she has somehow entered a parallel universe in which she and Eric are now married, and all traces of her life with partner Elijah have been wiped from existence. Beacon 23 (Drama, 8x60 min.) Follows Aster (Lena Headey) and Halan (Stephan James), whose fates become entangled after they find themselves trapped together at the end of the known universe.
The Green Veil (Drama, 8x30 min.) An anthology series on oppression in America.
Secrets in the Ice (History/civilization, 26x60 min.) Merging CGI re-creations, advanced scanning technology and scientific research, the series investigates the curiosities that have been lost for millennia or never seen before.
Listing Large (Home reno., 10x30 min.) Follows Odeen Eccleston and Lamont Wiltshire as they build a real estate empire while juggling parenthood, friendship and love.
The Strange Chores (6-11 2D adventure/comedy, S3: 26x11 min.) Two teenage wannabe warrior heroes and a super high-spirited ghost girl master the skills they need to replace the world’s greatest
Cross Country Cake Off (Food/competition, 10x60 min.) Celebrates the unbridled creativity of some of the best cake-makers and showcases the incredible stories of heart and humor that inspire them. Hosted by Mary Berg and Andrew Han.
REACHING 25,000 EXECUTIVES EVERY WEDNESDAY SUBSCRIBE HERE: SUBSCRIPTIONS.WS
m sales@bossanovamedia.com
w www.bossanovamedia.com
Stand: R7.E55
PROGRAM HIGHLIGHTS
Ancient Egypt by Train (History/mystery, 4x60 min.) A unique travelogue that sees professor Alice Roberts studying the world’s oldest and greatest civilization—by train.
staff and volunteers who give everything they have to protect neglected, injured and abandoned animals.
The Rise and Fall of Hugh Hefner’s Playboy (Crime/investigation, 1x60 min.) Unveiling the dark and twisted events that took place inside the Play boy mansion and the actions of the man who started it all: Hugh Hefner.
Mt Hutt Rescue (Access/ob-doc., 8x60 min.) Follows a team of ski patrollers as they battle extreme weather and dangerous conditions to ensure the safety of thousands of holidaymakers every year.
The Lost Temples of Cambodia (History/mystery, 3x60 min.) We go on a journey to visit temples and ancient sites, while charting the rise and fall of the ancient Angkorian Empire in Cambodia.
The Chameleon: The Killing of Ronald Platt (Crime/investigation, 1x60/90 min.) In July 1996, the dead body of a man is found in the nets of a fishing trawler deep off the coast of Devon—and all there is to identify him is a Rolex watch on his wrist.
The Cannibal Next Door (Crime/investigation, 1x60 min.) The story behind one of the world’s most notorious cannibals, Armin Meiwes, told by those closest to the case.
Castle Secrets (History/mystery, 8x60 min.) We go behind the walls of the world’s most incredible fortifications and breathe life into them.
The Casketeers (Access/ob-doc., S1-6: 46x30 min.) Francis and Kaiora started in the funeral business with nothing but passion. Now they’re introducing the world to a warmer, funnier side of death. Animal Rescue (Nature/animals, 10x30 min.) We follow the work completed by the dedicated rescue
999: On the Front Line (Access/ob-doc., S1-10: 100x60 min.) Filmed simultaneously with ambulance crews across the West Midlands, documents in real time the extreme cases paramedics attend to around the U.K.
m info@cakeentertainment.com
w www.cakeentertainment.com
Stand: R7.D18
Total Dramarama—A Very Special Special That’s Quite Special (6-11 animation, 1x40 min. &
REACHING 22,000 EXECUTIVES EVERY FRIDAY SUBSCRIBE HERE: SUBSCRIPTIONS.WS
S1-3: 156x11 min.) After Duncan destroys daycare, Chef takes our troublesome toddlers to the infamous Sir Splashalot’s waterpark, where a mix-up with a lunchbox leads to an unpredictable adventure.
Super Sema (5-7 animation, 20x5 min. & 24x11 min.) Ten-year-old Sema uses ingenuity, superintelligence and her technovating powers to save her African village from artificially intelligent villain Tobor and his robot minions.
his friends leap headfirst into adventure and discovery, making the most out of every moment.
Draw with Will (Art/educational, 40x7-9 min.)
World-famous Marvel comic book artist Will Sliney shows how to draw iconic characters in easy-tofollow entertaining tutorials.
Dodo (8+/family, 40x11 min.) A funny, relatable and heartwarming portrayal of everyday school life as experienced by 11-year-old Joe Connolly navigating the dramas and pitfalls of his first year at secondary school.
Angry Birds MakerSpace (4+ animation, S2: 20x1.5 min.) The Angry Birds tackle the latest gadgets and online crazes in their all-new studio as Red becomes a meme, the Piggies suffer a filter fail and the Hatchlings outsmart them all! Nondialogue and now in 3D.
My Brother the Monster (6-8 animation, 26x11 min.)
An ordinary summer becomes extraordinary for Petunia when she adopts Mombou, a ball-sized monster who shrinks and grows depending on his emotions.
Tish Tash (Preschool animation, 104x5 min.)
Young bear Tish, her bear family and her largerthan-life imaginary friend Tash embark on fun adventures while inspiring imaginative play and problem-solving in young children.
Total Drama Island (6-12 animation, 26x22 min.) After seven seasons, it’s time to go back to the island as Total Drama promises to take reality to the next level with wild challenges, dramatic eliminations and total insanity.
Lucas the Spider (Preschool animation, 78x7 min.)
Based on the YouTube hit, adorable spider Lucas and
Kiri and Lou (Preschool animation, 94x5 min.) Kiri, a feisty little dinosaur, and Lou, a gentle and thoughtful creature, navigate a forest of feelings with laughter, song and adventure.
O (90-216) 999-4999
m info@calinosentertainment.com
w www.calinosentertainment.com
Stand: P-1.L54
Farah (Drama, on-air) Adapted from La chica que limpia, the story of an Iranian woman who had to run away from her country. Struggling to live in Istanbul, she works as a cleaning lady to maintain her son’s medical treatments but becomes a mafia accomplice.
Twisted Lives (Action/drama, in prod.) Korkmaz and Iskender have been dear friends for 40 years, but an event involving their children turns them into enemies.
Forbidden Fruit (Drama, S6: on-air; 415 TV hrs. total) Ender, a high-society woman married to successful businessman Halit Argun, hires Yildiz Yilmaz to seduce her husband.
Adela (Drama, 158 TV hrs.) Two sisters live with their parents in a slum near Bucharest. One day, the secret identity of one will be revealed when her biological grandfather decides to repair his past mistakes.
Deeply (Romance drama, 8 TV hrs.) The adventure of Deniz and Barış’s unbridled love spans ten years.
Yeşilçam (Drama, 20 TV hrs.) Set in 1960s Turkey, it tells the story of an ambitious producer.
Lawless Love (Drama, 52 TV hrs.) 1940, Zonguldak, Turkey. Davut’s destiny is changed, leading him to Gulfem, the daughter of his enemy, Malik.
No: 309 (Rom-com, 201 TV hrs.) Mistaking each other for their expected blind dates, Onur and Lale get drunk and have fun all night long, finally falling asleep in room number 309 of a hotel.
Squared Love (Rom-com, 1x102 min.) Monika is a modest yet charismatic 29-year-old school
teacher who transforms into sexy photo model Klaudia to help her father out of debt.
The In-Laws (Comedy/drama, 1x82 min.) Takes place at a wedding reception after a ceremony during which the sacramental “yes” was not uttered.
O (7-495) 777-4961 ext. 329
m krivonogova.elizaveta@centpart.ru w centpart.international/about
Emergency Landing (Disaster drama, 1x90 min.)
A story of the sky, a long-awaited dream and a miracle that made global headlines.
Tzadik (WWII drama, 1x140 min.) In 1942, Red Army officer Nikolai Kiselyov receives orders to evacuate over 200 Jewish women, children and elderly men facing brutality and death in Nazioccupied Belarus.
Mr. Knockout (Sports drama, 1x117 min.) The film tells the story of the legendary Soviet boxer Valery Popenchenko, USSR and European champion and a winner at the 1964 Tokyo Olympics.
Shadow (Detective thriller, 1x86 min.) A talented spy, elusive like a shadow. Stopping him is the top priority for Russian counterintelligence because he steals the most guarded state secrets. Raiders of the Lost Library (Adventure, 1x105 min.) While digging one of the many tunnels for the Moscow metro, workers unearth the ruins of a dungeon. The relic is the key to the secret location of the priceless ancient library that belonged to Ivan the Terrible.
Who’s There? (Thriller, 1x80 min.) The characters of this continuous-shot anthology film—a billionaire, a commercial pilot, a trainee police officer and a young single mother—find themselves in critical situations, facing the unknown.
Oxygen (Extreme sports doc., 5x50 min.) Follows a Himalayan expedition led by Vitaly Lazo, Russian mountaineer. He and two other mountaineers ascend Mt. Dhaulagiri, one of the world’s highest peaks.
The World Champion (Drama, 1x145 min.) Follows a legendary showdown in the history of chess—the match between Anatoly Karpov, then world champion, and Viktor Korchnoi, a recent emigrant from the USSR.
First Oscar (WWII drama, 1x114 min.) Follows two student cinematographers who decided to become frontline cameramen, capturing the horrors of war and the heroism of the Soviet soldiers.
Row 19 (Thriller, 1x78 min.) A young female doctor is on an overnight flight in a violent storm. When passengers on the half-empty plane inexplicably begin to die, she is forced to relive her worst childhood nightmare.
