Interviews

Tyler Perry

Writer, Producer, Actor, Director Founder, Tyler Perry Studios

WS: When and why did you start writing, and when did you realize you wanted to work in the entertainment business? PERRY: I started writing after I watched Oprah [Winfrey] on TV one day say it was cathartic to write things down. That was my catalyst for writing, and I wrote my first play. It was freeing to get things out of me and onto paper and to have that work. That was my beginning; that’s where it all started. There were people who saw that first play, and it inspired them and motivated them. That’s what made me want to continue with it.

WS: Tell us about the studio. PERRY: [The studio is now in a structure that] was built in the 1800s. It was a former Confederate army base. I bought it about six years ago and started converting it. I knew it was a Confederate army base. I knew the history of what that meant, but in the time we are in today, with all that is going on, it has even more significance. To have a Black man own a large piece of land in the city of Atlanta that was used as a home base to strategize to keep Black people enslaved—for me to own that now, that speaks volumes.

WS: Do you feel that films or television can play a role in fostering understanding, introducing viewers to different ways of thinking or lifestyles, or maybe even healing? PERRY: For sure, that’s the power of film. That’s the power of television. That’s the power of our industry. We get to paint pictures and tell stories, and the most powerful stories are the ones that leave you different. I look at people like Ava DuVernay, who has done some amazing work that speaks on so many levels. Even when I think about some of the stuff I have done, I just tried to make people laugh and feel good, but also give them something to think about.

WS: Do you have a preference for working in theater, film or television? PERRY: I don’t. They all have their own place in my mind. There are so many sides of my brain that need to be watered and satisfied. Theater has its place. Film has its place. Running a studio has its place. I need all sides of my brain working on all those things.

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Russell T Davies

Creator & Writer It’s a Sin

WS: Why did you want to tell this story about the early days of the AIDS crisis? DAVIES: I felt that the British version was untold. Not completely untold; it’s popped up in soap operas and detective thrillers and stage plays. But not as a big, blockbuster piece. Also, it’s a generational thing; there are 18-year-olds now who don’t know this happened. I don’t blame them for that. I don’t blame a generation for not looking back; you’re not born to look back. But every so often you need to remind people of what happened in history; that’s a good thing to do. And also my age—at 57, I’ve been writing and telling these gay stories for a very long time, and in some ways, I hadn’t told the biggest one. I think I was waiting. I’m glad I waited. I have a lot more experience and hopefully a lot more skill. I hope I’ve told it well. It was just time.

WS: As a writer working in this drama landscape today, are you finding more opportunities to tell different types of stories? DAVIES: It’s a good time. More drama means higher standards for all of us. The battle in drama is enormous now because the work out there is ferociously good. I’m not an expert in [producing for the SVODs] because I’m 57 and kind of an old-fashioned terrestrial broadcaster. [It’s a Sin] is the first thing I’ve done that’s been dropped with all five episodes available. It still had a terrestrial transmission of one a week [on Channel 4]. I think this drama benefits from being watched [in one sitting] because it doesn’t depend on plot twists, there are no great reveals, you don’t find out who the murderer is, it’s just life being lived. You look at the dramas that went out last year, like I May Destroy You and I Hate Suzie and Succession—the intelligence level of drama is rapidly accelerating. Those shows were as bright and bristling and clever as you could possibly imagine. That’s good for all of us. There’s not a writer in the land thinking, I’ll just take it easy and write a quick murder mystery. Stories and writers are getting more varied and more true and honest and insightful. That’s brilliant. It’s great news.

Jon Feltheimer

CEO Lionsgate

WS: How have you accelerated your direct-to-consumer business? FELTHEIMER: Several years ago, we recognized that transitioning Starz from a primarily linear bundled network to an over-the-top digital and à la carte premium service was the right strategy. Increased SVOD viewership in the stayat-home environment has just put an exclamation mark on that. In our other businesses, we’ve always taken the approach that there are no sacred cows. We’ve reinvented different kinds of paradigms for feature film and television. In features, we were doing day-and-date movies ten years ago. We’ve been exploring premium video on demand (PVOD) and other windowing strategies for years. We built our company to look at different ways that we can get entertainment to the consumer while remaining sensitive to the needs of our distribution partners, and what’s happening now is simply accelerating that process.

