New content on the market.
Tubi’s Adam Lewinson is being honored with the World Screen Trendsetter Award at MIPCOM.
HOWARD GORDON
The showrunner on his new show Accused
INTER MEDYA AT 30
Spotlighting the gains at the Turkish production and distribution company.
IN THE NEWS
The North Road Company’s Jan David Frouman.
MIGUEL SAPOCHNIK
The co-showrunner talks about returning to the Seven Kingdoms for House of the Dragon
Spotlighting what’s new at All3Media International.
PERFECT MATCH
Vanessa Shapiro on Nicely Entertainment’s boutique approach.
A look at a wealth of new content out of Québec, Canada.
Trending clips on our video por tals.
As budgets soar and scripted storytelling becomes more ambitious, distributors, producers and commissioners weigh in on how they’re spotting and financing compelling IP.
The company’s president and CEO discusses its strengths across free TV, pay TV, SVOD, AVOD and content production and licensing.
The president of international at the recently merged firm is bullish about the company’s prospects globally.
The German public broadcaster’s director-general on remaining relevant to viewers today.
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Mansha Daswani
Executive Editor Kristin Brzoznowski
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Contributing Editor Elizabeth Guider
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BY ANNA CARUGATI
On the one hand, I welcome the daily routine of work and family responsibilities as I adjust to the post-Covidvaccine new normal. On the other, I wake up each morn ing bracing for the inevitable barrage of bad news that will flood my cell phone notifications, the emails on my com puter and the TV. With the challenges to democracy, sup ply chain shortages, extreme weather due to climate change, the war in Ukraine and inflation, throughout the day, I go through numerous exceedingly unsettling sequences of disbelief-denial-despair.
I’ve tried to limit my exposure to news, but that is so difficult; too much is at stake. So, I try to even my emotions by reading books and, of course, watching TV series. I travel between two opposite extremes: the harshness of news and the more soothing escapism of fiction, whether on the page or the screen—although the soothing qualities of opioid addiction, betrayal, corporate greed and fanatic factions of the Mormon religion can certainly be argued
In navigating my choices of shows to watch, I’m struck by another set of extremes. Say I’ve just come home from the grocery store, which has triggered two sequences of disbelief-denial-despair— first the prices and then the increasing number of empty shelves. Or, say I’ve come home from a restaurant where the meal not only cost almost twice as much as it used to, but also took twice as long because of the shortage of staff.
I get home, plop myself down on the couch, find the show I want to watch, and let another example of opposite extremes sink in—the shortages of food items and staff are offset by the extreme abundance of shows to watch.
This abundance may be curtailed as networks, studios and streaming services grapple with rising costs, short ages of talent and crews, and consumers who may be forced to trim expenses. Despite the challenges, there are still so many scripted and unscripted shows. And demand for more engaging, fresh content has never been higher.
In numerous interviews with producers and distribu tors over the last few months, I have repeatedly heard the words “premium,” “can’t miss” and “unique” to describe the types of projects being developed and financed. In such a crowded environment, quality and originality are essential ingredients for a show to cut through the clutter.
So are characters that fans grow to love. Christopher Meloni thrilled the legions of Law & Order: SVU fans when he reprised the role of detective Elliot Stabler in Law & Order: Organized Crime last year. Meloni talks to
World Screen about stepping back into Stabler’s shoes and taking on the responsibilities of being an executive producer.
New shows and returning franchises are part of any solid TV offering, regardless of whether it’s a streaming platform or a linear channel. A consistent flow of successful shows has been critical to Paramount Global, as its president and CEO, Robert Bakish, explains. Bakish also emphasizes the impor tance of generating revenues across a broad portfo lio of businesses—in Paramount’s case, theatrical, the storied Paramount Pictures studio, pay TV, free TV, SVOD, AVOD, FAST and more. Bakish does not dis count consumers’ shift to streamers, but reminds us that subscriber counts are not the only measure of a media company’s success or source of revenue.
Gerhard Zeiler, the president of international at Warner Bros. Discovery, concurs. Though the combined HBO Max and discovery+ streamer, scheduled to launch next year, is generating most of the company’s headlines, its worldwide businesses and brands, including CNN, Discovery Channel, Eurosport, HGTV, Food Network and Cartoon Network, are pulling their weight drawing audiences and advertising.
For corporations like Warner Bros. Discovery and Paramount, linear brands are also valuable for pro moting their respective companies’ streaming ser vices and theatrical movies.
To appreciate the relevance of linear channels, you need to look no further than ZDF. Norbert Himmler, the director-general of the German public broadcaster, explains how ZDF is maintaining its market-leading position thanks to independent, fact-checked news and quality scripted and unscripted fare. Aware that viewers, especially younger ones, are opting to watch program ming on a variety of screens, ZDF is making its offerings available on multiple platforms and devices.
We also hear from Jan David Frouman, the president of The North Road Company, a studio active in scripted, documentaries and unscripted formats. Frouman also uses the terms “premium” and “can’t miss” to describe the projects the producers he oversees are looking for.
Yes, the times they are a-changing, but when I immerse myself in a great TV show, I find a reassuring escape from that news-induced disbelief-denial-despair sequence. I settle into that somewhat magical suspension of disbelief and accept that new ideas, lifestyles and even worlds are possible.
Demand for more engaging, fresh content has never been higher.
To say we are living in uncertain times is an understatement. I doubt I’m the only one experiencing a seesaw of conflicting emotions.
Colosseum, an eight-part series that transports viewers into the past, leads the A+E Networks MIPCOM slate. In each episode, viewers hear a different perspective, including from a female gladiatrix, a beastmaster, the emperor and a high-profile Bishop sentenced to death. The thriller North Sea Connection sees a family from a small village pulled into the drug trade when one of their children secretly agrees to carry out a run for a cartel. “It’s a wild ride that boasts a fantastic cast and characters you truly root for, even when they’re forced to do the unthinkable,” says Ellen Lovejoy, senior VP and head of sales for the Americas and formats. The true-crime series Phrogging: Hider in My House explores the criminal phenomenon of people hiding inside others’ houses.
The All3Media International highlight The Gymnasts, based on a novel by Ilaria Bernardini, features a murder mystery set in the world of international gymnastics. “It’s an exciting, tense, edge-of-your-seat drama set in the stunning Italian Alps [that] offers something new to international buyers,” says Peta Sykes, VP for Scandinavia at All3Media International. On the non-scripted slate, Rise of the Billionaires explores the origin stories of Jeff Bezos, Elon Musk, Mark Zuckerberg, Sergey Brin and Larry Page, some of the world’s richest men. “There is a sense of cross-generational appeal and a real appetite for this kind of intimate access, ‘inside the lives of’ documentary,” Sykes says. Also on offer, the new format The Unknown, from idtv (The Traitors), asks participants, “Do you dare to choose the unknown?”
A musical twist on Christmas Eve, the American Cinema International (ACI) highlight It’s Christmas Again sees the holiday take a turn when Jake has a skateboarding accident and lives through the night Jesus was born. In Finding Love in Sisters, Oregon, a young career woman in Seattle returns to her hometown upon her mother’s passing and follows her dying wish. Co-produced with BET, A Royal Christmas Surprise: The Sequel is about an engaged South African prince and an American girl whose families have objections to their pairing.
“We have over 50 dubbed titles in Hindi, Portuguese, Castilian Spanish and Latin American Spanish,” says Chevonne O’Shaughnessy, ACI’s co-founder and president. “We include all types of cultures and are always acquiring new titles to add under ACI.”
“We know how to work with our partners and what their needs are and believe that premium and popular content can coexist.”
—Ellen Lovejoy
Phrogging: Hider in My House
“We work with fantastic and extremely talented producers, and between them, we have a rich catalog of titles.”
—Peta Sykes
“Our aim is to provide our viewers with a wide range of content and storytellers that love to share their ideas internationally.”
—Chevonne O ’Shaughnessy
Artist View Entertainment has on offer its newest family film, The Furry Fortune , following a family whose dog sheds money whenever it is happy. The rom-com Looking for Dr. Love , meanwhile, tells the tale of two people who rekindle their college love after losing touch for ten years.
In House of Lies, a wife must figure out who murdered her husband and where he buried his fortune. The femaledriven thriller “will captivate any audience, as the evidence surrounding one man’s murder introduces us to an intriguing cast of characters,” says Scott J. Jones, president of Artist View. In total, the company will be presenting at MIPCOM three new romantic comedies, three new femaledriven thrillers, three new action titles, a coming-of-age drama and a family film.
December 7-9 / Marina Bay Sands / Singapore
With travel restrictions eased for entry into Singapore, Asia TV Forum & Market (ATF) is back with an in-person event this December. “We are encouraged by the overwhelming response to the market,” says Hui Leng Yeow, group project director. “Though there are currently still some travel restrictions in a few Asian territories, most of the 2019 buyers have already committed to attend ATF. ATF is one of the few content markets to happen physically in Asia this year, so our attendees are eager to resume business as usual.” The threeday conference will include discussions and content showcases that focus on exclusive insights and strategic visions for 2023. The aim is to facilitate conversations among participants for collaborating, acquiring, co-producing and financing opportunities for future projects.
The Astro Originals brand is home to such series as One Cent Thief, a drama series inspired by an infamous banker who became a millionaire in the ’90s by stealing one cent at a time. Also under the banner, Projek High Council reveals the more brutal aspects of systemic abuse that take place within a Malaysian elite boarding school. From the Astro Signature lineup, Gegar Vaganza is a reality singing competition that gives one-hit wonders a second chance. From Astro Shaw, there’s a third installment in the Polis Evo film franchise. “Malaysia is a launchpad for Southeast Asia, a melting pot of multiple cultures, races and spoken languages,” says Agnes Rozario, director of content at Astro. “This diversity provides a plethora of captivating stories that will appeal globally.”
“Astro is committed to producing relevant, high-quality and great stories, as well as non-scripted shows that engage audiences around the region.”
—Agnes Rozario
“We have been looking forward to the return of a full physical event.”
—Hui Leng Yeow
Polis Evo
“As Artist View enters its 32nd year of operations, we are very excited to present a large but diverse selection.”
—Scott J. Jones
Looking for Dr. Love
Marina Bay Sands
In addition to its stand at MIPCOM, where Spanish companies can showcase their new product, Audiovisual from Spain will have a dedicated area in the brand-new Seaview Producers Hub serving as a networking lounge focused on co-production and financing opportunities for producers, creators and commissioners. There, the group will be hosting a matchmaking lunch between the Spanish and Canadian delegations, as well as an open-door happy hour cocktail on the terrace featuring the latest Spanish content. During MIPCOM, there will be a panel session about the boom in Spanish content. The companies that will be present at the Spanish pavilion at MIPCOM will be showcasing highlights across drama and comedy, kids’ programming, factual offerings and entertainment formats.
Last King of The Cross / Reginald the Vampire / Whitstable Pearl
Cineflix Rights’ catalog features Last King of The Cross , inspired by John Ibrahim’s best-selling autobiography that chronicles his rise from a poverty-stricken immigrant to Australia’s most infamous nightclub mogul. The series “is epic in scope and operatic in tone with brilliantly diverse characters and a thrilling and multilayered plotline,” says Tom Misselbrook, senior VP of scripted sales and development. Starring Jacob Batalon, Reginald the Vampire, based on Johnny B. Truant’s Fat Vampire novels, centers on a vampire who doesn’t fit modern-day beauty standards. The second season of Whitstable Pearl sees Pearl Nolan transition from being a chef who solves crimes to a full-time investigator who just happens to own a restaurant.
On offer from Cinevest Interactive, the series Great Kills, filled with crime and dark comedy, is ready for delivery and available worldwide. Arthur Schweitzer, CEO and president of Cinevest Interactive, calls it “the ‘antidote’ for too many crime investigation series.” Also on offer, the doc series Wine Outsiders explores ancient vineyards around the world purchased by young new buyers. It takes viewers on a journey to discover out-of-the-ordinary cultures, wines and winemakers. RVD Headstrong is a documentary about Rob Van Dam, an iconic WWE wrestler. It looks at how he connects with his fans and fellow wrestlers and supports efforts to protect wrestlers from concussions and CTE. Also in the factual space, The Invisible Ones reveals the isolation and abuse the Romani (aka Gypsies) have faced.
“Cinevest wants to tell stories that are unique in entertaining TV series, documentaries and movies.”—Arthur Schweitzer Great Kills Atresmedia Televisión’s Heridas
“Our boutique but growing scripted slate combines gripping storylines and diverse casts and creatives with high production values.”
—Tom Misselbrook
Curiosity’s slate includes Planet Insect, which gives viewers an up-close look at the world’s insects. Engineering the Future showcases revolutionary machines that will change the world. Doug to the Rescue sees aerial cinematographer Doug Thron use infrared drones to locate and rescue animals. On the company’s offering at large, Bakori Davis, global head of partnerships and distribution, says, “Curiosity continues to develop partnerships adaptable to our clients’ business needs while expanding the Curiosity offering worldwide. We’re available for streaming platforms with Curiosity Stream, and we also offer linear services with Curiosity Channel and our FAST offering, Curiosity Now. We’ve recently launched content licensing opportunities as well. This is important because our content is unrivaled in the factual space.”
Among Deutsche Welle’s highlights, Life, the Universe and Almost Everything has six new episodes available. The series “makes science tangible and entertaining, asking pertinent questions and feeding our curiosity,” says Petra Schneider, director of sales and distribution. Guardians of Truth tells the stories of activists who have been exiled from their homelands and “gets to the heart of journalism, with personal stories full of emotion that show the tenacity and integrity needed,” Schneider says. Railway Stories, meanwhile, gives viewers the chance to see the world and understand the people and places served by railway routes that go through the jungles of Borneo, the Swiss Alps and more. Returning documentary and information strands such as Quest for Knowledge, EuroMaxx, The Art of Space and The Great Outdoors are also on offer.
Set outdoors in a remote British Columbia forest, Distribution360’s A Cut Above sees 12 of the world’s best chainsaw carvers put to the ultimate test of creativity, strength and skill. “The adrenaline and danger of the machinery juxtaposed with the skill and artistry of the carvers give the series very broad appeal,” says Diane Rankin, senior VP of rights and executive producer. Overlord and the Underwoods is a family comedy about the exploits of the second-most-wanted Overlord in the galaxy when he is placed in intergalactic witness protection with the nicest family on Earth, his distant cousins, the Underwoods. Lady Ada’s Secret Society is a coming-of-age comedy about a computer club operated in secret at a hyper-traditional boarding school.
“Our aim in Cannes is to connect with existing and new partners whose audiences have an appetite for high-quality factual content.”
—Petra SchneiderLife, the Universe and Almost Everything
Engineering the Future
“We are truly unscripted, and we tell real stories about real people around the globe.”
—Bakori Davis
“We’re building on our family-friendly focus and offering buyers great scripted content that lets the whole family watch together.”
—Diane Rankin
Overlord and the Underwoods
Leading Dori Media Group’s MIPCOM slate, Hammam provides a modern adaptation of the Biblical tale of Saul and David. After escalations throughout the West Bank, a platoon under Shaul’s command is sent to reconstruct an old military base. A series of mysterious events lead Shaul to believe the base is actually cursed, though, and he slowly loses his sanity and is replaced by Dudi. The reality competition Stand-Up Warrior sees 14 comedians go through a martial arts boot camp. “It’s a story about change and empowerment, all told through the words of very funny people,” says Nadav Palti, president and CEO. “The competition gives the stand-up artists a chance for real change and self-awareness under the training of proven masters.” In Spy Date, a former Mossad agent and a professional matchmaker team up.
The Ark, Electric Entertainment’s newest series, centers on a spacecraft that encounters a catastrophic event with more than a year left to reach its target planet. Season two of Leverage: Redemption sees the Hitter, the Hacker, the Grifter and the Thief take on a new kind of villain with help from a tech genius and corporate fixer. A second season of Almost Paradise, which sees a retired U.S. DEA agent use his skills as a longtime operative to put away criminals, is now in production. Sonia Mehandjiyska, head of international distribution at Electric Entertainment, notes, “Our annual series production volume has more than tripled since we saw most of our MIPCOM colleagues last, so in addition to reconnecting in person again, we are presenting the most robust slate in our company’s history.”
Narrated by Jai Courtney, Escapade Media’s For the Love of Pets centers on the staff and volunteers of the Animal Welfare League of South Australia, a not-for-profit organization that provides care for animals in need. Breakaway Femmes tells the story of the women who competed in the Tour de France for six years in the ’80s before their race was canceled, as it got in the way of the men’s competition. Vatican , based on Morris West’s The Vatican trilogy, tells “the story of one man’s personal struggle to overcome the torment and demons of his past and help forge a new future for the entire world,” says James Braham, consultant for development and completed content for the U.K., Ireland, German-speaking Europe and select U.S. clients.
“Dori Media remains committed to our clients with our diverse catalog of award-winning, popular and buzzworthy content.”
—Nadav Palti
“We look forward to discussing these fresh and inspiring stories with our global clients.”
—James Braham
Breakaway Femmes
“All three of these programs center on themes applicable to audiences around the world.”
—Sonia MehandjiyskaLeverage: Redemption Spy Date
The reality series Cheaters, leading the FilmRise slate, sees people who think their significant other is cheating on them hire a hidden-camera crew to investigate. In the truecrime medical series Dr. G: Medical Examiner, coroner Dr. Jan Garavaglia provides explanations and theories for mysterious causes of death. The feature film MVP , produced by actor and producer Sylvester Stallone, follows as a recently retired NFL player is saved from scandal by a homeless veteran. The two form a bond as they search for purpose and identity. “Love, heartbreak, curiosity, courage, bravery, redemption—these are just some of the powerful universal themes contained in the series and feature films we have chosen to highlight this year,” says Melissa Wohl, senior VP and head of content sales.
The newly launched FOX Entertainment Global is spotlighting the animated comedy series Krapopolis, set in mythical ancient Greece and created by Dan Harmon (Community). From Bob Fisher (Wedding Crashers), Rob Greenberg (Frasier) and Dan Sterling (Long Shot), the comedy Animal Control follows a group of animal control workers. “The series is for midseason and produced by FOX Entertainment Studios, marking our first fully owned live-action comedy,” says Fernando Szew, CEO of MarVista Entertainment and head of FOX Entertainment Global. Currently available on Tubi, the “ripped-from-the-headlines” film Hot Take: The Depp/Heard Trial is based on the controversial defamation trial between actors and former spouses Johnny Depp and Amber Heard, played by Mark Hapka and Megan Davis, respectively.
GMA Network’s crime drama Widows’ Web centers on the mysterious death of a man who was involved with three women. The romantic drama To Have and to Hold sees a loving husband decide to leave his comatose, cheating wife for a newfound love. Soon after, however, his wife wakes up with no memory of her infidelity. Starring Heart Evangelista, I Left My Heart in Sorsogon features a highly successful woman who returns to her hometown and gets caught in a love triangle. “These shows achieved very good ratings when they aired locally and had high engagements on social media,” says Roxanne J. Barcelona, VP of GMA Network’s Worldwide Division. “We feel that they will also appeal to our international buyers because of their universal plots about family, love and revenge.”
“We have many other exciting projects at every stage of production and much more in the development pipeline, as well as a robust library.”
—Fernando Szew
“FilmRise continues to aggressively expand our library of high-quality content.”
—Melissa Wohl
“GMA Network’s clients and partners can expect a constant stream of wellcrafted programs featuring the Philippines’ brightest stars.”
—Roxanne J. BarcelonaWidows’ Web
Now in its third season, the paranormal series Death Walker with Nick Groff leads GRB Studios’ MIPCOM slate. It follows Groff as he delves into some of the most notorious hauntings in America. The new series Icons Unearthed and Music’s Greatest Mysteries are also in GRB’s catalog. In Icons Unearthed, secret histories from films and television series are revealed. Music’s Greatest Mysteries, meanwhile, investigates unique and enigmatic stories from music’s history. “We have found over the years that paranormal series like Death Walker have intrigued audiences in all parts of the world,” says Hud Woodle, executive VP of international sales and operations at GRB. “We especially love our new doc series Music’s Greatest Mysteries .”
The Way Home / Groundswell / Countdown to Christmas
Chyler Leigh ( Grey’s Anatomy ) and Andie MacDowell ( Maid ) star in the new Hallmark original series The Way Home , which Hallmark Media is showcasing at MIPCOM. Shot in Hawaii, the Hallmark original movie Groundswell features Lacey Chabert ( Mean Girls ). There’s also a new roster within the Countdown to Christmas strand. “With an all-new lineup of Christmas movies shot on location in New York, London and many more, Countdown to Christmas continues to be the most successful holiday franchise on television in the U.S.A.,” says Francisco J. González, senior VP of international distribution and sales. He adds, “Each year we strengthen our international partnerships and welcome new ones joining Hallmark’s original programming.”
Haymillian provides services for dubbing, subtitling, closed captioning and audio description. “With content demand on the rise, there is a growing need for localization and access services,” says Aida Martirosyan, managing director. “Content is traveling farther than it used to. It reaches more territories, which increases the demand for localization services. At the same time, stricter access-service regulations and increased attention to accessibility from content companies drive the market.” Martirosyan says that what sets Haymillian apart in the localization and access-services market is that it combines “the advantages of a boutique agency with the efficiency and expertise of an established company.” The approach is adjusted to meet each project’s unique requirements and to better adapt to clients’ processes and workflows.
“Our recipe for success is universal and travels all around the world.”
—Francisco J. GonzálezHaymillian facilities Groundswell
“We possess the knowledge and skills to bring to fruition any localization project, no matter how complex or demanding.”
—Aida Martirosyan
“GRB only acquires and distributes programs that appeal to a global audience in a variety of genres.”
—Hud WoodleIcons Unearthed
Inter Medya’s The Girl of the Green Valley is about a young orphaned girl who finds a new family in an unexpected place. The titular young woman in Hicran is reunited with a daughter she believed she’d lost at childbirth while serving as her babysitter—though neither Hicran nor Melek know the connection. “All through the dramatic intrigues, power struggles and chaos surrounding the family, Melek and Hicran embrace each other with love,” says Can Okan, founder and CEO of Inter Medya. Leaving a checkered past behind him, Another Chance’s protagonist Sadi Payaslı takes a job as a teacher at a high school, where, unbeknownst to him, his long-lost son now attends. “The series shows that everyone deserves a second chance, making audiences laugh and cry at the same time,” says Okan.
The Head / UPA Next / Las Pelotaris: 1926
Set in the South Pole, members of a small team known as the Winterers die or go missing while conducting research—with only one survivor who can help uncover what happened to them—in The Mediapro Studio’s The Head. The series “returns with an even more ambitious edition of the addictive international action and suspense thriller that we hope will be seen by viewers around the world in 2023,” says Marta Ezpeleta, director of distribution, international offices and coproductions. UPA Next is a reboot of the musical drama series Un paso adelante, while Las Pelotaris: 1926 tells the story of three Basque female pelota players in the 1920s. “These titles have high production quality, universal plots, amazing casts and creators and, therefore, appeal to audiences everywhere through a huge variety of genres,” says Ezpeleta.
NBCUniversal Global Distribution is touting a new offering from The Vampire Diaries ’ Julie Plec and Marguerite Macintyre: Vampire Academy. “Based on the hit novels by Richelle Mead, this young adult fantasy series has a diverse cast and high production values,” says Belinda Menendez, president and chief revenue officer. From producer David E. Kelley, The Calling is a new crime show centered on an enigmatic lead detective. “We truly haven’t seen a character like this since House (another NBCU series),” says Menendez. The team that produced La Brea explores time travel in Quantum Leap , a reimagining of the hit series from the late 1980s/early ’90s. “We have so much confidence in the show—and NBC clearly does too,” giving it the slot following The Voice, Menendez says.
“We are thrilled to spend time with our clients after a threeyear hiatus from the market.”
—Belinda Menendez
“We have had an extraordinary year of success both in film and TV at a global level, and we return to MIPCOM with new and very appealing content.” —Marta EzpeletaQuantum Leap
“At Inter Medya, our biggest goal is always to reach new countries and business partners by expanding our library.”
—Can Okan
Nicely Entertainment is heading to MIPCOM with a pair of holiday romance titles among its top highlights, including The Christmas Checklist. The four-parter centers on a woman whose late mother left her a checklist of a dozen activities to complete before Christmas, with “find love” concluding the list. In Cloudy with a Chance of Christmas, Bridget Torres cohosts her network’s annual snowcast with Drake Kincaid, with whom romantic sparks fly on air. The romance movie A Royal in Paradise follows a fiction writer who falls for one of her fans while on a post-breakup vacation with her best friend. “Although it’s a traditional romance film, our leading couple is from different cultural backgrounds—finding they have far more in common than they initially realized,” says Vanessa Shapiro, CEO of Nicely Entertainment.
Love with a Case / Home Tutor
From the creator of Nippon TV’s Mother and Woman -My Life for My Children- , Love with a Case is a suspense dramedy series that follows the escapades of a police detective who recently got suspended from work. The detective joins forces with three other colleagues, all from different departments and with complicated issues, to formulate his own investigative team. Home Tutor, which comes from the creator of Nippon TV’s I’m Mita, Your Housekeeper, features a peculiar tutor helping women and children. Mikiko Nishiyama, executive VP of international business development, highlights “the track record of these creators who know how to make it work for our local audiences and be enticing to international showrunners and producers with keen eyes for good formats.”
Qatar—Pearls in the Sand, set to be released just in time for the 2022 FIFA World Cup in Qatar, showcases the country’s untamed wilderness, which stretches out behind its wellknown oil and gas refineries and Doha’s skyline. The documentary Leopoldina Habsburg—The Birth of Modern Brazil tells the story of Dom Pedro I and his wife, Leopoldina, who founded the Empire of Brazil. “ORF-Enterprise continues to serve as a one-stop shop for state-of-the-art factual production,” says Armin Luttenberger, head of content sales international. The brand-new series Days That Never Were is an ORF original about four women whose friendship is put to the test when investigators from Vienna turn up to delve into an accident that evolves into a murder case.
“At Nicely Entertainment, we always develop content with a global audience in mind.”
—Vanessa Shapiro
“We have proven to deliver high-quality titles even in challenging times and cannot wait to offer handpicked selections from various genres to program buyers around the globe.”
—Armin Luttenberger Days That Never Were
Love with a Case
Cloudy with a Chance of Christmas
“We believe that these titles will have big international appeal.” —Mikiko Nishiyama
From Paramount Africa, the telenovela Isono and the sitcom Black Tax are both award-winning titles available to the international market. Redemption , meanwhile, boasts a star-studded cast. The daily telenovela, which is set in a megachurch and follows the Zikode family, plays out in a world of duality: the good and the bad. “We have been an envoy for a ‘reimagined Africa’ since our market entry 17 years ago through the creation and delivery of premium, award-winning content that is relevant and resonates with local and global audiences,” says Monde Twala, senior VP and general manager for Paramount Africa and peer lead at BET International. “We have a proven track record of delivering and showcasing the power of content and youth culture.”
Kelsey Grammer, known to audiences from the hit sitcom Frasier, stars in the sports drama High Expectations, which is being presented by Pinnacle Peak Pictures. The company’s slate also includes Lifemark , which has had a strong showing at the U.S. box office. Inspired by a true story, the movie is about the beauty of adoption. In Love on the Rock, a burned-out former cop from the Midwest finds his new Maltese charter-boating lifestyle turned upside down when he is suddenly catapulted into a web of highstakes international espionage. “ Love on the Rock is an exciting and upbeat romantic action comedy shot in Malta in the vein of Romancing the Stone , a perfect film for broadcasters worldwide of all creeds and cultures,” says Ron Gell, VP of international sales and distribution.
Among the shows that Red Arrow Studios International will present at MIPCOM are a pair of reality formats, as well as the scripted comedy-drama Kid Sister. “Kid Sister is a hilarious and deeply personal coming-of-age comedy-drama about Lulu, a young Jewish woman in her prime whose family thinks she is careening toward ‘spinsterhood,’ ” says Tim Gerhartz, managing director of Red Arrow Studios International. Twelve ordinary people with famous relatives try to keep their identities a secret while exposing others one-by-one in the new prime-time entertainment format Claim to Fame. A relationship format meets social experiment, Love for the Ages sees three middle-aged married couples trade in their spouses for partners 20 years younger. “It’s the ultimate test of whether the grass is better when it’s greener,” says Gerhartz.
“Paramount Africa is committed to showcasing African talent in front of and behind the camera.”
—Monde Twala
“Red Arrow Studios International will be at MIPCOM with a new slate of highquality content focused on our core strengths and specialist areas.”
—Tim Gerhartz
“Our primary goal is simply to deliver the most commercial family-friendly films across all genres to broadcasters around the world for both theatrical and television.”
