World Screen DISCOP Johannesburg 2019 by World Screen

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DISCOP Johannesburg Edition

WWW.WORLDSCREEN.COM

THE MAGAZINE OF INTERNATIONAL MEDIA • NOVEMBER 2019

Selling to Africa / WarnerMedia’s Robert Greenblatt Showmax’s Candice Fangueiro

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CONTENTS

NOVEMBER 2019/DISCOP JOHANNESBURG EDITION DEPARTMENTS WORLD VIEW By Anna Carugati.

Publisher Ricardo Seguin Guise

UPFRONTS New content on the market.

Group Editorial Director Anna Carugati Editor Mansha Daswani

SPOTLIGHT 27 Showmax’s Candice Fangueiro. WORLD’S END In the stars.

Executive Editor Kristin Brzoznowski

Associate Editors Chelsea Regan Alison Skilton

IN THE NEWS WORLD SCREEN is published nine times per year: January, March, April, May, June/July, September, October, November and December. Annual subscription price: Inside the U.S.: $90.00 Outside the U.S.: $160.00 Send checks, company information and address corrections to: WSN INC. 1123 Broadway, Suite 1207 New York, NY 10010, U.S.A. For a free subscription to our newsletters, please visit www.subscriptions.ws.

18 WARNERMEDIA’S ROBERT GREENBLATT The MIPCOM 2019 Personality of the Year was interviewed on the stage of the Grand Auditorium by World Screen’s Anna Carugati.

SPECIAL REPORT

Editor, Spanish-Language Publications Elizabeth Bowen-Tombari Associate Editor, Spanish-Language Publications Rafael Blanco Editorial Assistant, Spanish-Language Publications Jessica Ávila Contributing Editor Elizabeth Guider Production & Design Director David Diehl

20 GOLD RUSH

Distributors eyeing Africa for future opportunities are finding a growing market with varied tastes.

Online Director Simon Weaver Art Director Phyllis Q. Busell Senior Sales & Marketing Manager Dana Mattison Sales & Marketing Coordinator Genovick Acevedo Business Affairs Manager Andrea Moreno Contributing Writers Steve Clarke Andy Fry Joanna Stephens Jay Stuart David Wood

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development

WORLD SCREEN is a registered trademark of WSN INC. 1123 Broadway, Suite 1207 New York, NY 10010, U.S.A. Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.worldscreen.com

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WORLD VIEW

BY ANNA CARUGATI

Doing the Math I was recently sitting with a pencil, paper and a calculator, and a scene from my past flashed before my eyes: I was in my early 20s, seated at the kitchen table with my father. We were doing the math to figure out if I could afford to live on my own. My dad was quashing my enthusiasm for spreading my wings. It was undoubtedly painful for him to see his baby girl leave the nest, but he was intent on giving me a reality check. He had a kind heart but was authoritarian. I still remember the stern timbre of his voice as he elucidated the difference between essential expenses—rent, utilities, food, transportation—and discretionary ones. He used the category of clothing to drive home his point. We were living in Chicago, notorious for brutal winters. He said a down-filled coat and snow boots were essential. The fifth blue sweater (sweaters are my passion and blue is my favorite color), just because it’s cute, is not. Now decades later, I am once again doing the math to determine how essential an expense is. This time I’m not changing homes; I’m considering which streaming services I want and can afford. The space is getting more crowded this month as new players enter the field, with the launches of Apple TV+ and Disney+. Comcast’s Peacock service is set to roll out in April 2020, and HBO Max will follow in May. These will be in addition to the countless other SVODs and apps all competing for our attention and dollars. As I sit here going over my credit card bill, evaluating what is essential and what is discretionary, I find that when it comes to programming—and granted, these are first-world considerations—the definition between the two is blurring. I could not imagine being unable to enjoy favorite classic shows, nor could I do without the thrill of becoming hooked on a new series. Do streaming services represent an essential expense? For me, they do. Programming provides information and introduces us to worlds, ideas, situations, lifestyles and problems we may not encounter in our daily lives but should be aware of, nonetheless. And often, the best shows are those that knock us out of our comfort zone. In the coming months, many consumers, myself included, will need to weigh our emotional comfort zones, nourished by high-quality TV series and movies, against our financial comfort zones. How much can we afford to spend? In the U.S., many existing streamers, as well as the emerging ones, cost less than $10 a month, others between $10 and $15. If you start having three, four or five of them, that adds up. And then you have to add whatever you pay for a broadband connection. You do the math; then you have to make choices.

It’s incredible how the center of power has shifted in the last 15 years. It used to be that executives at broadcast or cable networks built a schedule with shows airing at specific times and days of the week. Viewers were beholden to the schedulers’ decisions; the only freedom they had was to time-shift, record a show or find it on a catch-up menu and watch it later. Or they could purchase a DVD of the entire season. But viewers’ options were limited. Fast-forward to today, and viewers have countless shows available from an enormous supply of sources. They select, click, swipe and decide what and when they watch and for how long. Who hasn’t binged through entire afternoons, evenings or late nights? No longer passive viewers of fixed schedules, consumers are in control of their entertainment experiences. And by doing their kitchen-table math, and deciding what they want and what they can afford, consumers will determine which of the streamers survive. As we know, major media companies are spending billions to attract the best writers, creators, showrunners, actors and directors to make the most appealing programming for different segments of the audience. Streamers are investing in shows that viewers don’t want to miss—shows that affect your decisions as you do your math and justify the monthly subscription. I recently sat down with Robert Greenblatt, the chairman of WarnerMedia Entertainment and directto-consumer, who is overseeing the launch of HBO Max. We talked about his years as a producer and network executive, nurturing talent and shepherding shows, and how he is using that experience to shape HBO Max’s offering. A summary of that conversation appears in this issue. The convenience offered by streaming platforms appeals to consumers around the world and has spurred the growth of local services. In this issue, we also speak to Candice Fangueiro, the head of content for Africa at the SVOD service Showmax. She has the same objectives as other SVOD executives: finding writers who can craft unique original series and sourcing the best international content. In our feature, we speak to distributors selling into the African continent, who remark on the diverse tastes of viewers in the region. As broadband and mobile penetration grow, consumers in several African markets will be making the same choices I am now. I want meaningful stories in my life; the question is, how many can I afford?