O (1-212) 203-6273
m arthur@cinevestinteractive.com
w www.cinevestinteractive.com
Stand: P-1.H70
Wine Outsiders (Travel, 5x30 min.) Felix Mendez takes us on a tour of the five wine regions of Spain, visiting new winemakers and tasting artisanal food. Next season, Mendez will visit France.
Willie Nelson at Billy Bob’s Texas (Music, 1x60 min.) This is a special concert recorded in an ideal studio as he performs his most popular hits.
Wine Outsiders
Charlie Daniels at Billy Bob’s Texas (Music, 1x60 min.) Daniels and band perform his most popular songs in this concert recorded a short time before his death.
RVD Headstrong (Doc., 1x60 min.) Rob Van Dam, one of the greatest professional wrestlers in history, embarks on a journey in this documentary that goes inside his strategy for personal success and happiness with his partner, professional wrestler Katie Forbes. Daniella’s Court (5-11 edutainment, 11x30 min.)
Starring Pearl Choma Shim. Daniella is a judge for
her fellow young people, adjudicating disputes between each other and their nannies.
Underbelly (Drama, 1x83 min.) Two friends travel in search of better-paying jobs to be able to buy tickets for a music festival. They get jobs but one of the friends gets into a love affair with his gangster boss’s wife.
Takers (Action, 1x79 min.) The long dominance and tyranny of a northern tribe meets its end by the hand of Sheikh Buda’s first son, Samir, who led an army of farmers to war against his brother Azan.
Herdsmen (Action/drama, 1x84 min.) Khalifa, a retired assassin, must come out of hiding after his niece is kidnapped by a notorious bandit group headed by Zakari.
O (1-305) 442-3400
m contentsales@cisneros.com w www.cisneros.com
Zumbar (Children’s, 26x5 min.) A live-action series in which six children play interactively with a variety of animals while learning from them and our ecosystem.
AnimalFanPedia (Edutainment, 26x11 min.) A dynamic, fun and educational wildlife program, bringing every kind of animal imaginable to families.
My Birthday Bash (Children’s, 13x22 min.) A fun live-action series where a special child gets the support from our host and their party crew to help him or her put together the best birthday party ever.
#GOAT (Tween, 26x5 min.) Visits cosmopolitan cities and features the coolest spots like the
best place for selfies, trendiest sweets to eat, celeb sightings, best people-watching places and fun snap-worthy adventures to discover.
WERK! (Tween, 26x5 min.) Our host starts each episode on the latest “must have,” then enlightens with three different ways to make money, comically explains the hazards of the job and delivers clever pro tips to make the experience sweeter.
Mysterious Earth (Docuseries, 13x30 min.) Delve into fascinating historical enigmas through the most recent experts’ findings and discover shocking new insights about the world.
Killer Instincts (Docuseries, 13x30 min.) With impactful imagery and engaging narration, we will immerse ourselves in the savage arena of the world’s deadliest animals.
Food Pop (Docuseries, 13x30 min.) Brings to light the various aspects of popular foods that are consumed worldwide and how their recipes change in each region or country.
Fashion Insta (Variety, ongoing, 60 min. eps.)
Host Harry Levy and his international guests will review social media to comment on the latest looks of celebrities and events that are making an impact on fashion trends worldwide.
O (82-2) 371-9338
m cjwatch@watchcjenm.net
w watch.cjenm.com
Stand: R7.E2
PROGRAM HIGHLIGHTS
The Time Hotel (Game-show format, 10x60 min.)
Time is money. Earn as much time as possible through games to not be checked out.
EXchange (Dating/reality format, 15x120 min.)
Ex-couples who broke up for various reasons gather to look back on their past love and to find new love.
Grandpas Over Flowers (Travel/reality format, 14x80 min.) Four famous elderly actors travel overseas to fulfill their bucket lists.
The Genius Game (Game-show format, 12x90 min.)
A survival reality game show hybrid that tests players’ intelligence, powers of persuasion and social savvy.
Zero Sum Game (Game-show format, 12x30 min.) It’s not about losing or gaining weight anymore— now you need to maintain the exact weight for sev en days.
Missing: The Other Side (Fantasy/thriller, 12x60 min.) Finding the truth about the missing people who are abandoned by everyone.
When mysterious alien spheres start invading the world, high school students are called upon to join the world’s first war against extraterrestrial forces. Island (Fantasy/thriller, 12x60 min.) Set on a beautiful island that is filled with evil and darkness, an unlikable trio get entangled with a strange and mysterious event, fighting unknown demons. Our Blooming Youth (Romance drama, 20x70 min.) A story of a genius girl suspected of a family murder and a prince under a mysterious curse. The Heavenly Idol (Fantasy romance, 12x70 min.) Lembrary, from another world, infuses into the body of this world’s unpopular boy group member Woo Yeon-woo.
O (1-301) 755-2050
m distribution@curiositystream.com
w www.curiositystream.com
CSI on Trial (Crime, 6x60 min.) Just how much “science” is in “forensic science”? It’s time to put crime scene investigation methods on trial.
Lift the Ice (Science, 6x60 min.) Follow the adventures of six uniquely skilled experts as they investigate the remarkable mysteries emerging from our ice.
Bessie Coleman: Queen of the Skies (History, 1x90 min.) Widely regarded as the first woman of African American descent to have a pilot’s license, Bessie Coleman soared across the sky.
Inside the Mind of a Con Artist (Art/society, 6x60 min.) Unearth the human truths behind some of the most extraordinary cases in con artistry.
Oddly Satisfying Science (Science, 10x30 min.)
Join host Nick Uhas and his guests as they test
sev eral visually appealing experiments designed to blow our minds.
Oops, I Changed the World (Tech., 15x60 min.) Learn about the fascinating stories of accidental and surprise inventions that have transformed our lives.
Titans: The Rise of Hollywood (History, 6x50 min.) Inspiration, power, greed, scandal. This is the gripping drama of how Hollywood was built.
Planet Insect (Science, 3x60 min.) Scientists have discovered that insects have remarkably sophisticated behaviors and even personalities quite like our own.
have powers—well, half-powers. Managing their abilities isn’t easy when they need to do everything together. And living their daily lives is a challenge.
Droners (Kids CGI/2D adventure/comedy, S1-2: 52x22 min.) Young droners Corto, Mouse and Enki put their unique skills together in order to save their island. But help from scientist and genius Wyatt Whale might be more than needed.
Taffy (Kids/family 2D comedy, S1-2: 156x7 min.)
Follows the nonstop, slapstick extravaganza faced by loyal hound dog Bentley when his billionaire old lady owner, Mrs. Muchmore, takes in a raccoon imposter posing as a wide-eyed, fluffy Angora cat.
Gigantosaurus (Preschool CGI/2D comedy/ adventure, S1-3: 156x11 min./78x26 min.) Four young dinosaur friends are about to leave the family and explore a world full of mysteries and danger.
Engineering the Future (Tech., S2: 6x60 min.) A new breed of visionaries are creating extraordinary machines to help the planet and humankind in the future.
Doug to the Rescue (Nature, S2: 5x30 min.)
Equipped with a cutting-edge infrared drone, Doug Thron heads into disaster zones to save the cats and dogs that have been left behind.
CYBER GROUP STUDIOS
O (33-1) 5556-3232/ (1-818) 844-1660
m sales@cybergroupstudios.com
w www.cybergroupstudios.com
Stand: R7.D22
PROGRAM HIGHLIGHTS
50/50 Heroes (Kids 2D comedy/adventure, 52x11 min.) Mo and Sam are half-siblings and
Zak Jinks (Kids 2D adventure/comedy, S1-2: 104x13 min.) The hilarious life of a mischievous and lovable 8-year-old boy.
Nefertine on the Nile (Preschool 2D/CGI comedy, 52x11 min.) Nefertine is a special little girl endowed with lively intelligence, inexhaustible curiosity and great courage. She aspires to be the first female scribe in the history of Egypt so she can describe the wonderful world that surrounds her.
Squared Zebra (Preschool 2D comedy/edutainment, 78x7 min.) Checkery the zebra is a friend like no
other who encourages others to open up. With her friends, they learn to overcome their differences and embrace life in all its diversity and beauty.
Chloe’s Closet (Preschool 2D edutainment, 104x13 min.) Chloe is an adorable, imaginative little girl who discovers a magical world while playing dress-up in her closet.
The Case (La Custodia) (Family 2D, 1x40 min.) In an unknown time and place, a young boy escapes war with nothing but a dream and a violin case.
Alpha & Omega (Kids CGI comedy/adventure, 3x45 min.) Follow the adventures of Alpha and Omega in a collection of three specials.
O (972-3) 647-8185
m sales@dorimedia.com
w www.dorimedia.com
Hammam (Drama, 6x45 min.) This modern adaptation of the biblical tale of Saul and David takes place in an abandoned military base named Hammam.
Supernova (Dramedy, 4x40 min.) Nicolasa, June and Mimí, on the threshold of their 30s, face the demands of society, their own desires and frustrations as they try to survive in a big city.
Ten Piedad de Nosotros (Mercy on Us) (Psychological crime drama, 6x30 min.) Two cops go after a serial killer who will make them pay for the sins of their pasts.
Stand-Up Warrior (Reality competition format)
Fourteen stand-up comedians go through a ten-week martial arts boot camp. They will have to put in a mouthpiece and use their fists in order to stay in the game.
Spy Date (Reality dating format) A former Mossad agent and a professional matchmaker use their
specialties to manipulate two singles to meet “by chance” and go on a date.
Power Couple (Reality format) Eight couples face extreme challenges that will test how well they real ly know each other.