WS: Tell us about the rollout of StarzPlay. FELTHEIMER: StarzPlay has 58 different distribution partners across 50 countries. Our global growth strategy is to be a true premium— you might say “ultra-premium”—subscription service with edgy, provocative, grown-up content. We know our brand, our audience and how to reach them, and we know our place in the ecosystem. Internationally, we use more third-party high-end series than we do in the U.S., where we focus primarily on Lionsgate and Starz original programming and movies. But our overall strategy is similar: to have the best of global SVOD content as part of a premium service that can be bundled with everyone and will sit as a premium layer on top of every platform. I continue to be very bullish about StarzPlay’s international growth.

WS: What factors have contributed to the success of Lionsgate’s television output? FELTHEIMER: Our television business has a similar philosophy to our film group in terms of its portfolio approach and ability to create bespoke deals for every different series we make and every distribution platform with whom we partner. We were early in delivering premium scripted content to all of the new platforms. We’re able to create different business models for every partner according to their needs and economics.

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Casey Bloys

Chief Content Officer, HBO & HBO Max WarnerMedia

WS: HBO has participated in many international co-productions. Will these co-productions continue? BLOYS: We have a long history of collaborating with both Sky and the BBC, obviously English-language programs. We had Chernobyl and brought Sky on as producers. They had The Third Day with Jude Law. We do His Dark Materials with the BBC. We’ve got a long history of collaborating with lots of U.K. outlets, and we will continue to do that. We’ve got My Brilliant Friend, a show I love, the adaptation of the Elena Ferrante novels. We continue to do things we think our subscribers will be interested in.

We’ll air some HBO international shows. There are around 45 series from across HBO Europe, HBO Latin America and HBO Asia that are available to stream on HBO Max, but we are going to air two international shows on HBO for the first time.

When I talk about the diversity of our slate, co-productions will always be a part of the offering. Gentleman Jack is a good example. It’s a story that you wouldn’t necessarily know about Anne Lister, who is often known as the first modern lesbian. To put that story in a beautiful period piece, with a character that bold, the show is a great offering. When you think about putting it in the same slate as Lovecraft Country or I May Destroy You, the voices can come in all sorts of packaging. International co-productions will continue to do that for us.

WS: Are people coming to HBO Max for HBO content and originals and staying for their favorites like Friends or The Big Bang Theory? Or do they come for their favorites and discover the originals? BLOYS: I think it goes both ways, because Max is a combination of great library product like you mentioned—Friends and Big Bang—HBO originals and Max originals. Anything fresh gets viewed very quickly. So, it’s been a nice cross-section, and that is the promise of the whole offering.

WS: What can you tell us about HBO Max’s international rollout? BLOYS: International is going to be a very important piece of this. Latin America will be the first area of concentration, but the goal is to eventually have a fully international platform. 13

Thomas Bellut

Director-General ZDF

WS: What does ZDF represent for German viewers and citizens? What does ZDF provide that other linear and nonlinear platforms do not? BELLUT: ZDF is the most successful national public-service provider on TV and online. We offer a wideranging, high-quality portfolio of entertainment, culture and information via all channels, almost all entirely without advertising. We are independent in terms of financial and political influence. As we are financed by the general broadcasting license fee, we can help shape opinions among the general population.

WS: What are the most significant investments ZDF has made in programming across all genres during the last year? BELLUT: We have increased the number of staff working on our digital information output. But the biggest investments continue to be made in commissioned fiction and documentary productions. Despite the production restrictions due to the pandemic, we have increased our investment in this area. We are covering most of the additional costs arising from the restrictions resulting from the pandemic. We are working very closely with producers, and together we have managed to ensure that the important flow of new content remains steady.

WS: Are there any particular age groups or genres you are focusing on? BELLUT: As a public-service broadcaster, our range of content and programs is generally aimed at society as a whole. But, of course, in the digital world, we also differentiate our content and output based on the relevant target audience. One example is the content for the funk service aimed at young people, which we create in conjunction with the public-service provider ARD. We also have linear themed channels like ZDFneo and ZDFinfo, which are aimed more at a middle-aged audience. And we place relevant online content on various social media platforms, via which we can reach appropriate user groups. The greatest challenge is undoubtedly getting young people interested in our content.