Consumers will determine which of the streamers survive.

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UPFRONTS Asintado

ABS-CBN Corporation Asintado / The Blood Sisters / Forever My Love At DISCOP Johannesburg, ABS-CBN Corporation is highlighting its three best-selling dramas, Asintado, The Blood Sisters and Forever My Love. The company is also featuring Your Moment, a two-in-one reality-talent competition searching for the best dancing and singing duos and groups from around the globe, featuring a state-of-the-art set. “We believe that these programs will appeal to African buyers because these shows provide excellent content with characters that are authentic, inspiring and empowering,” says Laarni J. Yu, sales head for EMEA at ABS-CBN Corporation. “These dramas are very relatable to the African market as they tell stories of families with unwavering faith, hope and resilience. We create stories with moral values that touch and transform lives on deeply personal yet universal levels.”

“Our dramas are very well-received in Africa, and we want to continue being the leading provider of Filipino content in this market.” —Laarni J. Yu

The Africa Channel My Design Rules / May’s Kitchen / World Wide Nate Three competing pairs battle it out to transform an empty space into a designer’s masterpiece in The Africa Channel’s My Design Rules. In May’s Kitchen, celebrity chef and social media inﬂuencer May Yacoubi embarks on a culinary-ﬁlled extravaganza, while World Wide Nate follows Chicago native and travel blogger Nathan Fluellen on a journey across Africa. “We believe that these shows from The Africa Channel’s production arm, TAC Studios, imbue local authenticity but have both pan-African and global relevance and appeal,” says Narendra Reddy, executive VP and general manager at The Africa Channel. Meanwhile, the Demand Africa OTT service is targeted to the 140 million-plus people who would be categorized as the African Diaspora (living outside the continent). There’s currently a subscription-based offer, with an AVOD channel coming soon.

World Wide Nate

Calinos Entertainment

“One of our principal agendas is to raise the quality and shifting perception of what constitutes African content in the global marketplace.” —Narendra Reddy

Our Story

The Girl Named Feriha / Woman / Our Story Calinos Entertainment is heading to DISCOP Johannesburg with The Girl Named Feriha, a drama that follows the life of the titular character who, after gaining admission to a private university, pretends she is wealthy as she falls in love with an affluent playboy. Calinos is also bringing Woman, Forbidden Fruit and Our Story to the market. “All these programs are long-lasting,” says Ebru Mercan, Calinos’s sales executive for Africa. “Our Story has two seasons, and it has 200 TV hours; Woman’s third season is on air now, and the ratings are outstanding as always. Forbidden Fruit’s third season is also on air, and we are very happy with the results.” All three dramas follow the lives of strong women who persevere despite the various obstacles they are forced to overcome.

“Our aim is to show African audiences the quality of Turkish dramas.” —Ebru Mercan 12 WORLD SCREEN 11/19

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Caracol Television Mom of Number 10 / Bolívar / The Queen and The Conqueror Mom of Number 10, a telenovela on offer from Caracol Television, follows the life of Tina Manotas, a mother who sacriﬁces everything to make her son’s dreams of becoming a professional football player come true. Meanwhile, the historical drama Bolívar chronicles the life and relationships of Simón Bolívar before he became famous. The Queen and The Conqueror reimagines the love story of an indigenous woman, Catalina, and Pedro de Heredia, who established the city of Cartagena, Colombia. “Bolívar and The Queen and The Conqueror, our two most recent historical dramas, follow a formula that Caracol Television has come up with and has been very successful in international markets,” says Paloma García, international sales director for Europe and Africa.

“We see a clear opportunity at DISCOP Johannesburg to meet with African producers that are leaders in their respective regions.”

Bolívar

—Paloma García

Impostora

GMA Worldwide Family Jewels / Impostora / The Stepdaughters GMA Worldwide is presenting Family Jewels, the story of five sisters who have the same father but different mothers, who are fighting for control of their father’s company. Impostora, meanwhile, is about a disfigured woman who, through plastic surgery, takes the face and life of a doctor’s wife. Rounding out the slate is The Stepdaughters, which follows two women whose fates take a turn when they become stepsisters. “These three titles were recently sold to Kenya, and Family Jewels has ‘huge’ ratings, according to the broadcaster,” says Roxanne J. Barcelona, VP of GMA Worldwide. “We believe the unique storylines appeal to the market, but at the same time, the values of courage, perseverance and familial love remain relatable to the audience.”

“Buyers can expect higher quality content from GMA in the coming months.” —Roxanne J. Barcelona

Indigenius Petey & Jaydee Go Exploring / Bino & Fino / Jongo Two little aliens with an insatiable curiosity are at the center of the animated series Petey & Jaydee Go Exploring, part of the Indigenius catalog. The pair of eponymous characters can be found traveling the world in their spaceship, looking for adventure wherever they go. “Petey and Jaydee are back in a brand-new 4K-rendered version,” says Kam Jey, cofounder and head of digital partnerships and syndication. Bino & Fino is a Nigerian animation that aims to showcase the beauty of Africa to children. “Bino & Fino came from [an initiative] to create something that was positive and rooted in African culture for a market that is lacking true African-made educational content,” Jey says. Jongo is a liveaction series about Eli King, who discovers a mysterious crystal that imbues him with special powers.