Corte y Confeccion (The Fashion House) (Talent/ reality format) Seeks the best talent among the self-taught, amateurs, students and professionals in the fashion industry.
El Cielo Puede Esperar (Heaven Can Wait) (Ent.) Have you ever wondered how your own funer al would be? Some of most-loved Spanish celebrities have been chosen to check it out.
Little Mom (Comedy, 51x30 min.) An internationally successful comedy that reveals the harsh truth of life after having kids.
The Best of All (Game-show format) Is the average answer from a large group of people always closer to the right result than the answer of one?
ECCHO RIGHTS
O (46-723) 094-673
m david@ecchorights.com
w ecchorights.com
PROGRAM HIGHLIGHTS
Endless (Fedakar) (Drama, 240x45 min.) Elif would do anything to protect her brother, so when
he is accused of murder, she puts her life at risk— but finds romance in the danger.
Ömer (Drama, 100x45 min.) Ömer’s life is turned upside down when he falls in love with an older woman, a relationship that his conservative father will never approve of.
playing flirtatious games with strangers and testing the limits of her and her husband’s love.
Desperate Measures (Drama, 4x60 min.) A bank clerk must use her inside knowledge to pull off the ultimate heist and save her innocent son.
Granite Harbour (Crime drama, 3x60 min.) Former soldier Davis Lindo has always dreamt of joining the U.K. police, but when he arrives from Jamaica in Aberdeen, he gets a harsh dose of reality.
O (61) 411-035317
m natalie@escapademedia.com.au
w www.escapademedia.com.au
Golden Boy (Yali Capkini) (Drama, 120x45 min.)
This classic family drama tells the story of two sisters whose paths have crossed with golden boy Ferit and his family, full of betrayal, lies and secrets.
Forever Together (Güzel Güner) (Drama, 100x45 min.) Destined to be together but separated after a devastating accident, will Selma and Mihran fall in love again when their paths cross seven years later?
Redemption (Esaret) (Drama, 255x45 min.) After finding out his sister has been murdered while volunteering abroad, Oğuz seeks revenge. But his mission becomes complicated when he meets the culprit.
Chrysalis (Camdaki kız) (Drama, S3: 115x45 min.) The story of a young woman, Nalan, making her way in the world, and the transformative experiences she must go through to find her true self.
Krypto Kings (Drama, S1-2: 16x22 min.) Lars and Asim are two ordinary young men whose lives are turned upside down when a speculative investment in cryptocurrency turns them into multimillionaires.
As Long As We Live (Drama, 6x60 min.) A woman in a stale marriage attempts to rekindle her relationship,
Grassroots (Drama, 6x60 min.) Every Tuesday evening, a group of disparate young women travel across Yorkshire’s only maritime city to get fitter, stronger and kick ass at Rugby League.
Whisky Trails (Lifestyle, 10x30 min.) Luke McKenzie adventures from the new world—Australia, Japan, India and the U.S.—back to the old world of Ireland and Scotland on a personal quest to taste all the colors of the whisky rainbow.
Bluenoses (Kids, 26x5 min.) A series for young viewers using drawing, poetry, characters and animation to open a universe of inspiration and stimulation.
Breakaway Femmes (Factual, 1x90 min./56 min.)
The women who conquered the Tour de France. Hacking Evolution: Lionfish (Natural history, 1x56 min.) The invasive lionfish is a symbol of how one unintentional action can cause unimaginable havoc on the evolutionary balance of our natural world.
For the Love of Pets (Fact-ent., 8x60 min.) A heartwarming series offering insights into the world of people and pets. Narrated by Jai Courtney.
The Healing (Factual, 1x60 min.) Explores a lifesaving equine welfare program that brings traumatized ex-racehorses and traumatized veterans together to help heal each other.
Gold Digger: The Search for Australian Rugby (Factual, 1x90 min.) A journey that explores the rise and fall of the Australian rugby union.
The Best Kind of Beautiful (Drama, 6x60 min.) A series about the relationship between Florence St. Claire and Albert, whose journey is filled with deep-rooted feelings and anxieties, opposition and obstacles, mixed with true moments of candor and humor.
Reel Destinations (Lifestyle, 12x30 min.) Dyllon Schulz, an expert fisherman, and Ben Wilson, an expert fisherman and renowned chef, go off the grid to catch and cook in some of the most magical destinations.
FOX ENTERTAINMENT GLOBAL
O (1-310) 369-5500
m foxentglobal@fox.com
w www.foxentglobal.com
Stand: R7.L14
PROGRAM HIGHLIGHTS
Animal Control (Comedy, 12x22 min.) A workplace comedy following a group of animal control workers whose lives are complicated by the fact that animals are simple, but humans are not.
Krapopolis (Animated comedy, 13x22 min.) A flawed family of humans, gods and monsters tries to run one of the world’s first cities in mythical ancient Greece without killing each other.
The Christmas Break (Holiday rom-com, 1x90 min.) A couple travels to Ireland for Christmas and must confront their own marital issues while staying with their large, chaotic extended family.
Daughter of the Bride (Rom-com, 1x90 min.)
A daughter tries to sabotage her mother’s wedding while navigating her own love life and career woes.
Royal Rendezvous (Rom-com, 1x90 min.) An east L.A. chef receives an invitation to cook a royal banquet planned by an Irish lord who must convince his grandmother not to sell their manor.
Alarmed (Thriller, 1x90 min.) While away on vacation, a family’s home is invaded by an intruder out for revenge.
Blood, Sweat, and Cheer (Thriller, 1x90 min.) A mother seeking to relive her glory days poses as her teen daughter to join a high school dance team. Deadly Estate (Thriller, 1x90 min.) When a hotel manager is wrongly accused of killing the soon-tobe new owner’s son, she must use her hospitality skills to prove her innocence.
O (1-818) 934-1240
m info@glasshousedistribution.com, tom@glasshousedistribution.com w glasshousedistribution.com
Stand: R7.N10
PROGRAM HIGHLIGHTS
Ask Me to Dance (Rom-com, 1x94 min.) Jack and Jill have no idea they are destined to be together. Will they meet and fall in love before midnight of the new year?
U.K., avoiding arrest from his U.S. operations. Now, he’s secretly running more retreats with the help of a new assistant, Elizabeth, and his acolyte John.
Don’t Talk to Strangers (Horror/mystery/thriller, 1x84 min.) Follows the emotionally unstable Emmy, who is led to Ireland, where a stranger guides her investigation into a family curse and its sinister origins. Shuttlecock (Drama/thriller/war, 1x105 min.)
During a memorial for his father, a WWII hero, Major James Prentis confesses a dark family secret to his son, something he has harbored for more than 20 years.
Esme, My Love (Thriller, 1x105 min.) Hannah takes her aloof and terminally ill daughter, Esme, on a trip in an attempt to connect before they have to say goodbye.
Feisty Fighter: The Marnesba Tackett Story (Doc., 1x57 min.) Marnesba Tackett is an unsung hero in the civil rights movement and an NAACP member for over 90 years.
Get the Girl (Action, 1x107 min.) Bash is a legendary gun-for-hire who retires peacefully with his partner, Renee. They are suddenly pulled back into the life and holster up for one last round.
The Ravine (True-crime drama, 1x120 min.)
When an unspeakable crime rocks a peaceful community, family and friends are left to wonder if they overlooked the murderer among them or if there might be more to the story.
The Bigfoot Trap (Horror/thriller, 1x83 min.)
When an internet troll investigates a Bigfoot fanatic possessing the only “Bigfoot Trap,” he makes a deadly mistake in not believing in the legend.
Trauma Therapy: Psychosis (Thriller, 1x90 min.)
Self-help guru Tobin Vance has been exiled to the
In the Country of Last Things (Drama/sci-fi, 1x90 min.) In a city in ruins, a woman looks for her missing brother. Adaptation to the big screen of the Paul Auster sci-fi novel.
GLOBAL SCREEN
O (49-89) 244-1295-500
m info@globalscreen.de w www.globalscreen.de
PROGRAM HIGHLIGHTS
DAVOS (Spy drama, 6x45 min.) WWI is ravaging Europe. By contrast, Davos, the noble spa town in the Swiss Alps, seems like an oasis of peace. But behind the scenes, neutral Switzerland takes center stage in a relentless battle between the secret agents of the world powers.
AURIS: The Hegel Case & Frequency of Death
(Thriller, 2x90 min.) RTL+ originals adapted from the books by best-selling author Vincent Kliesch, based on an idea by Sebastian Fitzek, telling a gripping story around the subject of forensic phonetics.
3Hz (Adventure, S3: 13x25 min.) 2023. The sun is shining over Roegerhout. It seems to be a carefree summer until Felix and his friends make an incredible discovery: the walkman no longer listens to the past, but to the future.
Dome 16 (Drama, 10x20 min.) Norway, sometime in the future. Anton and Emma are both 16 and live in the same city but in different climate zones. They were never supposed to meet, and certainly not fall in love. But when they do, they must turn both of their worlds upside down to be together.
RIP Henry (Drama, 8x45 min.) Henry is too good for Odda, the shitty little town he ended up in. Luckily, he’ll be moving to Bergen to work at a renowned hospital. Before leaving, he discovers he has a serious problem and embarks on a desperate battle to survive.
Melchior (Medieval crime, 3x90 min./6x45 min.)
A Tallinn pharmacist has to uncover the secret behind a terrible wave of murders that threatens to wreck the entire Christian world.
Pretty Face (Comedy, 6x45 min.) When her boyfriend signs her up for a fat camp, Gigi reluctantly
accepts the challenge. She ultimately gets rid of the unhealthiest thing in her life: her toxic relationship.