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Jane Turton

CEO All3Media

WS: What is All3Media’s acquisition strategy? TURTON: The strategy is, first and foremost, about the best talent and IP. In terms of production footprint, we have a core market strategy, which has worked extremely well. For us, the core markets are the U.K., the U.S. and Germany, with a strong scripted company in New Zealand, South Pacific Pictures, and a very successful producer in Holland, idtv. Even though our production footprint is relatively narrow, our IP travels the world with All3Media International, our distribution company, playing a critical part in the group’s success. And Little Dot, our digital studio, creates and distributes content in a way that pays no heed to geography.

WS: What is the strategy for scripted? TURTON: We love the strength of our scripted business; both comedy and drama are now back in production across the board. The hiatus in 2020 meant that series have slipped, but I’m delighted to say that commissioning is strong and new titles have been picked up from all producers in the group. Critical and rating successes for shows like Des, White House Farm, Fleabag and Britannia have contributed to the commissioning momentum. I am confident that the series that are currently in production will do really well. The demand for high-quality scripted has never been greater. All3Media is well-positioned to benefit with series set to deliver this year.

WS: Are you looking to increase production in territories outside the U.K.? TURTON: Assuming it’s safe and operationally viable, we will produce in as many markets as makes creative and economic sense. The buyers are frequently global platforms and, especially in non-scripted, want versions of their hit shows for their key geographies. As producers, we want to make those shows—either through production hubs or, in other cases, through multiple locally produced versions. In some cases, we are also more than happy to partner with a locally based production company. The model is very flexible, and we will do the right deal for the show and the commissioning platform; it’s whatever works best.

Sally Wainwright

Creator & Writer Gentleman Jack

WS: When did you discover Anne Lister and Shibden Hall? WAINWRIGHT: I grew up in Halifax. Shibden Hall was a place I always visited as a child. I always had a real bond with it. I was interested in history as a kid; I was probably quite nerdy! So Shibden Hall always had a real pull on me. I can’t remember the first time I heard of Anne Lister. Because I visited Shibden Hall since being small, she was always present when you visited the Hall; there’s a big portrait of her there and people would talk about her, even though there were huge aspects of her life that were kept quiet about for a long, long time. I’ve read so much of the diaries to write the show, I’ve learned a huge amount about her. I knew a lot, but I know a lot more now.

Some people find her hard to like; she’s like Marmite. As a dramatist, it’s interesting and exciting that she isn’t always completely likable or completely good. She could be very Machiavellian, she could be quite difficult, but she was also very charismatic and very charming. My appreciation of her gets deeper and deeper the more I find out about her in the diaries. It’s such a phenomenal document; I don’t think people who haven’t seen it realize just how detailed it is. She tells you what she does every day. There are probably a handful of days she misses across the 25 years the journal covers. And she tells you what she’s done from getting up to going to bed. We probably know more about her than the people closest to us because of the details in the journal.

WS: Are there particular types of stories or characters you are attracted to? WAINWRIGHT: It’s really about story and finding a vehicle for characters through whom you can tell a good story. Good stories don’t come along every day. They sneak up on you when you least expect it. It’s finding what’s in that story that excites you and developing ideas about characters for how you need to tell that story and what’s important in that story. You’re always looking for something new, something you haven’t quite done before. It’s not a formula.

Jack Williams

Writer & Managing Director Two Brothers Pictures

WS: With so much scripted drama in development, what does a story need in order to stand out and make commissioners feel they want the project? WILLIAMS: Every story has been told in some form or another, so to get one away with so much out there, it should feel fresh. Like a version of that story you’ve not seen before. That can be the world it’s set in, the way it’s told, the characters who take us through it. Trying to second-guess what people might want never really works—copycat shows don’t excite people. The shows that excite us are the ones that feel so different and unique you wonder if anyone will even want it.

WS: Do you have a process when you write? How do you come up with ideas, and how do you share the writing with your brother Harry? WILLIAMS: It can take months for an idea to become a show. Or one of us just blurts out a title and premise and there it is. So there are no rules, other than we need to be excited to write it. Usually, we’ll have the idea, sit on it for a bit, discuss it, and then if we still want to write it, it’s probably worth writing. In terms of sharing the writing, we plot the whole thing together, then divide it in half and write half, then swap it. We’re not precious, really, but it’s 95 percent figuring out the story/characters, etc. And then only four percent is the actual fun bit, which is writing. One percent is deciding what to have for lunch.