—Ron Gell
Among SPI International’s MIPCOM highlights, the comedy Mack & Rita stars Diane Keaton and Elizabeth Lail as a writer who wakes up 40 years older after a wild weekend in Palm Springs. The thriller Run Rabbit Run , starring Succession ’s Sarah Snook, is about a fertility doctor who has to confront a ghost from her past when she notices her daughter’s strange behavior. Jackie Chan plays a washed-up stunt performer in the familyoriented action-adventure movie Ride On , also on offer from SPI International. “The titles that we have are high-budget productions with A-list stars that tell strong and relatable stories,” says Berk Uziyel, CEO. “We are proud to bring top-quality movies with popular actors and actresses to our audiences globally.”
The New Chicago Mob, a documentary series that explores the rise and fall of the Chicago mob, will be featured at MIPCOM by The Television Syndication Company (TVS).
“Viewers will see how the bosses operated, the brutal murders they committed and learn who the new Chicago mob is today,” says Mary Joyce, VP of international sales. The company has also recently acquired international rights, outside of the U.S., for the car show series Caffeine and Octane. “Viewers will get up close to some of the most unique and interesting custom and classic vehicles around and hear the story behind these rides,” says Joyce. A brand-new sports and travel series, Marlin Quest features Ken Corday and his friends as they head out on fishing adventures.
ZDF Studios is spotlighting the period drama Boundless, which tells the story of the first circumnavigation of the Earth. Led by Portuguese explorer Ferdinand Magellan, the journey proved that Earth is round. Topping the company’s kids’ highlights, Grisù is an animated preschool series about a little firebreathing dragon who wants to be a firefighter. The docuseries Surviving Hothouse Earth tackles the issue of climate change with a different approach. “By studying previous phases in the planet’s history, scientists hope to find clues to how we could survive in the future,” says Dr. Markus Schäfer, president and CEO. “Interviews with international experts, CGI elements and satellite image-based animations will help viewers understand the complex scientific concepts and transport them visually into a future that humans have never experienced before.”
“These programs are just a sampling of TVS’s diverse unscripted programs that we believe will appeal to audiences around the world.”
—Mary JoyceGrisù
“SPI’s movies are available across the world, which enables us to create tailor-made offers for every service and all audiences.”
—Berk Uziyel
“We cordially invite everybody with good ideas to talk to us at ZDF Studios or to our production companies about investments, sales and distribution.”
—Dr. Markus Schäfer
While the SVOD stream ers have been garner ing a great deal of media attention and Wall Street scrutiny, AVOD platforms have been the quieter success story. Tubi, a division of Fox Corporation since 2020, is a leader in the AVOD space, with 45,000 titles, including fan-favorite films and TV shows, sourced from every major Hollywood studio. It also provides a bouquet of more than 150 channels.
By Anna Carugati
Adam Lewinson, Tubi’s chief content officer, oversees relationships with 400-plus content partners. For his role in securing and curating Tubi’s content offering, and in recognition of his contributions to the tele vision industry, Lewinson has been selected as the recipient of the 2022 World Screen Trendsetter Award, which will be presented to him on Wednesday, October 19, during MIPCOM, following a one-on-one conversation with World Screen ’s group editorial director, Anna Carugati, from 11:30 a.m. to 12:00 p.m., in the Grand Auditorium of the Palais des Festivals.
Already present in the U.S., Canada, Australia, New Zealand and Mexico, Tubi extended its reach in August with launches in Costa Rica, Ecuador, El Salvador, Guatemala and Panama. The keys to its international expansion are localization and personalization. “We’re doing it through a very deliberate lens,” Lewinson says. “We want to ensure that wherever we
launch, we have a truly localized experience and the Tubi DNA in that experience. That means a localized content library paired with localized ad serving, data targeting, etc.”
Lewinson is a firm believer in providing consumers with free, ad-supported content. “There’s room for the pay model and always will be for more premium content. But in general, viewers are demanding free; they’re comfortable with ad-supported in exchange for the free experience.”
Lewinson’s views on the media market and viewer preferences stem from his extensive experience in the business. He served as the VP of studio entertainment at Lifetime Television and held positions at The Walt Disney Company and Columbia Pictures. He spent more than a decade at FX Networks. Before joining Tubi, he was senior VP of programming and marketing at Sony Pictures Television and the streaming platform Crackle.
For 12 seasons, Christopher Meloni played seasoned detective Elliot Sta bler alongside partner Olivia Benson (portrayed by Mariska Hargitay)
in Law & Order: Special Victims Unit (SVU). The pair pursued suspects in sexually based offenses, which, in the famous words of the show’s opening, the criminal justice system considers especially heinous. As Meloni tells World Screen, Dick Wolf, the creator of the Law & Order franchise, contacted him with the idea of a new show, more serialized than SVU , that would bring Stabler back. Law & Order: Organized Crime, now in its third season, sees a highly agile and fit Stabler tracking down members of the underworld, corrupt cops and going undercover. In signature Wolf style, crossover episodes with SVU feature Stabler and Benson working together again—reigniting hopes among avid fans that the two may finally become romantically involved.
WS: How did Organized Crime come about, and how did you become involved?
MELONI: I got a call out of the blue stating that Dick Wolf had an idea that he wanted to bounce off me—a new show, a new way of telling the stories; it being serialized as opposed to episodic. In essence, the return of Elliot Sta bler in a different unit.
WS: How’s it been reprising the role of Elliot Stabler?
MELONI: It’s been great! It’s been fulfilling. Every day you get to work, solve problems or help refine things. I appre ciate and enjoy the different dynamics of telling the story over time as opposed to one singular piece of entertain ment. I’ve done that before. This is something new in this role, and I’m enjoying it.
WS: How is Stabler today different from the Stabler that left SVU? Where are his head and his heart?
MELONI: Having lost his wife, he’s still grappling and deal ing with that. I think there is a lot of real estate to explore vis-à-vis losing your spouse. He has to deal with his feel ings toward his ex-partner Benson. He has to deal with finding his place in this new world order of the NYPD and the new environment. He’s had experiences overseas, and
By Anna Carugatithat has had an effect. One of the first things is how he dressed. He’s a much sharper dresser because he’s been influenced by the styles he saw overseas!
WS: Stabler had been living in Italy.
MELONI: Yes, that’s right.
WS: And there is a physicality to Organized Crime that is greater than it was on SVU.
MELONI: I think that is what the more serialized storytelling allows—you don’t have to introduce and then resolve in 44 minutes. It gives you more time for more dynamic stunt pieces, more drama and physicality, as well as hopefully the storytelling and the intricacies of what the crime is, the strategy of what you are doing to bring the bad guys down. Yes, I’ve been doing a lot of stunts!
WS: Do you enjoy that? Is there choreography involved?
MELONI: Oh yes, basically what we do is dance steps. Your dis tancing has to be correct; your timing has to be correct—how you move with one person or multiple people if you are being attacked by multiple people. It’s all tight choreography with professionals, the stunt people and yourself. I happen to like that. I find it a beautiful art and dance. So far, so good.
With his role in NBC’s Law & Order: Organized Crim e, Christopher Meloni frequently appears onscreen with his former SVU co-star Mariska Hargitay.
WS: Besides being first on the call sheet, what extra responsibilities do you have as one of the executive producers on the show?
MELONI: We all have different talents or gifts. I think one of mine is being able to see a scene and help give it clarity or possibly a little more dynamism. That’s really my role. I say the writers break the rocks, and I just sit there and polish them! I try to do it respectfully and with their blessing. I want them to engage, but I do have a point of view. Sometimes, I don’t understand the scene. Or I suggest, again, very respectfully, how I think the scene may serve the story better in the long run. That’s where I put my two cents in. Every once in a while, I’ll make a suggestion to the director. I’m there to be another set of eyes—a set of eyes that has done this role for a long time.
WS: Well, the writers don’t act.
MELONI: Yes, it’s just a different angle. That’s why I’m saying another set of eyes. Very often, things are writ ten, and I’ve written stuff, where, in my head and on the page, it was great. Then you hear it read, and you think, oh, something is missing. There’s a punch miss ing or something’s off about it. It is a collaborative endeavor, and I’m part of that collaboration.
WS: The television landscape has become very com petitive. We viewers have almost too much to choose from. Do shows need to be different today?
MELONI: For as many stories as there are out there, there are as many viewers to pick and choose what kind of story they like being told. I know what you’re saying, and I agree; I’m all over the landscape. Some times I like a great story, but they are telling it in their own unique fashion. That’s great and very entertaining. Or you want something totally outside what you are
used to. Some people want to come home, sit in front of the TV and see a good story being told. They don’t want something too wacky or too much oh, what’s happening? They don’t want to be lost too much.
WS: And they like coming back to characters they love. I think the whole Law & Order franchise offers that. MELONI: Yes. I think that’s the role this show plays, and my character supplies. Our marching orders were to tell stories in a little more cinematic fashion. And again, because we have the luxury of having eight episodes to tell a story, we have a little breathing room in how we unspool the story, but it still has to have dynamism and something provocative. Then, hope ful ly, you are following a character you enjoy, trust, or have feelings about because he’s been in your den for 20 years.
WS: As an extension of that, to what do you attribute the worldwide popularity of Dick Wolf’s Law & Order franchise?
MELONI: I don’t know. I find it fascinating, and I leave it at that. Dick Wolf has really hit on some kind of formula.
WS: Stabler displays strength and vulnerability. In the last episode of season two, he is awarded a Combat Cross medal, given for acts of extraordinary heroism. That was difficult for him to accept. Can you explain why? Will we see that side of him again?
MELONI: That was about a man coming to terms with the multifaceted aspects of his relationship with his father. We all come to terms with the dynamic with our parents. I think that’s what that was all about and the power behind that whole storytelling. We haven’t picked up that line in season three, but we can always return to it.
WS: Speak for a moment about your fellow cast mem bers, from Ellen Burstyn, who plays your mom Bernadette, to everyone else. They’re great.
MELONI: Yes, and they’re great to work with. Ellen, I don’t have the words. Some cast members are new. Working with Danielle Moné Truitt [Sergeant Ayanna Bell] has been fun. It’s so nice to come back into the Law & Order world and have the themes to find the relationships that make up who we are to each other.
WS: Last but not least, working with Mariska Hargitay. Was that like getting back on a bike? The dynamic seems precisely the same.
MELONI: What you see is people who know each other, love each other, respect each other, have singularly unique relationships with each other off the screen, and I think that translates to on the screen. The fans help that along, their enthusiasm for what they know and yearn for. All that stuff is baked into the cake of when we get together.
WS: Will there be Bensler? Will Olivia Benson and Elliot Stabler get together?
MELONI: I wish I could tell you, but then I’d have to kill you!
such that you start [in a courtroom with] somebody who is accused; you don’t know for what. It’s not some sociopath or a career criminal. It’s someone who’s very recognizable, who you either see yourself in or some body you relate to.
You never quite know what happened or to whom it happened, but you know who is on trial. It has the trappings of a pretty classic courtroom story. But it’s about so much more than that. It’s about very human, relatable, small-scale stories, told against all the fault lines we’re living with [not only here] in America, but everywhere: the corrosive impact of social media, identity, race, inequality. I hate dividing shows thematically or philosophically, but there’s something very deep at the bottom of every one of these stories that I’m extremely proud of. They’re complicated and simple at the same time. It shows us how exquisitely vulnerable we all are at this moment. I described [the show] to somebody and found myself saying it’s an empathy engine. At the end of these episodes, they are emotional. Some of them are very challenging. We’re dealing with a school shooting in one of the episodes. We’re living at a very interesting time, not just here but globally. None of us are immune to what’s happening. We’re at an inflection point. I think everybody feels that way.
WS: What did you take from the original British show, and what is different?
By Anna CarugatiF or decades, Howard Gordon has been setting his dra mas against the backdrop of real-world events.
From 24 to Homeland, both Emmy Award winners, Gordon has examined the toll current events have taken on countries and individuals. He continues to study today’s most pressing issues in the upcoming anthology series Accused through relatable, human stories. The show, as Gordon describes it, is an empathy engine.
WS: How did Accused come about? You’re teaming up again with Alex Gansa.
GORDON: I’d been at Fox and then Disney for 26 years. After Homeland, Alex and I both wound up leaving and hung up a new shingle at Sony Pictures Television together. Our company is such that some projects I run point on and on some he does. On this one, I’ve taken the lead. It had been something that David Shore was developing. It’s based on a BBC One series [from] Jimmy McGovern called Accused, which I think had a modest success, and I quite liked the format. But David had gotten busy with The Good Doctor, so he kindly handed it over to my development. It was kind of a pandemic catharsis for me because it felt like an amaz ing opportunity to tell stories about my own anxiety about living in the world today. It’s an anthology series. Every week we have a new cast and a new story. The format is
GORDON: I would say that we all believe, and with no disre spect to the source material, that we benefited from those first efforts. We got to see what worked and what didn’t and how something could be made, in my opinion, better. The format is Jimmy McGovern’s and is great [but] for one thing, everything in the original had this northern England, indus trial, Manchester kind of blueness—cobalt blue is what I call it. There was a sameness to the tone and the temperature of every one of the episodes. [In our version], one episode takes place in Alabama, one in Seattle and one on native lands in Arizona. So, we’re taking advantage of the bigness and diversity of this country and, therefore, the diversity of stories. I’m such a great fan of Jimmy McGovern’s. But I slowed some of the stories down, and I created characters. We took as inspiration only one or two of the stories; the rest are all original. His [series] came out in 2010. The world has become so profoundly different that the stories, by defi nition, are quite different.
WS: What are some of the creative opportunities and chal lenges of writing an anthology series where each episode is an entirely self-contained story compared to a serialized show where the story continues episode to episode?
GORDON: When I took this on, I thought, wow, this will be much easier! It was a great pandemic writing experience, but it has been a very challenging production experience. [We] have to cast a new set of characters for every episode. In case you’ve noticed, quite a bit of content is being pro duced! Accused is one of those shows that requires a won derful cast. The material is challenging. Our thesis was that the scripts are good and will draw talent. And they have. In the first batch of scripts, we’ve gotten Michael Chiklis, Jill
Inspired by the British anthology series of the same name, Accused premieres on FOX in January.
and Wendell Pierce. We have Billy Porter directing an episode about a drag queen, which is a heartbreakingly beautiful story that takes place in Massachusetts. We have Marlee Matlin directing an episode about a deaf surrogate. We began talking to Marlee before CODA was released, so I feel we were very lucky to be working with someone who has that iconic point of view. We have drawn some amaz ing talent to this show because of the material. I think peo ple who have read the scripts have been responding to them, which is encouraging.
WS: How do you see the state of broadcast television today? GORDON: The world is unrecognizable in how people watch TV series and consume content. I hate the words “con sume” and “content” and “binge”. I have a strong feeling about the culture and the abnegation of curating content. There was a moment when you knew Tuesday night was Thirtysomething or Thursday was ER; it created a sense of anticipation, and you couldn’t wait for the next week. If you loved these characters and stories, you couldn’t wait for next season to come. Now it’s an entire [season that] is dumped. It’s like eating breakfast, lunch and dinner again and again and again. And you’re left bleary-eyed. [A show] doesn’t live in your imagina tion, heart or mind for very long. So structurally, we’re in a curious place. The ratings of the broadcast net works are obviously a fraction of what they were. But they remain the most durable place for people to gather at the same time and watch a story. That’s what I’m encouraged by. Then there are secondary windows. Accused will also be on Tubi and Hulu, so people can catch up. And because it’s an anthology, it doesn’t require that it be watched in any order or for everyone to have watched every episode.
and that was for 24 in 2006. Since then, it’s been the streamers, cable and premium cable [that have been win ning that category]. The business model is a curious thing, but I’m more interested in how it’s impacted our capacity to tell a story where enough people watch it at the same time to spark some kind of conversation and impact.
WS: With so much reorganization of major media compa nies, is it more difficult to get projects greenlit?
GORDON: [Alex and I] went to Sony under the premise that they were agnostic and could find business deals with everyone. We have a deal at Apple. We have one at FOX and one at Showtime. But it is getting harder. There has been almost a scramble, like musical chairs. People are going to be drafted by these monoliths, by these vertically integrated companies, whether it’s Warner Bros. Discovery or Disney or Netflix or Apple or Amazon. It feels as though lines are being drawn that are harder and harder to cross. They’re dis incentivized now to take a show from an independent pro ducer. But at the same time, I know that Sony has sold some other projects to Netflix, but Netflix is up in the air now, too. Everything is in flux.
Have we reached the John Landgraf peak content play? I know, anecdotally, that it’s impossible. I know from my TV critic friends, whose job it is to stay on top of things, that it has become a firehose of [shows] that is overwhelming. So how do you pick and choose and curate your own TV watching? Then let’s throw in the movies, which are now up in the air. What is a movie anymore? What is theatrical dis tribution? It is an interesting and revolutionary time. I have to hope I’ll still be welcome to sell something somewhere. There will always be a home for me, I hope. But again, what the appetites are and what the algorithm is dictating don’t always seem to be in sync with what interests me.
WS: Tell us about how Inter Medya began.
OKAN: In my youth, I worked in our family com pany Fono Film at various levels for a long time, and I was actively involved in almost every level of film distribution and postproduction. In this way, I can say that I grew up in our industry. Inter Medya started out as a film distribution company serving the Turkish film industry solely within the domestic market. In its first ten years, its basic market structure remained more or less the same, but soon found itself operating both inbound and outbound. Starting from 1999, we expanded to Central and Eastern Europe, Russia, Ukraine, Central Asia and Asian countries, extending our field of distribution to include these markets and enriching the product range. In addition to the geography above, Inter Medya has started distributing Turk ish TV series and movies across the globe and has become an important content provider and distribution company worldwide.
WS: What have been the company’s major mile stones in the last 30 years?
OKAN: From 2007, Turkish TV series and feature films started to draw broad interest from all
n the three decades since its founding, Inter Medya has evolved into being more than just a provider of high-quality, ratings-winning drama series. While that remains a key part of the com pany’s business, Inter Medya has steadily expanded into other areas, including format development and sales and pioneering a new form of shorter-run, more innovative scripted productions for OTT plat forms. As Inter Medya marks its 30th anniversary, Can Okan, founder and CEO, and Ahmet Ziyalar, president and COO, discuss the secrets to the com pany’s success and chart what’s still come.
these markets, as well as the Middle East and North Africa. With solid market demands, both local and international, and accompanied by strong governmental support, the Turkish film industry and TV content production business developed more and gained further stature. In 2016, Inter Medya started to develop and pro duce entertainment, reality and game-show for mats by bringing together a creative team. In 2019, Inter Medya launched its own production department. In 2021, Inter Medya took a bigger step and invested in Inter Yapım, a sister company
dedicated to producing both scripted and nonscripted content. Within this frame, Inter Medya became an international company distributing content in over 150 countries and pursued its
vision and working discipline, provides a sus tainable, dependable and customer-oriented service based on the foundations of trust. While different political and economic prob lems appear all over the world, Inter Medya is still positioned as a bridge to many industrial transactions thanks to its geo graphical and political position.
WS: How are you positioning the company in the crowded land scape today?
journey as a producer as well as an interna tional distributor.
WS: Ahmet, how did you come to be part of Inter Medya?
ZIYALAR: After working as a professional manager in different companies for years, I joined Inter Medya in 2010 and became a business partner and dream partner with my best friend, Can Okan.
WS: What have been the most gratifying successes for you in the company’s three decades?
ZIYALAR: We see every experience of Inter Medya in its 30-year jour ney as a success and an achieve ment. Every experience made us stronger and braver. Finally, our biggest step was to invest in our pro duction company Inter Yapım with the encouragement of Inter Medya’s global vision and experience.
WS: How do you want your clients and partners to see Inter Medya?
ZIYALAR: Celebrating its 30th anniversary today, Inter Medya is a company that makes great contributions to the coun try’s economy through selling content and training young and inexperienced people in the film and TV series industries. Even more than a company, we position Inter Medya as an école . Inter Medya, which has a global
OKAN: Inter Medya is a company that has a multinational team and a global vision due to doing busi ness worldwide, which is growing day by day. We have very strong business relationships that we have been developing for years. We believe that our difference is to be solutionoriented, to provide transparent service and to provide a mutually beneficial business. We attach great importance to strong and sincere relations both in our internal team and in our relations with third parties.
WS: What are your goals and expectations for Inter Medya in the next year?
OKAN: Inter Medya is a company that grows and develops every day. Of course, our first goal is always to increase the number of countries that Turkish content reaches. At the same time, tak ing an active role in co-producing projects with different countries is one of Inter Medya’s pri mary goals.
“We believe that our difference is to be solutionoriented, to provide transparent service and to provide a mutually beneficial business.”
—Can Okan
“Inter Medya, which has a global vision and working discipline, provides a sustainable, dependable and customer-oriented service based on the foundations of trust.”
—Ahmet Ziyalar
1992 Can Okan establishes Inter Medya as a distribution company selling North American feature films to Turkish television channels.
1994 The number of feature films distributed by Inter Medya exceeds 1,200.
1999 Inter Medya expands its operations to Central and Eastern Europe, including the theatrical distribution of fea ture films in Romania and Bulgaria.
2000 The company expands its operations to CIS.
2003 The slate of content distributed by Inter Medya reaches over 5,000 hours in the countries where it operates.
2008 Inter Medya signs its first worldwide distribution agreements with several successful Turkish production houses, including Avşar Film and TMC.
2009 Inter Medya becomes the exclusive distributor for audiovisual content produced by Focus Film, which special izes in daily TV dramas.
2010 The company becomes the exclusive worldwide con tent representative of free-to-air channel operator FOX Networks Group Turkey.
2011 Ahmet Ziyalar joins the Inter Medya team as a partner and COO. Inter Medya expands its catalog through an exclu sive agreement with Ay Yapım for Red Scarf. The company extends its content catalog with a string of acclaimed shows.
2014 Inter Medya licenses Turkish drama series to Spanishspeaking TV channels in the U.S. and 21 South American countries.
2015 Inter Medya builds an internal creative team to develop and present game shows, reality TV and adventure formats for national and international television networks.
2016 The company’s creative team develops and pro duces the competition quiz format Fifty Fifty for ATV. It signs a distribution agreement for its formats with Grupo Secuoya, a leading Spanish media company.
2017 In its 25th year, Inter Medya renews its corporate identity and logo. The company’s global sales reach around 50,000 hours of content. Inter Medya moves to its new office in one of the most modern buildings in Istanbul.
2018 Inter Medya’s creative team develops the reality dating show format The Perfect Couple with DMomento Producciones in Colombia. The company also signs a distribution agreement with Acun Medya and starts to represent the licensing rights of Exathlon . Inter Medya signs its first distribution agreement with TIMS&B Productions.
2019 Inter Medya expands its operations to series produc tion by producing a new season of Behzat Ç. for BluTV, the first Turkish SVOD platform.
2020 The production department produces Respect for BluTV. Inter Medya takes over the international distribution rights of The Ambassador’s Daughter, produced by O3 Medya. The company also extends its catalog by adding the representation rights of every upcoming series produced by TIMS&B Productions.
2021 Inter Medya establishes a new production company, Inter Yapım. The company also produces the second season of Respect and distributes it on BluTV. With the creators of the format, Inter Medya produces the reality dating show format El Poder del Amor Latin America
2022 In its 30th anniversary, Inter Medya reveals it is expanding its business with a newly designed office. Inter Medya’s catalog grows to 12,000 hours of content and over 400 feature films from various genres.
“Inter Medya is a company with a global vision, constantly improving itself and aiming to move forward. It distributes Turkish content in more than 150 coun tries, with the awareness and responsibility of carrying the stories produced from its land to other cultures. We love spreading our vision to everyone we work with.”
Team Member Since 2010
“Diversity, passion and style best describe Inter Medya. A pioneering company, Inter Medya has a diverse, multicultural and multinational workplace with world-class experts. Passion is at the heart of Inter Medya’s identity. It’s an instinct that fuels commitment and sparks excellence, and style is our mindset.”
Team Member Since 2016
“The feeling of being part of a growing fam ily is a great encouragement. I believe such enthusiasm goes across to our partners and clients. I would love for them to feel that we are always here for them 24/7 to support them personally and profession ally and enable them to feel that they are part of the family.”
Team Member Since 2016
“The people are what I value the most in Inter Medya. It is a team of professionals with a great desire to build the company’s corpo rate image by producing high standards in the work environment. I’ve been allowed to grow with the company, spread amazing content, know more people worldwide and build long-term relationships with them.”
Team Member Since 2013
“Inter Medya provides 100 percent service to its customers and business partners. The Inter Medya marketing team looks at each content as a separate world and decides the strategy and how we will use analytical and creative processes to convey that world to our customers.”
Team Member Since 2019
“My department can be challenging at times because of the demands of our cus tomers—you can say it’s a battle against the clock. Our speed is the key. We want our clients to receive the content they bought as soon as possible.”
Team Member Since 2021
“I love the transparent and trustworthy environment that Inter Medya provides to us; it is great to feel not only as an employee but as a part of a growing family.”
Team Member Since 2015
“Inter Medya understands the needs of its employees as much as its customers and can meet them in the best way possible. It provides a friendly and supportive environ ment that always increases our opportuni ties to improve ourselves, and I am happy to be a part of a family that grows every day.”
Team Member Since 2018
“Inter Medya is my home away from home. I adore the people I work with. It’s a huge blessing to be a part of a team that feels like family. We are genuinely respected and cared for and continuously encouraged to grow personally and professionally. I couldn’t have asked for a better place to work.”
Team Member Since 2019
“We have been successful at implementing never-before-seen, innovative business models in this sector in multiple countries around the world. As a young lawyer, it has been a tremendous opportunity to observe and actively participate in the systems, processes and company culture that enable this kind of innovation.”
Team Member Since 2020
“I am very grateful to have the opportunity to work in a multilingual and multinational workspace with open-minded and enthu siastic people who present space for per sonal growth in my career.”
Team Member Since 2022
“Inter Medya is my second home. Our man agers and employees accept us as we are, respect all thoughts and ideas and allow us to work peacefully.”
Team Member Since 2016
Ayar on what their alliances with Inter Medya have meant for bringing their shows to a global audience.
Inter Medya represents sev eral shows from leading pro duction outfit TIMS&B, led by CEO Burak Sağyaşar and Chairman Timur Savcı, including The Trusted and Bitter Lands . “We’ve had a great ride with Inter Medya so far, especially with the wide and far distribution of our successful drama Bitter Lands,” Sağyaşar says. “They can bring their vast experience and deep-rooted connections to the table, which furthers the journey of the titles they carry. We enjoy meticulously craft ing the strategy of each product together according to its con tent and the target audiences it caters to.” Savcı, reflecting on seeing his company’s shows airing in markets across the globe, adds, “As one of the leading exporters in the Turkish drama scene, we are fortunate to have been witnessing the prolific journeys of our dra mas worldwide. Working with Inter Medya, we have been able to dive deeper into the LatAm market, which we find gratifying. We also look forward to building on our relationship and entering many uncharted new territo ries for Turkish dramas.”
Inter Medya recently expanded its alliance with BKM, taking on the rights to the series Another Chance , which joins hits like Ramo on the distributor’s slate. “As everybody knows, Turkish TV serials are rocking around the world,” says Zümrüt Arol Bekçe, CEO of BKM. “We thank Inter Medya for putting the same effort into making the films as successful as the serials,” Bekçe adds, noting that it’s been “hugely gratifying” for her to see her company’s shows res onate with audiences outside of Turkey.
O3 Medya has a “classic dis tributor-producer rela tionship” with Inter Medya, according to Saner Ayar, the company’s managing part ner. “We can actually call it a partnership,” Ayar says. “We share the casts and scripts with them and ask for their opinion. This is how we hear about the ideas and expectations of viewers around the world regarding the show. Actually, we ask Inter Medya to act more like an executive producer rather than a distributor.” Ayar adds that O3 Medya, producer of hits like Last Summer , has been thrilled to see its content exported outside of Turkey to markets such as Latin America, the Middle East and Africa. “The fact that our shows are liked in these regions shows that our big world has gotten smaller, and the world unites in what it likes. Thanks to shows and content, the world has gotten smaller.”
As part of its strategy for expanding into all sectors of the IP value chain, Inter Medya invested in Inter Yapım last year, which now serves as a develop ment and production division that builds on Inter Medya’s strong heritage in the distribution segment and targets the growing interest in series produced for dig ital platforms. Ahmet Ziyalar, CEO of Inter Yapım, and Sarp Kalfaoğlu, general manager, talk about their ambitions for the production business of Inter Yapım.
WS: Tell us about how you’re positioning Inter Yapım. KALFAOĞLU: Inter Yapım is a brand-new production house backed by the most established and powerful distribution company in Turkey: Inter Medya. ZIYALAR: Inter Yapım doesn’t intend to produce content for the main streamers in Turkey—only for existing and newly emerging local and international digital platforms.
expe rience and global vision have also been an encourag ing factor for us.