Bino & Fino

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“There’s a lot of great content in Africa that goes undiscovered, and we hope to connect with those producers.” —Kam Jey

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Endless Love

Inter Medya Endless Love / The Light of Hope / The Perfect Couple Among Inter Medya’s highlights for DISCOP Johannesburg is the Ay Yapim-produced Endless Love, a drama series about two young people from separate worlds whose love for one another surpasses their differences, until work and secrets threaten everything. “Endless Love is one of the most successful Turkish drama series ever produced,” says Can Okan, Inter Medya’s founder and CEO, who adds that the show has already been licensed in more than 130 countries worldwide. The Light of Hope centers on a mother, father and child as they overcome obstacles to ﬁnd one another and become a family again. In the reality format The Perfect Couple, 11 men and 11 women compete to get the chance to choose a partner and claim one of the limited rooms in a luxurious beach house.

“We are ready and excited to expand to new countries within the continent by bringing our new catalog of Turkish titles.” —Can Okan

Mondo TV MeteoHeroes / Robot Trains / YooHoo to the Rescue Mondo TV is presenting MeteoHeroes and YooHoo to the Rescue, as well as the second season of Robot Trains. “These shows entertain, delight and thrill children but also educate them,” says Theo Kouroglou, international content sales manager. “YooHoo has storylines about endangered species, Robot Trains’ heroes protect sources of natural energy, and MeteoHeroes features six children who discover that they have superpowers that affect the weather.” In addition to preschool and children’s animation, the portfolio features tween drama as well as other genres. The company hopes to extend its reach in Africa and “entertain youngsters across the continent—but also to transfer knowledge, and to help them enjoy a better life in a more peaceful, friendly and ecologically aware environment,” says Kouroglou.

YooHoo to the Rescue

“Our shows entertain and touch on relevant themes—educating through entertainment.” —Theo Kouroglou

NBCUniversal International Distribution Cobra / Devils / Bluff City Law

Bluff City Law

From the NBCUniversal International Distribution catalog, Cobra is an action-packed contemporary drama that follows the British government’s crisis team (COBRA) as they respond to an unfolding natural disaster. Meanwhile, Patrick Dempsey stars in Devils, a new international thriller from Sky Studios. Dempsey, in his first major TV series since Grey’s Anatomy, is featured alongside Alessandro Borghi in the drama, which follows a trader at an investment powerhouse who uncovers a far-reaching conspiracy surrounding the global financial crisis and explores how a select few use their money and power to manipulate those around them and economies around the world. Emmy and Golden Globe winner Jimmy Smits leads the cast of Bluff City Law, a character-driven drama that focuses on a group of attorneys at a celebrated law firm. 14 WORLD SCREEN 11/19

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One Life Studios Porus / Phir Laut Aayi Naagin / Chandragupta Maurya King Porus, an iconic ruler of ancient India, defends his motherland against Alexander the Great in One Life Studios’ Porus, the ﬁrst Indian series licensed by Hulu Japan. Another costume drama in the company’s catalog, Chandragupta Maurya tells the story of a boy and a teacher who band together to unite India against foreign invaders and protect it from King Dhananand of the Nanda Dynasty. “Costume dramas have always attracted audiences and broadcasters because of their elaborate sets, costumes and empowering storylines,” says Rahul Kumar Tewary, producer and managing director. “We at One Life Studios have been making our mark on the global world map with the syndication of our shows like Porus and Chandragupta Maurya.” The fantasy revenge drama Phir Laut Aayi Naagin tackles themes of love, loss and reincarnation.

“We are committed to being the one destination for all global players.”

Phir Laut Aayi Naagin

—Rahul Kumar Tewary

Jesus

Record TV Jezebel / Jesus / Topíssima Record TV has recently launched Jezebel to much success in Mozambique, and the company is looking to further the reach of the series on the African continent with new deals at DISCOP Johannesburg. Set in Israel, the telenovela tells the story of a Phoenician princess who uses her beauty and powers of seduction to get everything she wants. Record TV has also seen success in Africa with the biblical novela Jesus and has high expectations for Topíssima, which delves into the struggles of a modern woman. “We have been providing content to this territory for a long time,” says Delmar Andrade, international sales director. “We have achieved more success than expected in Africa, and our products are on the main TV channels in countries such as Angola, Mozambique, Nigeria and Kenya.”

“Record TV’s productions have conquered Africa’s market, and the demand for our products is very strong in the region.” —Delmar Andrade

Viacom18/IndiaCast Media Distribution The Great Emperor Ashoka

Bepannah / Silsila / The Great Emperor Ashoka A romantic thriller mystery, Bepannah (Beyond Boundaries) is among the lead titles that Viacom18/IndiaCast Media Distribution believes will resonate with buyers at DISCOP Johannesburg. The company also has high hopes for Silsila (Unfaithful), the story of two modern-day couples whose lives change because of one dangerous affair, and the fantasy series Naagin (The Serpent), which tells a shape-shifting serpent’s story of revenge for love. Another title in the spotlight is the large-scale costume drama The Great Emperor Ashoka (Chakravartin Ashoka Samra), based on the life of King Ashoka. “We strongly believe our content has enormous potential in Africa, and we look forward to introducing our latest offering in ﬁction categories to a larger audience base,” says Debkumar Dasgupta, senior VP of syndication and MEA.