Modern Dad: The Joys of Fatherhood (Family comedy, 1x90 min.) Freddy is a modern dad; as his wife, Juliana, commutes to Zurich for work, he looks after their kids while also working as the newly appointed head of a preschool.
GMA NETWORK
O (632) 8333-7633
m gwi@gmanetwork.com
w www.gmaworldwide.tv
Stand: P-1.J66
PROGRAM HIGHLIGHTS
The Write One (Drama, 20x45 min.) An unsuccessful writer is given a chance to rewrite his life with the help of a mysterious typewriter.
Hearts on Ice (Drama, 35x45 min.) A young lady with a disability is determined to fulfill her mother’s childhood dream of becoming a figure skating champion.
Luv Is: Caught in His Arms (Romance, 20x45 min.) Florence is a cook for the Ferrels, a wealthy family. She soon captures the attention of Don Ferrel’s grandsons, and they develop feelings for her.
Maria Clara and Ibarra (Fantasy drama, 52x45 min.) A student is transported into the novel Noli Me
Tangere. She desperately tries to return to the present but she can only do so after she finishes the story and learns her lesson.
Hands on the Dream (Drama, 90x45 min.) A genius graduates from medical school at 19 and becomes the youngest surgical resident in a large hospital.
Crocodile Whisperer (Fantasy action, 38x45 min.) Lolong and his crocodile friend, Dakila, battle an evil system to bring justice and peace to himself and the townspeople.
Broken Promise (Drama, 50x45 min.) A widowed jewelry designer moves on from the trauma of losing her husband. She marries a man who introduces his mistress as his daughter.
O (91-22) 495-591-00
m contact@goquestmedia.com
w www.goquestmedia.com
Erinyes (Crime drama, 12x45 min.) Set in pre- and postwar Lviv and Wrocław, Poland. Edward Popielski is a detective inspector of extraordinary intellect and physical strength who is tormented by visions caused by epilepsy attacks, which he uses to his advantage in investigations.
Crusade (Crime drama, 13x45 min.) Detective Jan Góra and his colleagues in the Warsaw Metropolitan Police investigate a series of murders and kidnappings of celebrities.
Sacrificiul (Drama, 100x45 min.) Revolves around the extraordinary stories of three sisters who were separated and only reunited years later by the fortuitous connection of their children.
Crazy in Love (Drama, 260x22 min.) Piotr and Asia had a brief summer romance, and then he forgot about her. They meet again after ten years. Will sparks fly?
Secrets of the Grapevine (Romance drama, S1-2: 72x50 min.) Tells the incredible story of two winemaking families, the Tomovics and the Smiljanics.
Traitor (Espionage/spy thriller, S1-2: 12x58 min.)
Greed and the need for recognition lead Alfred Vint, an Estonian Ministry of Defence official, to cooperate with Russian intelligence and start a cat-and-mouse chase with a young Estonian counter-intelligence officer.
Civil Servant (Spy thriller, S1-3: 36x50 min.) A young, ambitious Serbian Secret Service (BIA) agent is compelled by his sense of duty to make dangerous decisions to protect his nation, family and himself.
Debt to the Sea (Mystery thriller, S1-2: 24x50 min.) In a beautiful coastal village in Montenegro, Olga and her family must face the consequences of an earlier tragedy as she seeks to learn the truth behind the curse of the “debt to the sea.”
Divorce in Peace (Dramedy, S1-2: 20x28 min.) Businesswoman Laura wants to end her marriage to music teacher Aksel after 20 years. A relationship therapist compiles a divorce plan for them.
Northern Rescue (Drama, 10x45 min.) Follows John West, who, after the death of his wife, relocates his three children from the big city of Boston to return to the Northern community of Turtle Island Bay to take command of the local search and rescue service.
O (1-818) 728-7600
w www.grbtv.com
Stand: R7.A16
7 Queens: Luck Be a Lady? (Comedy, 7 eps.)
Live from the Tribeca Film Festival, seven new specials are available from your favorite drag queens. Death Walker with Nick Groff (Paranormal, S13: 40x60 min.) Nick Groff investigates the origins of some of the most notorious hauntings in America.
Icons Unearthed: The Fast and The Furious (Docuseries, 6x60 min.) What should have been a one-off popcorn summer flick followed by a straight-to-video sequel became one of the largest film franchises of all time.
highlighting the colorful characters that have indelibly changed the course of music history.
On the Case (Crime, S1-11: 286x60 min. & 1x120 min.) Explore intriguing murder mysteries through indepth interviews with those closest to the case and examine the evidence that helped unravel the mystery.
Relative Justice (Docuseries, 150x30 min.) Family squabbles will play out daily on the arbitrationbased reality court show with Judge Rhonda Wills.
Untold Stories of the ER (Docuseries/format, 162x60 min.) These true stories demonstrate the nature of medicine practiced under pressure and unpredictable circumstances.
Just Eats with Chef JJ (Food, 34x30 min.) Chef JJ, one of the culinary world’s most sought-after stars, invites you into his kitchen to experience his delicious delights with celebrity friends and influencers.
HARI
O (33-1) 4307-6577
m sales@studiohari.com, kido@studiohari.com
w www.studiohari.com/en
Stand: R7.L8
PROGRAM HIGHLIGHTS
7 Queens: Luck Be a Lady?
Icons Unearthed: Marvel (Docuseries, 8x60 min.) The Marvel Cinematic Universe is the most successful franchise of all time and it has changed the way movies are made.
Living by Design (Lifestyle, S1-3: 48x30 min. & 1x60 min.) Brother and sister duo Jake and Jazz Smollett transform living, work and play spaces from drab to fab—turning houses into homes.
Music’s Greatest Mysteries (Docuseries, 28x30 min. & 2x60 min.) The series covers topics that have altered or elevated the world of music while
Mystery Lane (Animation, 26x22 min.) Jump in our extraordinary hamsters’ fun adventures à la ScoobyDoo, which will captivate kids’ imaginations.
The Weasy Family (Animation, 78x7 min.) Innovative slapstick comedy and heartwarming narrative are at the core of this weasel-father and duckling-daughters story that will resonate with kids and parents alike.
Grizzy & the Lemmings World Tour (Animation, S3: 78x7 min., S4: 78x7 min.) Sees the multiawarded slapstick phenomenon—1 billion views a year on YouTube—traveling the world and kids’ favorite characters going even wackier.
O (90-212) 231-0102
m info@intermedya.tv w intermedya.tv
Stand: C16.C
PROGRAM HIGHLIGHTS
Deception (Drama) A respectable family court judge living in Istanbul has what could be described as the epitome of a perfect family. But when secrets are revealed, she confronts the reality that her life has been a lie.
Tuzak (Drama) Tells the story of three siblings: Mahir, Umut and Umay, whose springs of life were taken from them.
Another Chance (Drama) Sadi Payaslı is a geography teacher who will balance his life and take care of five convicted students from a reformatory. Poison Ivy (Drama) A love story about two souls finding each other.
The Girl of the Green Valley (Drama) Melissa was left without a mother and father when she was a baby. No one knows the truth about what happened to her family. Dreams and Realities (Drama/rom-com, S1: 13x60 min., S2: 13x60 min.) Four well-educated, working women in the middle-lower class districts of Istanbul have big dreams. Their lives change with the sudden death of their friend Meryem.
Aziz (Drama, 91x45 min.) In 1934, Aziz, son of the prosperous Payidar family, must flee after killing French delegate Monsieur Pierre’s son Lieutenant Andre. Two years later, he returns and everything has changed. The Trusted (Drama, 74x45 min.) Marashli is an ex-soldier who has left the special forces to open up a secondhand bookstore and spend more time with his sick daughter, Zelis. His life changes when the beautiful Mahur Turel walks into his bookstore.
Scorpion (Drama, 91x45 min.) Ferda’s stubbornness and Perihan not wanting her lead to a great war between the mother and daughter.
Hicran (Drama, 126x45 min.) Hicran believed she lost her baby at birth. Years later, she encounters a young girl named Melek and becomes her babysitter. Melek and Hicran embrace each other with love, without knowing that they are mother and daughter.
KANAL D INTERNATIONAL
m hello@kanald.international w kanald.international
Farewell Letter (Drama) The paths of the Yıldız and Karlı families will cross again after 30 years; their fates now lie with Aslı and Mehmet.
That Girl (Drama) Zeynep, who spends her days caring for her father and cleaning the home of Ozan,
meets a businesswoman named Sitare, who will help her with her dreams of becoming a social media star.
Three Sisters (Drama, 101x44 min.) An adaptation of the bestseller by İclal Aydın. At the end of the ’90s, three sisters, Türkan, Dönüş and Derya, dream of a promising future.
The Seed (Eco-thriller, 6x45 min.) Two detectives searching for a missing journalist in Norway’s Arctic wastes uncover a conspiracy of global proportions: a power struggle between stop-at-nothing multinationals and international politicians to gain control over humanity’s most important resource.
Troppo (Crime drama, 8x60 min.) Ex-police detective Ted Conkaffey left Sydney in disgrace to find redemption in a Queensland rainforest town. He finds himself drawn into the criminal cases of eccentric private investigator Amanda Pharrell, herself a convicted murderer.
Love and Hope (Drama) A story about growth, the conflict of generations, families falling apart and domestic feuds.
Love and Hate (Rom-com, 61x44 min.) Tolga is a young actor at the peak of his fame but dissatisfied; Asya is a clerk working in a mall who dreams of studying at university. When the paths of these two young people cross, two different worlds collide.