WS: What does the introduction of this new sister com pany mean for Inter Medya?
ZIYALAR: Inter Medya will continue to do its job from where it left off by expanding its catalog. As always, it will continue to extend its worldwide reach and contribution to the Turkish TV series and film indus try by distributing Turkish TV series and movies.
WS: What do you want your cur rent and new clients and partners to know about Inter Yapım?
In Turkey, many successful producers make TV series for mainstream channels and do their job wonderfully. Inter Yapım aims to accomplish what has not been done before in Turkey, which is bringing bold, edgy and brave stories to life with productions that we call “New Generation Turkish Series.” We are also open and looking for co-productions with foreign production companies for bigger-scale projects.
WS: What led to the launch of this business? KALFAOĞLU: Turkey is well-known for its passion and competence in content creation. While our shows travel the world, our way of storytelling is also influencing talents from all around the world. Along with the global giants (such as Netflix, Prime Video and Disney+) launch ing their services in Turkey, there is also an invasion of new-age, local OTT players appearing in the market. This creates a need for more niche, buzzworthy, diverse and global content. But also, this dynamism creates con gestion. So, Inter Yapım, thanks to its sister company Inter Medya, also plans to offer a new production model that would benefit every player in the market. ZIYALAR: After its first productions, the positive feedback encouraged Inter Medya to invest in a production com pany to make wider strides in the production field. We realized that there will always be a shortage in the supply of high-quality content for the streamers, especially in Turkey. Producing content for digital platforms seemed like an opportunity for us. Inter Medya’s 30 years of
KALFAOĞLU: In ter Yapım was founded for a specific reason—not just to be another Turkish produc tion company. We have the ambi tion to tell buzzworthy stories with a business model that proposes a new execution manner. Most importantly, we know where the market is being squeezed. We are very much aware that our Turkish way of creating con tent is unique and valuable but sometimes struggles against global and corporate standards. We have a talented and expe rienced team. From our current and former experiences, we know where these gaps are and how to fill them.
WS: How are you positioning this business in the 12 to 18 months ahead?
KALFAOĞLU: Our market is much more vivid than ever. Digitali zation means quick answers to needs. The conventional con ception of TV is changing. SVOD platforms are in a so-called war, and even the most rooted ones have begun reviewing their business models. This will create new requirements, which will impact the audience and storytelling. Today, scripted shows don’t compete with each other but with TikTok and YouTube’s jump-cut content. Keeping in mind the luxury of the “slowburn” approach, without forgetting what we as Turks already do very well and have to offer to the world, Inter Yapım is prepar ing itself for this future, which is on the doorstep already.
“Inter Yapım aims to accomplish what has not been done before in Turkey, which is bringing bold, edgy and brave stories to life with productions that we call ‘New Generation Turkish Series.’
—Ahmet Ziyalar
“We have the ambition to tell buzzworthy stories with a business model that proposes a new execution manner.”
—Sarp Kalfaoğlu
Deeply rooted in the Turkish con tent ecosystem, Inter Medya has helped lead the transformation of the country from a prolific importer of foreign fare to one that is bringing its high-quality, compelling stories to markets across the globe. Indeed, Inter Medya’s own 30-year growth story speaks to how Turkey has evolved its positioning in the global content landscape.
Can Okan founded Inter Medya in 1992 to serv ice the content needs of local television channels, distributing a portfolio of feature films to
broad casters. That business continued to grow, with the venture representing some 1,200 titles, including blockbusters like The Silence of the Lambs and RoboCop, by 1994. On the heels of the success of that model, Okan expanded the business to Central and Eastern Europe in 1999, even taking on theatrical distribution of feature films in Roma nia and Bulgaria, before setting up a trade with CIS countries a year later. By 2003, Inter Medya was distributing some 5,000 hours in its footprint.
Eyeing further growth, Inter Medya entered the fast-developing television drama space, aligning with Avşar Film and TMC and quickly finding
Inter Medya’s 30-year journey from feature film distributor to a leading developer, producer and distributor of series, scripted and non-scripted, reflects Turkey’s own evolution as a content powerhouse.
success with 1001 Nights , which would be among the first Turkish series to make a real impact outside of its home mar ket. In 2009, Inter Medya became the exclusive distributor of content from Focus Film, a specialist in daily dramas, and by 2010 was representing shows from the successful free-to-air channel FOX.
A significant expansion of the Inter Medya slate occurred in 2011 when the company aligned with Ay Yapım for Red Scarf and later picked up the rights to a wave of shows that would go on to be significant hits outside of the country. These included 20 Minutes and Black Money Love. Latin America emerged as a huge opportunity, with Inter Medya licensing drama series to U.S. Hispanic broadcasters and outlets in 20-plus South Amer ican countries in 2014. By the time Inter Medya marked its 25th anniversary in 2017 with a new corporate identity and office space, it had notched up the sales of some 50,000 hours of content worldwide to a wealth of clients, including Netflix, which that year acquired 700 hours of content from the distrib utor. Inter Medya also broke new ground when Endless Love was named best telenovela at the International Emmy Awards in 2017. With its scripted success, Inter Medya furthered its ties with Turkey’s leading producers, beginning its relationships with TIMS&B Productions on the series Bitter Lands and O3 Medya on The Ambassador’s Daughter; those alliances con tinue to this day. Inter Medya also began eyeing opportunities with the OTT platforms proliferating in Turkey, producing Behzat Ç. for BluTV, the first Turkish SVOD platform. It fol lowed that up with Respect for BluTV. Inspired by those suc cesses, in 2021, Inter Medya invested in Inter Yapım to drive the development and production of “New Generation Turkish Series” for OTT platforms, generating a portfolio of shorter-run miniseries that could also be taken out to the global market, particularly to territories that have generally shied away from the novela-style dramas that Turkey has historically been known for.
As its scripted business grew, Inter Medya began pursuing oth er opportunities, in 2015 building a team to develop game shows, reality TV and adventure formats that could be adapted by local and international broadcasters. ATV, for example, boarded the quiz format Fifty Fifty in 2016, the same year Inter Medya scored a format distribution agreement with Spain’s Grupo Secuoya. The non-scripted business has continued to grow for Inter Medya, including the company aligning with the Colombian production outfit DMomento Producciones for the reality dating show format The Perfect Couple and Acun Medya for Exathlon. Last year, Inter Medya worked on the reality dating show format El Poder del Amor Latin America, bringing 11 Latin American countries together in the same program.
As it marks its landmark 30th anniversary, Inter Medya remains in growth mode, recently expanding its office space to accommodate its growing team. As of this year, it boasts a catalog of 12,000 hours of TV content and 400-plus feature films, with ten miniseries and ten movies in development or preproduction. Over its history, Inter Medya has sold content to more than 150 territories.
Over the course of its 30 years in business, Inter Medya has assembled ties with many of Turkey’s leading producers, including TIMS&B Productions, BKM and O3 Medya, and has also expanded into the production of its own content, focused on “New Generation Turkish Series.”
Working with some of the leading executives in the media industry, from Haim Saban to Peter Chernin, Jan David Frouman has gained expert ise in television production, program acquisition, distribu tion and private equity. His leadership roles have included being a member of the board of ProSiebenSat.1 Media; chairman and CEO of Red Arrow Studios; CEO of Telepool; and president of Will and Jada Pinkett Smith’s Westbrook International. Earlier this year, Frouman joined Chernin to set up The North Road Company, a global content studio.
WS: How do you view the international media landscape, and what opportunities do you see?
FROUMAN: There has been an enormous amount of change, yet there are some constants, and some of those constants are what makes me enthusiastic about what we are doing. One is that, even though there is some ebbing and flowing, there is real global demand for highquality content across genres from very good creators and trusted partners. That is probably more true than it has ever been. Every territory that used to be a big importer is now a big creator territory, and what they are creating is better than what they ever produced in the
past. Local talent has the opportunity to make the best content of their careers. That is exciting. There is another part, and I think about this all the time. Despite the amount of consolidation, and there has been a lot of aggregation—groups were built, groups were sold, groups were broken up—the number of new opportuni ties, new creators, new companies, people spinning out of existing groups, people ready to break out and set up their first indie, seems to be relentless. It’s quite extraordinary. One would wonder if the consolidation wave is over. From my vantage point, particularly at the premium level, we see enormous opportunities. That doesn’t mean you don’t have to be selective, but we’re bull ish about content investment. We’re bullish about audience demands and finding great partners to be a part of what we’re doing
WS: How did The North Road Company come together, and what are its goals?
FROUMAN: North Road is a product of some great histori cal pieces that Peter Chernin put in motion after he left Fox. The most important one being Chernin Entertainment, our flagship scripted film and TV company led to success by its president, Jenno Topping,
and I think premium is properly placed on that company! Then there is Words + Pictures with Con nor Schell. Peter and his founding partner, Jesse Jacobs, started to think, “Do we want to sell? Do we want to keep chugging along like we are? Or do we want to lean into what is an incredible platform and find the right pieces of a team puzzle, raise capital and build a great premium independ ent content group?” I had known both of them. They reached out. We started to talk. I was incredibly excited about the possibility because I have huge respect for both of them, especially for what Peter had built through the years. We came together and did two critical things. One was raising capital because you can have growth ambi tions, but you need capital to do it. The other was acquir ing the Red Arrow Studios businesses in the U.S. If you look at Chernin Enter tainment and Words + Pictures and now the assets and partners that came to us in the non-scripted, reality, format space from Red Arrow, we feel we’ve put together a nice platform here at scale that is already contributing meaningful economics. We’ve raised significant capital, and now it’s a question of rounding out the team, going out and executing at that premium level globally, and building the premier inde pendent pure-play content company.
By Anna CarugatiThe North Road Company acquired Red Arrow Studios’ U.S. production businesses, including Married at First Sight producer Kinetic Content, earlier this year.
WS: Will you also be distributing what you produce?
FROUMAN: At the moment, we’re not in the distribution busi ness. We certainly will be a participant in the value created from what we produce, working with third-party distribu tors to the extent we are retaining rights, etc. For the moment, we are focused on growing a premium content creation platform. If, at some point in time, having in-house distribution makes sense, we’ll do that. It’s not something we are spending much time thinking about today because we have very good relationships with very good distributors.
WS: You want to expand North Road. Are you looking to acquire companies?
FROUMAN: We focus on two key things: quality and growth. We want to find great creators making premium content in whatever their genre is: scripted, premium docs or pre mi um unscripted. The remit is global. We’re looking at North America, Latin America and Western Europe. We’ll be looking at Asia. We view the global trend in content, and we plan to lean into it.
In terms of the kinds of deals, they can be big and they can be more boutique-ish. It’s about being smart and opportunistic in finding the right partners at this stage, which is quite a nice place to be. The hardest part will be being very disciplined, selective and ensuring a company fits. Making sure what we want to build as a group lines up with what partners want. The biggest mistake you can make is doing a partnership that goes sideways the day after signing. That’s just a disaster. So, we want to be smart about that. But premium, quality, growth and global domi nate our thinking.
WS: The cost of production keeps going up. What are the benefits of having capital available?
FROUMAN: The cost pressure in production is a reality. You have streamers and conglomerates looking to manage their investment base. You have inflation. You have a lack of tal ent available because of resource constraints, so there are cost pressures.
Capital gives you flexibility. Within a certain budget range of projects, it gives you the ability to make things and to get them going, as opposed to always cobbling together budgetary support from lots of buyers or one buyer. It lets
you make strategic decisions about IP you want to own. Or a show or series you would like to make with your own capital investment, if needed, ahead of partnering with a distributor and deciding how to take it out globally. In that respect, being capitalized, apart from having the firepower to buy and build busi ness es, lets you make decisions about the content you want to get behind. That’s a good position to be in.
WS: Some global streamers are cut ting back on their investments in content, for example, Warner Bros. Discovery. Will this have an impact on the international pro duction community?
FROUMAN: Our take on it is that there’s the macro and the micro. The macro trend continues to be growth in content investment globally. Making smart decisions about with whom to partner, where to allocate resources and when to invest are things that, hopefully, we will be very good at. The micro is there are certain companies, and Warner Bros. Discovery is a great example, that are digesting a merger and debt load and figuring out how to prioritize their con tent investment. What that speaks to is making sure you’re making must-have premium content and working with a wide variety of buyers and partners. Being beholden to one, if that one starts to change its tune—that can be unpleasant. But the broader trend—apart from some of the machina tions that are happening within one organization, albeit an important one—is for growth in content investment global ly. We’ll pivot and adjust in that landscape and run our business as thoughtfully as we can.
WS: What have you learned about managing companies and people during uncertain and changing times?
FROUMAN: There’s one beneficial reality in the production landscape, and that is, more often than not, it’s a modest fixed-cost business. As volume ramps up and people join to get those projects made, and if you have a turbulent or slug gish time, you can have a more manageable overhead base going forward. You want to be nimble; you want to be able to pivot. Covid accelerated the inevitable. The inevitable was let’s produce smarter; let’s be more collaborative. I remember when we used to talk about doing more produc tion in the cloud instead of all this physical investment. Now it’s happening because Covid pushed it all forward and took everyone out of their comfort zone. Some of that has been emotionally tough for people. But the other part is, and we see this in our own businesses, people think differ ently about what they need. What does office space mean? What do edit bays mean? What do shared services mean versus the way they used to be? Everybody is much more open-minded to having a nimble, flexible business. And people are much more open to looking at their partners inside a group and saying, How can we all benefit from each other’s existence? In terms of doing things thoughtfully, smartly, and with an eye toward maximum success, Covid was probably an accelerant in total.
most similar to what I had already done. But we had a good working relationship, so I said, I will help until I know what it is I want to do. But I’m not going to commit to anything because I don’t know whether I want to go back to that world. The person who runs my production company, Alexis Raben, who is also my wife, has a line into current world affairs that is very different from mine. I was on the verge of saying, I don’t think this is for me because I can’t find the thing that makes it different for me. And she said, this would be so much more interesting if it was told from the female characters’ perspectives. With Alicent [Hightower] and Rhaenyra [Targaryen], originally one was a woman, one was a girl. [We decided to] make them the same age, give them a shared childhood, so they grew up together and have this baggage between them. Suddenly you have an opportunity to really talk about the patriarchy, but through the eyes of these women. It opened all these possibilities, and it was no longer going back and seeing more boys with toys. The orig inal show had really great female characters, but it wasn’t told through their point of view. Here was an opportunity to do that and be really pointed about it. It was a strong choice and in retrospect, I can’t imagine the show any other way. Ironically, it’s really served the male characters as well. Both Paddy Considine and Matt Smith [who respectively play
Almost 10 million people across the U.S. tuned in to the premiere of House of the Dragon in August, making it the best debut ever for a show on the premium cabler. It also delivered for HBO Max across the Americas and EMEA. The anticipation was expected; it is the first of several spin-offs of Game of Thrones, which, over eight seasons, delivered record viewership, watercooler conversation, almost 60 Primetime Emmys, including four for outstanding drama, and a raft of other honors. Based on George R.R. Martin’s Fire & Blood , House of the Dragon from co-showrunners Ryan Condal and Miguel Sapochnik chronicles the Targaryen family saga 200 years before the events that unfold in Game of Thrones . Sapoc hnik, who won an Emmy for his work on Game of Thrones’ “Battle of the Bastards” episode, tells World Screen about revisiting the Seven Kingdoms with a new perspective.
WS: Tell us about the origins of House of the Dragon SAPOCHNIK: After Game of Thrones ended, there were a number of different spin-offs that were being tossed around. HBO kept asking me if I would meet the writers of the var ious spin-offs and loosely attach myself to a project. I didn’t really have much desire to return to the world, but you don’t look a gift horse in the mouth. I had been working with Ryan [Condal] on a different project. He got involved in one of the spin-offs and asked if I was interested. Ironically, it was probably not the one I was most interested in, because it was
King Viserys Targaryen and his younger brother Daemon] had to deal with a shift in emphasis. The show wasn’t just about them. And the way they dealt with that, con sciously or unconsciously, affected their performances. It got them in touch with things they might not other wise have been in touch with. It’s benefited everyone.
WS: Tell us about the arc of season one and managing all those time jumps.
SAPOCHNIK: Episodes one and two are one period; three, four and five are three or four years later; and then there’s a ten-year time jump and then a six-year time jump. That’s been complicated and something that, originally, I felt quite resistant to because it was reestablishing characters when you’re missing so much of their lives. To a certain extent, the only way to approach this was to treat it like French moviemaking. They explain nothing! Catch up, pay atten tion. Once we approached it that way, it got a lot easier. You didn’t have these long expository scenes—here’s what’s been happening in the castle as of late! It was coming in on events that could not have happened without the passage of time. Episode six is one of my favorite openings I’ve done of a show, specifically for that reason. You come in and what’s happening couldn’t be happening unless time had passed! And then it was about figuring out the realities of what that means for set design and costume, because everything
House of the Dragon has been renewed by HBO for a second season.
evolves over time. And then some actors change, some don’t. How we divided that up was quite hard. There was a point when I had been working with Olivia Cooke [who plays Alicent] and Emma D’Arcy [Rhaenyra], and suddenly I had to transfer over to Emily Carey and Milly Alcock [respectively, the younger versions of Alicent and Rhaenyra], who I didn’t know at the time, and I was terri fied! In the end, we realized that the time jump of ten years and what happens to them in that interim period was such that they could play different characters, and that’s OK. That was actually a relief. We had explored giving them physical tics and traits that carry over, but everything felt a little con trived. It’s a good crutch, but in the end, you didn’t need it. If someone is ten years older at 20, maybe there are some sim ilarities, but you don’t sit there and go, I remember when you used to pick your nose! [Laughs]
WS: How have you and Ryan approached running the writ ers’ room and breaking stories?
SAPOCHNIK: It’s been a challenge. The simple truth is that time has not been on our side. And it has made everything more complicated. When we first started, we agreed to not do anything apart. For the first year, we would do every meeting, every phone call, every everything, together. It was a way of expressing that we needed to understand each oth er and how we work so that we could finally not be in the same room together and know how the other was think ing. If there are two of you, you can do twice as much if you don’t do it together. If you don’t have any time, the first thing you do is bifurcate. We were being forced to be in different places. As much as I would try to get to the writers’ room, it would become limited to small chunks of time. And then when we got to the edit room, Ryan was already having to start breaking season two. There have been a lot of chal lenges to do with what the role of a showrunner is when you’re a director and what the role of a showrunner is when you’re a writer. “Showrunner” was originally the word given to writers when they’ve reached a point they become like directors; they are the purveyors of all things, as it were, the gods of their own fiefdoms. A feature film director is the same as what a showrunner is in television. The buck stops with you—creative and, to a certain extent, financial as well. The difference is a showrunner doesn’t direct and a feature film director may write. So, if I direct and he writes, we need
to be in each other’s stuff as well. I also write and I am also good at structure. Those things are important to me. If I have a bad structure for a script and I have to turn it into a television show, I can’t. Likewise, for him, seeing his idea through from its initiation, whatever theme may be in a script, to the final product and making sure I understand what he’s going for. There’s a negotiation between us that’s con stant. But also, at some point, I have to accept that I can’t be there, so I have to trust you.
I really like working with people. I’m sure I am, in my own way, a challenge to work with. But as I’m getting a bit older and wiser, I also quite like delegating. I’ve learned that’s not a bad thing. Delegating and control aren’t neces sarily as connected as you’d think.
WS: What were some of the biggest production challenges, especially given Covid-related restrictions?
SAPOCHNIK: We actually started this just before Covid came into existence. In our first scout pre-greenlight, we were going to Spain and Portugal and were told, “Hey, there’s this thing happening in Europe; you probably need to keep an eye on it.” We were like, should we be traveling if there’s an issue with an infectious disease? We said it’s fine, so we trav el and after three or four days we’re told, “You guys should probably not go to the airport. Do you think you can just drive everywhere?” So, we added 2,000 miles to our journey. And then two days before we were due to leave, we were told, “You need to get out right now because they’re going to close all of the borders and you’ll be stuck in Spain.” We were on one of the last flights to leave Spain for Los Angeles. The next day all the airports were shut and that was lock down number one. I remember feeling like we were running from a tidal wave that was coming. We were in lockdown for six months. We came out of lockdown, I arrived in London, I had two weeks in isolation, two weeks of living normally, and then we went into another lock down. Every part of this show was performed within the restrictions, firstly of the pandemic, but then the ripple effects. I would say we’re still feeling it now. We had a premiere in L.A. in a 900-seater venue, and they could fill only 500 seats. If you’re going to see a premiere of some thing, you need a full house to give it its vibe. Sometimes it’s the smallest things but they just have this impact that you didn’t know existed. And half the crew, I don’t know what they look like!
WS: I’m a Game of Thrones fan. I know we’re an opinion at ed and passionate bunch! At what point do you just switch off fan expectations and not think about them?
SAPOCHNIK: Right at the beginning. My responsibility is to the story. I think about it inasmuch as it’s important to not think about it, to really focus on the task ahead. The respon sibility that I have to the fans is to make sure I do the best job I can of telling this story. And through it, if they find their way back to a relationship with the Game of Thrones world, fantastic. If they don’t, so be it. And even better if it makes them go back and say, Hey, well, I’m going to go watch season eight [again], maybe it wasn’t quite what I thought it was.
What ’s next?” is the key narrative driver of any good story. It’s also the q uestion taunting the media industry today. There are no easy predictions, but one thing is certain: the need for content remains extremely strong. Production is at an all-time high. Budgets are increasing (Prime Video’s The Lord of the Rings: The Rings of Power is said to have cost $465 million—yes, you read that cor rect ly—for ei gh t ep i sode s). C om p et i tion —driven ma in ly by the glo bal streamers—is fierce. The SVODs are fighting for subscribers. Linear channels, in response, are vying for viewers, and everyone is chasing IP, talent and even production crews.
“As we look at a maturing streaming market, unlimited growth may not be the future,” says Sandra Stern, the president of the Lionsgate Television Group. “That is both a challenge and an opportunity. It requires us to double down on our quality, to be the studio that breaks through the clutter.”
Streamers may be becoming more cautious about their investments in original prog ra mm i ng . “ Th is is the fir st t im e the st re am ers have [h i t] a se r io us bump in th e road,” says Lars Blomgren, the head of scripted at Banijay. “So even if the endgame is to win new subscribers, I do n’t see a volume war. My guess is that we will se e fewer bigger projects. The high-end talent attached is just as important as the story. But I also think it’s crucial [for these services] to keep the old subscribers. We’ve got to be more mainstream and [reach] wider audience groups. I think that’s important for commissioners now.”
Buyers are looking for premium scripted projects across the board, says Karen Wil son, the managing director of Kudos. “It’s an interesting time for us as sellers because we have a lot more buyers. We, therefore, have many more opportunities, but we also have a lot more competition. Linear is still an incredibly important place for us to be,” she continues. “It doesn’t feel to us anymore that you go to linear for the lowerbudget shows and streamers for the higher-budget ones. It’s more a taste question.”
Amid the opport u nities , the re are ch all en g es. R am ped up pr od u ction ha s resul ted in a lac k of talent, particular ly behind the camera. “For us, right now, I would say the big g est demand is f or pr oduction t eams ,” says Cat hy Payne, th e CEO of Banijay Rights.
“Everybody in the market talks about the shortage of crews,” explains Tim Gerhartz, the managing director of Red Arrow Studios International. “The number of shows
“
in production increased massively over the course of [a few] years, so there’s just a lot of production going on. But then, there are just not enough ne w young people getting into this industry interested in working in TV in general. That’s something the industry in itself has to solve. It will be interesting to see what happens in the next two years. The market was also overheated here and there in the past.”
Demand goes beyond lighting and sound technicians or props and costume person nel. Because there is so much in production, there is also strong demand for writers and showrunners.
Looking at the prolific U.K. production mar ket, Stuart Baxter, the president of interna tional distribution at Entertainment One (eOne), notes, “the increase in the number of shows commissioned out of the U.K. pushed the demand for what was already some absolutely fabulous talent—Peter Morgan ( The Crown ), Abi Morgan ( The Split ), David Farr ( The Night Manager ), Jack Thorne ( His Dark Materials ) are having projects thrown at them at [an incredible] rate. These writers can’t be stretched too thin. That’s important. They still need time to develop and nurture and write an d rewrite these projects because that’s what they’ve always been so good at. We see cases where we’re having to
import people from overseas to the U.K., occasionally, because not all the skills, with so many projects, are resident here.”
The premium on talent is all the more urgent because, increasingly, A-listers need to be attached to a project for it to be com missioned and financed.
High-end actors, writers, producers and directors inevitably increase costs. So do the continued Covid protocols, which remain in effect as the spread of the virus persists. Producers would rather deal with the costs of regular testing than incur the much more onerous expense of shutting down and delaying a production because someone contracts Covid.
Increased costs are making productions more challenging to finance. So how are producers dealing with the bigger budgets? They are increasingly piecing together financing with partners.
In its many forms, co-production has become, as Lionsgate’s Stern explains, not only necessary, but “it’s a fact of life. Most of the platforms want to have an ownership stake in everything they put on the air. So, it is a rare situation where we do not partner with the platform.”
Though financing formulas have become bespoke to each project, Louise Peder sen, CEO of All3Media International, explains:
“When you talk about models, it always boils down to one basic one, which these days is one commissioner, one other major co-production partner, perhaps two, a tax credit and a deficit from a distributor. Prob ably 75 percent of financing models can be put into that bucket. The days of getting something fully funded and having rights to sell are not around anymore. So [projects] all broadly fall into the same model, but it’s about who’s putting in what, who wants what rights-wise, who wants what creatively, and who’s going to go first and at what time they come in.”
“All of us will admit to seeing some very healthy sales inflation in the market at the moment because of the competition” among so many platforms, says Ruth Berry, the managing director of global distribution at ITV Studios. “The reality is that cost infla tion is outstripping that. We’ve all got to think much more thoroughly about how we deficit finance, our capability to do that and who the partners are that we can do it with. More importantly than ever, it’s about building those partnerships for those shows and which markets they’re in and how we can work with our partners, who are going through similar challenges themselves.”
Baxter at eOne notes that he and his col leagues at the super indies have all learned a lot in the last few years: “I think we’ve all benefited, not necessarily financially, but
Set for Prime Video in the U.S. and BBC Two in the U.K., The English, starring Emily Blunt, recently notched up a slew of presales courtesy of All3Media International.
experience-wise. We’ve evolved from a market where a lot of us were distributing shows that had been largely funded, and the deficits were smaller, and we got to take them out to the international market, which was growing. Now, the deficits are get ting bigger and bigger, and the risk with that is bigger and bigger. You have to be a lot more creative in those partnerships, and you need to be a banker and be able to cash-roll proj ects. You need to add value not just as a dis tributor but creatively. We’ve learned that having three co-producers isn’t always a good idea. You can have a Euro pudding. It’s one plus, say, somebody joining in later to be a co-producer, or it’s two. But it’s not more than that because you need people with the same vision and voice for the show. You’ve got to empower your writershowrunner to make it their show. You’ve got to want their version, not your version, not the French or the German or the Italian or the British. It’s got to be the talent’s show.”
“We take a portfolio approach to how we look at our slate,” explains Lionsgate’s Stern, by having both projects that they deficit and for which they control all the ancillary rights as well as projects they sell to SVOD plat forms. “The streamers will pay an expanded license fee, a cost-plus license fee with a substantial premium, but take rights for an
extended period of time. We do get those rights back. We can monetize downstream, but it takes a while. So we try to balance those two different kinds of models. Ideally, if we get it right, we have a self-sustaining system where the premium on the cost-plus streamers allows us to defray the risk of the broadcast model, which has historically been risky.”
Selling to or partnering with a streamer most often means sacrificing rights. But there are benefits to getting streamers to buy or invest in a show. “We’ve got a number of British dramas that would not have been made if we didn’t have a streaming partner come in with [financing],” notes Banijay Rights’ Payne. “[That] allows domestic broad casters to have shows at a higher budget level than they’ve ever had before, [which] is only possible because we can bring in a partner. We have to acknowledge that.”
“The streamers have been a massive opportunity for local-language producers and content,” notes ITV Studios’ Berry. “Hence all the M&A interest we’ve seen over the last couple of years.”
Indeed, indie producers and distributors are also aware of a new source of financing in the market—money coming from private equity. These firms are looking for assured streams of cash flow. Given the surge in production, they are not only investing in soundstages and studios, but they are also acquiring stakes in production companies.