WS: How have you seen British drama evolve during the last decade? WILLIAMS: It goes through phases; people loved relentlessly grim noir-ish dramas for a while. These days it seems they want to be entertained a bit more. There’s always a market for all kinds of shows, but it does feel like we’re headed somewhere a bit more escapist or at least slightly less depressing. Also, with so many outlets, there’s been an explosion in the range of genres and types of drama on offer, as things that might have been perceived as niche a few years ago are now mainstream.

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Walter Iuzzolino

Co-Founder & Curator Walter Presents

WS: What are your criteria for choosing series? IUZZOLINO: When I started Walter Presents, I set myself three criteria, and they’ve never changed. First, I wanted pieces that were big, successful, commercial hits in their country of origin. Second, I looked at the overall quality of the piece. The writing, acting and directing needed to be of the highest caliber, the kind of standard that was set by HBO in the ’90s, from The Sopranos onward. The crafting that used to be happening in independent cinema in America that has moved to television. And the third point was critical acclaim. I was interested in pieces that were winning awards on the international festival circuit.

WS: How do you curate the offering for each individual territory? IUZZOLINO: My ambition from the start was that we would be ever more coordinated in our schedule. In the beginning, we had to do a bit of bespoke because we launched in the U.K. in 2016 and the U.S. in 2017, so a lot of titles had either gone here or gone there. I needed to acquire complementary pieces to add volume. But now, it’s become much easier. I tend to buy for all our territories. There are subtle nuances in how our viewers watch programming, but broadly speaking, I found that viewers of glossy, well-crafted, box-set television love the same stories all over the world. A great story is a great story. And our slight focus on crime drama means that a lover of crime is a certain type of viewer, and they are everywhere.

WS: What motivated setting up Eagle Eye Drama? IUZZOLINO: From the moment we started Walter Presents, it became clear that there were wonderful stories around the world and great IP. Our job was always to enhance and increase the popularity and success of original content with subtitles around the world. But there is also a capacity issue, in the sense that it fundamentally remains a slightly niche proposition because subtitles are still subtitles. This is changing every year. But we always thought it would be exciting for us to also be able to identify content that is ripe for reinvention and reimagine it for an Anglo-American audience.

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Kelly Day

President, Streaming & COO ViacomCBS Networks International

WS: What was the thinking behind the rebrand of CBS All Access in the U.S. and branding the international service as Paramount+? DAY: We did a lot of research around an umbrella brand as we were bringing Viacom and CBS together and thinking about how to incorporate the Paramount studio titles, which included testing outside the U.S. in the key markets where we knew we would eventually want to go with the service. We always knew that the Paramount brand was very strong. Paramount is a 100year-old iconic studio. But it was wonderful to see how incredibly strong the consumer research was in pretty much every market with regard to the Paramount+ brand; 91 percent brand awareness, 96 percent favorable recognition. These are exceptionally strong statistics. That gave us confidence as we started to think about rolling out in various markets, particularly nonEnglish-language markets. The Paramount [name], the mountain with the stars, that iconic branding, really did cut through, and the consumer research completely supported that choice in brand.

WS: Outline the international rollout strategy for Paramount+. DAY: We already have some presence in all of the international markets in phase one. We have CBS All Access and Ten All Access in Canada and Australia, respectively. We had what you might consider a light version of Paramount+ in Latin America. The Nordics was one of the first markets where we introduced the Paramount+ brand back in 2017. It’s been a very popular service through our MVPD partners in the Nordics. So we already had some experience and a bit of a footprint in those markets as we thought about bringing a bigger super-service to drive direct-to-consumer subscribers and grow the Paramount+ brand. We have an ambitious rollout plan to launch in more markets relatively quickly over the next couple of years. When determining our rollout strategy, we look at everything from the strength and consumer adoption [of SVOD] to content availabilities and content rights situations to MVPD and telco partner relationships. We feel great about the first four markets where we are launching, given we already have experience in those markets and have strong content and distribution partnerships.

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Cathy Payne

CEO Banijay Rights

WS: Do you have clients now who have smaller budgets, and if so, how are you working with them? PAYNE: While Covid-19 caused the immediate issue of costs due to shutdowns and a longer production process with additional protocol, pressure on budgets already existed before the pandemic. All markets need original content that is made at a more affordable price point. Unscripted original production provides that, and during the pandemic, non-scripted could return faster. We also experienced a number of non-scripted series having their runs extended. As a global group, we experienced different levels of shutdowns from territory to territory and were able to share best practices within the group. We also do a lot of format licensing outside the Banijay footprint territories. We were happy with the level of local production we were able to maintain and how successful that’s been.