O (49-89) 999-513-0
m info@leoninestudios.com
w screenings.leoninestudios.com/en
Stand: R7.E72
PROGRAM HIGHLIGHTS
Bonn (Period event drama/political thriller, 6x48 min.) True untold story of a young woman’s struggle to find her own place in a male-dominated society in the midst of the battle between Germany’s separate intelligence agencies formed after WWII.
Herzogpark (Comedy/drama/thriller, 6x45 min.) The perfectly polished existence of a glamorous, champagne-fueled world is on the brink of chaos, as carefully hidden secrets threaten to surface.
Professionals (Blue-sky action, 10x48 min.)
Tom Welling plays security operative Vincent Corbo, who is hired by billionaire futurist Peter Swann (Brendan Fraser) to investigate a medical satellite explosion suspected to be sabotage and uncovers a conspiracy.
SurrealEstate (Blue-sky action, 10x45 min.) Real estate agent Luke Roman and his team specialize in investigating and closing haunted houses by using their remarkable abilities to solve metaphysical problems and make the properties sellable.
The Name of the Rose (Thriller, 8x50 min.) A suspenseful crime thriller set in an intriguing and gloomy medieval world with a modern take and new details to a multilayered story.
Bellevue (Crime/suspense/thriller, 8x45 min.) A thrilling mystery set in a small town where a detective must unravel the disappearance of a bullied teen while confronting her past.
Flashpoint (Action, 75x40 min.) Follows the Strategic Response Unit (SRU), a team of elite cops who handle high-risk incidents and use their training in tactics and psychology to make splitsecond decisions.
O (1-416) 892-0918
m kyle@littleengine.tv
w www.littleengine.tv
The Gumboot Kids (3-6 live-action nature, 100x5 min./25x22 min.) Join Scout, Daisy and the Gumboot Kids as they mindfully explore the wonders of nature.
Baby Baby (2-5 live-action empathy, 40x5 min.)
All about imagination and play, invites preschoolers into the nursery to watch, listen and learn about the wonderful world of babies.
Space Kids (4-7 live-action astronomy, 40x2 min.) Explores the infinite wonders of our universe through mixing real NASA archival footage with fresh animation and cool pop music.
Run Jump Play (4-7 docu-family, 27x4 min.) A live-action and animated series about children on the autism spectrum who find courage, friendship and fun through sport.
Show (4-8 live-action/puppetry talk show, 6x14 min.) A show where you meet wacky characters, sing catchy songs and learn fun academic strategies, all while building key social-emotional skills.
Dino Powers (3-9 CGI action-adventure, 58x15 min.) Taking place in a contemporary world in which dinosaurs and humans coexist and a parallel world in which monsters live, using AR technology and robots to prevent Anti.
BoyBand: The Series (13+ rom-com, 6x50 min.) Two aspiring artist trainees at World Star Records rival one another in a cut-throat competition to debut as the next big boyband in the Thai music scene.
Starseeker (8-12 live-action adventure comedy, 26x22 min.) The story of three very different kids who “zap” between everyday life at home and school on Earth, and exploration to the farthest reaches of the universe.
Tiny and Tall (2-5 animation/motion-capture hybrid, 26x5.5 min.) Tiny and Tall feel like they’re from different worlds. Which is what Tiny and Tall love about each other: being “different” is great.
Cutie Pugs (2-5 live action, 26x7 min.) Transforms simple childhood play into grand learning adventures, seen through the eyes of a little girl and her talking puppies.
O (39-06) 36174-1
m francesca.avalle@luxvide.it, cecilia.tosti@luxvide.it
w www.luxvide.it/en
Stand: R7.C1
PROGRAM HIGHLIGHTS
Violet Like the Sea (Light crime, 12x50 min.) Viola is a journalist who assists Inspector Demir in solving crime cases in Palermo (Sicily), thanks to her synesthesia: she sees other people’s feelings through colors.
cope with emotional wounds, and new characters join the mix.
Sister Angela’s Girls (Comedy, S7: 20x50 min.) In this season, Sister Angela will be forced to leave temporarily, leaving a void in Azzurra’s heart. The novice will have to face a convent more crowded than ever.
O (33-1) 5326-3100
m jerome.alby@mediatoon.com
w mediatoon-distribution.com
Stand: R7.F24
PROGRAM HIGHLIGHTS
The Fox-Badger Family (Kids adventure/comedy, S1-2: 104x12 min.) While they are still learning to get along, the Fox-Badger household is filled to the brim with happiness and smiles.
Good Morning, Mom! (Family mystery, S1-2: 12x50 min. each) The story of a father and his four children with a mother in a coma. They will have to face ghosts from the past and reveal the truth to smile again.
Blanca (Crime drama, S1-2: 12x50 min. each) Blanca is a blind profiler who works in the police force as an intern. Thanks to her skills, Blanca proves to be a detective who can hear what no one else hears.
One Step from Heaven (Crime drama, S7: 16x50 min.) Brothers Vincenzo and Manuela investigate a big cattle farmer in San Vito, but their differing approaches and family dynamics blur the lines between right and wrong in this season’s horizontal and vertical cases.
Don Matteo (Detective comedy, S13: 20x50 min.) In the 13th season, Don Matteo struggles to
The Marsupilamis (Kids action/adventure/comedy, 52x11 min.) Join the wild and playful Marsupilamis as they swing from the tops of buildings and cause chaos, all while having bucketloads of fun.
SamSam (CGI adventure/comedy, 52x11 min.)
This 6-year-old superhero lives with his parents on Planet Sam. He goes to school, plays with the other kids and explores the galaxy on board his SamSaucer.
Trotro & Zaza (Kids edutainment, 78x3.5 min.)
The most mischievous little donkey welcomes his little sister, Zaza.
ZooBox (Kids adventure/comedy, 1x26 min.) Kerala, the enthusiastic and curious baby kangaroo, wakes up to discover a new adventure beginning in the wondrous place she lives in: a giant ship.
Nicholas’ Fantastic Summer (Kids comedy, 52x12 min.) Join Nicholas and his joyful gang on their holidays as they build sandcastles, explore new playgrounds and go treasure hunting.
Versailles Unleashed (Kids adventure/comedy, 26x22 min.) Make way for King Louis XIV’s favorite dog, Belfort, and his best friend, Lupin. They go on adventures through the palace of Versailles.
Living with Dad (Kids sitcom, 52x12 min.) Welcome to dad’s daughters’ realm of step-sisters Panda, Ondine, Roxanne and baby Bella. Dive into the unpredictable and hilarious daily life of this unconventional family.
Edens Zero (Manga/anime, S2: 25x24 min.) Traveling through Sakura Cosmos, Shiki and his friends face challenges when seeking to meet Mother, an entity that grants wishes to those brave enough to find her.
Sardine (Kids adventure/comedy, 52x12 min.) Follow Sardine, Little Louie and Captain Yellow Shoulder’s courageous crew in their fight against super-villain Supermuscleman and his sidekick, Dr. Krok.
MISTCO
O (90) 21669-51300
m info@mistco.tv
w www.mistco.tv
Stand: P-1.K3
The Patriots (Action drama, ongoing) Turkey created elite teams that carry out point-and-shoot
operations within the scope of special forces in the country and abroad.
Bahar (Drama, 100x45 min.) The story of a young girl who is struggling to keep the goodness inside despite all the darkness around her. After witnessing the murder of her father, she tries to prove that her stepmother is responsible.
Secrets of an Angel (Drama, ongoing) A drama about the struggles of all women who are victims of domestic violence that also offers romance through the love story between Zeynep and Halil.
Barbaros: Sultan’s Order (Historical drama, ongoing) Assigned by Suleiman the Magnificent to support the conquest of Rome, Barbaros Hayreddin establishes a secret espionage organization. One of Rome’s most beautiful women will help.
The Town Doctor (Drama, 107x45 min.) A town hospital brings together three idealistic doctors who do their best to help people.
The Blackboard (Drama, 64x45 min.) Years after being bullied by his school friends, Atlas returns to his hometown as a mathematics teacher.
The Great Seljuks: Alparslan (Historical drama, S1: 91x45 min., S2: ongoing) The story of Sultan Alparslan, who opened the doors of Anatolia to the Turks.
An Anatolian Tale (Drama, S1: 110x45 min., S2: 126x45 min., S3: ongoing) A young inventor in a small town convinces a company to invest in an
airplane he built with his cousins. The engineer sent to look at the invention is his childhood sweetheart. The Shadow Team (Crime drama, S1: 44x45 min., S2: 114x45 min., S3: ongoing) Tells the story of the fight, devotion and sacrifice of seven patriots who become ghosts among the crowd for their country.
Balkan Lullaby (Drama, 85x45 min.) In Skopje, hostile Turkish and Macedonian families are forced to live in the same house under the same roof thanks to an Ottoman heritage house deed.
O (81-3) 3468-6984
m nep_international_sales@nhk-ep.jp
w www.nhk-ep.co.jp/en, pf.nhk-ep.co.jp
Stand: P-1.F50
ISSEY MIYAKE: The Human Inside the Clothes (Arts/culture, 1x50 min.) A look back on the life of the world-renowned clothing designer Issey Miyake, who died at 84 in 2022.
sand resources. The program investigates how the struggle for sand supremacy is changing the world.
OSO18—In Pursuit of a Deadly Bear (w.t.) (Nature, 1x59 min.) A dairy farming community in northern Japan is being stalked by an unseen peril: a giant brown bear that attacks cows in the dead of night.
WILDLIFE (Nature, 140x49-52 min.) Two new episodes: one on the fearsome Japanese giant hornet, the other on African lion cubs.
The Frankenstein Temptation (Science/tech., 12x44-45 min.) Two new episodes: cold fusion, and a dark secret of the Nazis.