KKR backed Germany’s LEONINE Studios. Peter Chernin set up The North Road Company, which is now looking to expand in Europe, with $500 million from Providence Equity Partners. Blackstone invested in Kevin Mayer and Tom Staggs’ Candle Media, which in turn acquired stakes in Reese Witherspoon’s Hello Sunshine and Faraway Road Productions, the producer of Fauda
Finding funding and partners has become imperative for non-English-language broad casters. As Banijay’s Blomgren explains, “Budgets are high, but margins are low. It’s an enormous challenge. They all end up with 80 percent or 90 percent of the budget, and the final part is really hard to get. That’s the big challenge for everyone. But the linear broadcasters are taking the challenge. They want to compete with the streamers. And [coproduction] is almost the only way.”
Though streamers have given non-Englishlanguage programming unprecedented global exposure, in Europe, at least, linear broadcasters would increasingly prefer to partner with other linear channels rather than streamers.
“For us, it’s hard to retain rights if we work with streamers, especially if they are operating on a multi-territory or global scale,” says Robert Franke, VP Drama at ZDF Studios. “It’s more beneficial to get them on
board as a part ner that would fund a project entirely rather than co-produce.
“In Europe, linear broadcasting communi ties are quite skeptical,” continues Franke. “We see the fierce competition driven by all those platforms entering the market, and it is hard to find meaningful projects that justify co-production between a linear partner and streaming partner. We’d rather work on the linear side on a co-production model or sell it off to a global streamer entirely, simply because the rights are not that valuable if it is branded by a streamer.”
“If I get a streamer, great,” says Caroline Kusser, the executive VP of international coproductions and world sales at LEONINE Studios. “My main concern as a producer is to get my baby done and out. But from the international distribution perspective, if I go with the streamer, it’s fantastic to have the beautiful story we can tell the press, but where can I still retain rights? And this is our eternal battle: How do I fill my catalog with what I can sell to the market? Retention of rights is the big point here for us. There are still ways to retain our rights. The earlier we can get involved [in a project], the better for us as distributors.”
Co-producing and getting involved early in a project is also essential for regional streaming services, such as Viaplay, currently operating in 11 markets across the Nordics, the Baltics, Poland, the Netherlands and the U.S., and launching in the U.K. this fall.
“At a bare minimum, every show that we get involved in, we need to secure for our broad markets: the Nordics, the Baltics, Poland, the Netherlands,” says Filippa Wallestam, the executive VP and chief con tent officer at Viaplay Group. “We don’t go into any shows if we cannot secure at least
those. And then more and more also now the U.K., which is a little bit of a challenge when it comes to co-production setups. We can go in very early as a real co-production partner from development until the finished product. We can also come on board later and do it more as a prebuy setup. The ones that we are jumping on early are, in many cases, big-scale productions that need to have more partners on board to get the show funded. We some times do the prebuy option when it’s a really good show, but they could get it off the ground without us, and then we just come on board at a later stage.”
Negotiating such a variety of deals indicates how essential scripted programming is to Viaplay. Drama has “an enormously important
role,” says Wallestam. “It is what people will associate with Viaplay, and it is in most cases what makes people sign up for our service. It is really important both as a sales driver and a brand builder. In our new markets, we have a slightly different strategy. In the Netherlands and Poland, we are now developing our very first scripted shows. We have a lot to look for ward to in those markets. The ambition is that it should have the same role in those markets as well.”
Dermot Horan, the director of acquisitions and co-productions at the Irish public broadcaster
RTÉ, notes: “As broadcasters are no longer just broadcasters, we’re public-service-
media organizations, our online and digital offerings are as important as our more established linear channels. One of the genres with a long tail that works in digital is scripted.”
Drama not only attracts viewers and builds a brand, but its proper exploitation is also extremely valuable. Owning a stake in a scripted series means a broadcaster or platform
can control rights. “If a story is well told and well produced, and you hold on to a good copy of it, be it on film or digital, that is an asset for a production company,” he contin ues. “It’s also a great asset for a broadcaster to have in their catalog. That’s why I think a lot of broadcasters are getting more into coproductions because then they have much
more control of the rights. Because if I am buying something from a studio, I get a finite license. The next time I go to relicense, [I’m told,] ‘Oh, I’m sorry, we sold that to Net flix or Amazon or Disney.’ Whereas if it’s something we commissioned, we can have much more control over it; we have much longer rights.”
That well-told story, and its proper execu tion, depend on a writer and top-notch pro duction team, which takes us back to the current shortage of personnel. The search for ideas and creators dovetails nicely with the long overdue push in the industry to find more diverse talent, particularly under represented voices.
“We are all making big steps forward, but I think we still have a huge amount to learn, and there’s a lot more to improve,” says Kudos’ Wilson. “At Kudos, we have diversity, equity and inclusion targets for all our pro ductions. But ultimately, it comes back to breadth of voice, which comes through in the stories you want to tell and then the people you hire to make them.”
“We have got to tell stories [more] authentically by the people who thus far have not had their stories told,” she contin ues. “That is something we and I think everybody in the industry should be look ing at.”
Ricardo Seguin Guise
Anna Carugati
Mansha Daswani
Kristin Brzoznowski
Jamie Stalcup
David Diehl
Simon Weaver
Director
Dana Mattison
Marketing Director Genovick Acevedo
Marketing Coordinator
Andrea Moreno
Affairs Manager
As everyone involved in this business well knows, getting a child to discover something amid all the other things—millions of apps and Roblox and Minecraft and so on—has never been more challenging than it is today.
You’re not just competing with all the other shows; it’s all the other places kids are spending their time, discovering— and creating—entirely new universes for themselves. How you start that journey of discovery is on the minds of everyone seeking to launch new IP—or sustain interest in a returning one—in the landscape today. Content dis covery has a lot to do with algorithms these days. I’m not a fan of them personally; I’ll take human curation— especially if I’m on the fence about the suggestion—any day. I was spending time with the 8-year-old daughter of a friend recently, plopped in front of the television. She headed to HBO Max and asked, What should I watch? And I said, Miyazaki? Well, she had no idea who I was referring to, so off we went to the Studio Ghibli tile—and her journey discovering, and loving, an anime icon has begun (as has a new movie night routine).
Leading programmers weigh in on their acquisition strategies.
Several distributors discuss how best to craft a distribution strategy today.
The metaverse is presenting a wave of opportunities for creators and IP owners.
Aardman’s Alison Taylor on the fresh IP and third-party properties for 2022 and beyond.
Spotlighting new shows in preschool and comedy.
A recap of the second annual TV Kids Screenings Festival.
READY TO PLAY Leading executives in the L&M space discuss trends.
Ricardo Seguin Guise
Anna Carugati
Mansha Daswani
Perhaps the most striking thing about the kids’ busi ness today is how much there is happening at both ends of the content spectrum—über-premium, expensive, generally in a subscription-only tier that not all kids will have access to, versus made-on-a-shoestring budget but has managed to amass millions and mil lions of loyal followers and is raking in the advertising dollars. Kids are more than comfortable switching between the two constantly, so if you’re building a brand, it real ly does help to be everywhere, several dis tributors told me for the windowing feature in this edi tion. And everywhere will soon include the metaverse— as in, you likely need a Roblox strategy. And you probably need to up your game, because metaverse platforms are allowing kids to create exactly who they want to see. And a lot of them are still not seeing themselves enough on television. The need for more diverse storytelling is prevalent across this edition— from the buyers we surveyed to the heads of two major children’s broadcasting groups, BBC’s Patricia Hidalgo and Super RTL’s Thorsten Braun, to leading animator Bruce W. Smith to Oscar-winning actress Lupita Nyong’o, who spoke to us about her YouTube series Super Sema Mansha Daswani
The fast-paced adventures of Dragon Force continue in Dragon Force 3—Monsters Rise from Animasia Studio. The company is also presenting the superhero-themed Team Curios. “Dragon Force and Team Curios are high-quality programs that are available immediately for buyers to acquire and air on their respective channels and platforms,” says Edmund Chan, managing director. “Each of these shows targets a different audience. Dragon Force is an action-packed, robot-fighting series. Team Curios is an edutainment series featuring a group of superheroes to promote the positive values of teamwork and friendship.” There’s also English Tree TV, featuring original music videos to help kids learn, laugh and grow. Animasia partnered on the project with Adam Williams-Walters. English Tree TV has nearly 2 million YouTube subscribers.
Crazy Fun Park / Built to Survive / Barrumbi Kids
Crazy Fun Park, a live-action horror comedy, leads the Australian Children’s Television Foundation (ACTF) slate. From creator Nicholas Verso and producer Joanna Werner, the series follows a shy teen who wants to fit in and enjoy his high school years, but his dead best friend and a posse of ghouls sabotage him at every turn. Built to Survive sees host Phil Breslin get up close to the world’s unique creatures that are able to survive Australia’s most extreme habitats. Barrumbi Kids, adapted from Leonie Norrington’s novel, centers on best friends Tomias and Dahlia in a remote Northern Territory community. “No matter where they’re from, kids love adventure, laughter, real-life stories and a bit of harmless horror thrown in for good measure,” says Tim Hegarty, international sales manager at ACTF.
Bimi Boo Kids has on offer The Incredible Stories of Bimi Boo and Friends, depicting the adventures of characters from the company’s educational applications. Bimi pushes his friends into new adventures, and they all learn together by having fun. The series centers on the themes of curiosity, diversity, community, heart and love for constant exploring.
“The series also shows that there is no topic out there that you can’t tackle, that boundaries can be overcome with knowledge and passion, introducing children to a wide range of subjects from arts to sciences, spurring children to accept their unique passions, to try out different things and to settle into a state of constant learning,” says Ani Poghosyan, COO and producer. Bimi Boo is looking for broadcasters and distributors for the new series.
“Broadcasters from around the globe will find content here that offers their audience a truly fabulous viewing experience.”
—Tim Hegarty
“Good cartoons make you want to stay home; great cartoons inspire you to roam.”
—Ani PoghosyanThe Incredible Stories of Bimi Boo and Friends
“Animasia is looking forward to striking strategic partnerships with IP owners, streaming platforms and broadcasters.”
—Edmund Chan
CAKE is offering Super Sema, an African animated kids’ superhero series produced by Kukua, a London- and Nairobibased female-led studio. The series centers on 10-year-old Sema and her twin brother MB, who protect their African village using determination, creativity, science and technology. In My Brother the Monster, Petunia adopts a cute, ball-sized furry monster named Mombou who turns out to be 9 feet tall until he becomes worried or anxious, which happens a lot at school. “Mombou’s ability to grow and shrink depending on his emotions visually represents the challenges some children face and encourages them to support a sibling or friend who might be slightly different from themselves,” says Ed Galton, CEO of CAKE. A second season of the awardwinning preschool series Tish Tash is also on offer.
Cyber Group Studios is bringing to MIPCOM a second season of Zak Jinks, a “fun, one-of-its-kind, feel-good series adaptation of the hit French comic strip, sold in more than ten countries,” says Raphaëlle Mathieu, executive VP. For Droners, season one is fully available, while season two is currently in production. Cyber Group Studios’ catalog also includes 50/50 Heroes. “Our 100 percent comedy series comes with a wealth of 15 episodes available,” Mathieu notes. The series follows half-siblings who must share their inherited superpowers down the middle. Produced by Graphilm, The Case (La Custodia) is “a unique event movie that won 29 awards in the last six months,” according to Mathieu. It centers on a young boy who escapes war with nothing but his violin case.
eOne Family Brands’ Transformers: EarthSpark introduces a new generation of Transformers to children. The actioncomedy series follows a human family as they build relationships with the first Transformers robots to be born on Earth. The series PJ Masks Power Heroes centers on a new generation of heroes with all-new powers. eOne Family Brands also has on offer season two of Baby Alive, which has garnered 530 million views on YouTube. “The key for all of our properties is that they’re telling universally appealing stories with themes that kids (and adults) around the world can relate to,” says Monica Candiani, executive VP of content sales. “Whether it’s an emphasis on friendship, empowering self-discovery and expression or teamwork, buyers know that these characters and stories will resonate well with viewers.”
“We are continuing to build on our exciting new development slate with unique stories from around the world.”
—Ed Galton
“We continue to offer the very best content of world-class brands and rich IP that spans multiple ages, demographics and genres.”
—Monica Candiani Baby AliveZak Jinks
My Brother the Monster
“We come with a variety of new and high-end content for all targets and of all genres.”
—Raphaëlle MathieuSuper Sema / My Brother the Monster / Tish Tash
FOX Entertainment Global is introducing a slate of MarVista Entertainment-produced films, including Viajeros. In the movie, after Leo’s dad—with whom he’d made a make-believe time machine—suddenly dies, he becomes convinced that his dad is stuck in the past and is determined to find him. The Curious Case of Dolphin Bay sees marine biology enthusiast Quinn team up with friends to uncover the mystery of Dolphin Cove. A middle-child teenager makes a wish on a Christmas ornament for her family to truly hear her in Christmas Unfiltered. “Unfiltered and unable to control it, Becky throws her family’s Christmas for a loop,” says Fernando Szew, CEO of MarVista Entertainment and head of FOX Entertainment Global. “In the end, Becky’s uncontrollable honesty inspires her family and brings everyone closer together.”
GG Bond: Kung Fu Pork Choppers / GG Bond: Ocean Mission / GOGOBUS
GG Bond: Kung Fu Pork Choppers , the 17th season of the GG Bond property, leads Guang Dong Winsing Company’s highlights. The rescue and adventure story follows a group of pigs and their pets whose superpowers are their Chinese kung fu skills. Whenever a planet sends a distress signal, the Kung Fu Pork Choppers are ready to rescue it from any threat. GG Bond: Ocean Mission , the seventh film of the GG Bond franchise, sees Star Agent GG Bond help his friend Noah search for his brother in the deep ocean. Based on social-emotional learning, GOGOBUS targets school-aged children and features an AI rescue school bus that can transform into different vehicles. In the newest season, the adventures take place in a world of snow and ice.
The Guru Studio highlight Big Blue, created by GhanaianCanadian artist Gyimah Gariba, “offers young viewers a comedic yet heartfelt look at what it means to be part of a tightly knit family and underscores the timely message of how caring for our planet and each other is the most important thing of all,” says Corey Caplan, senior director of international sales. From Omens Studios, 123 Number Squad! follows three children as they use numbers, counting and shapes to become a fast-response rescue team, teaching children about sharing, resilience, teamwork and friendship. Pikwik Pack centers on the themes of working together and sharing joy with those in the community. “Preschoolers are continuing to fall in love with Pikwik Pack’s adorable characters and stories packed with big adventures and heartfelt charm,” Caplan says.
“As a studio, our focus continues to be on creating, developing and producing character-driven shows that captivate and inspire kids.”
—Corey Caplan123 Number Squad! The Curious Case of Dolphin Bay GG Bond: Ocean Mission
“We strive to bring to market a diverse slate of quality, globally appealing movies with notable creative auspices, both in front of and behind the camera.”
—Fernando Szew
DreaMars, represented by Jetpack Distribution, tells the story of eight teenagers who fly to Mars in order to colonize the planet. For older kids and teens, the sci-fi series is filmed in the advanced research facility known as “the Habitat,” established by the Israeli Space Agency in the Ramon Crater area, replicating settlements on Mars. Brand new to Jetpack’s catalog, the comedy series Viking Skool takes place at a Viking training school and tells the story of three unlikely heroes who show what true Viking hearts and souls look like. Mimi’s World centers on Mimi, who takes care of a group of diverse kids in her apartment. “The show builds confidence, engenders well-being and nurtures friendship, inclusivity and cooperation,” says Dominic Gardiner, CEO of Jetpack.
The Kidoodle.TV Safe Streaming AVOD platform serves children under 12 and families in over 160 countries and territories around the world for free, with no barrier to entry. “We have led the Safe Streaming movement in the AVOD space,” says Brenda Bisner, chief content officer. “We action those words on a daily basis and adhere to the high est letters of the law for kids, period.” In addition to popular children’s series, the platform offers podcasts and an audioonly music stream. In terms of what the company is search ing for, Bisner says, “We are looking for brands that come with awareness and partners who are excited to participate in the brand’s success on our service and, most importantly, care about the important work we do to keep kids Safe Streaming.”
Konami Cross Media NY’s catalog features a variety of series from the Yu-Gi-Oh! franchise. The latest series, Yu-Gi-Oh! SEVENS, leads the slate. It features all-new characters and introduces Rush Duels to the universe. For Yu-Gi-Oh! VRAINS, the third and final season, made up of 38 episodes, is now available for distribution. The fan-favorite Yu-Gi-Oh! Duel Monsters is also on offer. “Yu-Gi-Oh! ranks among the top 25 highest-grossing media franchises in the industry,” says Kristen Gray, president. “With anime content continuing to drive viewership on streaming services worldwide, it makes sense for buyers who desire a known entity that can deliver an audience.” She also notes that the company is looking to uncover further opportunities in 2023 to engage Bomberman, Contra and Frogger gaming fans on different platforms.
“The slate covers a mix of formats, genres and age groups—from teen live action to preschool animation.”
—Dominic GardinerYu-Gi-Oh! SEVENS Mimi’s World
“We offer a curated and refreshed category-based service where kids can easily find their favorite content.”
—Brenda Bisner
“We continue to grow the Yu-Gi-Oh! audience across streaming and broadcast alike.”
—Kristen Gray
Mattel’s Thomas & Friends: All Engines Go debuted its 26th season, which introduces the franchise’s first-ever autistic character. The Barbie franchise has seen the debut of Barbie Mermaid Power as well as the second installment of Barbie: It Takes Two. With the relaunch of the Monster High franchise comes the live-action musical film Monster High: The Movie and an animated series based on the Mattel property. “Mattel Television strives to leverage our iconic brands and partnerships with streaming and broadcast platforms globally to tell inclusive stories in which children can see themselves,” says Fred Soulie, senior VP and general manager of Mattel Television. “Our programming has been able to achieve widespread appeal for our ability to create worlds and compelling storylines that audiences enjoy and can relate to.”
Living with Dad / The Fox Badger Family / Nicholas’ Fantastic Summer
Leading Mediatoon Distribution’s highlights, Living with Dad is a family sitcom. Commissioned by M6/Gulli, it has been preacquired by RTBF in Belgium. “Full delivery is planned for Q3 2023, but the first few episodes are already available, and we cannot wait for you to see them,” says Jérôme Alby, managing director of Mediatoon Distribution. The Fox Badger Family will soon return for a second season that was commissioned by France Télévisions and picked up by WDR (Germany), TéléQuébec (Canada) and RTS (Switzerland). An animated series for young kids, Nicholas’ Fantastic Summer, commissioned by M6/Gulli, has rolled out on BOING (France), RTBF, VRT (Belgium), RTS (Switzerland), VSTV (Vietnam), TV Puls (Poland) and MTVA (Hungary). “Children everywhere are watching Nicholas and his friends’ holiday adventures,” says Alby.
Mondo TV Group is shining a spotlight on three shows it believes could prove as successful as MeteoHeroes, including the 2D animated series Annie & Carola. The show follows the shy Carola and Annie, the robot clone she created who turns out to be her opposite. “This is a fun and entertaining animated comedy, full of great dialogue, hilarious situations and visual gags,” says Luana Perrero, head of content sales. Three siblings who are being trained as monster hunters by their grandfather try to find a way to save the monsters rather than hunt them in Monster Loving Maniacs. An adventure comedy for kids, Agent 203 shows what happens after a young girl learns that her father had been a secret agent charged with protecting the planet from alien invaders and decides to follow in his footsteps.
“MIPCOM 2022 gives us a great opportunity to highlight some of our newest shows.”
—Jérôme Alby
“During this exciting period of growth for Mattel, we are well positioned to continue growing our IP-driven toy business and expand our entertainment offering.”
—Fred Soulie
“Our partnership with Toon2Tango has delivered some great shows.”
—Luana Perrero
The Monster Entertainment highlight Fia’s Fairies tells the story of the titular 6-year-old and the fairies that live in her back garden who speak both English and an enchanting language that they teach her and her friend Amber. In Storytime with Ms. Booksy, the eponymous magical and whimsical storyteller dives into classic fairy tales and brings well-known stories and characters to life. Following an adventurous and curious 5-year-old girl and her fun-loving hippo best friend, Zizi and Hannibal takes its young viewers along to explore Africa and the animals that inhabit the continent. “Gorgeous animation, fun and compelling stories and educational content” give these titles their international appeal, according to Andrew Fitzpatrick, chairman of Monster Entertainment, who adds that the shows are “entertaining first.”
Paramount Global Content Distribution is coming to MIPCOM with an expanded slate of kids’ content from Nickelodeon U.S. and International as well as Paramount+. Big Nate is based on an iconic American comic strip that has been published for over 30 years in 400 different newspapers. “The stories feature relatable middle-school antics, which appeal to kids from all parts of the world,” says Lauren Marriott, senior VP of content partnerships and brand strategy. Rock Island Mysteries is a live-action show shot on Australia’s Gold Coast. Each episode features a different mystery, which 14-year-old Taylor and her friends try to solve with adventure and laughs along the way. Blue’s Clues & You continues its success with a fourth season of the newest iteration. The show is a “multigenerational hit,” Marriott says.
Pink Parrot Media’s Butterfly Academy series is based on the feature film Butterfly Tale , and the same group of directors and scriptwriters worked on both. “This guarantees us an incredible quality of 3D animation as well as dynamic and funny scripts without overlooking the sensitivity with which physical handicaps are treated, with a main character who was born with an undeveloped wing and is therefore unable to fly,” says Begoña Esteban, head of international TV sales and acquisitions. There’s also The Sleepy’s Dream Team . “Its characters, textures and colors make you fall in love with the series from the moment you see them,” Esteban says. Part of the established Snowtime brand, Snowsnaps rounds out the slate.
“Monster Entertainment’s aim for MIPCOM is to see as many of our friends, whom we’ve been missing, as possible and to maximize sales for our burgeoning catalog.”
—Andrew Fitzpatrick
“We always have humor in mind when we create stories.”
—Begoña Esteban
Butterfly Academy
Big NateStorytime with Ms. Booksy
“We aim to be everywhere kids are, and our content licensing partnerships are as important as ever in achieving this.” —Lauren Marriott
Fia’s Fairies / Storytime with Ms. Booksy / Zizi and Hannibal
At MIPCOM, pocket.watch is showcasing a catalog of creator-produced and -inspired content, with a library of more than 20,000 hours available for distribution. “This content is diverse, kid- and brand-safe, proven to be globally popular and delivered at an incredibly efficient cost,” says Chris M. Williams, founder and CEO of pocket.watch. The company’s latest property from YouTube’s Toys and Colors, Kaleidoscope City is an animation and live-action hybrid series that features a global perspective and problem-solving. Part of the Ryan’s World franchise, Ryan’s Mystery Playdate is “a rich opportunity for international buyers who want to expand this number one show for preschoolers that stars the most popular kid in the world,” says Williams.
The spotlight for Rainbow S.p.A. is on Pinocchio and Friends and Summer & Todd—Happy Farmers Pinocchio and Friends features Papa Geppetto’s toymaker’s shop, home to Pinocchio and his friends—a group of great little heroes always ready for incredible adventures. Set at Sunshine Farms, Summer & Todd—Happy Farmers follows the comedic adventures of the protagonists, who are always ready to try their hand at new activities. Summer is an enthusiastic bunny coming from the city. Todd the raccoon is the owner of the farm and a skilled inventor. For both properties, Rainbow is looking to “finalize partnerships in currently open markets with strong and strategic broadcasters, which we plan to add to the already rich list of prestigious TV partners on board,” says Andrea Graciotti, head of sales for TV series and movies and co-productions.
Based on a book penned by Tomi Ungerer, the Serious Kids highlight Flix celebrates friendship and differences. “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. The Sound Collector follows a small but active being who is hard of hearing and spends his days passionately discovering new sounds. An inquisitive and lovable monster, Messy in Messy Goes to Okido goes on adventures that bring science to life with his best friends Zoe and Felix. “The kids find that Messy’s excitement is appealing to them, all the while being proud to share that they have learned something new,” says Ouledcheikh.
“All of pocket.watch’s content is inspired by the world’s biggest kids and family creators who represent and reflect the global audience.”
—Chris M. WilliamsFlix Ryan’s Mystery Playdate
“Our growing catalog and brand-new stand will contribute to increasing the profile of our company and attracting new clients.”
—Leila OuledcheikhSummer & Todd—Happy Farmers Creator-produced content / Kaleidoscope City / Ryan’s Mystery Playdate
“Whatever the project and whatever the partner, Rainbow will always be able to give emotions and win audience loyalty.”
—Andrea Graciotti
Centering on literacy and inclusivity for the preschool audience, Sinking Ship Entertainment’s The Fabulous Show with Fay & Fluffy aims to promote a love of reading while also building empathy in its young viewers. Set in New York City, Alma’s Way focuses on learning how to make good decisions. “Kids and families will relate to Alma’s struggles and successes as she navigates decision-making,” says Kate Sanagan, head of sales and distribution at Sinking Ship. The coming-of-age drama series Phoenix Rise, which centers on the trials and tribulations of six teenagers, authentically represents the U.K.’s West Midlands, according to Sanagan, who adds that “there is also a beautiful mix of drama and more soapy elements” in the series, which hails from Perrie Balthazar and Matt Evans.
Vegesaurs, which heads back to prehistory to join the adventures of young Tricarrotops Ginger and her baby PeaRex friends, leads Studio 100 Media’s slate. The ecotainment show SeaBelievers takes kids on missions to save the ocean and the environment. “Whenever the ocean or the shore are in trouble, Amelia, a human girl, is there to take a deep dive to save it,” says Dorian Bühr, head of global distribution at Studio 100 Media. “And she gets help from a team of awesome underwater superheroes: the SeaBelievers.” FriendZSpace follows three best friends who, behind their normal facade, are risk-taking deep-space friend-makers. The series “is all about kids and kid culture— alien and human,” says Bühr. “It’s about embracing our differences and getting into exciting trouble in the process.”
Leading Superights’ slate, the CGI series Go! Go! Cory Carson, based on the toys by VTech, follows an orange car as he learns to make his way through childhood. “This multiple Emmywinning series combines engaging storylines, strong characters, a subtle sense of humor, beautiful graphic quality and various landscapes,” says Nathalie Pinguet, deputy managing director of sales and acquisitions. The Adventures of Little Penguin, a non-dialogue 3D animation slapstick series, sees a penguin named Oscar discover a mysterious diary that leads him to exciting situations. A new edutainment series, Momolu & Friends tells the story of a curious and creative team of animals while encouraging children to discover ways to express themselves through art forms. “The titles are modern, freshly acquired and with lovely universal storylines,” says Pinguet.
“We think it is important, especially now, to bring forward and offer exceptional programs, representing great entertainment that conveys important and positive messages.”
—Dorian Bühr
“Sinking Ship Entertainment represents a collection of diverse stories, locally based but universal in theme.” —Kate Sanagan
“The Superights team would be delighted to talk to you about our ever-expanding catalog.”
—Nathalie Pinguet
Go! Go! Cory CarsonFriendZSpace The Fabulous Show with Fay & Fluffy The Fabulous Show with Fay & Fluffy / Alma’s Way / Phoenix Rise
An Emmy Award-winning action-adventure animated show, WildBrain’s Carmen Sandiego tells a superhero story that promotes female empowerment and messages of diversity and inclusion. “Carmen is a master thief who uses her skills for good as she pulls off her international capers, and the series is really enticing to audiences around the world,” says Caroline Tyre, VP of global sales and rights strategy. “Carmen Sandiego is a model series for the type of content buyers are looking for right now.” Summer Memories, meanwhile, “is an irreverent, laugh-out-loud series with lots of heart, which is what viewers are really craving,” says Tyre. The 2D show centers on the adventures of two best friends and their relationship. Life with Luca is a spin-off feature film of the Life with Derek series.
Xilam Animation’s first-ever CGI slapstick comedy, Karate Sheep is a non-verbal series that follows a sheep named Trico who loves to share new objects and ideas with the rest of the flock. “Slapstick comedies are a core part of our company’s legacy and DNA, so we’re excited to be launching another series in this genre for the international market,” says Morgann Favennec, executive VP of distribution. “We’re sure Trico’s adventures will charm and entertain audiences across the globe.” The fourth season of the comedy series Zig & Sharko will feature Zig, Sharko and Bernie making their way back to their island with Marina. A reboot of the comedy franchise Oggy and the Cockroaches, Oggy and the Cockroaches Next Generation sees Oggy take on the responsibility of parenthood as he watches his friends’ daughter.
Zodiak Kids & Family Distribution’s portfolio includes the sci-fi drama series Silverpoint, which follows a group of teens as they uncover a mystery in the woods while away at an adventure camp. “It resonates internationally, as it taps into the zeitgeist for mystery, sci-fi and adventure, and it is one of very few shows in this genre that can be enjoyed by the whole family,” says Delphine Dumont, chief commercial officer at Banijay Kids & Family, parent company of Zodiak Kids & Family Distribution. The animated comedy series The Unstoppable Yellow Yeti, set in a small snowy town near the Arctic Circle, sees two kids make friends with Gustav, a lovable yeti. Super Agent Jon Le Bon! centers on the titular secret agent tasked with saving Earth from various disasters.