WS: How have you seen co-productions evolve? PAYNE: The challenges in financing premium scripted have been around for the past couple of years. If a channel or platform wants a show that costs 3x and their domestic market is only paying 1x, it will only happen with a partner and a contribution from distribution. What has hit those premium dramas during Covid are the delays and additional protocols needed that result in not only production hiatus costs but ongoing costs once production commences. In general, broadcasters have been very good and stepped up, as have the distributors. Everyone has been amazing because they want those shows to continue. Financing premium drama won’t be going away anytime soon; however, it doesn’t mean to say that the most expensive shows are always the most successful.

WS: Is there a willingness to make co-exclusive deals or share rights? PAYNE: For the big titles, for those must-watch shows, there is a need for exclusivity. But once you get to catalog programs or second runs or second-viewing windows, there is a tendency for more co-exclusivity across a number of platforms. For library, we are seeing more tolerance of the concept that a streamer would rather people stay on their service and watch that show on a nonexclusive basis rather than leave and find it somewhere else.

Henrik Pabst

Chief Content Officer & Managing Director, Seven.One Entertainment Group, ProSiebenSat.1 Media

WS: What motivated last year’s reorganization, and what’s the new structure? PABST: In an ever-faster changing media industry, we decided to simplify things by putting our core entertainment functionalities under one roof. The Seven.One Entertainment Group combines our content, distribution and sales business all in one unit. Now, after a year in practice, we see how much we all have grown together. Today we think of projects from an end-to-end perspective. We all have the same goals. Our decision-making has become much faster. The entire organization has become more flexible. And on the whole, our way of working has become much more efficient and synergetic. But, of course, we aren’t done yet. We have reached the first milestones, but there still is a way to go for us, and after seeing the first results, we are looking forward to it.

WS: From a content perspective, what have been the most strategic steps so far? PABST: Coming from rather U.S.-license-heavy programming grids, we are now constantly shifting our grids toward more local and live programming. We have a very close look at specific time slots that are our backbone as a broadcasting company. For instance, with our locally produced entertainment shows, we are able to reach very broad target groups—including even those young demographics that are often said to have left their TV sets for good.

By investing in local programming, we are able to reach the most attractive target groups for our sales business and win back viewers that may have left the set. ProSiebenSat.1 is concentrating on what it does best, creating great entertainment, and it pays off.

Sports rights are another important piece of our local and live strategy. We acquired a free-TV rights package to the German Bundesliga. We managed to grow a solid and loyal audience around the NFL in Germany over the last few years.

We are well aware of our role as a broadcaster within society and the responsibilities that come with it. That is why we are constantly increasing our socially relevant program offering, be it critical one-off documentaries like our piece on racism in Germany or specials on the coronavirus or social experiments. We see that we can use our reach to shed light on important topics and, luckily, our audience shows great interest in these kinds of programs.

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Tim Minear

Showrunner 9-1-1 & 9-1-1: Lone Star

WS: How did 9-1-1 come about, and what did you and co-creators Ryan Murphy and Brad Falchuk want to accomplish with the show? MINEAR: Ryan was fixing to depart for Netflix. He felt a certain loyalty to Dana Walden [at the time co-chairman and CEO of the Fox Television Group] and thought, “You know what would be nice? If I came up with an idea that would be a hit network show for my friend Dana.” He also wanted to create a vehicle that could showcase Angela Bassett on network TV, and he thought America wanted to see Angela Bassett in a uniform. I remember taking a walk through the lot with Ryan, and he said, “I have this idea about a 911 operator. Wouldn’t it be great to call a show 9-1-1?” He knew exactly what would make it different from all the other procedurals on TV. I don’t think he was interested in creating a cop show or a firefighter show. Those things are standard, and you see them on TV all the time. What interested him was seeing that other element that I don’t think you’d seen that much of up until we did it, which is the dispatch center, the call center. The idea was that these first responders, these heroes, [form] three legs of the stool: the dispatchers, the firefighters/paramedics and the police. Those three elements together create a unique way into a procedural world. Then Ryan, Brad and I [decided] that we wouldn’t have to have one plot driving an episode. What the viewers would have is almost the experience of going on YouTube and clicking on ultimate fail compilations or WTF compilations, the craziest things that happen in the world.