“The mainstream audience in Africa has taken a liking to Indian drama series dubbed in English.” —Debkumar Dasgupta 16 WORLD SCREEN 11/19

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IN THE NEWS

Robert Greenblatt W By Mansha Daswani

IPCOM 2019 Personality of the Year Robert Greenblatt was interviewed on the stage of the Grand Auditorium by World Screen’s Anna Carugati, discussing the need to take risks in programming, the strategy for HBO Max and the enduring strength of WarnerMedia’s linear channels. Greenblatt is chairman of WarnerMedia Entertainment and direct-to-consumer. He told Carugati that his interest in the entertainment business began in his teenage years, starting with a love for musical theater in high school. His first television job was with Lorimar under Peter Chernin. Once Warner Bros. bought the company, Chernin and Greenblatt left for the fledgling FOX network. “We had to establish ourselves as the alternative network in town,” Greenblatt recounted. Greenblatt then went on to be a producer, teaming with David Janollari to set up a production company. “We decided to do shows that nobody else was doing. We thought, let’s look for niches that aren’t being filled by the rest of the landscape.” Greenblatt’s experience as a producer “was really valuable” when he returned to being a network executive, joining Showtime as president of entertainment. His next move was to NBC, where he led its turnaround from a long slump as the lastplace network. “I like a challenge!” Greenblatt said.

Greenblatt joined WarnerMedia earlier this year to lead the company’s upcoming streaming service. “The future is direct-toconsumer; there’s no doubt about it. WarnerMedia is really very aggressively moving into this space. The assets are undeniable. The buy-in from the parent company AT&T is strong and aggressive. We’re going to bring [HBO Max] to market next spring. It’s bringing together all of the assets of the company.” On the original programming strategy for HBO Max, Greenblatt said, “We’ve been buying a lot of new shows from an array of really exciting people. Dramas, comedies, reality shows. We’re expanding into younger audiences, kids’ programming, young adults, Gen Z.” Talent on board for content on the service include Ridley Scott, Anna Kendrick and Paul Feig, Steven Spielberg, Ellen DeGeneres, Kaley Cuoco and Greg Berlanti. Carugati asked Greenblatt about how HBO plans to up its volume while maintaining the quality that subscribers have come to love of the service. “People know it for its excellence. The amount of great shows is staggering. This year alone has been extraordinary. There’s no plan to do anything but keep that intact, exactly what it is. The shows are made very carefully. There’s a certain number that I think is a comfortable amount of

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World Screen’s Anna Carugati on stage at MIPCOM with WarnerMedia’s Robert Greenblatt.

Weighing in on algorithms and curation, Greenblatt said, “You need some version of an algorithm because of scale— when you get to millions of customers. But early on, when you have new customers, and you’re just gathering new data, you can’t use the algorithm yet. So at least initially, we’re going to be doing it the old-fashioned way, by scheduling and putting shows on with other shows and rolling things out together. We’re going to try to build an algorithm that is more personal to you. On some services, it’s an average of 9 minutes to ﬁnd something you want to watch. We’re going to try to shorten that amount of time. But initially, you start by laying shows out according to a cadence. Eventually, the tech will catch up and we’ll ﬁnd a great balance between the computer and the human being as helping to curate.” Greenblatt also oversees the linear channels TBS, TNT and truTV. “Linear is still a great business. There are different audiences that come to different mediums. The CW shows are modestly successful on the linear platform; they index extraordinarily high on an SVOD platform. We love the ability to look at the different mediums and look at how shows play across them. We have no interest in getting out of our linear business anytime soon. They are very robust. It’s where a lot of advertising is generated. That’s important to us. I think the whole ecosystem can work together.” While news won’t be part of HBO Max, CNN Films’ library content will be available, “and they will be making some new things for us. We’re not going to be a live medium, at least in the near term. But CNN is a great asset in the family.”

t WarnerMedia shows. We’re increasing it slightly, but not anything to be alarmed about. We’re not asking HBO to do anything more than what they do. They’ve ramped up a little bit over the last year, but it’s not going to be that signiﬁcant.” On international partnerships, Greenblatt noted, “We see all the great shows being made around the world. Production is ramping up in so many countries. We are wide open to putting those kinds of shows on HBO Max as well. HBO has been ﬂirting with it too, with My Brilliant Friend, Our Boys. So, there is some of that already in the system. We’re wide open to bringing more of those shows into HBO Max.” Library content will also be key to HBO Max, Greenblatt said. “We know people come to these platforms for different reasons. Original programming is one thing. Movies are also a big driver. Series are as well. Acquisitions are a great driver too. We are looking at acquiring shows, but also mining the libraries we have.” Friends and The Big Bang Theory, “two of the biggest shows to come out of Warner Bros. Television,” Greenblatt said, will be part of HBO Max. “It’s a treasure trove of great shows. Movies and original series are the reasons people want these platforms, but you round them out with all this great additional content.”

Greenblatt continued, “In a world where the volume has increased exponentially, it’s gotten harder…to ﬁnd the unique show that nobody else is doing. That’s the challenge and the joy, when you hit upon something like Chernobyl. Who would have thought a ﬁve-part docudrama about this nuclear accident would have caused the sensation that it did? There’s nothing else like it, and it was executed at the highest level and marketed beautifully. HBO did everything right, and lo and behold, 13 million or 14 million people watched it. No idea is off the table. It’s just a matter of the execution and how you market it. The last thing you should do is something everyone else is doing.” Building HBO Max has been “the most challenging thing I’ve ever been involved in, and in some ways the most exciting,” said Greenblatt. “It’s like building a start-up. We’re building a massive company from scratch, inside another massive company. It’s different from just taking a job and trying to figure out, how do I do a better version of this network or that network? It really is a whole new enterprise. And I love that it’s bringing together HBO, the Turner networks, all the Warner Bros. properties. That is really exciting.”