“We are in a great position heading into MIPCOM, with a strong and diverse catalog of internationally successful shows and an incredibly healthy pipeline.”
—Delphine Dumont
“We’re looking forward to returning to MIPCOM in full force and bringing to the market a slate of shows that embody what’s at the heart of Xilam’s DNA and legacy: slapstick comedy.”
—Morgann Favennec
Silverpoint
“We’re looking forward to discovering new content and creating new partnerships as well as strengthening existing ones.”
—Caroline TyreCarmen Sandiego Karate Sheep Carmen Sandiego / Summer Memories / Life with Luca
Kids ’ content buyers may be spoiled for choice given the sheer volume of animated and liveaction fare available on the market, from classic library shows to premium OTT commissions now hitting their second windows. But that cer tainly hasn’t made their jobs any easier as they look out for characters and concepts that will keep young ones engaged and tuned in when they have so many other options for their entertainment.
Negotiations have also become far more complex as dis tributors deploy finely crafted windowing strategies to make the most out of their IP.
“Exclusivity and windowing are very important when we look at the linear side and what we’re trying to achieve with Paramount+,” says Layla Lewis, senior VP of global acquisi tions and content partnerships for Nickelodeon. “We want to reach our audience everywhere they are. If you have a broader scope of rights, you can work to meet them there. That’s not always the opportunity. When we have the pitch at an early stage, we can discuss that with the partner to say, What is the opportunity? How best can we navigate through the platforms and the rights? We try to think about what’s best for both of us in terms of our partnership.”
Francesca Newington, director of POP Channels at Nar rative Entertainment—which operates POP, Tiny Pop, POP MAX and the POP Player in the U.K.—believes that the market is at a “pivotal point” when it comes to the question of exclusivity. “We are aware that cross-pollination is really important when it comes to the brand getting as many eyeballs as it possibly can. If you’re going to launch a commercial franchise, you want to be across as many platforms as you can. It seems that it isn’t that detrimental to each platform it is on—it seems to be successful for each one. I think there’s quite a large conversation to be had around this.”
Newington adds that the POP channels will often take a second window on shows that previously aired on a payTV or SVOD service. “The issue for us is that we get such limitations on digital rights. If we reject those limitations, that is detrimental to us because we lose that show, but it’s also not helpful to the commissioner who wants eye balls on that brand and wants to launch consumer prod ucts. It’s about navigating those restrictions and whether we can deal with them. It is becoming increasingly difficult to
Commissioned by Milkshake!,
Studio 100 Media’s
Wissper is also available on Nick Jr. in many markets.
comply with five episodes only [on-demand] and no more than that at any one time. If we want to increase our digital offering, we will need to be brutal and reject con tent we would love to have.”
At Sky, where Lucy Murphy, director of kids’ content, is doing both volume deals and cherry-picking individual titles, “it’s not a deal-breaker if the content isn’t exclu sive; however, if it appears on several platforms, then, inevitably, our fees will be a lot lower,” she says. “The key is transparency—we need to know where else the content will be airing, so there aren’t any surprises fur ther down the line.”
Hop! Media Group in Israel operates four kids’ channels— Hop!, Luli, Israeli Childhood and WIZ—and “full rights and exclusivity are a must,” says Sharon Moverman, VP of acqui sitions and international operations. “Non-exclusivity and unavailability of digital and nonlinear rights may be a dealbreaker,” she adds. “Having said that, we are willing to con sider joint windows with global platforms in the territory on a case-by-case basis.”
At De Agostini Editore, Brenda Maffuchi, head of acquisi tions and property development, is buying for two pay-TV channels and an on-demand player. She says that exclusivity for her is paramount. “The only thing we can have non-exclusively is VOD rights,” Maffuchi explains. “Hold backs are still quite important for us. Depending on the case, we will have between 6 to 12 months of exclusivity for the content.”
Meanwhile, at Sensical in the U.S., it’s all about volume, not exclusivity, per Bethany Boles, head of programming at the Common Sense Networks-owned AVOD service. “We are certainly looking to make deals that allow us rights for our growing products,” Boles says. “As we grow as a company, we’re thinking about worldwide, expanding with different FAST partners potentially. Those are the kinds of rights that we’re trying to work into our deals going forward. When we get to the point where we’re ready to have those conversations about exclusivity, it’ll be data-driven. We’re just not quite there yet.”
Brenda Bisner, the chief content officer at AVOD service Kidoodle.TV, is actively seek ing non-exclusive AVOD rights with world wide availability. “More rights restrictions that a brand has will translate to less reach and ultimately less revenue for them,” Bisner
The Adventures of Little Penguin to Hop! in Israel.
explains. “In some cases, and mostly with brands with measur able performance data and a historical relationship, we can look at opportunistic exclusivity models on a windowing basis.”
The POP services have largely been acquisitions-based, Newington notes. “We are trying to do more prebuys where possible so that we can broaden our rights and also so that we can plan future strategy a little bit better,” she explains. “And we are also now diving into the world of co-pros and commissions. We’re going to take it step by step, but we would welcome any submissions to us in that space. We also have our AVOD offering, the POP Player, which incorporates catch-up content. And for that, we are looking to introduce exclusive content that doesn’t fea ture on the linear channels.”
Newington also has her eye on gender-neutral shows for the 6-to-8 set on POP. “If we take something very girly, we need to make sure that we’ve got something for the boys as well,” she says. “We’re pretty much anima tion, but we are looking into that live-action space—either
a drama or factual entertainment, as long as it’s upbeat and pacy enough, and it’s not too old, dark or scary.”
On Tiny Pop, the wish is also for shows that will speak to boys and girls, again mostly animated, but she isn’t ruling out live action. “We haven’t seen anything musical for a while, so any musical content would be lovely. We’re looking for movies, too. We’d like to build up a movie inventory for spe cial themes: Christmas, October, half-term, Halloween.”
Newington adds that as the POP channels are free to air, “We have a broad socioeconomic audience. We’re keen for our channels to be all about diversity and broad representation. We want [audiences] to feel that the channels are genuinely inclusive and reflective of them. We are super commercial. We want to remain current. Volume is very important, so 26 half-hours minimum.”
Sky Kids’ Murphy is on the hunt for shows with a “fitness focus for younger children and premium animated specials that appeal to a wide age group. Music shows are successful for us, and this is an area that is constantly evolving that we’d always look to add to, although we already have a lot of ani mated nursery rhymes for preschoolers, so we wouldn’t be looking for more of those.”
For De Agostini’s Maffuchi, “characterdriven” shows are paramount. “Friendship and diversity are two things that we’re con stantly looking at. We are not 100 percent educational, so entertainment is important in terms of the balance.”
She a nd her teams continue to seek out big animated franchises for preschoolers. Like Newington, she is also eyeing genderneutral shows for the 6-plus set, noting this becomes increasingly difficult for the upper end of the kids’ target. Finding good animated comedies for the 6-to-11 set is a challenge, she says.
In terms of live action, she is seeking content for the 8-to-10 set and possibly
Mattel’s beloved Thomas & Friends has been acquired by SVOD, AVOD and linear channels worldwide. Superights licensed the preschool animated series
Monster Entertainment’s Paddles: The Huggable Polar Bear is headed to Cartoonito in the U.K. and Stan in Australia, among other platforms.
even reaching up to 13- and 14-year-olds. “We have the linear channels and the VOD platform. So, it’s not only the content but also all the content we can build around the IP to connect as much as possible with the kids on all the different platforms. From 9 to 12, it’s really difficult to keep them engaged as much as we would like to. This is what we’re trying to work on. We will produce local game shows or entertainment formats for this target, with family co-viewing. This is something we are work ing on for 2023.”
Sensical takes its cues from being affiliated with Common Sense Media. “All of our content is filtered through the world’s only age-appropriate content standards, grounded in child development and developed by experts from Common Sense Media over the last 20 years,” Boles says. The platform’s content is segmented by demo: 2 to 4, 5 to 7 and then 8-plus.
Boles, too, has her eye on shows that will key into an older kid demo. “I think we all know how hard it is to keep kids watching kids’ TV,” she says. “Finding compelling content for the older kids is always important to us. In that older bracket, gaming content is crushing it. So we’re looking for more age-appropriate gaming content—that’s the tricky part. We’re looking for content across all ages that leans into what we call watch and do: cooking, arts and crafts, science experiments, things that kids can explore and hopefully want to go off and try, maybe even as a family. And give us all the Minecraft, the Roblox, bring it on!”
At Hop!, the focus is on “inspiring curiosity, promoting social-emotional learning and broadening the minds of our viewers,” Moverman says, focusing on toddlers and preschoolers up to the age of 7. “We acquire shows of all genres, but animation takes the lead as it travels well, is easier to adapt and often resonates better than acquired live-action shows.”
Kidoodle.TV targets kids under 12 and families and is looking for content in the preschool, 6-plus and 9-plus
sets, with a focus on “brands that come with awareness and partners who are excited to participate in their brands’ success on our service,” Bisner says.
Given the breadth of demos served by Nick’s platforms, “You have to have characters that resonate with the audience in all of those touchpoints,” Lewis explains. “Nick elodeon has always stood for the celebration of being a kid and understanding what it means to be a kid. So hav ing that filter of a kid’s point of view is important for us.”
For all the programmers surveyed for this piece, shows that truly embrace diversity and inclusion are in short supply.
“Diversity in children’s media is severely underserved,” Bisner says. “That is an area we always look at, along with foreign-language offerings, as we serve over 160 countries.”
“We talk about wanting every kid to be able to see themselves in our content,” Sensical’s Boles says. “That includes diversity in its many forms. We are seeking out content that’s not only featuring diverse characters but also made by diverse creators. We are struggling to find content by Latinx creators and featuring Latinx charac ters. We want content from creators of all backgrounds.”
For Murphy at Sky Kids, a “black hole” in the market currently is “learning content that does the job of being inspiring and creative. A lot of the learning programming we are pitched feels old-fashioned, didactic and lacks spark, so we’d love to find more learning shows created for kids, who, let’s not forget, already have the world of the internet at their disposal.”
POP’s Newington identifies girl-led comedies for the 6-to-8 set as a significant gap in the market. “It needs to be where the female gets the laughs rather than the tokenistic joke. We want the girl to have her time in the spotlight. And for that content not to turn off the boys but actually to appeal to them too.” She’s also seeking out anime that is appropriate for the POP demo. “It’s difficult to pick up anime that isn’t slightly too grown-up or
ABC in Australia is among the outlets that have snapped up Aardman’s Pop Paper City
risqué. It would be fantastic to find something aimed at 8-year-olds without the concern that we would have to rip it apart in the compliance edit.”
She’s also keen to find a “laugh-out-loud comedy” for preschoolers that will entertain parents and older sib lings. Lastly, Newington would love to see shows that “genuinely incorporate” environmental themes, “rather than being crowbarred in there.”
Hop!’s Moverman says she’s always in the market for shows that are “entertaining and fun with an added value— whether social, emotional or curriculum-based. We seek shows that echo children’s inner world and reflect their everyday routines, challenges and experiences at home, kindergarten or school. We are also on the lookout for shows that center around topical issues, such as the envi ronment, media literacy and inclusion, in a subtle and ageappropriate manner.”
For Boles, it’s crucial that distributors “have a clear audience in mind” when approaching Sensical with acquisition oppor tunities. “Having a clear idea of where you think your content fits within one or more of [our] age brackets is helpful for us. We want to make sure that the content demonstrates bene fits, whether learning benefits, D&I or social-emotional char acter-building elements. And then content that focuses on topics that kids love. So whether it is instructional— cook ing, arts and crafts, sports tutorials—or more topic-based like travel or sports or music, we want to give kids what they want and do it in an age-appropriate way.”
Lewis calls on producers to spend time watching Nickelodeon, Nick Jr. and Paramount+ before approach ing her and her team. “It’s being aware of the shows we have and how anything will sit among them. We don’t want to get into a situation of, what do you do with it? We have seen a lot of pitches in the bridge space, and we now have quite a lot of shows in that area. We’re
looking to complement that and maybe focus more on the younger end of the preschool demo. Another point that’s come up is around ancillary. We have within Paramount other lines of business. We can leverage our content partnerships and co-productions to look at how we can partner with our in-house consumer-products teams. We also have a movie studio. We are looking at explor ing opportunities quite far out now. Know the audience and think about them in everything that you do. Know our shows and some of those brand filters. And have fun and surprise us.”
De Agostini’s Maffuchi expresses a similar sentiment: “We appreciate it when we are having a meeting with someone and they show us that they have studied. They know who we are and say, We think this could fit with this program.”
Sky Kids’ Murphy encourages IP owners to approach her with “distinctive and original content that will surprise us. Good visuals are important, so we can easily see how it will stand out on our crowded platform, alongside a rationale on why it would work for Sky Kids. We respond better to a tailored pitch of programs picked out for us versus a huge catalog of hundreds of shows.”
Kidoodle.TV’s Bisner offers this advice to distributors: “Know your rights, know how you can package to dif ferentiate your content in the AVOD space. Having a social media strategy is really important. The messaging to complement kids’ content for the parent experience on social media matters. Partners need to think of the parent demographic when establishing how the brand will have an impact outside of the content airing. Also, please email just once—we get over 800 submissions a week and will respond as quickly as possible. The more robust, complete and proper the submission, the quicker we can make decisions.”
Sharing is caring when it comes to the message content creators want to send to the youngest audiences. But in the behind-the-scenes dealmaking to get that content made, however, many platforms and broadcasters today are still much more likely to say, “it’s all mine!”
Morgann Favennec, the executive VP of distribution at Xilam Animation, reports, “We’re finding that the buyers, whether at broadcasters or platforms, are not in a position to compromise to the extent they previously would. Given the competitive landscape, they want exclusivity and the premiere. This can be a little complicated as they don’t necessarily put the money in front of the offer that would compensate for the other sales you wouldn’t be able to make under those terms.”
“Everyone still wants more and more exclusivity,” agrees Raphaëlle Mathieu, the executive VP of Cyber Group Studios. “Free-to-air channels are less open to short holdbacks, and all deals are subject to strong negotiations.”
“We’re finding it’s becoming increasingly challenging to have several different partners around the same table, par tic ularly when there’s a mix of pay-TV, free-TV and SVOD players,” Favennec adds. “Given there are so many possible windowing setups, it can be tricky to find a balance and, in some situations, we even get to a point where for renewals, channels are now looking for exclusivity and VOD rights, too. When it involves a brand that has been in the market for a long time, this can get a little tricky.”
For Monica Candiani, the executive VP of content sales at eOne Family Brands, the key is to be agile and follow broadcast ers and platforms as they shift their strategies—and many are realizing the crucial role of YouTube and other ad-supported services, she says. “We seek to place our content on as many platforms as possible and so try to advocate for shorter exclu sivity periods wherever we can and when it makes sense.”
“We have found that broadcasters and platforms are slowly becoming more receptive to non-exclusivity in the AVOD space,” reports Bianca Rodriguez, the head of sales at CAKE. “This might change as some major players grow bigger, and we will need to see how that plays out.”
The increased presence of AVOD and FAST channel oper ators in the kids’ space is ushering in the most significant shifts in windowing structures—and providing additional revenue opportunities.
“Windowing strategies have continued to change in the last year as kids move to VOD platforms, whether stand-alone or part of a suite of channels,” says Kate Sanagan, head of sales and distribution at Sinking Ship Entertainment. “This has meant we have seen AVOD/FAST take a bigger position alongside our traditional TV rights.”
“We’ve seen an evolution even over the past year among studios and broadcasters to partner to maximize a show’s exposure on as many platforms as possible, but especially on
Cyber Group’s hit preschool series Gigantosaurus has been licensed to multiple platforms across linear, pay TV and streaming.
YouTube,” says Corey Caplan, senior director of interna tional sales at Guru Studio. “With licensees and retailers asking for YouTube performance metrics, YouTube has become an essential window after—or even sometimes before—the first linear window starts.”
“Non-exclusive windows are growing, especially for AVOD and, to some extent, local SVOD,” adds Cyber Group’s Mathieu. “AVOD can be YouTube, OTT or FAST channels. Or a mix of all of this. But most of the time, if a series is fully available on a broadcaster or a streamer, only very few elements will be available on AVOD.”
Caplan says, “Linear broadcasters understand the power of YouTube and child-safe streaming platforms to build awareness and bring eyeballs back to their channels. These days, non-exclusive AVOD rights are critical to most broadcast agreements. As some broadcasters and streaming partners are invested in the merchandising
perform ance as well, it adds an even stronger incentive to allow for content discoverability on free, ad-supported platforms like YouTube.”
Candiani says that eOne Family Brands has stepped up its activities with FAST services, referencing a pact with Pluto TV, Paramount’s ad-supported platform, for Trans formers TV. “It features Transformers content 24 hours a day, seven days a week. In the first month, we had 10.5 million minutes streamed and have seen 16 percent growth in viewership month on month since. We’re so pleased to be able to further engage fans of this iconic brand, which has such an impressive library of content.”
It is indeed the bigger brands that are translating well to the ad-supported space, CAKE’s Rodriguez says. “We have found that good platform-agnostic content leads to greater windowing possibilities with broadcasters more open to sharing rights with VOD platforms. This is particularly the case for big brands such as Angry Birds, which we have successfully placed across pay TV, free TV, SVOD and AVOD worldwide, with platforms sharing windows on a non-exclusive basis.”
Xilam spotted the AVOD opportunity early, build ing a YouTube presence back in 2013, Favennec says, with a slate of channels built around its library of animation “that travels very well with no dub bing needed as they’re non-dialogue driven.”
With around 50 channels on YouTube, “it’s a very big business for us,” Favennec says. “However, since January 2020, when YouTube made changes to advertising, we’ve had to work harder to meet the same revenues. It will remain a key part of our distribution strategy, but we’ve since opened the door to more collaborations and part nerships with other AVOD platforms. Today we work with all the key AVOD players, including Rakuten, Tubi and Pluto, to name a few.”
The AVOD opportunity, while increasing, is still heavily concentrated in English-language mar kets, Mathieu adds. “The revenues generated are
Sinking Ship Entertainment has secured broad exposure for Dino Dana around the world.
growing but are still very far from those generated by broadcasters or streamer sales.”
But that opportunity is significant with the right brands.
“With our hit preschool series True and the Rainbow King dom, we are simultaneously on ad-supported OTT platforms and continuing to grow the show’s multilan guage presence on YouTube—which this summer hit a billion views and is growing!” Caplan says. “In tandem with the advertising revenues from our OTT partners, our show’s YouTube presence is generating a consistent stream of monthly advertising revenue, and with the in-depth metrics from YouTube and Guru’s AVOD partners, we can bring on more licensing partners to bring True products to market.”
Mass exposure is key, Cyber Group’s Mathieu notes. “Kids will see it more and more, and it will support the brand, making it stronger and supporting its licensing potential. If
you have strong multi-exposed content, you are more likely to go for additional seasons and to make it work.”
Essentially, factoring multiple platforms into your win dowing strategy is key. And you do, in fact, need a plan to ensure you’re, as Mathieu puts it, “maximizing revenues and optimizing exposure.”
Candiani at eOne Family Brands puts it like this: “Our priority, always, is to find the right home for each of our shows—and not necessarily to maximize short-term rev enues. And our approach is never one-size-fits-all; we pride ourselves on being nimble and able to design differ ent partnerships with platforms that best suit each brand. We want to meet fans where they are. We want to be on the go-to platforms for kids. But we’re also highly selective and choose platforms that align with our values; where our characters and stories can be consumed in a safe and enlightening way.”
“It needs to be approached on a case-by-case basis and depending on several factors,” agrees Favennec at Xilam. “The definition of rights is changing all the time, but it’s all about adjusting and trying to get the best out of the situation not necessarily in the short term, but in the medium and long term, whenever possible. It’s important to stay flexi ble and know when to make some compromises.”
It’s also about assessing the DNA of a brand, Favennec adds. “A rollout strategy depends on the history of the show. For example, a jewel of our catalog with an impres sive legacy, such as Oggy and the Cockroaches, will have a particular treatment. We’ve produced a new series called Oggy and the Cockroaches Next Generation, a reboot of the iconic brand. When it comes to the distribution strategy for this new series, alongside France and Italy, where Oggy and the Cockroaches is loved and well-known, the next
While Netflix is a global partner on Xilam’s Oggy Oggy, the reboot is airing on free-TV channels in several key markets.
key territory we paid close attention to was India because the brand is also hugely popular there. Netflix came on board the series with a global proposal that we accepted. Still, we wanted to ensure that in these key territories— France, Flemish Belgium, Italy and India—we could secure the best visibility on terrestrial channels before or at the same time as Netflix’s launch (excluding India, where the series debuts this fall and a few months after Netflix).
These are the kinds of things we’re very careful about. Overall, our rollout strategy depends on how the series sits within the wider DNA of our company, the potential of the licensing and then the overall potential territory by territory. Those are the three elements we first take into account.”
Rodriguez at CAKE is of a similar view when it comes to devising distribution plans for key shows. “Firstly, you need to consider the nature and aim of the show,” she
notes. “The strategy will be different if it is a commercial show aimed at capturing eyeballs, an educational show perhaps more appealing to public channels or a niche show aimed at a particular audience or platform. Secondly, you need to take into account excluded territories and rights. If some key territories are no longer available, the show may have less appeal for certain global channels, so we might look at creating territory- or region-specific strategies. With regard to rights, if the show is a YouTube or Netflix original, the strategy would be different from a show that has not aired previously. And lastly, it is important to consider whether the show is fully financed. If part of the financing is still required, we will first approach partners who can fill this gap and plan our strategy accordingly.”
Sanagan at Sinking Ship relies on similar criteria. “The factors to be considered are age demo, animation or live action, and specific content factors,” she says. “The financ ing determines the distribution strategy to a large extent given that now we often work with worldwide streamers for large footprints or globally.”
Caplan says that Guru Studio operates on a “contentfirst mindset” as it determines the best route to mar ket on an IP. “Before we take on any new project, it must first have the right ingredients to capture the hearts and minds of young viewers. We always try to maximize the awareness of every show we produce and represent by ensuring our distribution strategy includes a detailed YouTube content release schedule,
eOne Family Brands worked with Pluto TV for a FAST channel with Transformers content.
AVOD windowing strategy and, of course, partnering with the right local broadcaster who will get behind and support the show.”
As for how the ever-shifting platforms landscape is altering funding models, CAKE’s Rodriguez observes, “Historically, we relied on global pay-TV and free-TV channels and late ly, big SVOD and AVOD platforms to help complete the financing of a show. Today, there are increasingly more options, and if you can secure financing from several plat forms that can either commission or prebuy, their individ ual investment tends to be lower. The risk is spread across several partners, which can be a winning scenario.”
Guru’s Caplan notes, “We are seeing an industry that is growing increasingly risk-averse when it comes to fund ing, especially as traditional linear broadcasters continue to compete for viewers and exclusive rights, and as SVODs fight just as hard against high churn rates. Companies are starting to fund original IP using innovative and some times even unorthodox forms of financing, like enlisting independent equity investors to fill sizable gaps. It’s critical for these models to work that IP holders exploit as many rights, in as many regions as possible, to allow investors to recoup their investment.”
Distributors are also keeping a close eye on AVOD investments in originals as that sector matures beyond the largely library, non-exclusive space it operates in now.
“With the ever-evolving world of AVODs and now FAST aggregators like major connected-TV manufacturers Samsung and Sony, we will begin to see more competition in the ad-supported space,” Caplan says. “Hopefully, this will lead to increased funding for original AVOD-first con tent and an increasingly high bar for IP owners to place their series on ad-supported platforms.”
CAKE arrives at MIPCOM with a YouTube original, Super Sema, executive produced by Oscar-winning actress Lupita Nyong’o. “While the series is performing well on YouTube, we feel it will also appeal to broadcasters and SVOD plat forms,” Rodriguez says. “The content is original—the world’s first-to-launch African animated kids’ superhero franchise— and has a strong creative team behind it.”
With the emergence of more AVOD-backed shows, Rodriguez expects that content will soon make its way to other services, noting, “For platform-agnostic content, windowing strategies will certainly become varied and more complex.”
Up until last year, more than half of Roblox’s users were under the age of 13.
Even as the online gaming platform has seen gains in the older teen and YA seg ment, it’s still reaching an awful lot of children. Roblox had some 45 million daily active users in 2021—so if you’re not looking at Roblox, you don’t really know what more than 20 million kids worldwide are doing with a decent chunk of their time.
“Over 50 percent of U.S. 9- to 12-year-olds play on Roblox at least weekly, and they’re spending their money there right now,” says David Kleeman, senior VP of global trends at research and strategy consultancy and digital studio Dubit.
And if you want to get a sense of how the metaverse is developing, Roblox is your best starting point. “You can play any or all of the games on the platform with just one down load,” Kleeman says. “You can attend special events. We’re producing concerts in the metaverse. It’s a place to hang out with friends. You can customize gear, your avatar, do a lot of self-expression and earn and spend in-game currency.”
Kleeman calls the popular platform an “emerging metaverse” because, as he notes, “There is as yet no real
metaverse. There are little pieces of it. You may have heard the expression that the future is here; it’s just not equally distributed. Well, the metaverse is here, but it’s in pieces, and we need to put it together. The great thing about that is that we can envision the metaverse that we want, not just take one handed by the big companies or anyone like that. We can [create] a metaverse that is great for kids, building on the brand equity that we as tele vision executives have built over the years.”
At its most basic definition, the metaverse describes “immer sive, virtual, global, always-on spaces,” Kleeman explains.
“The real idea is that it lowers frustration barriers to people doing the things they want to do. You can be a gamer—you can play a game or make a game. You can tell stories. You can be part of somebody else’s stories. You can learn. You can teach. We mostly find people are using it right now for socializing, communicating, gameplay, and they’re becoming creators. Shopping is emerging in it. It’s more about brand awareness and affinity than about actual shopping.”
For Mattel, exploring ways to engage with kids on Web3 platforms via NFTs and metaverse experiences was a logical
Banijay partnered with FOMO Lab on an NFT collection for Mr Bean: The Animated Series
extension of its business. “The metaverse is yet another avenue in which our customers can experience our iconic IP,” says Mike DeLaet, the global head of digital gaming at the toy giant. “As with other platforms, we strive to create best-inclass, interactive entertainment experiences that will delight our fans. The metaverse opens up a significant domain for brands like ours, which have built-in communities with pas sionate fan bases.”
It is all about the fans, Kleeman says, or as he describes it, “fanatomy,” a strategy that might require IP owners to be a little less controlling over how their brand appears in the metaverse. “You serve up your IP the way you want it to be, and fans come back to you and say, Yeah, but wouldn’t it be cool if? If you respond to that, even if you don’t do what they suggest, if you just show that you’re listening, you deepen that fan’s experience, and you make them want to go and share it with their friends, and you make them think, This is a place for me because they listen to me. Fanatomy, in the case of the metaverse, is going to mean letting go of your brand a little bit. It’s the hardest thing for IP owners to do, but we’re seeing some compelling reasons for doing it. Young people chase their favorite brands across all the platforms that they use. If they love some thing, they will pursue it in toys, products, clothes and games, on television, or wherever they can find it. And they now expect it to be multiplatform. They want to be cre ators. They want to share their way of thinking about their favorite content, and they deeply want that authenticity— that idea that a brand is speaking to them.”
For IP owners, it’s a balancing act. “I think people are still trying to figure out how to tell stories in the meta verse because so much interactivity happens,” according to Anne Loi, executive VP for M&A and chief commercial officer at WildBrain.
Given its treasure trove of beloved IP, WildBrain has done several deals in this space, including bringing Tele tubbies into the metaverses of the online Habbo and Hotel Hideaway games and rolling out the Bake with
Strawberry Shortcake Roblox game, coinciding with the relaunch of the Strawberry Shortcake brand.
“It’s not that different from back when we were making mobile games or online web games,” Loi says. “There’s always that challenge of, when you hand control over to the player, how do you create the world where they can tell the story their own way? A lot of our content development people tend to look at that as one form of telling, not the only form of telling stories.”
Toonz Media Group set up an NFT design lab last year as part of its efforts to position itself as a leader in this space. “Be it the immersive story telling experience providing deeper engagement for the viewers or gamifi cation to ensure increased engage ment time, adoption of the metaverse fits with our larger strategy to provide quality content to kids and families,” says Bruno Zarka, president of distribution and the feature films division at Toonz.
DeLaet at Mattel says that the focus is always on creat ing “an amazing experience for fans” via metaverse plat forms. “Staying true to our brands is critical for us, and we maintain strict processes to ensure that the quality bar is met with everything we do,” he explains. “We per form extensive research on what our consumers want and how we can extend our mission in this area, which is to create innovative products and experiences that inspire and entertain through play.”