What Will You Do, Ieyasu? (Period drama, 43 min. eps.) A fresh take on the life of the titan Shogun Tokugawa Ieyasu, who ended the age of war.
Ranman (Drama, 15 min. eps.) An original story based on the life of “Japan’s father of botany,” Makino Mantaro, and his wife, Sueko.
She Loves to Cook, and She Loves to Eat (Drama, 10x15 min.) As Nomoto, who loves to cook, starts to spend time eating with her neighbor Kasuga, she soon realizes she has feelings for her. Based on the popular manga.
I’ll Still Love You Ten Years from Now (Romance drama/format, 6x43-48 min.) A romantic comedy in which a woman’s future husband travels ten years back through time to stop her from marrying him in the present.
Not Yet There (Arts/culture, 1x59 min.) Follows a year in the life of Ishihara Hitoshi, a Japanese kaiseki chef whose highly acclaimed restaurant in Kyoto has three Michelin stars.
SAND: The New Frontier of Power (World affairs, 1x52 min.) China leads the global race for control of
PROGRAM HIGHLIGHTS
When Love Springs (Romance, 1x90 min.)
When Rory and her family arrive at a quaint B&B on
the lake for the vow renewal of her parents, they have no idea that they will run into the ex that broke her heart. Panicking, Rory pretends that the B&B owner, Evan, is her new boyfriend.
Dance of the Heart (Romance, 1x90 min.) A successful but dissatisfied financial executive discovers the missing passion in her life when she starts taking secret hula lessons while on assignment in Hawaii.
Romance at the Vineyard (Romance, 1x90 min.) A wine rep is tasked with acquiring a vineyard in hopes of winning a big promotion. He goes undercover to the winery and falls for the young winemaker as she tries to secretly make a new blend to save the family vineyard.
Love by Design (Romance, 1x90 min.) When Brooke makes her 30th birthday wish on the vision board she made as a hopeful teen, her wishes start coming true—from launching a business to meeting the man of her dreams.
Bad Connection (Thriller/horror, 1x90 min.)
When a young waitress purchases a stolen cell phone, she soon finds herself on the run from a madman hunter hellbent on getting it back.
Beyond the Reef (Doc., 1x90 min. 8K/IMAX)
Shuang Hu takes audiences to explore the spectacular landscape of Far North Queensland, world-renowned for the Great Barrier Reef and its precious ecosystems. A Tiny Home Christmas (Holiday romance, 1x90 min.) To save her family’s contracting business, Blair teams up with her ex-boyfriend to build a tiny home project, rekindling old sparks in time for Christmas.
m
The Christmas Checklist (Holiday romance, 4x60 min./2x90 min.) A grieving daughter discovers a red envelope from her mom with a final request: complete a 12-item checklist before Christmas—the last being, “find love.”
A Perfect Christmas Pairing (Holiday romance, 1x90 min.) While hiding out at her family’s winery following a bad review, chef Grace collides with a travel writer who helps her appreciate her family’s Christmas traditions.
The Art of Christmas (Holiday romance, 1x90 min.) After her gallery exhibition goes up in flames, Liv accepts a teaching job to make ends meet. She connects with a fellow teacher as they team up to plan a Christmas concert.
Miracle of Love (Drama) A brave commander who fought in the Battle of Sakarya in 1921 is resurrected by the “water of life” and stops aging. In 2023 he meets a young and beautiful writer; will she be able to help him find the answers he has been searching for?
Stickman (Drama) Tamer, a wealthy game developer, meets Peri, a successful private bank manager in her early thirties who had a traumatic childhood.
Broken Destiny (Drama) After five years in a coma, Toprak wakes up to a family he doesn’t remember.
ONZA DISTRIBUTION
O (34-91) 562-0671
m onza@onzadistribution.com
w onzadistribution.com
Stand: R7.J11
Young Addictions (Social issues/tech., 3x45 min.)
The causes and consequences of the most common drug use among teenagers: non-substance addictions consumed through the screens of their cellphones like social media, porn and online gaming.
Osel (History, 4x50 min.) Chronicles the event that shocked the world in 1986, when a child born in Spain was recognized as the reincarnation of Lama Yeshe.
Crimes (True crime, S1: 10x50 min., S2: 14x50 min., S3: 10x50 min.) Tries to shed light on the darkness through the direct or indirect testimonies of 40 real crimes from the last ten years.
Godless John (Drama, 3x50 min.) Inspired by real events and based on the life of “John of God,” the most notorious recent sexual predator in Brazil. Parot (Thriller, 10x60 min.) After the annulment of the “Parot” legal doctrine, dozens of terrorists, rapists and multiple murderers are released without completing their time in prison.
Motel Valkirias (Crime/thriller, 8x50 min.) In a cross-border motel, three women discover a briefcase with €1 million. Now that they’ve stolen it, their lives are in danger.
Forever (Telenovela, S1: 100x50 min., S2: 100x50 min.) The investigation into his past leads Pedro back to his hometown, only to find out that his first love is engaged to his biological brother. The Celeb Challenge (Talent format, S1: 8x120 min., S2: 10x120 min., S3: 10x120 min.) A coach will help eight celebrities face challenges each week that will test their physical and mental limits.
The Wind Sentries (Environment/conservation, 1x55 min.) A study of the falcon population links the survival of this species’ nestlings to changes in wind patterns on a global scale, making them bioindicators of climate change.
Real Madrid, the White Legend (Factual/sports, 6x50 min.) Epic victories, magnanimity in defeat, legendary superstar players and great humanity have all contributed to Real Madrid becoming the world’s greatest football phenomenon.
ORF-ENTERPRISE
O (43-1) 87878-13030
m contentsales@orf.at
michaeladrian.hagen@orf.at
w contentsales.orf.at
Stand: P-1.L5
PROGRAM HIGHLIGHTS
Days That Never Were (Series, 8x48 min.) An accident suddenly turns into a murder case, and
the friendship of four women who have known each other since their elite school days is put to the test. Azra (Tatort) (Crime, 1x90 min.) An investigation against the criminal head Tariel Tasic is in jeopardy when their informant fails to show up, leading to a dangerous search that pits the investigators against Tasic’s organization and their own moral dilemmas.
A Raven’s Tale—Mystic Czechia (Wildlife/nature, 1x52 min./45 min.) A journey through the enchanted landscapes and castles of the Czech Republic, where the natural world and fairy tales intersect.
Life on the Wing—Miracle of Bird Migration (Wildlife/nature, 1x52 min./45 min.) A film that showcases the wonder of bird migration from a new perspective, highlighting the incredible journeys and adaptations of millions of birds.
of the sun revolving around Earth was held true for 1,500 years, until Copernicus’ revolutionary discovery caused conflict with Christianity.
Clash of the Crown Princes—Rudolf, Wilhelm and a Europe in Turmoil (History/bio., 1x45 min./51 min.)
Two crown princes of the 19th century, Rudolf of Aus tria and Wilhelm of Prussia, suffered from their assigned roles of maintaining a crumbling world.
The Birth of Modern Brazil—Leopoldina Habsburg (History, 1x52 min./45 min.) In 1822, Dom Pedro I and Leopoldina declared the independence of Brazil from Portuguese colonialism. The Dark Secret of Mr. Paganini (Music doc., 1x52 min.) Nicolo Paganini paid special attention to the strings of his instruments. Knowledge kept secret for centuries went into the making of Italian lamb gut strings, called “Corde Divine.”
m sales@passiondistribution.com
w www.passiondistribution.com
Stand: R7.J15
The Return of the Aurochs (Wildlife/nature, 1x52 min./45 min.) A documentary about bringing back the aurochs, one of Europe’s largest terrestrial animals that went extinct centuries ago, as part of the effort to reintroduce wilderness to Europe.
Slovenia—Where Nature Comes First (Wildlife/nature, 1x52 min./45 min.) Slovenia boasts diverse natural wonders, from Mediterranean olive gardens to Julian Alps’ snow-capped peaks, and wildlife like brown bears and the world’s largest trout.
Copernicus’ Secret—Triumph of Science (History/bio., 2x52 min./1x90 min.) Ptolemy’s view
JFK: The Home Movie That Changed the World (Doc., 1x60 min.) To mark the 60th anniversary of the assassination of JFK in November 2023, this documentary focuses on the little-known history of the actual 8mm film that captured the horrific events.
The Royals: A History of Scandals (Doc.) British monarchs have always been at the center of scandals. Professor Suzannah Lipscomb explores what role the press, parliament and public have played in generating outrage.
Pet Psychic (Fact-ent., 4x60 min.) Explores the world of a real-life Dr. Doolittle and sees her powers in action.
Character-led series that follows a diverse group of singles as they take their first step into the dating world.
One Night Stand (Fact-ent., 4x60 min.) 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.
Classic Car Garage (Doc., 10x60 min.) Follows classic car specialist Colin Denton and his band of vintage vehicle enthusiast mates. Gold Coast Ocean Rescue (Doc., 10x30 min.)
From the Gold Coast to the tropical tip of Australia, when an animal is in trouble, this elite team of experts gets the call.
Stand: R7.F7
Casa Susanna (History, 1x97 min.) In the 1950s and ’60s, an underground network of transgender women and cross-dressing men found refuge at a modest house in upstate New York.
Putin and the Presidents (Current affairs, 1x54 min.) Vladimir Putin clashed with American presidents as he tried to rebuild the Russian empire. Over five administrations, the miscalculations and missteps of American presidents culminated in Putin’s invasion of Ukraine.
New Eye on the Universe (Science, 1x53 min.)