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Record TVâ&#x20AC;&#x2122;s Jezebel. 20 WORLD SCREEN 11/19

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Distributors eyeing Africa for future opportunities are finding a growing market with varied tastes. By Chelsea Regan hile African heritage and the stories of the African Diaspora often serve as markers of diversity, it would be wise to consider the diversity within the world’s secondlargest continent itself. Africa is home to more than 1.2 billion people across 54 countries, observing dozens of religions and spiritualties and speaking a variety of Indigenous languages alongside those of its colonizers. Even with this admittedly rudimentary sketch of Africa’s demographics, it’s clear that the continent and its tastes for content cannot be painted with a single broad brushstroke. “African countries’ colonial and pre-colonial heritage is very different from country to country, and this has had an important impact on the language and culture of each nation; hence, we tackle each country like a different market,” says Paloma García, international sales director for Europe and Africa at Caracol Television. “Doing business in Africa requires understanding that you can’t see the continent as one single block or market, and this is why our content offer varies from country to country in terms of languages and storylines.” Caracol has sent series dubbed in French and English to such sub-Saharan African countries as Kenya, Nigeria, Ghana and Uganda; series dubbed in Portuguese to Angola and Mozambique; and its Spanishlanguage content to Equatorial Guinea and Mauritius. The White Slave’s “high production values allow its success in sales everywhere in Africa,” according to García, who believes that

Bolívar will see a similar reception. (The former centers on a white woman named Victoria who is raised by an enslaved couple following the assassination of her family, while the latter tells the story of Simón Bolívar, a revolutionary who led the liberation of Latin American countries from the Spanish empire.) Viacom18/IndiaCast Media Distribution has dubbed into English a number of its series that air in early prime or prime time in Africa. Balika Vadhu (The Young Bride) and Uttaran (Second Hand) have been syndicated in subSaharan and Southern Africa, while the ﬁrst season of the fantasy series Naagin (The Serpent) has been syndicated across the continent. Debkumar Dasgupta, senior VP of syndication and the Middle East and Africa at Viacom18/IndiaCast, says, “Our drama series have proven to be extremely successful in every market that we have licensed to, especially Kenya, Nigeria, Tanzania, Ghana, Mauritius, Southern Africa, Egypt and Francophone African countries.”

ROOM TO GROW Viacom18/IndiaCast isn’t stopping there. “We are looking at introducing our series in Malawi, Ethiopia, Zambia, Zimbabwe, Morocco and others,” adds Dasgupta. From the Philippines’s GMA Worldwide, My Destiny, which tells the story of two sisters who fall in love with the same man, has sold into Kenya and Zambia. “This title combines the themes of familial and romantic love that are relatable across different territories, including Africa,” says Roxanne J. Barcelona, GMA Worldwide’s VP. My Faithful Husband has also 11/19 WORLD SCREEN 21

sold into Kenya and Zambia. Beautiful Strangers is available dubbed in French “and has received interest from broadcasters in French-speaking countries in Africa,” according to Barcelona. Record TV’s latest launch into Africa has been Jezebel, which tells the story of a Phoenician princess. According to Delmar Andrade, international sales director at the company, “In its premiere in Mozambique, Jezebel recorded by itself the audience of all the other main TV channels together, and guaranteed for the broadcaster a share of 50 percent in the time slot.” Even more successful for Record TV has been Jesus, a retelling of the Christian prophet’s story. “The telenovela reached an audience record in the history of Mozambican television, reaching more than 6 million viewers in its debut, with an 87-percent share for TV Miramar,” says Andrade. Calinos Entertainment entered Africa with The Girl Named Feriha, which follows a girl stuck between the world of her humble beginnings and that of her upper-class university classmates, who include a rich and handsome playboy. “This series is very successful in all regions that we distribute in,” says Ebru Mercan, sales executive for Africa at Calinos. “It is a market-opener for us, and it has proven to be a success in the African region too.” Also being distributed into Africa are Calinos’s Forbidden Fruit, Our Story and Woman. “There is still a long way to go in Africa; the audiences are just discovering Turkish content. We cannot access all African countries at the same level,” says Mercan, explaining that in

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The first season of Viacom18/IndiaCast’s Naagin has been syndicated in Africa to much success. some countries in the region, only households with a pay-TV subscription can currently access Turkish titles. In addition to South Africa, Mauritius, Senegal, Ivory Coast and Nigeria have been big markets for Italy-based Mondo TV’s output. The CGI-animated comedy-adventure series Robot Trains has sold into Portuguese-speaking Africa, Mauritius and South Africa; Sissi the Young Empress, which centers on a freespirited princess and her many animal friends, has also sold into Portuguese-speaking Africa as well as French-speaking regions. The Netﬂix original YooHoo to the Rescue, about a crew of magical forest creatures ﬁghting threats to nature and wildlife on Earth, is available in most territories.

drama with music at its core—can all find their place. For more mature audiences on the continent, human stories are winning the day. “Traditional melodramas with themes of familial and romantic love are popular among the African audience,” says GMA’s Barcelona. The series that Viacom18/IndiaCast has dubbed into English and sent to Africa, according to Dasgupta, “are a perfect blend of emotion, romance, family and socially relevant issues that will immediately resonate with the mainstream audiences.”