The immersive experiences being developed on Roblox “lend themselves well to our IP,” DeLaet adds.
Of course, being found on Roblox isn’t easy, given the sheer volume of games and experiences for users to access. “Dis coverability will be an issue,” WildBrain’s Loi says. “It’s a very democratized platform. If your game is not good, people just simply won’t come. You don’t need anybody else to tell you that you have to do better. We love that, but it’s challenging as a company wanting to take risks on these things. Six to eight months ago, our thinking was that an individual stand-alone game is the way to do it. Now we’ve evolved. If you are look ing for your brand itself to get noticed, we see a lot of success with in-game collaboration with another very well-known game. We will create experiences as part of that bigger game, but that’s very brand specific. We’re doing testing with kids who have played it—before and after. Do they have a higher awareness level of that brand? Our thinking has shifted back and forth on where you actually want to create a stand-alone experience. There has to be some pretty special reason to do that. [You can] collaborate with where the big eyeballs already are and try to take advantage of that.”
While established IP is already resonating on meta verse platforms, those with brand-new ideas can’t afford to ignore this space either, Kleeman notes. “As a televi sion company, you need to be thinking about how kids are going to discover you: through a game or the TV? And this is a generation that considers authenticity and
con nection with their favorite brands to be really impor tant. They need to sense that you’re listening to them. And an immersive space in the metaverse is a really good way to have that two-way exchange with your fans.”
Zarka notes that NFTs and other metaverse opportunities can be used as a source of funding for new content. “We can build brand experiences by creating communities.”
IP owners with limited budgets should not despair about the level of investment required, Kleeman notes. “You don’t need to build a really big, deep, always-on, long-term game to be present in the metaverse. We’re doing a lot of short-term acti vations. Or you can integrate with an existing game.”
And thinking about the metaverse can begin at any time in an IP’s lifecycle, Kleeman states. “If you are in the creative development phase, you can create playable concept testing that’s going to be much less expensive than producing a pilot. You can watch how your fans play with your characters, play with your settings, what they like, what they don’t like, and use that in your development. We had an experience with a brand-new television IP where we launched a very small Roblox experience—you could live in the setting of the program—and spent about £1,000 to promote it. We got tens of thousands of views in the first weekend at an acquisition
cost of about $0.04 per user. Now compare that to the App Store, where it’s multiple dollars per user. Some fans made videos because no one had seen this IP before. Free promo tion via the fans.”
Roblox and other gaming communities are presenting the greatest opportunities for content owners, but several compa nies are also playing in the NFT space. “NFTs with utility fac tor into all types of gaming experiences,” DeLaet says. “The metaverse is no different in that sense. Players want true ownership of their digital assets. We think about this space in the long term, determined to shape the future of play by con tinuously stretching and scaling our brands to find the bridges between traditional toys and what’s next: Web3 (NFTs), the metaverse, traditional gaming and beyond.”
“The thing about the metaverse is, if you don’t find what you want, create it,” Kleeman says. “Today’s young people are cre ators on these platforms. There are millions and millions of Roblox games, and substantially, they are made by the users themselves. And with the metaverse, because it’s not here yet, we hope to create it from the start as a safe, engaging, fun place for kids where they can do what they want.”
WildBrain launched a Roblox game for Strawberry Shortcake as part of the reintroduction of the brand.
In September, Mattel’s Polly Pocket joined Livetopia , one of the most successful role-playing games on Roblox.
Br oadway star. Oscar-winning film actress. Activist. Children’s book author. Lupita Nyong’o has demonstrated her prolific versatility since her break through role in Steve McQueen’s 12 Years a Slave. A passionate advocate for driving diversity and inclusion in the content landscape, Nyong’o is the executive producer of Super Sema, a YouTube original series about a heroic 10-yearold girl, Sema, who, together with her twin brother, protects her African village. Nyong’o also voices a character in the show—which CAKE recently picked up the international distribution rights on—and is a shareholder in the female-led studio Kukua, which pro duces the series. She tells TV Kids about her involvement with Super Sema, which went into its second season on YouTube this summer.
TV KIDS: How d id your involvement with Kukua and Super Sema come about?
NYONG’O: Growing up in Kenya, I watched foreign cartoons with no characters that looked like me. The COO of Kukua, Vanessa Ford, approached my team with the project and the first season in hand. I watched the entire season in one sitting, and it brought me to tears. I was elated to think that a new gen eration could grow up with an African girl as one of their heroes and for people with dark skin to recognize themselves in a world of imagination, science and creativity. I was inspired that someone else was interested in promoting the same per spective and values that I was, especially a team led by women from all over the world.
TV KIDS: Tell us about some of the show’s key themes. NYONG’O: The show cultivates African children’s cultural iden tity and breeds empathy for different people, cultures and places. It’s also about kid empowerment: boosting children’s confidence and belief that they can change the world, espe cially for girls. And finally, it promotes STEAM and DIY by inspiring kids with technology, science and innovation and getting them excited about “technovating” and “doingit-your self” at home.
TV KIDS: How do you think the children’s content business is faring in terms of making sure that every child gets to see themselves represented on-screen?
NYONG’O: The world of children’s media is slightly more diverse than before, but we still have a lot of progress to make to ensure it’s representative of the audience that’s watching it. Kids need to see characters who share their skin tones, languages, religions, disabilities and conditions, and even hair textures in the cartoons they watch to show them that they matter, that they belong and that their stories are worth telling. It means that all children have someone to look up to and
By Mansha Daswanirecognize that they too can be leaders, innovators, heroes, sci entists or anything they dream of. You can’t tell new stories without changing the storytellers, so as content creators, we have a duty to diversify the personnel behind the scenes and bring on board diverse writers and talent who bring their unique experiences to make shows more authentic.
TV KIDS: How important is it that Super Sema airs on YouTube versus a walled garden like Netflix?
NYONG’O: YouTube makes Super Sema instantly accessible worldwide and allows us to build a strong community. It has been particularly fascinating to understand our audience and the families falling in love with the show.
TV KIDS: What are some things you’ve learned about voice act ing from your time with Mama Dunia?
NYONG’O: Mama Dunia, which translates to Mother Earth, embodies love, empathy and nurturing. I loved bringing that to life by exploring the power of my voice through singing.
TV KIDS: What are your goals for Kukua as it looks to bring more diverse voices and unique stories to the global ani mation business?
NYONG’O: I’m looking forward to the power of our voices and storytelling transcending into a 21st-century edutainment uni verse through toys, books and especially immersive digital experiences. I’m inspired by the idea that one day there will be a virtual Sema lab where kids can enter the metaverse and do experiments alongside their favorite characters. Normalizing science, technology and math is also a goal of mine. These are three subjects that I was never good at in school, and they were not always considered cool and fun. Super Sema helps to pop ularize these fields that are growing more and more vital in today’s world and prepares Gen Alpha for the world they will inevitably inherit and hopefully change for the better.
For more than 25 years, Dan Povenmire has been working on some of the most successful and critically acclaimed animation series, including Family Guy, SpongeBob SquarePants and The Simpsons. He cocreated and executive produced the Emmy Award-winning series Phineas and Ferb with Jeff “Swampy” Marsh, for which he voiced the zany evil Dr. Doofenshmirtz. Most recently, Povenmire created and executive pro duced Hamster & Gretel, about a young girl and her pet hamster who receive superpowers from aliens. He talks to TV Kids about the show’s origins, Tik Tok as a destination for spotting talent and how his 14-year-old daughter Meli came to voice Gretel.
TV KIDS: How did Hamster & Gretel come about?
POVENMIRE: Hamster & Gretel started the way most of my shows have. I was doodling [while] I was doing something else! We were writing the Phineas and Ferb movie for Dis ney+. I had this stack of three-by-five cards because we were using them to block out the movie. I was doodling while we were pitching ideas. I had this little pink threeby-five card with a superhero hamster flying over the city because my daughters had hamsters at the time, and I thought, Oh, I like this! And the more I thought about it, the more it seemed like a show.
I pitched a bunch of show ideas to my daughter and asked, What do you think of this? And she said, Oh, that’s funny! I started riffing on that, and she was laughing, and I thought, Maybe I should put some effort into this. Then on vacation with my family, I did the cold open to the pilot like a storyboard animatic. I had my youngest come in and do a read for me. Hey, Meli, can you come in and read a few lines, so it won’t just be my voice doing everybody? She read, and I thought, Oh, she’s really good! She survived; we recast everybody [else], even me. I was originally doing the villain. But Meli kept surviving all the recasts because her voice really worked for us. And when we tested it, that character tested so high. She has my sense of humor because she grew up with me, so she gets the reads right away.
TV KIDS: How has the experience of working together been for both of you? Is it her first professional gig?
POVENMIRE: Yes, it’s her first professional gig. She had done temp lines for other show creators, for friends of mine. They always really liked her, but those shows were all pilots that didn’t [get picked up]. I knew she could do it, but I had not written anything for her to do other than TikToks we’ve done together. It’s been great. She records sitting here
By Anna Carugatiin this chair right next to me. It saves us a trip to the studio, and we can work around her schedule on the weekends.
TV KIDS: Tell us what Hamster & Gretel is about. These kids have superpowers, right?
POVENMIRE: Yes. It’s about a much older brother and a younger sister. He’s driving her to soccer practice. They get stopped by aliens who tell them they have been chosen to receive superpowers. The aliens shoot them with this ray, and the brother is all excited about it. But the superpower has gone to Gretel, his younger sister, and her hamster, who just happened to be in the car, instead of on to him. And as you can imagine, that causes some comedic situations.
TV KIDS: I understand you have more than 6 million follow ers on TikTok. How did that happen?
POVENMIRE: It’s the weirdest thing to happen to me at this point in my life. I had this great version of fame where I wasn’t famous unless I wanted to be; unless I outed myself to people about what I do, then people would be all excited about it. But I wasn’t getting recognized in public except by people who were serious fans who had looked me up to see what I looked like. That almost never happened. Now, everywhere I go, I get recognized by people. Sometimes they talk to me about Phineas and Ferb; sometimes, they just talk to me about TikTok, which I think is really funny. I’ve never seen your show, but I love your TikToks! Some body did an article about me in which they said Dan Povenmire, TikTok star. When did that become the paren theses after my name?
TV KIDS: Children have so many sources of entertainment. To capture and hold their attention, does the storytelling or the pacing of an animated series have to be different, or is a good story a good story regardless of how it’s viewed?
Hamster & Gretel premiered on Disney Channel this summer.
POVENMIRE: I think a good story is a good story. A good story has always been a good story, but some shows hit, and some shows don’t, depending on the zeitgeist. I think Phineas and Ferb came along at the exact right time for that show. I think Hamster & Gretel will find an audience. I’m extremely proud of it. I think it may be better than Phineas and Ferb, but that doesn’t necessarily mean it’s going to be a bigger hit because, as you say, entertainment has become very segmented. There’s so much more out there for them. It’s harder to grab the same size audience. Hopefully, the fact that I’m talking about it on TikTok will help at least 6 million people find it! I’m just hoping people tune in.
TV KIDS: Is humor still an essential ingredient in reaching kids?
POVENMIRE: If you can make people laugh, then they’ll tune back in. That’s what I’ve always tried to do; let’s make them laugh on as many different levels as we can, which is why we had a big adult following for Phineas and Ferb. We nev er [excluded] a joke because we didn’t think the kids would get it. We would put stuff in for everybody. And that’s what we’re doing on Hamster & Gretel. The meat is the comedy, the music, the action. There are all these differ ent hooks we can use to get people to want to watch it.
TV KIDS: Are you still writing songs, as you did on Phineas and Ferb?
POVENMIRE: I’ve written or co-written all the songs in Hamster & Gretel . When I was on Phineas , I had a bunch of people who were also songwriters on staff, and we were all in the same place at the same time. Now, I’m doing it from [my home office]. I have to really work to figure out how to collaborate. But I’ve also found songwriters that I would not have found before because of TikTok. There are songwriters on TikTok that I’ve reached out to say, Hey, would you want to write a song for my show? I’ve done collabs with ten different people that I wouldn’t have gotten to collab with before. There are about 50 songs in the show so
far. I’ve had to write a bunch of them by myself, which is fine and fun. But it’s more fun when you get to write with somebody else. You get different ideas musically and lyrically than you would by yourself.
TV KIDS: Do you create the storylines by yourself, or do you collaborate on those as well?
POVENMIRE: I have a whole writers’ room full of people. I’ve got Joanna Hausmann, who is a YouTube comedian from Venezuela. My wife is from Venezuela, so we started watching her stuff, and I just loved it! I reached out to Joan na on YouTube. Because of the pandemic, it didn’t matter where somebody lived anymore. I was able to get her to run the writers’ room for me. We all get in a room and throw ideas up, and they pitch me stuff. I get busier toward the end of the season because I’m doing postproduction and preproduction, so I spend less time in the writers’ room. But they grab my time when they can and pitch me what they’re doing, and I say yay or nay. It’s been great. I’ve got some 70 people on staff who do art and models and editing and sound recording. It’s a Herculean effort by a large group of people.
TV KIDS: You mentioned TikTok and YouTube, platforms that didn’t exist when you started out in the business. Do they help you find talent?
POVENMIRE: Yes, we found voice actors on TikTok, some of whom had never done voice work before but were trying to get into it. [Some are] on TikTok every day, being interesting and able to do a lot with their voice. You get to see people who are just really self-starters. They’re doing this because they love it, and they’re doing it every single day. If you get them into a [record ing] booth, they’re not a one-trick pony. They can really deliver. I’ve got six or seven people I found through Tik Tok that way. I found songwriters through TikTok. It’s a good way of getting your talent out there so people like me can see it and say, Hey, would you like to come and do this?
TV KIDS: How competitive is the children’s TV market in Germany?
BRAUN: It’s a very competitive market. We have four rele vant players in the linear business. Three are ad-funded, and one is a public player, but there are many other options for kids to be entertained and to consume content. Digital platforms, like YouTube and all the streaming services, are also available in Germany. All of this brought us to the point that we had to reframe our strategy from a linear business to a multiplatform one.
TV KIDS: What role does Super RTL have in the market, and what sets it apart from the many other children’s channels and platforms?
BRAUN: We are the market leader, and our USP is our multi platform approach. Next to linear TV, we invested a lot of money and resources in building a proper kids’ web opera tion. We launched a radio channel for children and families. We also invested in our TOGGO tour, which traveled through various cities in Germany during the summer and was attended by more than 500,000 people. In addition, we have a footprint in the retail business through our con sumer-products operation. So, we serve a broad range of platforms and are the only German player to do so.
TV KIDS: Has Super RTL’s strategy changed since the RTL Group became its sole owner by buying Disney’s 50 per cent stake in the channel?
BRAUN: It’s more about refining the strategy. With RTL as the 100 percent shareholder, we have more opportunities, especially in the tech and data segment, as well as regarding original productions. We recently gained a new responsibil ity for the kids’ section on the streaming service RTL+, to which we can bring years of experience with kids’ pro gramming. Generally, our expertise is very much appre ciated by our colleagues at RTL. I’m pleased to have this big ship behind me and on my side.
TV KIDS: Could you give examples of how children use the different services that Super RTL offers?
By Anna CarugatiBetween fast-changing consumption habits, tectonic shifts in financing models and managing the expecta tions of young, sometimes fickle audiences, the kids’ business has become remarkably adept at navigating change. As CEO of Germany’s leading commercial media group for kids, Thorsten Braun is managing these profound changes in the landscape by being firmly focused on transi tioning Super RTL from a linear broadcaster to a multi platform service serving audiences wherever they are. He tells TV Kids about the benefits of being wholly owned by RTL Group since early 2021, emerging opportunities on plat forms like TikTok and Roblox and the importance of the com pany’s prosocial initiatives.
BRAUN: Our main approach is to lead kids through all the platforms, and especially to lead them to our owned and operated platforms, which is our linear channels, web and app service, and TOGGO Radio. We use third-party platforms like TikTok, YouTube and, in the future, Roblox, to give them an anchor point, but then inform them and guide them: “If you want to see more, please come to our environment.”
TV KIDS: You mentioned TOGGO Radio, which launched in 2020 during the pandemic. How has it been received?
BRAUN: We are super happy with TOGGO Radio. The plan behind this was to have usage from kids and their parents during times when they do not use video content, especially before school and after school. It’s incremental reach from our point of view. In the last quarter of 2021, we showed a growth of 200 percent in usage on the TOGGO Radio
channel. And with this success, we invested in more audio experiences. We produced our first TOGGO song and web channels related to specific IPs and topics and worked on our distribution. In July 2022 alone, TOGGO Radio, includ ing all web channels, reached 4.1 million listeners. Two years in a row we have won the most prestigious award in the German radio industry, this year even in the most important category—best morning show. This makes audio an important strategic pillar for future Super RTL and TOGGO operations.
TV KIDS: Tell us about your content investments.
BRAUN: We make a lot of investments in co-productions and buying shows. This year, we received approximately 1,000 new episodes of existing IP. The share of new content will be 50 percent as of this autumn. This is significantly more than usual. We are showing recent highlights such as Star Trek: Prodigy and Sesame Street Mecha Builders, as well as new seasons of top formats such as PAW Patrol, Peppa Pig and our original production Woozle Goozle. When we make acquisitions for the linear channels, we follow an all-rights strategy. We also acquire content only for our AVOD service and our SVOD service. The range becomes much broader as kids’ media usage goes in the same direc tion. So, we invest in the content, maintaining the infrastruc ture and building new touchpoints.
TV KIDS: Where do you see the need for increased market ing at Super RTL?
BRAUN: In the pandemic, we saw that TikTok had a huge interest from the kids. This has new relevance to us. We have to look at it from a content marketing point of view. So, we now work with influencers to tell kids on TikTok: “This is TOGGO, this is a cool experience; come into our world.” It’s the same as what we plan with Roblox. The goal is that if the kids think about entertainment, TOGGO is the first thing that comes to mind. Being top of mind is one of our key strategic pillars.
TV KIDS: What more can Super RTL do in the technology and data areas?
BRAUN: We are very well equipped in the data and tech area, especially since we are now 100 percent owned by
RTL Group. The tech and data team at RTL is roughly 1,000 people. Insights for us are critical. Having this broader scope of people and knowledge directly in-house helps us—even if we know that kids’ data topics are not so easy to handle because of legal regulations. But we do have approved methods to find out what the kids are interested in, what is driving the usage and what is helping us to guide them.
TV KIDS: Super RTL is involved in prosocial initiatives. Why are these important?
BRAUN: We are the biggest kids’ entertainment house in Germany. With this comes great responsibility for the target group. That is why we run several prosocial initiatives.
First of all, we support the RTL Foundation, which helps children in various projects within Germany and around the world. In addition, we work with organizations like Media Smart and fragFINN (“ask Finn”), of which I’m the chairman of the board. Media Smart promotes media literacy and sen sitivity toward advertising among schoolchildren, while fragFINN creates a protected web surfing space for children.
In the last year, we also started several working groups at Super RTL to make sure that important topics like diversity, climate, sustainability and mental health are represented in our content. This has become a core for us. When we pro duce or acquire new content, we consider how to include these dimensions. A recent example is GEOLINO TV, an educational format, which we launched with our col leagues from the publishing department.
TV KIDS: What challenges and opportunities do you see in the next 12 to 24 months?
BRAUN: Linear television is under pressure. The ratings for all kids’ channels in Germany are decreasing. That’s the most important challenge we are facing. The other is the fragmentation of media usage. However, with our multi platform approach, we have a strategy that is working well.
Wherever the kids are, we are there with the TOGGO brand. Besides, the cooperation with RTL enables us to look deeper into areas that, in the past, were not our focus, for example, streaming SVOD. We are mainly AVOD across all platforms, but we can orchestrate both ways. Last but not least, the merger with Gruner + Jahr brings new opportuni ties for collaborations in the kids’ publishing business.
The first collaboration between Super RTL and sister company
Gruner + Jahr, GEOLINO TV is an educational show based on a well-known German magazine for kids.
age groups rather than channels allows us to give children what they want now and allows us to move into the streaming world. We are building our channels alongside iPlayer, and we are now much more focused with the type of content we’re looking for.
TV KIDS: What led to the three-fold increase in investment for U.K.-made animation for 7-to-12s?
HIDALGO: The content we produce for older demographics has traditionally been achieved by delivering stories they saw themselves reflected in. We have been very focused on producing live action for the older demographics, but we know that animation is something they also love. We wanted to increase the amount of animation produced for children of older demographics in the U.K. The U.K. is one of the most successful producers of preschool animation in the world, but it’s not the same with 7-plus. We will be delivering more animation to the older target group, but we won’t stop delivering for the young ones.
TV KIDS: How is the BBC adapting to competition, notably from streamers and YouTube, by dedicating more resources to fewer titles?
HIDALGO: We have been working for a while to offer content to our audience how and where they like it.
I
n the two years since Patricia Hidalgo took over as director of children’s and education at the BBC, there have been sweeping changes for the kids’ remit at the storied British pubcaster. From its reshaped commissioning structure to its amped-up animation spend and merged inhouse and commercial production teams, BBC Children’s is working hard to stay competitive amid an evolving landscape, all the while standing firm in its mission to entertain, educate and inform. Hidalgo tells TV Kids about what’s behind some of these strategic shifts.
TV KIDS: Tell us about the decision to restructure commissioning and acquisitions based on age group.
HIDALGO: Our children’s channels target 0 to 12. It is a really broad age group, with CBeebies, our preschool channel, targeting between 0 to 6 years old and CBBC 7 to 12. Because the range is so broad, you always have to consider what is appropriate for the very youngest children in your age band who could be viewing when you are producing and broadcasting content—and that leads to the issue of older kids feeling that the programming is too babyish. It is a bit of a problem, and the streamers have been much better at providing content that is focused on children in the different age groups rather than being so broad, which really benefits older children within that 0-to-12 range. Focusing on
While we still have the two linear channels for children 0 to 12, we saw last year a lot of success in how children are consuming our content on iPlayer. We had 1.2 billion h ours of our content watched on our streaming platforms. We still commission about 450 hours of original content every year. We have a real richness in the types of content we commission. We are like a general-entertainment channel but for children, and that makes us quite different.
When we say “fewer” titles, we don’t mean producing less. What we mean is that we will commission more episodes of those titles that our audience loves. We make sure that we’re not recommissioning things that don’t have enough value for them. We double down very quickly on the content we know our audience really wants. In a lot of our content, we have exclusivity, and that puts us in a very good position versus any other competitor.
We also think about how to bring the family together. The point of difference is that we offer great content for children that is representative of their lives, but also of British culture and the great heritage of storytellers that this country has. We have another USP, which is that our audiences always see themselves reflected in our content. It is very local, and our school dramas are ever so popular with them.
In addition, we have acquisitions. So, when we can’t make everything, we acquire content to supplement
the content we commission. We look for global brands that have resonance. It’s not about having a lot of titles; it’s about having the right content and the right mix that our audience wants and that has relevance for them.
TV KIDS: How are you working to extend content on the digital front?
HIDALGO: For digital, we know kids are there, so we need to be there. We need to continue to produce games and content and interactions that they enjoy. Our BBC games and websites are delivering really good numbers in terms of usage and engagement. We’re reaching over 300,000 children in the U.K. every week. For the younger ones, we have a suite of CBeebies apps, which rank as number one for this type of entertainment app in the U.K. We do know that games are becoming more popular also with education. We tried a couple of experiments last year where we brought our education execs and our digital execs together to create some educational games.
TV KIDS: How are you investing in educational content and services?
HIDALGO: The pandemic propelled what we had to do. Around the world, everybody had to think, What do we do as children’s broadcasters to bring education to our audiences? That gave us the opportunity to develop more educational content to be more fun as well. We created a series called Bitesize Daily . The series is dedicated to different lessons: math, English, science, geography and music. We did this all in a virtual studio. We have produced 150 hours of this content, split by age group. There’s content for all different ages between 4 and 14. It can be watched on the linear channels, but also, of course, it’s available online and through iPlayer.
We’re also collaborating with other big BBC brands to deliver Live Lessons. We will have eight Live Lessons throughout the year. Teachers can go to our channels and participate and be part of that as they watch. We are working with the likes of the Natural History Unit at BBC, with Planet Earth, to create these Live Lessons. We have a wealth of brands and possibilities, and we are doing a lot more in terms of collaborating across the BBC to [deliver] education in so many different ways.
TV KIDS: What would you like to see the teams deliver across in-house productions, co-productions and acquisitions?
HIDALGO: We want both animation and live-action comedy. We are keen to get more comedy into our slates for all ages. We also want to have more family content. Families are looking for content to share. We want our audience to continue to identify with the characters, settings and stories that we create. And we are still looking for unique British heritage and cultural values to be in those stories. We also want to develop unique content that has the potential to travel outside the U.K. At the end of the day, we want to make sure that we all work together across our commissions, productions and acquisitions to bring that richness of content across all the platforms.
TV KIDS: How is BBC Children’s progressing in its diversity and inclusion initiatives?
HIDALGO: Last year, we announced a new fund of £300,000 ($343,000) to help source behind-the-camera talent. We have been able to support about 30 placements across a lot of our programs. A lot of commissions that we are involved in are taking advantage of these funds. We are also in our second year of investing in finding diverse new voices in our writers’ rooms. We have a collaboration with our in-house BBC Studios Kids & Family unit. We are bringing together people from different backgrounds who might not have necessarily been writing before for children but have a passion for it. We have so far supported about 197 new writers from diverse backgrounds, and 40 of these last year we placed to work on our commissions.
TV KIDS: What do you see as the role and value of public broadcasting in addressing kids today?
HIDALGO: Our role is to entertain, educate and inform. It’s really important that we do this well because we need to make sure that children can make sense of the world around them and grow into healthy and rounded individuals. This is why we’re not just delivering one type of content and why we have so many genres and formats. We aim to represent their world and talk about what matters to them. So, our dramas and our fiction will continue to include important themes that they can relate to, while our factual and entertainment or news content will be a window to the world around them so they can learn about their world and make sense of it.
TV KIDS: BBC Children’s in-house production has moved into BBC Studios Productions, creating the brand-new division of BBC Studios Kids & Family. What are the benefits of this?
HIDALGO: We have had for many years at BBC Children’s a wealth of experience and incredible talent in making children’s content. Moving these teams under our commercial arm enables both BBC Studios and us to invest in bigger and more ambitious kids’ and family projects. That’s something I’m looking forward to, as well as the prospect of delivering our content and brands not just to the U.K. audience but also to a global audience.
Operation Ouch!, which is sold globally by Serious Kids, is in its 11th season on CBBC.
Following an exciting start to the year that included an Acad emy Award nomination for the stop-motion short Robin Robin, the Aardman team looks forward to exhibiting at MIPCOM, meeting with new and existing partners to present their fresh IP and third-party properties for 2022 and beyond.
Developed in-house and supported by the BFI-managed Young Audiences Content Fund (YACF), Lloyd of the Flies shines a light on the weird, wonderful and sometimes bizarre world of insects
Aardman’s Alison Taylor on the fresh IP and third-party properties for 2022 and beyond. By Kristin Brzoznowski
and their behavior. Aardman’s first in-house CGI production pre miered on CITV in September. Licenses already confirmed include ZDF in Germany, ABC in Australia, MBC3 in the Middle East and North Africa and DR in Denmark.
Following a successful launch on Sky Kids in 2021, The Very Small Creatures, the first spin-off series from the studio’s hugely popular Morph series, is coming back for a second season. It will once again feature the adventures of five toddler-like clay crea tures who explore a child’s play area when no one’s around.
There are 20 new episodes slated for launch in 2023-24.
In addition, the studio has been busy acquiring third-party content for distribution for the preschool market, including Interstellar Ella (produced by Fabrique Fantastique and Apartment 11), Pop Paper City (produced by LoveLove Films) and Happy the Hoglet (produced by Paper Owl Films).
“It’s certainly been a busy time at the studio!” says Alison Taylor, director of distribution and business development at Aardman. “We’re thrilled to be showcasing these quality new shows at MIPCOM and will be looking for partners across the globe to come on board. In addition, we’re adding to our catalog The Abominable Snow Baby from Eagle Eye Drama, and Colourblocks from the talented team at Blue Zoo, with further announcements in the pipeline.”
Producers: Acamar Films, Brown Bag Films
Distributor: Acamar Films with all rights.
Description: (0-6, S1: 26x7 min., S2: 26x7 min., S3: 26x7 min., S4: 26x7 min.) Celebrating the noisy, joyful, messy reality of life when you’re a preschooler. Bing stories are small, but they are full of drama.
Pitch Perfect: Bing is a global preschool award-winning series supporting healthy child development. Bing has been licensed to 130 territories world wide and continues to “move and delight” Bingsters and their grown-ups through an increasing range of award-winning films, books, magazines, apps, consumer products, digital, live shows and cinema experiences.