Bend it
Exploring gender, family and community, this film following gender non-conforming dancer Vinay gives a whole new meaning to Bollywood. The Crossing (Doc., 1x60 min.) This film for the BAFTA-winning Exposure strand pieces together the events behind the tragic capsizing of a dinghy of asylum seekers in which over 30 people died. Open House: The Great Sex Experiment (Factent., S2: 8x60 min.) Six couples go through a very intense, fast-track experience to see if opening up their relationship is for them.
Join scientists as they use NASA’s James Webb Space Telescope to peer deep in time to hunt for the first stars and galaxies in our universe and try to detect the fingerprints of life in the atmospheres of distant worlds.
Evangelicals: From Faith to Power (History/current affairs, 3x52 min.) From the 1950s, Evangelical Christianity spread across the world. But the movement didn’t just win hearts and souls: it transformed politics.
Chasing Carbon Zero (Science, 1x60 min.) Can the U.S. reach net-zero carbon emissions by 2050
and avoid the biggest impacts of climate change? Experts say it can be done. Here’s the technology that could get us there.
Ruthless: Monopoly’s Secret History (History, 1x52 min.) Monopoly is America’s favorite board game, but behind the myth of the game’s creation is an untold tale of theft, obsession and corporate double-dealing.
SERIOUS KIDS
O (44-20) 8771-7310
m leila.o@seriouskids.com
w www.seriouskids.com
PROGRAM HIGHLIGHTS
Flix (Animation, 13x11 min./6x26 min.) The first animated series based on the work of one of the world’s most famous children’s authors, Tomi Ungerer. Flix is a pug dog born to cat parents living in Cat Town.
The Sound Collector (Stop-frame/live-action, 60x5 min.) Short stories about sound, as heard through the ears of a small but very active little being called the Sound Collector, who has a passion for sound despite the fact that he is very hard of hearing.
Girls of Olympus (Animation, 26x24 min.) Three high school girls discover their true identities as reincarnations of Athena, Aphrodite and Artemis. Fighting mythological creatures and maintaining school grades, they divert adult suspicions and go after Ares, the God of War.
Tulipop (Preschool animation, 52x7 min.) Modernday fairy tales set on the fantastical island of Tulipop, where anything can happen.
Welcome to Earth (Animation, 26x5 min.) Commander Alpha has sent Mish, Klaus, Erza and Suzy to Earth. Their mission: locate the best headquarters from which to invade the planet.
The New Legends of Monkey (Live-action adventure, 20x26 min.) This series opens as a young girl discovers a lost statue of the legendary Monkey King, an ancient god who has been imprisoned for 500 years. Tik Tak (Live action/animation, 104x5 min.) An eclectic, universal show that stimulates children’s cognitive development in a relaxed, simple way.
Art Ninja (Ent., 40x26 min. & 15x20 min.) This BAFTA-nominated Dot To Dot Productions series for CBBC is a top-five rating, new-look art show for a new generation of kids interested in experimenting with modern art techniques.
Operation Ouch! (Fact-ent., 176x26 min. & 30x15 min.) Helps kids combat their fears of hospitals by showing them how amazing the human body is at fixing itself.
m distribution@sinkingship.ca w www.sinkingship.ca
Messy Goes to Okido (Animation, 104x11 min.)
Inquisitive and lovable monster Messy brings science to life as he adventures with his best friends Zoe and Felix through the colorful world of Okido.
Stand: R7.L26
PROGRAM HIGHLIGHTS
Alma’s Way (4-6 animation, 65x22 min./or 11 min. eps.) Alma is a proud Bronx-born, Puerto
Rican girl living her fast-paced city life. The viewer is Alma’s best friend and confidant.
The Fabulous Show with Fay and Fluffy (Preschool live-action, 26x11 min.) With some big wigs and wild and glamorous outfits, Fay and Fluffy bring lots of sparkle to every show, getting kids excited to read, learn and laugh.
equestrian whose journey is suddenly halted when her mother, Janelle, moves them from their posh
Belgium life to Janelle’s childhood home in Baltimore. Annedroids (6-9 live-action/CGI, 52x22 min.)
The story of budding scientist Anne, who builds robots to help her perform experiments with her friends Nick and Shania, and her android creations.
SPI INTERNATIONAL
O (1-212) 673-5103
m info@spiintl.com
w spiintl.com
Dino Dana (Preschool live-action/CGI, 52x22 min./or 11 min. eps.) Dana is a feisty 10-year-old “paleontologist in training” who (like Dan and Trek before her) eats, sleeps and breathes dinos.
Endlings (Live-action/CGI sci-fi, 24x22 min.) Follows four teenagers in foster care who discover they’re not alone in the universe, even though sometimes it can feel like they are.
Odd Squad (4-7 live-action/CGI, 114x22 min./or 11 min. eps.) A math comedy about a high-tech organization run by kids that investigates anything strange, weird and especially odd.
The Unlisted (Live-action mystery, 15x24 min.) Dru and Kal discover a secret society named The Entity that plans to impose global control over the world’s youth.
Phoenix Rise (School drama, 20x22 min.) A band of six misfit heroes, regular kids taking their first tentative steps back into mainstream education after being excluded for a variety of reasons.
Beyond Black Beauty (Coming-of-age series, 12x30 min.) Follows Jolie Dumont, an Olympic-driven
FilmBox SPI’s flagship movie service, FilmBox provides entertainment to millions with a catalog that spans Hollywood blockbusters, classic evergreens, world cinema gems and local productions.
Filmstream Offers a specially curated selection of independent world cinema gems and classic movies, perfect for viewers who appreciate the art of cinema.
Dramastream Presents some of the best drama series with powerful storylines that transcend time and geographical borders.
Film1 Provides four premium movie channels and a VOD service on all cable, DTH and IPTV platforms in the Netherlands.
Dizi The ultimate destination for Turkish series enthusiasts all over the world.
DocuBox Brings a collection of award-winning documentary features and TV programming that explores the wonders of our world.
Gametoon Created by true gaming and esports enthusiasts and features game reviews, esports tournaments and exclusive game walkthroughs and sessions from popular streamers.
TERRA MATER STUDIOS
O (43-1) 87003
m office@terramater.at w www.terramater.com
PROGRAM HIGHLIGHTS
Jaguar Beach (Nature, 1x50 min.) The previously unknown story of how the lives of jaguars and sea turtles meet with spectacular consequences for everyone on “Jaguar Beach.”
Raptors—A Fistful of Daggers (Nature, 2x50 min.) From distant lands to stunningly lit studios, this series is an insightful and spectacular celebration of the world’s top predators, the raptors.
Morava—Between Deluge and Drought (Nature, 1x50 min.) Where two different worlds meet in the heart of Europe: vast wetlands and ancient sand dunes. Explore with us the Morava River.
The Philippines—Islands on the Edge (Nature, 2x50 min.) More than 7,000 islands, close to the equator, straddling the unstable, volcanic Ring of Fire, teeming with life.
All You Need Is Love (Nature, 1x50 min.) In nature, gender is fluid and roles can be reversed. But in the end, all we need is love.
Sentinels—Exploring Nature from Space (Nature/science, 1x50 min.) On the ground, it’s hard to appreciate how our planet works; that’s why we take it to space and explore nature from there.
Game of Moons (Science, 3x50 min.) Explores alien worlds of extremes right in our celestial neighborhood, each single one amazing, fascinating and unique in its own way.
Scotland—The New Wild (Nature, 3x50 min.) Driven by the passion of youth and a spirit of innovation, from city to coast to island to mountain, an iconic and surprising portrait of Scotland.
Healthy Cities—More Than Human (Nature, 2x50 min. & 1x90 min.) The well-being of many cities, their inhabitants, humans, animals and plants, is under threat. How can we keep them healthy or make them even healthier?
The Storm—Wildlife in Wild Weather (Nature, 1x50 min.) Shows the extraordinary strategies adopted by animals, from the tiniest insects to foxes and moles, to cope with the threat of heavily raging storms.
TV ASAHI CORPORATION
O (81-3) 6406-1952
m ml-international@tv-asahi.co.jp w www.tv-asahicontents.com/en
Stand: R7.H8
PROGRAM HIGHLIGHTS
Recipe Roulette (Cooking/ent. format, 30 min. eps.)
Two teams of three contestants, unaware of the recipe,
compete in a relay to cook the dish. The cooking time per person in each team is determined by roulette.
Sneak n Shop (Game format, 60 min. eps.) Contestants sneak into a large store and carry all the goods they want to the checkout counter while trying to avoid being caught on drone cameras.
Ranking the Stars (Ent. format, 60 min. eps.) Ten celebrity panelists are asked to rank one another on a variety of topics. Hilarious conversation ensues between celebrities.
Dudes vs Drones (Game/ent. format, 60 min. eps.) Putting on keywords, contestants carry the devices they want to the cash register of an electronics store while drones with cameras relentlessly follow them until they read their keywords and disqualify them.
Dice of Life (Game/ent. format, 60 min. eps.) Inside a huge tower set, there are spiral staircases, and each step has a task for the contestants to perform, with the fastest finisher taking home all the prizes and items.
or false to guess if a real performance is going on or not. The host and audience try to fool the guests by reacting wildly as if a real performance is going on.
Extreme Budget Challenge (Reality, 60 min. eps.)
Set in an apartment, four contestants live a fulfilling life on just $100 a month to see who can save the most at the end. The winner’s remaining balance is multiplied by 1,000 and awarded as a cash prize. On a Starry Night (Drama, 9x60 min.) An obste trician-gynecologist and a young man whose job is organizing the belongings of those who have died alone fall in love.