Calinos’s Mercan has found that “love stories are always the most preferred.” While Caracol’s García likewise observes the consistent selling power of a good love story, the company is also looking to bring action and comedy and other universal themes to local markets in Africa. Record TV sees the universality in its catalog of biblical telenovelas. “The telenovelas based on the biblical stories, apart from religiosity, collaborate to understand a vision of the world in which we live,” says Andrade. “That is part of the success achieved by these super productions in Brazil and around the world. On Record TV, we continue along this path with biblical stories that also include all the ingredients that a telenovela must have: passion, hatred, envy and solidarity.” From Latin America and India, Turkey, the Philippines and Italy, these series ﬁnd common ground in their commitment to internationally appealing themes and genres while also being rooted in the unique heritage of the lands from whence they came. “Filipino dramas promote the values of hard work, courage and persistence against adversity, which are also values of the African audience,” says Barcelona of the ethos that’s foundational to the dramas in GMA’s library. The themes at the center of Calinos’s Turkish titles “are both unique and similar to the African audiences,” says Mercan. “Unique because of the way that acting, lifestyles and landscapes are all very different. Similar because love, family and conﬂicts are very much the same.”

BROAD APPEAL “Thanks to our large catalog of classic series and movies and strong background in distribution, we have done a lot of business with countries north and south of the Sahara over a long time,” says Theo Kouroglou, international content sales manager for Mondo TV. “Today, we have solid long-term relationships with several broadcasters in the region, established for over ten years.” Among Mondo TV’s forthcoming releases is MeteoHeroes, which the company expects will fare well in African markets. When it comes to genre, the titles that are selling well across Africa’s landscape are those that already appeal to diverse audiences. As Kouroglou puts it, “In many ways, this market is not massively different from any other,” adding that the types of kids’ content the company offers—adventure stories, magic and romance, fantasy for preschoolers and tween

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well. This year, or next year at the latest, we plan to make good sales.” Mondo TV is also keeping an eye on Africa’s nonlinear platforms. “OTT, in particular, offers opportunities for mobile platforms, although [access to affordable data packages], which varies from market to market and which may affect the reach of OTT, is key to take-up,” says Kouroglou. “However, nonlinear does seem to be a strong future business trend in this part of the world.” The internet’s lack of ubiquity in Africa at present is unquestionably among the challenges of establishing a foothold on the contiCaracol has seen a string of successful sales in Africa for The White Slave. nent. As Mercan explains, “the technological infrastructure is not very For Record TV, Andrade credits “the ability to good in most of the African countries.” There’s speak with love, passion, action and all the necalso the matter of prices, she says. essary requirements for a good telenovela” as “Like any other territory, Africa has its own well as offering “the public what can make ups and downs,” says Viacom18/IndiaCast’s them think and arouse a deep interest.” “‘Indian-ness’ appeals magniﬁcently across Dasgupta. “There are issues with remittances, Africa, and we seek to captivate audiences from differing deals due to budgetary issues from a all walks of life—in India and overseas—with few countries, but overall, there has been a our compelling storytelling,” says Viacom18/ healthy trend in our syndication business.” IndiaCast’s Dasgupta. “Our series are a perfect At Mondo TV, Kouroglou also sees reasons to blend of emotion, drama and variety, which be optimistic for the maturation of the market are synonymous [with] almost all cultures in as certain conditions improve. “Viewing habits the world.” will be interesting,” he says. “One wonders if the García of Caracol says that the company’s “stories show strong women who ﬁght to get ahead in their lives, which we think is a positive message that resonates among African female audiences.”

region will have more strongly nonlinear viewing behaviors than many others that have access to fixed-line communications.” The sorts of challenges that establishing sales across Africa currently present are, by the observation of industry execs, the kind that foretell a future of greater opportunity. Viacom18/IndiaCast now syndicates content to more than 25 African countries across three languages that are dubbed or subtitled either in English or the local language, and that’s just the start, according to Dasgupta. “We strongly believe our content has enormous potential in Africa, and we look forward to introducing our latest offering in fiction categories to a larger audience base,” he says. Kouroglou believes that Mondo TV’s “diverse output and its strength in entertainment production, distribution and licensing to children, tweens, teens and families” will give the company opportunities among many age groups. “We are confident our experience and expertise will continue placing us amongst Africa’s preferred content providers,” says Caracol’s García, who sees further opportunity in the region in co-productions. “We are starting to explore cooperation opportunities with local content producers as we believe that there is high potential in co-producing with local players. A mix of finished-production sales and cooperation with local players is key for our plans on the African continent.” But the greatest opportunity, according to Calinos’s Mercan, is “building bridges between continents. This sector opens the ways for other sectors.”

OTT AHEAD A nascent streaming sector is presenting a wave of opportunities, as is a still-growing base of pay-TV subs. GMA Worldwide is already reaping the beneﬁts of the growth of Africa’s television market. “We increased our revenue in this territory by more than 50 percent versus last year,” says Barcelona. All of GMA’s current clients in Africa are linear channels—free and pay TV— packaged with VOD rights for their owned-andoperated platforms. That could change, though, in the near future as nonlinear platforms establish more of a presence across the continent. “As in most places in the world, we expect nonlinear platforms to continue growing as the internet becomes increasingly accessible,” says Caracol’s García. Calinos’s Mercan echoes this forward-looking viewpoint. “Currently we are discussing some of our programs with nonlinear platforms as