Slot Winner: A top-rated TV show across multiple key territories, including Rai Yoyo, Clan TV and CBeebies. The most requested preschool show in the U.K. on BBC iPlayer, with over 423 million requests since launch. Recently launched in the U.S. on Cartoonito on Cartoon Network and HBO Max. Box office success for Bing cinema releases across the U.K., Poland and Benelux. Over 5 billion lifetime YouTube views.
Sales Contact: Eroulla Constantine, Director, Sales & Distribution.
Commissioners: The Walt Disney Company, France Télévisions
Producer: Cyber Group Studios
Distributor: Cyber Group Studios represents all rights
Description: (4-6 comedy/adventure, S1-3: 156x11 min./78x26 min.) Tiny, Rocky, Bill and Mazu are four dinosaurs growing up in the world of Cretacia, where every day is a new adventure under the watchful eye of Gigantosaurus!
Pitch Perfect: “ Gigantosaurus invites the youngest of viewers to fol low along with inquisitive Mazu, playful Tiny, timid Bill and courageous Rocky as they go on quests to explore their world in each episode, fac ing their fears, working together to solve problems, learning more about the mysterious Gigantosaurus himself—and having lots of fun all along the way.” Raphaëlle Mathieu, Executive VP
Slot Winner: Gigantosaurus , which began airing worldwide on Disney Junior in 2019, is now translated into 29 languages and available in 194 territories.
Sales Contacts: Raphaëlle Mathieu; Michèle Massonnat, Senior Sales Manager; Pauline Bérard, International Sales.
Commissioners: Rai Kids, ZDF
Producers: Mondo TV France, Mondo TV SpA, Toon2Tango
Distributor: ZDF Studios with worldwide rights.
Description: (3-6 adventure/friendship, 52x12 min.) Grisù is a little dragon who dreams of becoming a firefighter. Even if there’s no job available at the fire station, he is always ready to help—firefighters never give up! Grisù puts more into the job than anyone else by using his energy and his “touch,” which always brings an unexpected twist. When the situation gets compli cated, Grisù’s emotions overwhelm him and he can’t help releasing a little spark, which makes things worse. In these moments of doubt, Grisù knows how to draw on his heroic spirit.
Pitch Perfect: “Grisù is back with brand-new stories. This remake of the classic story of a little fire dragon who wants to become a firefighter will enchant a new generation of preschoolers.”
—Arne Lohmann, VP Junior Sales Contacts: Katharina Pietzsch , Director Junior; Jan-Frederik Maul, Director Junior; Marei Bruckmann, Director Junior; Oliver Grundel , Director Junior.
Commissioners: France Télévisions, Rai
Producers: Zodiak Kids & Family France, Animoka
Distributor: Zodiak Kids & Family Distribution
Description: (Preschool, 78x7 min.) A preschool comedy series based on Magic Adventures of Mumfie created by Britt Allcroft (the creator of Thomas the Tank Engine). Told with heart and humor, this reboot features the opti mistic young elephant Mumfie, who, along with his best friends Pinkey and Jelly Bean, are the helpful heroes of the whimsical world of Flutterstone. To them, no challenge is too great, and no flop, failure or fiasco is unfixable.
Pitch Perfect: “Mumfie brings the beloved Britt Allcroft series to a new genera tion of children, with an eclectic array of characters and colorful animation. The charming and uplifting storytelling by the wonderful teams at Animoka and Zodiak Kids & Family France is set to delight preschool audiences around the world.” —Delphine Dumont, Chief Commercial Officer, Banijay Kids & Family Slot Winner: Winner of Best Preschool Series at the Pulcinella Awards.
Sales Contacts: Delphine Dumont; Cecile Cau, SVP, Sales, Co-Productions & Acquisitions; Julia Rowlands, SVP, Sales, Co-Productions & Acquisitions.
Commissioners: ZDF/KiKA
Producers: TV-Loonland, Edel Kids, B.Water Animation Studios
Distributor: ZDF Studios with worldwide rights.
Description: (3-6 adventure/friendship/sustainability, 52x13 min.) The series is based on the well-known children’s book series by Sven Nordqvist. Pettson is an old man who lives on a farm way up North and cares for his lively and imaginative cat, Findus. Findus constantly wants to discover exciting new things and Pettson uses these adventures to test some of his newest inventions. Unfortunately, these not always work the way they should.
Pitch Perfect: “Pettson and Findus tells captivating stories of the inven tive farmer Pettson and his loyal but impudent cat, Findus. We bring a brand-new season of the hugely popular series, with more creative, heart warming and enjoyable stories, together with a modern look.” —Arne Lohmann, VP Junior
Sales Contacts: Katharina Pietzsch , Director Junior; Jan-Frederik Maul, Director Junior; Marei Bruckmann, Director Junior; Oliver Grundel , Director Junior.
Producers: Dot To Dot Productions, Monster Paw Productions
Distributor: ZDF Studios with worldwide rights.
Description: (3-6 friendship/comedy/adventure, 104x7 min.) Going to school for the first time is one of the biggest things a child will do in their lives. It’s exciting but a massive change! School of Roars helps children prepare for school life by exploring a child’s first year through the relation ships and experiences of our mini monsters. Because they’re monsters, our little heroes go to school at night, led by teacher Miss Grizzlesniff. Our monsters experience life-lessons through their adventures such as caring, sharing, friendship and fun.
Pitch Perfect: “School of Roars continues with even more adventures for our class of lovable monster friends. Our series is full of monster laughs and teaches the core values of life.”
—Arne Lohmann, VP Junior Sales Contacts: Katharina Pietzsch, Director Junior; Jan-Frederik Maul, Director Junior; Marei Bruckmann , Director Junior; Oliver Grundel , Director Junior.
Producers: Brien Arone, Baboon Animation, Telegael, Cosmos-Maya
Distributor: Studio 100 Media with all rights.
Description: (4-7 eco-tainment, 52x11 min.) Each episode leads kids on an eco-adventure. Whether in the sea or on shore, the positive SeaBelievers characters, with their seashell nose and sea-colored eyes, problem-solve and take action around key environmental issues.
Pitch Perfect: “ SeaBelievers is targeted at preschoolers and is an outstanding TV series—the first ever to represent a whole new genre of eco-tainment. This genre, created by Brien Arone, founder and SeaEO of SeaBelievers, combines the benefit of edutainment for chil dren being informative and realistic about real-life issues affecting our ocean and encouraging kids to make a difference—because they can! And all of this in a fun and entertaining way as the show emanates as a stunning and engaging musical eco-adventure with original tunes to sing and dance along to.” —Dorian Bühr, Head, Global Distribution Sales
Contact: Dorian Bühr.
Commissioner: VRT/Ketnet
Producer: Grid VFXDistributor: ZDF Studios with worldwide rights.
Description: (3-6 friendship/adventure, 52x11 min.) Every afternoon when the zoo closes, Ziggy, the Australian freshwater crocodile, and his friends put on their clothes and get on the tram. It carries them across land and sea to their village on a remote island. The following morning, they gather at the tram station, greet each other and board the tram. But on every trip, something unexpected happens to turn the journey into a hilari ous adventure.
Pitch Perfect: “Ziggy and the Zootram, a 3D animated series for upper preschoolers, continues with a second season about a group of animals who live in a zoo and who have a special secret—they go home at night!” — Arne Lohmann, VP Junior
Sales Contacts: Katharina Pietzsch, Director Junior; Jan-Frederik Maul, Director Junior; Marei Bruckmann , Director Junior; Oliver Grundel , Director Junior.
Commissioners: Disney Channel EMEA, Yle
Producers: Zodiak Kids & Family France, Gigglebug
Distributor: Zodiak Kids & Family Distribution
Description: (6+, 50x11 min & 11x2 min.)
Small-town life above the Arctic Circle snowballs out of control when an enormous, outrageous and unstoppable Yellow Yeti arrives in town and befriends two 12-yearold kids.
Pitch Perfect: “A visually strong, laugh-out-loud comedy for kids 6plus, tackling universal themes of friendship and kindness. Broadcasting on Disney Channel and Disney+ across EMEA now, audiences will fall in love with the wacky yeti Gustav, as he embarks on a series of absurd adventures with two local 12-year-olds, Rita and Osmo.” —Delphine Dumont, Chief Commercial Officer, Banijay Kids & Family Sales Contacts: Delphine Dumont; Cecile Cau, SVP, Sales, CoProductions & Acquisitions, Zodiak Kids & Family Distribution; Julia Rowlands, SVP, Sales, Co-Productions & Acquisitions, Zodiak Kids & Family Distribution.
Distributor: PBS International
Description: (3-7, 20x30 min. & 2x55 min. specials) Fred is a house cat who dreams of exploring the outdoors. When his family leaves for the day, he transforms into Nature Cat, “backyard explorer extraordinaire!” There’s just one problem: he’s still a house cat with no instincts for nature! With help from his animal friends, Nature Cat investigates and explores nature while encouraging children ages 3 to 7 to get outside and understand the need for environmental conservation. It makes engaging, age-appropriate nature education a sustaining and enriching part of their daily lives.
Viewers will learn that to start, they just need to open the door, step out side and prime their senses.
Pitch Perfect: Nature Cat blends humor-filled adventures with timely themes such as climate and recycling. With a focus on natural sciences, the series is designed to encourage kids to explore and develop connec tions with the natural world.
Sales Contact: Jamie Shata , PBS International.
Studios arrives in Cannes with a broad selection of shows to meet the needs of every buyer in the kids’ segment. Arne Lohmann, VP Junior, spotlights the company’s strong preschool slate, led by Grisù, about a plucky dragon who wants to be a fire fighter.
remake of the classic property
Lohmann says, also
revival
offer
a new generation of
from the company, Pettson and Findus . ZDF Studios has also strengthened its successful liveaction lineup for older kids. There’s Theodosia, targeting kids 10-plus, and a new season of #LikeMe , which will make its tween and teen viewers “laugh, cringe, smile, cry and sing along to catchy tunes at the same time,” Lohmann says.
As virtually every major kids’ content buyer chases that elu sive perfect 6 to 11 comedy, Odin’s Eye Animation is offering up The Beachbuds , about a group of exotic birds working at the Zoobak Resort. “We are confident that streamers, broadcasters and audiences alike will love The Beachbuds , a very funny, warmhearted, action-packed series from J-Toon Productions,” says Michael Favelle, CEO and founder.
CAKE, meanwhile, is showcasing its Angry Birds slate, encompassing such titles as Angry Birds Toons, Angry Birds Stella, Angry Birds MakerSpace and more. “We are excited to be offering Angry Birds short-form nondia logue content now in a compilation format of 11-minute or 22-minute episodes,” says CEO Ed Galton. “Fun for all ages, our latest compilations introduce a second season of Angry Birds MakerSpace (now in 3D) as well as the newest series, Angry Birds Slingshot Stories.”
Epic Story Media is also looking for laughs with its new preschool offer ing, Luna, Chip & Inkie: Adventure Rangers Go, a music-filled series for the
4-to-6 set. “Each episode con tains an original song written by award-winning composer Daniel Ingram,” says Jessica Labi, head of distribution and brand strategy. “It’s such a fun way to encourage kids to respect nature and explore the great outdoors!”
Animasia Studio has four highlights in the TV Kids Screenings Festival, including its hit non-dialogue slapstick comedy Harry & Bunnie and an action series for kids aged 6 to 11, Dragon Force 3—Monsters Rise . “Kids love dinosaurs and giant robots such as [those in] Transformers and Power Rangers ,” says Raye Lee, exec utive director. “ Dragon Force is a perfect blend: all these kidfavored epic elements with stories that also highlight universal values of friendship, self-reliance, sacrifice and true heroism.” Animasia is also highlighting the edutainment adventure Team Curios, which has been a hit in China, Lee says, and a series of educational music videos created by Adam Williams-Walters, English Tree TV , which has logged over 2.5 billion views and 2 million subscribers on YouTube alone.
Education is also the focus at Bimi Boo Kids with its 52x5- minute preschool series, The Incredible Stories of Bimi Boo and Friends . “The series inspires one to believe in one self, to be unafraid of ventur ing out of one’s comfort zone to learn—what Bimi constantly does, pushing his friends into new adventures,” says Ani Poghosyan, COO and producer. “They learn by having constant fun. The series teaches about collaboration and compromise, and embracing differences. Good cartoons make you want to stay home; great cartoons inspire you to roam. We strive to create exactly that: a kind of series that would inspire kids to roam, play and learn.”
New from WildBrain is the ani mated comedy series Summer Memories , based on creator Adam Yaniv’s experiences growing up in Israel with his friends and family. “ Summer Memories is an amazing, creator-driven comedy series for 6- to 12-year-olds,” says Caroline Tyre, VP of global sales and rights strategy. “The 2D-animated show offers heart, authentic ity and laughs.”
The comedy The Proud Family broke barriers when it debuted on Disney Channel back in 2001 as an animated sitcom that allowed Black families to see themselves authentically reflected on TV. Two decades later, Penny Proud and her beloved family are back in The Proud Family: Louder and Prouder , this time streaming on Disney+. The show continues to set precedents for how to present nuanced portrayals of Black family life and tackle pressing social issues in a way that is accessible to a broad audience. Bruce W. Smith, creator and executive producer of T he Proud Family and The Proud Family: Louder and Prouder, tells TV Kids about infusing even more cultural relevance into the series.
TV KIDS: Why was now the right time to bring The Proud Family back?
SMITH: A good amount of time had passed [since the show had gone off-air]. In that period, a lot of things transpired. All of a sudden, there’s social media and a whole different attitude in terms of our culture. It felt like the right time. There was really nothing that followed [the show in a similar vein] in the wake of that time, so for us, it made sense to have our AfricanAmerican culture on display and in a celebrated way. It made sense for us to jump back into the zeitgeist.
TV KIDS: What are some of the evolutions to the series and modern updates in terms of storylines, with even more cultural relevance and social issues?
SMITH: That was the thing that I thought we did best the first time around. We had laughs, and we had some really great characters to have those laughs with, but we always centered it around cultural content. We were telling stories that mattered to us, and when it mattered to us as a people, the outreach went right into the mainstream. We knew that was the formula that worked best. This time, we talk about a lot of topical subject matter in the African-American community. We visit Suga Mama’s history. We do a deep dive into some of our characters that really had lots of dimensions that we didn’t get a chance to dive into the first time. With Michael, for example, we hinted the first time around that he was part of the LGBTQ community, and this time, we really leaned into it and brought other characters of that community into the show as well. Our show was laid out to include everyone fundamentally. That sense of inclusion is what we’re proud of most in this version of the show. We don’t necessarily have to skirt around and hide matters. We didn’t want one character to represent the fullest rainbow of the
By Kristin Brzoznowskicommunity. We brought in a few characters under that umbrella. We brought in a same-sex couple. You’ve got this nice diaspora of characters. We think that is one of the reasons why our show works so well. There’s no burden on one character to represent an entire community of people. There’s more than one voice that matters on our show. That’s one of the things we really wanted to update, to give you the truest sense of who our characters are.
TV KIDS: Tell us about the updated look and how it was achieved. SMITH: The first time around, we were really scrambling once we got the green light. We’d never seen a show like this, so we scrambled with not a lot of money to put something together that we thought at least set the table. We had something to go by when we reinvented the show this time. I’m an animator; that’s my natural artistic gift. I’m a real design freak as well. For a lot of the characterdesign aspects, I have a specific style and look that I want to go after. Then, I brought in an amazing art director, Eastwood Wong, who built the world around these characters. It has a really rich dimensional look, but it still is very 2D in its approach. It doesn’t look like a 3D Disney film, intentionally—2.5D is what we like to call it.
We played with a lot of things cinematically that we didn’t do the first time around. We added a nuanced approach to some of the acting, the timing and the comedy. There are a lot of ingredients that really make the show shine brightest. We have fun with a lot of characters, like Michael, for example, who’s played by EJ Johnson. There’s not one single episode where you see Michael wearing the same outfit. In most animated cartoons, all the characters wear the same thing. We made a joke about that with Penny, where she opens up her closet and sees all the same blouses and skirts. Michael’s
fabulous, so we gave him the proper outfits every episode so Michael can be Michael. And we love that. My producers probably didn’t love it as much because we were busting the budget every time we went into the wardrobe closet on Michael, but we think it was worth it. Michael was a character that we thought really garnered and earned that attention and that approach.
TV KIDS: What was the journey of originally getting the show to air?
SMITH: If you’re thinking about the atmosphere in, let’s say, 1998, ’99, you had shows like The Simpsons, Family Guy, King of the Hill. I was just answering simple math: Well, we’re missing from this equation. It was like, let me create this family and all the ancillary parts around the family; that assembly of characters, specifically African American. Pitching it around town, I remember having the parts, and people liked the designs and liked the approach, but just weren’t ready. One specific executive who will go unnamed told me, “I love this art, I love the idea, I love the concept, but you might want to take it to BET or UPN. We don’t do that type of thing here.” And I thought, That’s weird. But that’s the answer I would expect going around town where, at the time, there weren’t a lot of artists of color represented in this business anyway.
It was a long shot to get this off the ground, and I knew that, so I was just having fun. I was working at [Walt Disney Animation Studios] at the time, so I was playing with house money, figuring out that I love the television medium and thought it was something I really wanted to be in. We had a 6-minute test that we made up. I got a call from an executive saying, Hey, what’s going on with that little Proud Family that you’re working on? And I said, We’re testing in different spots. And they said, If no one wants to do that project, bring it here. That’s how we got it off the ground.
TV KIDS: Do you think since that time that television, and in particular children’s television, has evolved in its portrayal of Black characters?
SMITH: We still haven’t seen much! The atmosphere is ready and ripe for any renditions of us to come on the screen. It’s certainly been my goal in this business for a long time to drop us into as many missing genres as possible. One of the reasons why we did the Western episode with Suga Mama is because you don’t see Black cowboys, and you certainly don’t see them on TV. But it’s a fact in history that there were absolutely Black cowboys. We can exist in lots of different genres in this medium. We position The Proud Family as not being a children’s show—it’s a family-viewing show. Therefore, we get to tell more honest and truthful stories and deal with content that matters to us as a people. In season two, we’re talking about a lot of things among these teen girls that you don’t see many live-action Black shows talk about. The first time they’re going to experience racism within their own crew. We’re going to talk about reparations. We’re going to get into Juneteenth. All these episodes are really important, and the subject is really important to us as a people. It’s the first time you’ll see an animated show handle such heavy content in a way that’s very believable.
TV KIDS: What does the show being on Disney+ versus Disney Channel offer in terms of freedom and flexibility?
SMITH: Disney+ allows us a wider format. When we were a Disney Channel show, we were more of a tween model. But we’ve aged the crew up two years. We’re now dealing with the truest form of teen issues. Penny is 14. We take you through those formidable years. There’s so much to chew on that we felt like that was the perfect age to take our kids to. The Disney+ platform allows us to really lean into those aspects of growing up that we think are important. We see our show of the 8 to 80 variety. And we have fun in that world. All the actors that come in, we ask them to remember and lean into those years of growing up, so you get authentic performances. Disney+ has been amazing in allowing us to do that and take the show through the lens of our culture.
Publisher
Anna Carugati
Group Editorial Director
Mansha Daswani Editor
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 Coordinator
Andrea Moreno Business Affairs Manager
Leading executives in the licensing and merchandising space discuss encouraging toy sales, the return of location-based experiences and the rise of the metaverse.
Ricardo Seguin Guise President
Anna Carugati Executive VP
Mansha Daswani
Associate Publisher & VP of Strategic Development
TV Kids
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“The streamers are fantastic,” Caroline Tyre, VP of global sales and rights strategy at WildBrain, told delegates at the TV Kids Summer Festival this year. But, she cautioned, “you can’t necessarily launch toys off them.”
Indeed, the viewing model on SVOD—binge and repeat and then on to the next thing—makes building a brand a challenge. So does the dearth of available metrics from the SVOD services. “They don’t need to give us ratings because they aren’t presenting to advertisers like linear programmers are,” reports Jonathan Abraham, VP of sales and business development at Guru Studio. “When you go to retailers or even licensees, they want to know: what’s your stats, what’s your engagement, who’s watching, what is your rank?”
That dynamic is opening up new conversations among buyers and IP owners, according to Francesca Newington, director of POP Channels at Narrative Entertainment in the U.K. “We are aware that cross-pollination is really important when it comes to the brand getting as many eyeballs as it possibly can. If you’re going to launch a com mercial franchise, you want to be across as many plat forms as you can. It seems that it isn’t that detrimental to each platform that it is on—it seems to be successful for each one. So I think there’s quite a large conversation to be had around this.”
The executive VP of Peanuts Worldwide at WildBrain discusses what’s in store for the lead-up to the landmark 75th anniversary in 2025, taking a multigenerational approach to managing the brand and being a lifelong fan of Charles M. Schulz’s best-known creations.
—Mansha Daswani
While broadcasters, AVOD and SVOD platforms and rights owners hammer out the optimal ways to deliver broad exposure to shows, the good news is that the licensing and merchandising industry is in rather good health given the challenges of the pandemic and macroeconomic concerns. And new opportunities are emerging constantly, including in the metaverse. Mattel and Nickelodeon are among those betting big on vir tual experiences and NFTs—expect others to do the same, as we spotlight in our trend report in this edi tion. We also hear from Tim Erickson, who is oversee ing the beloved Peanuts brand at WildBrain, about how that classic Charles M. Schulz creation is being positioned in the marketplace today ahead of its land mark 75th anniversary in 2025.
SVOD is emerging as kids’ preferred destination for content in the U.S., according to a recent study from The NPD Group; of note, Netflix orig inals gained 7 share points in 2021 despite overall kids’ viewership slipping by 17 percent.
A s attendees descend upon London for the 2022 edition of Brand Licensing Europe (BLE), they will do so amid an L&M market whose health is far better than the dual hurdles of a global pandemic and inflation would seem to allow.
“The L&M business is in a good place,” says Anna Knight, senior VP of licensing at Informa Markets, the organizer of BLE. “Licensing International’s global survey showed it is now valued at over £300 billion ($350 billion) for the very first time—and that’s following Covid-19 and hard times at retail.”
In the U.S., the toy industry has been proving its resilience despite an economic climate that seems poised to shake consumer confidence and spending patterns, with a 2 percent increase in sales to $11.4 billion for the first half of the year, according to The NPD Group. The encouraging spending growth in 2022 comes on the heels of record-breaking sales in 2021 and 2020, when U.S. toy industry sales were up by 20 percent and 18 percent, respectively.
“While the toy industry has pulled back to growth of 2 percent, this is remarkable as only 6 of the 14 industries that NPD tracks posted growth at all in the first half of 2022 following two years of extraordinary consumer spending,” said Juli Lennett, VP and industry advisor for NPD’s U.S. toy practice. “This speaks to the resiliency of the U.S. toy industry during these uncertain economic times.”
For ADK Emotions NY, Beyblade Burst has been a topperforming IP in the L&M business since it launched in the U.S. in 2016—and its toy sales have been consistently good. “Toys have always been our top-selling category,” says Alexis Wilcock, licensing manager at ADK. “Overall, we’ve launched over 80 SKUs for the brand and are continuing to expand our list of licensing partners worldwide.”
Beyblade Burst, as an interactive toy brand, still benefits mightily from being a presence on the physical shelves of brick-and-mortar retailers. “The opportunity to be in-store with product has always been top of mind,” says Wilcock. “There is nothing quite like a kid pulling on their parent’s arm in the toy aisle, asking to expand their growing collection of Beys and showing up in person to battle in a tournament with their friends.”
Wilcock also notes the parallel need to have an e-commerce presence, mainly as Covid-19 accelerated shifts in buying patterns worldwide, as well as the value of having robust online spaces for fans to interact with each other and the Beyblade brand. “Our social media channels have become hubs for fans to geek out about their favorite Beys and replicate the same kind of word-of-mouth buzz we used to only see on the playground. We are focusing on executing more physical events now that the current climate has
Grisù, a new CGI series from Mondo TV Group, is bringing the beloved character back for a new generation of fans.
allowed us to, in addition to maintaining and expanding our digital presence so that fans can have multiple touch points with the brand,” adds Wilcock.
Jennifer Coleman, VP of licensing and marketing at Konami Cross Media NY, says that the L&M business for anime brands is “going gang-busters” and lists the company’s two strongest categories at the moment as collectibles and apparel. “We will continue to focus on those categories while we look for other avenues of growth in our category mix,” says Coleman, who notes
“Limited pop-up shops and fan conventions are retail options that have been very successful for us in the recent past, and we will continue to explore opportunities for sales growth there.”
For Konami’s Yu-Gi-Oh! business, brick-and-mortar remains key. “That is where the trading card game is sold and where our fans and players can interact and play with each other at Official Tournament Stores,” explains Coleman, noting the sense of community this fosters for its fans.
Mediatoon Licensing, which specializes in European comics and Japanese anime, manages the licensing and
Konami’s commitment to growing its overall social media marketing strategy across its brands.
“We will look for new ways to engage in an authentic way with fans to keep them abreast of the latest products, events and happenings for our IPs,” she explains.
Not only is Konami expanding its e-commerce presence in its efforts to offer more inventory, styles and products to fans of its brands, but it’s also rolling out pop-up shops and other avenues for in-person buying. E-commerce “is crucial for the merchandising success of all of our IPs,” says Coleman.
merchandising rights of the Naruto franchise for Europe, Hunter x Hunter for EMEA, Lucky Luke for the world and an assortment of other Média-Participations Group brands. Jerome Leclercq, CEO of Mediatoon Licensing, also sees the benefits of dividing brand-building resources between instore and event retailing and online sales.
“Although e-commerce is growing, the majority of our merchandise sales are still in shops,” says Leclercq, noting IP-specific plans for pop-up stores in China and Europe.
“Moreover, we’re managing two e-shops: one entirely
dedicated to consumer products from French and Belgian comics in limited series and the other dedicated to both comics and merchandising.”
Leclercq adds, “We are fortunate to be part of a large publishing and entertainment group, which allows us to work in 360 degrees and activate all the leverages that brands need since our group includes a video game publisher, a streaming platform and a theme park. This year, we have a lot of events around the 20th anniversary of Naruto , notably a musical show that will tour in ten cities in France—and I hope in the rest of Europe next year.”
In terms of digital extensions, Mediatoon is trying to further grow its brands through its streaming and webtoon platforms, as well as via NFT projects, e-shops and its video game sister company, Microids. In the coming years, Leclercq believes that “metaverses and webtoons will bring out new brands very quickly.”
As David Kleeman, senior VP of global trends at research and strategy consultancy and digital studio Dubit, sees it, we are still in the very early stages of metaverses—so early that it almost eludes a clear definition. “You may have heard the expression that the future is here; it’s just not equally distributed,” says Kleeman. “Well, the metaverse is here, but it’s in pieces, and we need to put it together. The great thing about that is that we can envision the metaverse we want, not just take the one handed by the big companies or anyone like that. We can build a metaverse that is great for kids, building on the brand equity we as television executives have built over the years.”
“It lowers frustration barriers to people doing the things they want to do,” adds Kleeman. “You can be a gamer—you can play a game or make a game. You can tell stories. You can be part of somebody else’s stories. You can learn. You can teach.
shirt! Where’d you get that?’—digital collectibles will take on the same social clout.”
The company’s digital extensions include the mobile app games Beyblade Burst and Beyblade Burst Rivals , which have both seen significant engagement around the world.
“We think about these apps as creating another space for
ADK Emotions NY continues to expand the Beyblade franchise, which includes the series Beyblade Burst Rise
We mostly find people are using it right now for socializing, communicating and gameplay, and they’re becoming creators. Shopping is emerging in it. It’s more about brand awareness and affinity than about actual shopping.”
ADK’s Wilcock also sees the future potential of metaverses, particularly regarding the social aspect. “As we enter the age of the metaverse, the merchandise we bring into our digital lives becomes increasingly important,” she says. “Just as physical products allow fans of an IP to bond and connect in person—e.g.: ‘Hey, I love your Beyblade
fans to battle with one another, and they’ve allowed us to expand our reach to all corners of the globe,” says Wilcock.
W ilcock notes that despite the expansion in the digital dimension for brands, slowly emerging out of the worst of a global pandemic has meant that people are more eager than ever to connect in person once again. “Location-based experiences can feel like a balm to the years of isolation we’ve all experienced,” says Wilcock. “There’s nothing like a Beyblade fan being able to find and battle with other Beyblade fans at a con or tournament. Brands have an opportunity to
Brand-building initiatives for Sinking Ship’s Alma ’s Way have included a digital game that was launched with a live event in New York this past summer.
create spaces for connection and to attract new potential fans who don’t want to miss out on the fun via in-person and physical events. We are focusing on executing more physical events now that the current climate has allowed us to, in addition to maintaining and expanding our digital presence so that fans can have multiple touch points with the brand.”