TVF INTERNATIONAL
O (44-20) 7837-3000
m sales@tvf.co.uk, acquisitions@tvf.co.uk w tvfinternational.com
Stand: R7.C36
PROGRAM HIGHLIGHTS
The Reckoning (World affairs, 1x90 min.) Featuring first-hand accounts of the abuse of power by Holly wood’s elite, including Harvey Weinstein, explores how these revelations catalyzed a global movement.
Can’t Touch This (Game/ent. format, 60 min. eps.) All the games are played under the simple rule of “can’t touch this.” Two teams of three compete in three rounds.
Wild Skills (Reality/survival, 8x60 min.) Nine professionals (carpenter, fisherman, cook, etc.) are stranded on a deserted island for seven days. They are allowed to take only three tools of their trade to survive.
TURN BACK (Game/ent. format, 60 min. eps.) The guests sit with their backs to the show and play true
Dun Huang: Ancient Frontier Fortress (History, 2x52 min.) The first documentary to chart the turbulent history of Dun Huang, discover the story of an ancient city of empresses, monks and warlords, brought to life through stunning dramatic recreations.
Secrets of the Aquarium (Fact-ent., 6x60 min.)
Step inside the U.K.’s largest aquarium in this series offering exclusive behind-the-scenes access into daily life at this iconic establishment.
The Faces of History (History, 6x40 min.) Follow a team of experts on a thought-provoking exploration into the past to uncover the mystery of what history’s most famous figures actually looked like.
Emma Barnett Meets (Bio., 32x30 min.) The awardwinning broadcaster and journalist meets leaders in their fields who are advancing the global debate.
Looted: Bringing Back the Gods (World affairs, 2x48 min.) Since the colonial era, thousands of artifacts have been looted from Asia. A new generation of activists are working to return these heirlooms.
TVTOMORROW
O (44-203) 740-6538
m thoran@tvtomorrow.co.uk
w www.tvtomorrow.co.uk
PROGRAM HIGHLIGHTS
Evacuation (Doc., 1x90 min./2x45 min.) Follows the miraculous stories of five characters who defied all odds to evacuate during the Ukraine hostilities. It is an examination of social devastation.
Women-Guardians (Doc., 10x15 min./3x50 min.) Tells the stories of Ukrainian women who fight side by side with men and feed, pray, love and inspire the nation to believe in victory.
We’ll Re-Build (Doc., 10x10 min./2x50 min.) An expression of optimism about the monuments damaged in the aim of the destruction of Ukraine as a nation and their plans to rebuild.
The Winter That Changed Us (Doc., 6x30 min., 1x50 min.) A series of documentaries dedicated to
the heroic self-sacrifice of ordinary people during the dramatic events of 2014 in Kiev.
Operation Crimea (Doc., 1x43 min.) Covers the real events of March-April 2014, which fundamentally changed the map of Ukraine and led to profound changes to relations with Russia.
Ukraine: The Return of Our History (Doc., 1x98 min., 1x108 min., 1x112 min.) Dispels the distorted myths about Ukrainians and describes their stolen history.
Travel Around Ukraine (Doc., 12x45 min.)
Dmytro Komarov highlights the unique places, traditions and customs of Ukrainians and what it used to be before 2022.
Split Into Atoms: Chernobyl (Doc., 3x50 min./1x150 min.) The stories of three people during the Chernobyl disaster, a tragic part of Ukraine’s history.
XILAM ANIMATION
O (33-1) 4018-7200
m info@xilam.com
w www.xilam.com
Stand: R7.H6
Lupin’s Tales (Preschool comedy, S2: 78x7 min. & 26x2.5 min.) Lupin is back with new adventures through continents—and even space. Also included in this season, Lupin on a Mission , an exclusive short series.
Travel Around Ukraine
Zig & Sharko (Kids animated slapstick comedy, S4: 78x7 min.) Zig and Sharko are back on their island, but there’s no holiday in sight for the mischievous hyena and the muscly shark. Marina just found magic sandals, which gives her legs incredible powers.
Karate Sheep (Kids animated comedy, 78x7 min.)
Trico loves to share new objects with his fellow sheep. This causes ruckus in the mountain pastures, especially for Wanda, a tough ewe who has to keep the sheep safe from Wolf.
Mr Magoo (Kids animated slapstick comedy, S2: 69x7 min. & 3x21 min.) Friendly and goodhearted, Mr Magoo is nonetheless a walking disaster. Because he doesn’t realize he needs glasses, he confuses everything and unknowingly foils the plans of Fizz, the megalomaniacal hamster.
Frank Schätzing’s bestseller; scientists delve deep within the Arctic Ocean in search of an unknown menace threatening mankind.
Clean Sweep (Crime/suspense, 6x52 min.) Shelly Mohan seems like an unassuming mom, but when a dark secret emerges from her past, she makes a fatal choice to prevent the truth from surfacing.
Oggy Oggy (Preschool animated comedy adventure, S1-2: 156x7 min.) Join adorable kitten Oggy and his cast of cat pals in a bright and colorful kitty world.
ZDF STUDIOS
O (49) 6131-9910
m info@zdf-studios.com
w www.zdf-studios.com
Stand: R7.D5
PROGRAM HIGHLIGHTS
The Swarm (Drama/thriller, 8x45 min.) Based on
Dear Vivi (Crime/suspense, 7x45 min.) An emotional family drama and thriller mix that uncovers the mystery behind the shocking murder of a wife and mother.
Boundless (Crime/suspense, 6x45 min.) Explorer Ferdinand Magellan leads an epic voyage in search of precious spice that would change man’s perception of the world and establish the existence of an ocean route west.
Spellbound (Junior live-action, 26x26 min.) Cece Parker Jones’ teenage life at the famous Paris Opera Ballet School is turned upside down when she discovers she’s a real witch.
Superhero Academy (Junior live-action, 13x15 min.) Even superheroes have to go to school. Follow the students at this very unique boarding school for future superheroes, where their challenges are as different as their powers.
Maari—Adventures at the Reef (Junior animation, 20x7 min.) The squid Maari and her friends
team up whenever trouble arrives in the Blue Bay Reef. They find solutions for every threat.
The Six Continents Revealed (History/bio., 6x50 min.) Around 200 million years ago, the primeval continent of Pangaea broke up and the continents began their journey to the places they now occupy on the world map.
Bison—An American Icon (Wildlife/nature, 1x50 min.) Nothing says the “Wild West” like the profile of a bison. By following one, we witness the spirit of a survivor, an icon of America.
Stories to Stay Awake (Crime/suspense, S2: 4x50 min.) This thrilling science-fiction reboot of the original Spanish television sensation from the 1960s has one goal: to leave you sleepless at night.
ZONE3
O (1-514) 284-5555
m mratte@zone3.ca w www.zone3.ca/en
Still I Rise (Après le Déluge) (Drama, 6x45 min.)
A policewoman introduces four troubled young adults to mixed martial arts, hoping to give them a fighting chance at keeping their crime sheets clean. Motel Paradis (Crime drama, 6x45 min.) Determined to solve the mystery surrounding her sister’s disappearance, Jen returns to her remote hometown, accompanied by a police detective days away from retirement.
Entitled (Les Petits Rois) (Teen drama, 6x43 min.) A gang of snotty, arrogant friends rule their high school until the day a collateral victim of their egotism decides to play anonymous avenger.
Becoming Gabrielle (Le Monde de Gabrielle Roy) (Historical drama, 8x30 min.) A young author
in the making seeks to understand the world around her amid social and political upheaval.
The Knockout Theory (La Théorie du K.O.) (Comedy, S1-2: 25x22 min.) A newly widowed father of two decides to work out the kinks in his life in a wrestling ring.
Around Midnight (Minuit, Le Soir) (Drama, S1-3: 37x22 min.) Three dedicated doormen in a trendy nightclub get their world turned upside down when new owner Fanny’s modern standards force them to adapt.
Jérémie (Teen/YA drama, S1-5: 90x22 min.) A drama series with hints of humor, following the trials and tribulations of an 18-year-old woman whose world has recently been turned upside down.
Like Me! (Like-Moi) (Sketch comedy, S1-5: 56x24 min.) In a series of savage, often off-beat comical sketches, illustrates the myriad facets— emotions, friendships and sex lives—of millennials.
WhimsyWonder Island (4-7 live-action, 65x24 min.) WhimsyWonder Island is a place where legendary creatures come for rest. It’s a magical, whimsical world that celebrates imagination and diversity.
The Devil’s Lot (Reality competition, S1-2: 20x45 min.) Two groups of fearless contestants take a trip back in time and face epic challenges without the aid of modern-day comforts or technology.
The rebooted series features genre talents Rodrigo Cortés, Rodrigo Sorogoyen, Paula Ortiz and Paco Plaza, who continue in the tradition of the iconic series to explore new cinematic language and unique film narratives. Distributor: ZDF Studios
Optomen TV’s feel-good format assembles a team of experts to help transform the nation’s most-cluttered homes. In a time when our homes have never been more important, the series’ universal themes, inspiring ideas and ingenious tips have translated with audiences all over the world. Distributor: All3Media International
Fourteen young men and women. Two islands. The objective: Find the love of your life. Can they make the right decision at the right time? Distributor: TV Asahi
Thomas and his loc-amigos will embrace unexpected surprises and discover more about each other as they get into new shenanigans on the Island of Sodor. Whiff, Ashima, Toby, Terence, Salty and all-new characters will join the fun. Distributor: Mattel Television
This classic family drama tells the story of two sisters whose paths have crossed with golden boy Ferit and his family, full of betrayal, lies and secrets. Distributor: Eccho Rights