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SPOTLIGHT

WS: How has the service evolved since its launch? FANGUEIRO: We’ve been going just over four years now, and in SVOD terms in Africa, that is a long time! We launched as a predominantly library/catalog, back-season type of service. But along the way, we’ve evolved. We entered into the sphere of creating originals. We understand the importance of having ﬁrst-run content on the platform. We had to really look at what our customers wanted, what they were looking for. We have a huge catalog of local content, from an English, Afrikaans and vernacular point of view, with some of South Africa’s mostloved local shows, ranging from telenovelas and soaps to scripted dramas and comedies. Fundamentally we’ve become the home of Africa’s most-loved stories. Transitioning to something newer and fresher, more fun and edgy, from a local and international point of view, is where we’re at right now. We’ve also got some of HBO’s great shows premiering on our platform, like Euphoria, and [EPIX’s] Godfather of Harlem. For these titles that have international acclaim and are being spoken about worldwide, Showmax is your go-to place. WS: What’s your overall acquisition approach? Are you doing volume deals or cherry-picking individual shows? FANGUEIRO: Cherry-picking is absolutely where we are. It’s all about the quality, not the quantity. You can have the biggest catalog in the world, but if it’s full of bad content, no one will want to watch it. For us, it’s important that we pick the best shows. We have a fairly decent range, about 20,000 episodes of content across local and international. Still, for us, it’s absolutely quality over quantity, and our deals are predominantly cherry-picked.

Candice Fangueiro

Showmax By Mansha Daswani

division of the South African media giant MultiChoice Group, Showmax has emerged as a dominant force in Africa’s nascent SVOD market since its launch four years ago. While navigating the challenges of the region’s low credit card penetration, limited broadband infrastructure and high data costs, Showmax has built up a devoted base of subscribers with a mix of library fare, day-and-date U.S. imports and buzzy local originals. Candice Fangueiro, head of content for Africa at Showmax, tells World Screen about her overall acquisitions approach, the strategy for increasing the platform’s slate of originals and breaking through in an increasingly competitive landscape.

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WS: And is it primarily sourced from within the region and the U.S.? FANGUEIRO: At this point, it’s South Africa, the U.S. and the U.K. We are dabbling with some of the Bollywood suppliers and Turkish telenovelas, from a testing point of view. We haven’t launched any Korean or Turkish telenovelas, but we are currently in discussions with them. WS: In terms of genre, are you heavily scripted? FANGUEIRO: The majority of our content is scripted series and movies. About 20 percent of our catalog is kids’ content, which ranges across age groups, for boys and girls. And we have a small nonfiction section. We are looking at actively growing that. Again, more on a quality, current-affairs, trending approach. What’s topical? [It’s about] what we need to have on the platform, as opposed to just having a wide variety of nonfiction. WS: Tell us about the journey into originals. FANGUEIRO: It’s been very exciting, incredibly nervewracking! When you have your first Showmax original that delivers record-breaking viewership results on the platform, it’s a bit of a boost to your confidence. You never know how these are going to land. We launched with a show called Tali’s Wedding Diary featuring a very popular YouTube star. [The producers] sent through a pilot and we had to jump on it immediately because she is incredibly talented and very funny, and it was a story that hadn’t been done in South Africa before. Also, it was a smooth transition to get a digital audience to come to a digital platform using

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Showmax made its entry into original programming with Tali ’s Wedding Diary, which features YouTube star Julia Anastasopoulos. a digital star. It was a bit more daring and playful. And at the time, there was a gap in the [local] English-language market. The Afrikaans and vernacular were catered for. Following on from that, we partnered with Comedy Central. One way to get into the hearts and minds of South Africans is to go through the local celebrities they adore. So we did the Roast of Somizi and the Roast of AKA, two very big local celebrities. We still see traction in terms of attracting new customers to the platform with those shows. We then went into our first scripted drama, The Girl from St. Agnes. It’s a murder mystery where [a student] is killed, and the drama teacher becomes obsessed with the death, which was said by the school to be a suicide. It did really well for us in terms of attracting record audiences. We had an international partner, Red Arrow Studios, who came on board as a funding and distribution partner. It was our first drama with an international partner. WS: How many originals are you looking to do a year? FANGUEIRO: Initially, we were trying to get one a quarter. We are ramping up our slate slowly but surely. At this stage, we’re working very closely with the generalentertainment team at MultiChoice to try to build our slate faster. We see the power that local content has to generate new audiences for the platform. WS: And are you exploring more international alliances like the one with Red Arrow Studios? FANGUEIRO: Absolutely. It makes perfect sense in terms of sharing the costs, and since our focus continent is Africa, the rest of the world is an opportunity for sales. We do have an internal sales agency that sells our content abroad; that’s first and foremost. But where it makes sense, and we can get third-party funding, then we will consider it. WS: Do you release all episodes at once or roll them out weekly? FANGUEIRO: It depends on the nature of the show. On Tali’s Wedding Diary, we couldn’t roll out weekly; you get to the end of the episode and have to watch the next one, and they were nice, short, 20-minute episodes. The 28 WORLD SCREEN 11/19

Girl from St. Agnes was deep and heavy, but we did boxset that one as well. We went the other way with Trippin with Skhumba and released episodes weekly to keep people coming back on a regular basis. [We’ll see] as we start learning what works best. Some of the shows that we [launch] at the same time as the DStv channels are released daily and weekly. And piracy is still huge, so we need to publish content as early as we possibly can to align with international release dates. When a show is being talked about on Twitter and you don’t have access to it—we need to align with the international [launch] date. WS: What are you looking for at DISCOP Johannesburg? FANGUEIRO: It’s been quite a [challenge] to find things that are new and different. One of the issues in Africa is finding writing talent. You have very established writers, but it’s now finding something new and fresh and suitable for a young millennial African audience. We know South Africans love their telenovelas. We need to find new and different shows for our platform. WS: Are you concerned about how the competitive environment will shift once the Hollywood studios’ direct-toconsumer platforms are up and running? FANGUEIRO: We’re definitely keeping an eye on things. They’ve been creating top Hollywood content for years, which audiences around the world are obsessed with. But knowing what’s ahead, it becomes increasingly important for us to hone in on our local content offering and what differentiates us. Africa is still quite limited in broadband penetration and data prices are still quite high. We have room to exploit the international content while ramping up the local content slate to get Africans to love our content. We’re also focused on building our kids’ catalog. Little ones are growing up with cellphones in their hands; it’s what they know. If we can get kids to love Showmax and grow with the product, it’s a win-win. And what’s unique to our platform is sports. Some of the bigger leagues [EPL, La Liga, Serie A], we’ll have live games, which gives us an edge, something that differentiates us.