WS: Was the premise of 9-1-1: Lone Star different from that of 9-1-1? MINEAR: Yes, I would say the biggest difference is that Lone Star began with a premise pilot, whereas 9-1-1 didn’t. When we came into 9-1-1, for the most part, the world was already in place. With Lone Star, there’s very much a premise there, which is there is a firefighter named Owen [played by Rob Lowe], who survived 9/11 and rebuilt his firehouse. He comes to Texas to rebuild a firehouse after a similar all-encompassing tragedy. It was told from Owen’s point of view, whereas 9-1-1 was a little more diverse. With Lone Star, there was a lot more world-building that had to take place over the course of the first ten episodes.

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Anna Winger

Showrunner & Writer Unorthodox

WS: How did Unorthodox come about, and how is the TV adaptation different from Deborah Feldman’s book? WINGER: For a while, I had been interested in making something that spoke to the German-Jewish experience or Jewishness here in Berlin. I had another project that I had been talking to Alexa Karolinski about. She’s a documentary filmmaker who’s made movies that speak to the German-Jewish experience— post-Holocaust life and love. [I know] Deborah—our kids go to school together. I told her I had read and loved her book, and she said, You should make a TV show of it. I’m used to making things up from scratch. The book is a memoir, and I felt it would have to be different to be a TV show. But she trusted us and gave us her blessing. Alexa and I broke it apart and put it back together. We made something different out of it. The best adaptations should become their own projects, and we were grateful that Deborah trusted us with the material. She loves the TV adaptation, and it’s very true to the spirit of the book, even though many things are different. The book is about Deborah’s whole life. We used the story of the arranged marriage; its back story is from the book. Part of those choices had to do with protecting Deborah because she is a young woman and well known in Germany. We didn’t want to tread too close to her real post-Orthodox life.

WS: Tell us about writing the first episode of a series and finding an entry point for the viewer. WINGER: Writing a pilot is always difficult. I’ve always written them by myself, even though I created both Unorthodox and Deutschland with other people. As a writer, or as the head writer of both shows, I need to find my way into the voice and rhythm of the show. That is why I’ve always written them by myself, which is weird because, in America, I now understand that the show’s creator is the person who writes the first episode. But I see creating a show as being more complex than that. I’ve never done it by myself. I’ve done it with my husband on Deutschland and with Alexa on Unorthodox. I’m a strong writer and head writer with both shows, but the conversation about what the show is about and who the characters are and the experience of breaking out a story is a collaborative process.

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Fred Burcksen

President & CEO ZDF Enterprises

WS: As the commercial arm of a public broadcaster, ZDF Enterprises has programming that other distributors don’t have. Has this type of product been in demand? BURCKSEN: It’s a big advantage to be part of a media organization with its own production output. We profit from the fast output of excellent content from the network. Approximately 50 percent of what we have in our catalog comes from our shareholder, and it’s a steady output, so it’s very helpful. The other 50 percent of our content comes from our own investments in thirdparty content. We are investing globally in good storytelling. The good thing about being part of the ZDF group is that it’s a steady flow. We feel that we have especially good content for access prime time—some lighter crime series. We have some good output in the genre of love and romance. We have a significant number of TV movies going to Spain for late afternoon time slots.

WS: Do buyers continue to request exclusive rights, or is there more willingness to make co-exclusive deals or share rights? BURCKSEN: There is still a tendency toward originals. With the rise of SVOD platforms, you need to be recognized by original content. Having said that, there is a greater trust for what I call true co-productions—dividing territories or finding solutions for working with SVOD platforms on a co-production basis. What remains difficult is sharing rights in a certain territory. If a broadcaster or platform steps in for a co-production, they want to defend their own territory. So that remains difficult. But around that, it’s all about fair deals, creativity, finding solutions, finding financing models—it’s very inspiring.

WS: How have you been working with SVOD platforms? BURCKSEN: We have seen a change of interest over the last three to five years. In the beginning, they were looking for bigger packages, local content. That has shifted towards commissioning their own originals. Happily, being a shareholder in 20 production companies, we see that many of them supply series and originals for each platform. Our production companies produce a couple of shows per year for the SVOD platforms.