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WORLD’S END

IN THE STARS Almost every national constitution forbids the establishment of an official state religion. But this secular bent doesn’t stop people from looking to the heavens for answers to life’s most troublesome questions: Will I succeed? Will I find love? Will I get arrested protesting with Jane Fonda? Every day, papers, magazines and websites worldwide print horoscopes— projections for people born in a specific month, based on the positions of the stars and planets. While many people rely on these daily, weekly or monthly messages for guidance in their lives, some readers skip over them entirely. The editors of WS recognize that these little pearls of random foresight occasionally prove pro phetic. But rather than poring over charts of the zodiac to pre-

Alec Baldwin

Jane Fonda

scopes in an attempt to legitimize the science. As you can see here, had some of these media figures remembered to consult their horoscopes on significant dates, they could have avoided a few surprises.

James Corden

ALEC BALDWIN

SELENA GOMEZ

Global distinction: 30 Rock funnyman. Sign: Aries (b. April 3, 1958) Significant date: October 21, 2019 Noteworthy activity: The actor and comedian appears

Global distinction: Singer & actress. Sign: Cancer (b. July 22, 1992) Significant date: October 28, 2019 Noteworthy activity: The Disney Channel alum takes to

on The Tonight Show and jokes with host Jimmy Fallon about a stunt dummy of himself used for a comedy bit that had extra padding in the stomach area. “You wanna see how much weight I’ve lost?” he asks Fallon to a round of audience applause before letting his pants drop to the floor. “My pants don’t even fit me anymore,” the star proclaims while standing in his underwear. Horoscope: “Don’t reveal too much. The closer you play your cards to your chest and try to create an air of mystery, the more others will want to know.” (dailymail.co.uk)

Instagram to plug her new SKIMS—a shapewear line from none other than Kim Kardashian West, known foe of her friend Taylor Swift. After the “Swifties” flood her comments in horror, Gomez deletes the post that calls the garment “legit” and “so freaking comfortable.” Damage control also includes posting a picture with Swift captioned, “My ride or die. I would die for this one.” Horoscope: “The rules of business don’t always correspond to the rules of friendship.” (mysanantonio.com)

JANE FONDA Global distinction: Actress & activist. Sign: Sagittarius (b. December 21, 1937) Significant date: October 25, 2019 Noteworthy activity: The 81-year-old accepts BAFTA’s Stanley Kubrick Britannia Award via a video message— recorded as she is being arrested while protesting climate change in Washington, D.C. “Thank you BAFTA,” Fonda says as she’s tied up and being taken away by police. “BAFTA, thank you for the Stanley Kubrick award for excellence in film. I’m sorry I’m not there, I’m very honored.” Horoscope: “Give thanks for wisdom gained through your toughest lessons. Experience is your best teacher.” (twittascope.com)

dict world events, our staff prefers to use past horo-

Rob Lowe

COURTENEY COX Global distinction: Friends’ Monica Gellar. Sign: Gemini (b. June 15, 1964) Significant date: October 30, 2019 Noteworthy activity: Though imitation is said to be the sincerest form of flattery, Cox is left unimpressed by fellow actress Sara Foster’s Friends-inspired Monica Gellar Halloween costume. “Rachel and Phoebe,” Cox correctly identifies Foster’s costumed daughters in an Instagram comment, but adds, “You…Who the hell are you?” Foster replies, “I’m MONICA!! You clearly have never seen FRIENDS.” Perhaps channeling her oft-snarky character, Cox quips back, “Clearly neither have you.” Horoscope: “You could be flattered by this, and yet it’s still important that you get a truer perspective on who you’re dealing with.” (bismarcktribune.com)

JAMES CORDEN ROB LOWE Global distinction: ’80s heartthrob. Sign: Pisces (b. March 17, 1964) Significant date: October 21, 2019 Noteworthy activity: The former “Brat Pack” member is doing a radio interview to promote his live show Stories I Only Tell My Friends: LIVE! and opens up about, among other things, a home sex tape that was leaked to the press in 1988 and nearly ended his career. “The problem was, I didn’t make any money off of it like everybody does,” the 9-1-1: Lone Star actor tells the host. “I was too stupid.” Horoscope: “You harness your own personal power when you think ahead.” (washingtonpost.com) 30 WORLD SCREEN 11/19

Global distinction: The Late Late Show host. Sign: Leo (b. August 22, 1978) Significant date: October 28, 2019 Noteworthy activity: The talk show host asks former One Direction singer Louis Tomlinson about a band he was in before his big break. “I was about 14 when I first [joined the band]. I’ve actually got the name of the band tattooed on my legs,” Tomlinson answers. As a follow-up, Corden asks, “How old were you at this point?” Tomlinson once again answers and then deadpans, “Just said that,” leaving a stunned Corden momentarily speechless and his fellow guests and the audience in a fit of laughs. Horoscope: “Listen when others tell their stories.” (pilotonline.com)

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