Alma’s Way , a preschool series made by Fred Rogers Productions for PBS KIDS and sold by Sinking Ship Entertainment, held an event to celebrate the launch of its new digital game, The Alma Train , at New York City’s Grand Central Station last month. The Alma Train Party
In the global content industry, there remains an ongoing debate about the value and demand of known IP versus original ideas—and the same goes for the licensing and merchandising industry. A new property that aims to break through in the L&M space is Zoonicorn , for which Toonz Media Group has signed licensing agreements with E Graphic Design and SRM Entertainment. E Graphic Design will produce custom-designed wallpaper, wall decals, acrylic frames and PVC for the preschool brand that will be available on the company’s website this fall. A division of Jupiter Wellness, SRM Entertainment will use Zoonicorn
at Grand Central Station featured activities and stations from renowned institutes from the Bronx, Alma’s hometown, including The Bronx Children’s Museum, The Bronx Zoo and The Bronx River Alliance, and the New York Public Library.
The interactive event enabled the brand’s young fans to take photos with the Alma costume character, play the new The Alma Train digital game, meet real female MTA subway conductors, learn traditional Puerto Rican Bomba dancing and more.
with its proprietary Sip With Me children’s cup line of products and dinnerware that is slated to launch at retailers next spring.
The CGI series, which follows zebra and unicorn hybrids that enter the dreams of young animals to take them on adventures to learn social-emotional skills, has premiered on NBCUniversal’s Peacock in the U.S. and is debuting around the world on additional platforms such as Kidoodle.TV (U.S.), Astro (Malaysia), Truecorp (Thailand), La Teletuya (Venezuela) and Viu (Hong Kong).
“Although e-commerce is growing, the majority of our merchandise sales are still in shops. ”
Among the properties in Mondo TV’s portfolio with significant brand potential are MeteoHeroes and Grisù. The former, which follows six super-powered kids on environmentally minded adventures, already has inspired its own video game in MeteoHeroes—Saving Planet Earth! A co-production between Sony Interactive Entertainment España (SIE España), development partner Gammera Nest and Mondo TV Studios, it invites children of all ages to help save the Earth in an action platform game that sees players find hidden items on the screen as they try to protect the world from pollution and decay.
Grisù, set to debut in the fall of 2023, centers on a young dragon aspiring to become a firefighter. It’s a property for which Mondo sees great potential in the L&M space. In Italy, the licensing program already has partners in the publishing category that will deliver books, activity books, coloring books and sticker albums to the market.
Konami’s Coleman believes categories can set a property apart, whether a known IP or a newcomer. “In my experience, I don’t believe that [the market] is skewed to known brands as much as I think it is skewed to categories,” she says. “What category your IP falls into is critical for success when under consideration by a licensee or a retailer. There needs to be buzz for the brand happening on social media to help an IP cut through and [find] the right demographic appeal. Everyone is about Gen Z now and how to be seen by that demo.”
The ability of a new IP to cut through in the kids’ space comes down to the quality of its storylines, visuals, play patterns, world-building and fandom, according to ADK’s Wilcock. “To push past the point of just watching a show to
Leclercq expresses optimism about the potential in lessestablished IP while noting that the path to profitability can be more challenging. “There are opportunities for niche IPs, even if the market is tilted in favor of well-known and evergreen brands,” he says. “To launch a new IP, you need qualitative
Toonz Media Group has inked a range of licensing agreements for the brand-new property Zoonicorn
wanting to buy merchandise for it, you need to have a specific hook,” she says. “Brands that are inherently collectible also have a huge advantage because they create a reason for buyers to keep coming back.”
She adds, “In our case, kids want to replicate what they’re seeing in the content they’re consuming—whether that be battling as they see in Beyblade Burst QuadDrive, connecting to the characters in the show by wearing them on their apparel or back-to-school gear or building their collections of Beys, stadiums and launchers.”
content, time, maximum visibility on networks, media in several territories at the same time, a lot of work and luck.”
There will be challenges ahead in the L&M market, notably disruption to the supply chain, increasing energy costs and sustainability, according to Informa Market’s Knight, but there’s every reason to believe the industry will find a way to solve for them. “We have already seen the industry step up and make a difference when it comes to sustainability and have witnessed innovation—particularly within the apparel and toy sectors—in relation to product design and manufacturing.”
“We have already seen the industry step up and make a difference when it comes to sustainability .”
TV KIDS: What most attracted you to taking on oversight of this beloved brand at WildBrain?
ERICKSON: It was a big decision. I see it as an incredible responsibility to the fans and the legacy of Charles M. Schulz. There’s a lot to live up to. I’m a passionate fan. The business has been thriving for years. We’re in our 73rd year. It was really about what’s next for Peanuts. How do we continue to engage fans as we have in a world that’s changing? The origins are from the news paper. While we still are in syndication around the world, having the comics reprinted, how do we show up on some of these new platforms? Short-form content? YouTube? How do we leverage all the great Apple TV+ content across all these other platforms? How do we bring new fans around the world into the fold? How do we bring new kids into the fold? It’s been interesting to understand how fans worldwide have come to know and love Peanuts. The journey is different depending on where you are in the world. In the U.S., it came to me through a series of different formats—every Sunday, reading the comic strip, and the seasonal specials were a family ritual for us. It was also through products. I still have a grudge—my cousin had the Snoopy Sno-Cone Machine, and I was not getting one. It’s a deep connec tion, as you can see! We look to markets that are signifi cant in size for us from a fandom perspective but still
n 1950, a small number of U.S. newspapers introduced a new comic strip from Charles M. Schulz about a circle of young kids, led by the self-deprecating Charlie Brown, and their trusted beagle friend Snoopy. Over the years, through thousands of syndicated comic strips and a raft of beloved seasonal specials, the Peanuts gang has earned the loyalty of millions of fans across the globe. And new ones are being added every day thanks to a range of initiatives from Peanuts Worldwide, the venture owned by WildBrain, Sony Music Entertainment and Schulz’s family. As the executive VP of the Peanuts Worldwide brand at WildBrain, Tim Erickson is tasked with overseeing this enduring property, including the new shows on Apple TV+, the Take Care with Peanuts initiative and retail partnerships across the globe. Erickson speaks to TV Kids about the lead-up to Peanuts’ 75th anniversary in 2025, taking a multigenerational approach to managing the brand and being a lifelong fan of Schulz’s best-known creations.
have a lot of room for growth and opportunity—places like China, where people are coming to know Peanuts in a completely different way.
TV KIDS: Tell us about working with the Schulz family and WildBrain’s L&M and content-development teams to ensure you’re all on the same page about how Peanuts is positioned.
ERICKSON: Everybody wants to deliver the best experi ence for our fans and to live up to the legacy. We all have the same goal. Then it becomes about the approach. It’s having conversations about the businesses we should be in and the types of stories we’re telling. Much of that has already been figured out, so it’s ampli fying key stories Charles Schulz told through the strips. There are almost 18,000 strips. The timeless stories told over all those decades amaze me. So many can be retold
The Snoopy Show is part of WildBrain’s deal with Apple TV+ for new Peanuts content.
in a different format. Snoopy in Space is such an authentic relationship that dates back to the early ’60s with the Apollo program. It’s just as relevant today as it was then. Everybody involved with Peanuts is focused on quality first. If it’s not going to live up to an appropri ate quality, we don’t want to do it. There are construc tive conversations around the approach. Through the lens of Snoopy’s imagination, would he have thought this versus that? What would Charles Schulz do? You have to try to do your best to interpret. We’re fortunate that both Jean [Schulz’s widow] and Craig [his son] are involved with our business. And then there’s a lot of training that goes on. Every day I learn many new things. The teams are hungry to learn, whether it be at Peanuts Worldwide, the WildBrain team working on content, or Creative Associates [Schulz’s studio] in Santa Rosa. Everybody’s eager to learn and say, what is the most authentic way to tell this story?
TV KIDS: What’s been the L&M approach for all the great new content on Apple TV+?
ERICKSON: Some elements celebrate the content you see on Apple TV+, like The Snoopy Show . There’s a look and feel to that. There’s been an evolution of our character design over the years. Whether it’s through consumer products or experiences or content, it needs to be consistent. The Snoopy Show looks different than the original comic strip. So if we’re doing some thing that celebrates the original comic strip, it will be all about that. Signage and marketing will be consis tent. Then if we’re doing something around The Snoopy Show, and let’s say it’s very kid-targeted, it will look to that with a level of consistency. We have spe cific style guides and guidelines to ensure that we get that level of consistency.
TV KIDS: How are you maintaining that multigenera tional appeal the brand is known for?
ERICKSON: First, we answer a few questions: Should we be in a specific business, and who should we target? Who is making the purchasing decision? What is the
aesthetic? What is the storytelling we want to make sure that we’re driving? It’s different for preschool- or kid-targeted programs. As you get into the kids’ space, you start to see psychographics have a huge impact on the direction. For example, if you’re a gamer, there are some similarities within that community. How do we apply our approach to specific interests and ensure we have opportunities inclusive of all of our fans? In many cases, we’ll do things that appeal to an entire family. We spend a lot of time creating those strategies. Hear ing back from our fans is critical. And seeing what sells and what doesn’t sell. You learn quickly what your fans like and don’t like.
TV KIDS: The 75th anniversary is coming up in 2025. Can you tease any of the plans for that milestone?
ERICKSON: It will be a celebration of the rich heritage and legacy. We’re still pulling together those plans, but it will go across every aspect of how fans engage with us. So everything from experiences to products to con tent, marketing, you name it. It’s an opportunity for fans to celebrate what they love about Peanuts. We want to ensure that our approach encompasses all those reasons to engage. It’s still early days.
TV KIDS: What are you hearing from the parents and caregivers of the new fans whose first exposure to Peanuts has been through the Apple TV+ content? What are they responding to?
ERICKSON: Number one, quality storytelling. There are a lot of timeless themes that have always been in Peanuts’ storytelling. We provide inclusive content for everybody to celebrate and enjoy. Space explo ration resonates with people. And providing family time. We’ve seen that from the beginning with our holiday specials. We’re still seeing that. We have shows primarily targeted toward kids, though fans of all ages are watching. Then we have other specials that we regularly drop on Apple TV+ that are created for fans of all ages and a great opportunity for fami lies to come together.
By Anna Carugati
ultiplatform is a crucial compo nent of Paramount Global’s busi ness strategy. The company produces feature films and TV shows from its holdings located around the world. And it distributes that content across its numerous platforms and to third parties.
Paramount, formerly known as ViacomCBS, from the merger of the two companies at the end of 2019, is home to the storied 110-year-old Holly wood studio Paramount Pictures. This has been a banner year for the studio. It has had five films that debuted at number one at the box office, including Top Gun: Maverick, which has earned more than $1.4 billion globally.
Para mount’s president and CEO, tells World Screen, the service performed well in the second quarter of this year.
Paramount+ boasts a broad range of movies and pro gramming sourced from its parent company’s numerous divisions, from the TV series Halo and the Star Trek fran chise to feature films, including classics like The Godfather—which also inspired the TV series The O ff er and recent box-office successes such as The Lost City, Sonic the Hedgehog 2 and Jackass Forever
Its numerous other assets include the broadcasters CBS in the U.S., Channel 5 in the U.K., Network 10 in Aus tralia and Telefe in Argentina; the premium pay ser vice Showtime; the channel group Viacom18 in India; and numerous cable brands, including Nickelodeon, Comedy Central and MTV.
As a player in the streaming business, Paramount offers different pricing options with the tiered subscription ser vice Paramount+ and is a leader in the AVOD and FAST space with Pluto TV.
Paramount+ has fewer worldwide subscribers than competing global streamers. But as Robert Bakish,
As Bakish explains, the com pany has a multiplatform approach to launching Paramount+ around the world and is leveraging inter national partnerships in doing so.
For example, as part of a hard bundle through the longstanding relationship with Sky in Europe, Paramount+ has already debuted in the U.K. and Italy and will soon in Ger many. Paramount+ is also available via channel stores and the SVOD options offered by platforms such as Amazon, Roku and Apple TV. And Paramount’s numerous channels help promote Paramount+.
As SVODs continue to garner attention in the press and on Wall Street, the less bandied-about success story has been AVOD. Bakish outlines the company’s belief that consumers like watching content for free, especially now as they feel infla tion’s pinch. He talks about satisfying viewers and advertisers, selling content to third parties, the concept of scale in today’s market and whether Paramount is for sale.
WS: In contrast to some media companies that have placed all their bets on streaming services, Paramount maintains scaled theatrical, broadcast and cable busi nesses in addition to growing Paramount+ and Pluto TV. Why has this strategy been important?
BAKISH: For a while now, we’ve been focused on the fact that our multiplatform strategy is a clear advantage. When we started talking about that, it wasn’t exactly in vogue; it was all about streaming. But our belief, and the second quarter shows, is that the combination of our con tent, multiple platforms and the strategy we’re using to execute against them does provide an advantage. It gets us to the largest TAM—total addressable market. It helps us get an ROI on content investment. Content moves sequentially across platforms, and it’s really important for creating consumer excitement and letting people engage. The second quarter shows that in spades. We are using these platforms to get that return on our investment to unlock multiple revenue streams. We took share in the box office, in broadcast TV and in streaming. And we took share commercially, including in the Upfront. We did business in the Upfront across our platforms, excluding theatrical, and it was our strongest Upfront yet. We showed the benefit of our scale and our ability to do business on a turnkey basis efficiently. We love our diversified portfolio. And in a macroeconomic environment with chal lenges, it also helps create stability, which is benefi cial. It helps us leverage what we are at the core, which is our hugely popular content.
WS: How is Paramount positioned to maximize the value of its content across different distribution channels?
BAKISH: We are very strongly positioned. Look at our distribution channels. We have the num ber one broadcasting network in the U.S., CBS. We have the largest broadcast footprint global ly—Australia, the U.K., Argentina and Colombia. We have the number one FAST ser vice in the U.S. in Pluto TV. That’s growing very quickly as we globalize that. In the second quar ter, we got 70 million MAUs (monthly active users). In the SVOD space, we had the fastestgrowing brand in the U.S., not just among streaming brands but of all brands in 2021, in Paramount+. If you go back to when we did the ViacomCBS merger, we pointed out the value of the ViacomCBS international operating foot print. Fast-forward to today, we’re starting to leverage international in our streaming growth plan. We launched in the U.K., South Korea and Ireland. We launched in Italy in September and are launching in Ger many, Austria, Switzerland and France later in the year. You’re starting to see that international operating foot print driving our business as a case study of what we can do. And part of the reason we’re doing it is we really assembled one company. Our aligned senior management team has con versations about where content goes and how we maximize promotion.
WS: Will your teams continue to license movies and TV programming to third parties?
BAKISH: One of the clear benefits of being a diversified media company is our ability to monetize content in various ways. And yes, that includes content licensing to third parties. We have a massive library of films and television— one of the largest libraries in the world. We feel
licensing portions of that library, including early seasons of a series on a non-exclusive basis so we can use it for ourselves, is additive finan cial ly, and it’s also additive from a franchisedevelopment standpoint. So yes, we’re in that business. We’re also selectively in the originals business for third parties; we’ve produced pro gramming for people. As time has passed, we’ve pointed our core franchises internally. We’re focused on Paramount+ for those. But we still have some originals we do for people. It’s good incremental money, and it’s good for helping manage our talent ecosystem to provide some optionality. So yes, we’re in the licensing busi ness, and we’re going to stay in that business.
WS: Paramount Pictures has had an impressive year. What factors have led to the string of boxoffice hits?
BAKISH: Once again, we believe in the benefit of a multiplatform distribution model. Two years ago, during Covid, and certainly last year, we said we believe in theatrical and will hold films for it. Some of our competitors said, No, we’re going streaming first. We’re going day and date. We said, No, we don’t believe in that model, we believe in theatrical. Fast-forward to 2022, the first five films the studio released all opened at number one in theaters: Scream , Jackass For ever, The Lost City, Sonic the Hedgehog 2 and Top Gun: Maverick. The first four of those are already on Paramount+ and went in what we call the 45-day fast-follow model, which is the preferred model. We were the first studio to say that, and now a bunch of others have [fol lowed], including the guys that were in the streaming-first model. Why were the films
suc cessful? They’re good films, but we also used our platforms to make them popular. All these films leverage our internal assets, whether they’re CBS, MTV or Pluto TV, to drive con sumer awareness, bring people to the theaters and build awareness. Top Gun: Maverick was in theaters longer than 45 days. It grossed [over] $1.4 bil lion worldwide. It’s one of the top ten domestic films of all time and is Para mount’s number one domestic movie of all time. We remain committed to theatrical. We will keep releasing movies in theaters, and then, in gener al, we will follow that up with a presence on Paramount+.
WS: Years ago, in the cable business, insiders would talk of a first-mover advantage. Today, have there been advantages to not being the first to launch an SVOD service?
BAKISH: You can benefit from being first. An example is the benefit we’ve had in blazing the Pluto TV trail. Before most people in the indus try had started [talking about] FAST, we were already huge believers and acquired Pluto TV in 2019. We’ve been proven right, and others have followed us. But you also can benefit from being a follower. We’ve studied the SVOD cate gory and what works. When we launched Para mount+, we said we wanted a broad con tent offering and a dual-revenue-stream model. We were an outlier with the notion of having a lower-cost ad-supported tier. The industry has now moved in that direction. We also saw the benefit of broad distribution, and that’s where we’ve chosen to play that a little bit differently. You see us pursuing this mix of hard bundles and channel stores and DTC. We were the first
After a pandemic delay, Paramount Pictures’ Top Gun: Maverick arrived in theaters earlier this year and scored more than $1.4 billion at the box office.people to do hard bundles at scale. You’ll see people follow there. There’s a benefit to follow ing and understanding what works in the marketplace and then deciding how you will be differentiated in your pursuit based on that.
WS: How do you balance growing Paramount+ subscribers and investing in content against creating value for shareholders?
BAKISH: It’s a balance. Because market percep tions and [valuations] tend to [change] over time, you have to decide what you believe in. Then you have to execute against that. We believe it’s important to drive stable earnings
from our traditional businesses—broadcast TV, cable, etc.—while investing to create value in the biggest growth market in media, which continues to be streaming. Over time, we expect our DTC business to have TV-medialike margins. We’re not there yet, but we’ll get there. And part of the reason is the benefit of operating as a multiplatform business. It gives us advantages in content ROI and marketing, and those advantages ultimately accrue partially to the streaming P&L. So, we are building it as a growth asset, but a growth asset that will be a financially attractive business in a couple of years. We’re very happy about that. The market
hasn’t responded the way we had hoped in terms of equity value yet, but we see a very clear path there, and we’re convinced we’re going to create substantial shareholder value.
BAKISH: We believe that a huge number of con sumers like a free product. We think this notion that the whole video business would go strictly SVOD was fundamentally wrong. There’s always been a free segment in media— broad cast television is free media. We thought that would be the case in streaming. We believed in FAST before it was called FAST. We looked out at the marketplace and acquired the best asset in the industry in Pluto TV. Then we added fuel to it because we said we believe in the category. We can add value in the category both through content, where we have massive libraries that we’ve deployed on Pluto TV through promotion, where we know how to connect consumers with messages, and through commerce, where we have one of the leading advertising businesses in the U.S. We serve agencies and their clients both on a direct basis and through programmatic with Pluto TV. Advertisers have found that it’s a great source of high-quality inventory. It may be library content on the entertainment side, but it’s high-quality content. If you look at some
of the demographics, it skews younger; some of those audiences are pretty hard to reach in general. Pluto TV has turned out to be a great consumer product and a great product for advertisers. We still think it has a lot of runway ahead of it. We’re in international expansion mode now, including doing some interesting partnerships like the ones we did with Viaplay Group in the Nordics and Corus Entertainment in Canada.
WS: You were in charge of international busi nesses for a long time. How are they contribut ing to Paramount today?
BAKISH: In two ways. One, they’re a source of earnings and cash flow in the current market place. And two, they’re a platform to drive growth in streaming and capture market share therein. We use that broadcast portfolio—Telefe in Argentina, Channel 5 in the U.K., Network 10 in Australia—and our pay brands MTV, Nick elodeon, Comedy Central, etc., to do just that. It’s not just the platforms; sitting behind those are content studios. We’ve got a dozen content studios around the world, including being one of the leading producers of Spanishlanguage content in the world. We’re using [the studios] to fortify our local offerings in places like the U.K. and Latin America, as well as our global offerings, because we’re going to use that to provide product on Paramount+, including on a dubbed basis.
Among the benefits of operating on the ground internationally, you get market knowl edge, you have platforms, you can promote [programming], and you have access to content, but you also have relationships. We’ve been in business with Sky in the U.K. for decades, and
we saw an opportunity to work with them to accelerate our streaming journey. That’s where this hard bundle strategy came from. We did it in the U.K. and it’s performing above our expec tations. [We did] it in Italy, another Sky market, in September, and then we’re going to do it in Ger many, another Sky market, later in the year. We’re also going to France, the Canal+ mar ket, but the same idea, later in the year. Those are all owned-and-operated services. We also have partners and know people in places like India and Eastern Europe. In India, we’re work ing with our existing joint venture, Viacom18, with Reliance, a big partner. We’re going to have them launch Paramount+ in a package with their service. Their service now has IPL cricket rights, which is the most important thing in Indian media. We’re thrilled with that, particu larly since we don’t have to invest in that on the local side; we can just be packaged with it. That’s a very capital-efficient model. In Eastern Europe, we decided to do that in partnership with SkyShowtime as a joint venture. Long story short, the combination of our assets outside the U.S., including the people and knowledge we have on the ground and the relationships they’re in, are creating great advantages for us today. It’s really hard to replicate that advantage. We’ve been there for decades. It takes time.
WS: What have you learned about managing in times of change?
BAKISH: It’s important to understand what you’re up against, what assets you have to leverage, and what challenges you’re trying to manage. One of the great things about operating outside the U.S. is that I’m a big believer in this notion of idea-pilot-scale. We can go to a
market outside the U.S. where we have an idea, do a pilot, try it, and see how it works. Maybe you have a good idea; maybe it doesn’t work; you never know. As you do it, you can learn and fine-tune it and adapt it. Then scale it and build from there.
One of the other things I found very impor tant is that I can think whatever I want as the CEO, but I’m not going to get it done. The teams all around the world get it done. So communi cation, explaining to people where we are, where we want to go, and how they fit in, is super important because they’re the people who are executing. We should never lose sight of that. All through Covid, we have done these Bob Live town halls every month. We tell peo ple what’s going on, and we don’t focus only on the positive; we give a holistic story and ensure that they’re equipped as well as they can be to do their jobs and help us win. That’s what we want to keep doing.
WS: There is talk that Paramount may be for sale. What can you tell us? On the other hand, are you interested in acquisitions?
BAKISH: I’d say two things. First, when people say we’re subscale, I ask, how do you explain that? Tell me, who else has the number one broadcaster in the U.S. and the largest portfolio of broadcast assets? Who else has one of the world’s leading cable groups, with globally rec ognized brands and IP in it? Who else has a 110-year-old film studio with a massive library?
Tell me, who else has the number one FAST service in the U.S. and one of the top SVOD services in terms of growth trajectory? Because when I look at it, the answer is nobody. Nobody else has that combination, including the inter national operating footprint. So as far as I’m concerned, we have real scale, and we’re increasingly deploying it, and people are seeing the momentum. We don’t have to do a deal. We’ll keep taking share just like we did in the second quarter. The merger of Viacom and CBS, now Paramount Global, was a game changer for everyone involved.
Second, frankly, it’s corporate America; it’s public corporations. Everything’s for sale at a price. And our job is to be stewards of share holder value. If there’s something interesting to do, whether that’s acquiring a company or selling our company, of course, we’ll look at it. But that’s something you can’t control. What we can control is executing against a path, leveraging a unique and highly valu able portfolio of assets that we own, with the result that people are increasingly seeing as momentum. We’ll see. M&A has a rich history in corporate America in media. I’m sure there will be deals in the future. Where and when? How? I have no idea. We’re focused on executing, but we’re doing so with an open mind.
PAW Patrol: The Movie , based on the hit preschool series on Nick Jr., was released last year.
Ricardo Seguin Guise Publisher
Anna Carugati Group Editorial Director
Mansha Daswani Editor
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 Coordinator
Andrea Moreno Business Affairs Manager
I am an unabashed sci-fi/fantasy nerd. Do I love a gritty, rooted in real life crime thriller? Sure, but I’ll take all the dwarves, monster hunters, vampires and superheroes, please, everything from the family-friendly to dark and twisted.
And what a time it is to be a genre fan. I was thinking that weekends had become the ultimate treat with the double billing of House of the Dragon and The Lord of the Rings: The Rings of Power . What more could a fan of epic-scale, ambitious, otherworldly episodic drama ever really need but the two biggest shows on television (well, streaming) dropping within days of each other? But I must admit—it’s giving me a headache. As a genre fan across TV, movies and books—and the editor of this magazine—I have become adept at keeping a shocking amount of information in my head. A veritable font of often thor oughly useless data. But it has made me quite good at fol lowing complex storylines and intersecting universes. And yet the double dose of these sprawling HBO and Prime Video shows might have been a bridge too far for me. I have resolved to stick with the Seven Kingdoms for now and return to Middle-earth when I have a little more mental bandwidth.
With inflation causing the already sky-high cost of scripted production to rise, leading drama distributors weigh in on financing models and the keys to cutting through the clutter today.
Ricardo Seguin Guise President
Anna Carugati Executive VP
Mansha Daswani
Associate Publisher & VP of Strategic Development
TV Drama
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It is fascinating how this overabundance has made just the process of picking something to watch so very agonizing sometimes. Shall I binge or wait? Is it worth investing time if it’s going to get canceled? I’m almost glad I didn’t get to Paper Girls , which Prime Video recently pulled the plug on. It feels like the type of show I would have fallen in love with. I do worry that as the streaming wars intensify, budgets soar and plat forms feel the pinch of flinging money at projects that don’t become immediate successes, great, break through ideas that take time to build will get lost in this ecosystem where everything seems to be getting bigger and more relentless. When announcing the formal greenlight of season two of Squid Game this year, the creator, director and writer of the Korean megahit, Hwang Dong-hyuk, noted: “It took 12 years to bring the first season of Squid Game to life. But it took 12 days for Squid Game to become the most popular Netflix series ever.” I cannot wait for that breakthrough piece of tele vision to return, and I do hope that 12 days won’t become the new standard for how quickly a show has to take off today. Mansha Daswani
Leading All3Media International’s drama slate, The English stars Emily Blunt and Chaske Spencer in a love story that takes place in the American Wild West in the late 1800s. The drama, written and directed by Hugo Blick, “has tremendous appeal for international buyers because of its large-scale, high-quality production values and brilliant storytelling,” says Lauren Jackson, scripted content executive at All3Media International. The young adult thriller The Gymnasts, from Indigo Film, features dramatic gymnastics routines, complex young adult relationships and a murder mystery. The Ex-Wife centers on a woman who has a seemingly perfect life. “International buyers are always looking for taut domestic thrillers, and The Ex-Wife is a stylish, hooky offering in this space,” Jackson says.
Among the programs on Atresmedia Televisión’s slate, UPA Next is a revival of the Un Paso Adelante ( One Step Forward ) franchise. Characters such as Silvia, Rober and Lola will return alongside new students of the Carmen Arranz performing arts school. The eight-part drama La Ruta (The Route) found its basis in a real music revolution.
“It was one of the most important clubbing and electronic music movements in the world but also a revolution in fashion, culture, society and even language,” says Jose Antonio Salso, head of acquisitions and sales. Heridas, a 13part Spanish adaptation of the Japanese format Mother , tackles themes such as child abandonment and the search for one’s own identity. The cast includes Adriana Ugarte (El tiempo entre costuras), María León and Cosette Silguero.
A Little Sunshine, leading ATV’s MIPCOM slate, centers on Elif, a woman struggling with fertility issues, and her husband, Hakan. One day, he dies in a car accident and is found next to a little girl. On record, Elif is listed as the mother. Her husband’s double life is revealed when she takes the little girl in. In time, Elif will get attached to the little girl and pursue the truth that lies beneath Hakan’s life.
The Father, meanwhile, focuses on assassin Cezayir Türk, who fakes his death in order to protect his government and family. While abroad, he falls in love with Firuze and begins a family with her, thinking that returning to his wife and kids is impossible. When he is exposed and has to return to Istanbul, he must find a way to divide his love between the two families who don’t know about each other.
“I’m excited to build relationships with producers, hear about brilliant new ideas and find projects to partner on.” —Lauren Jackson
“We are happy to be in Cannes and meet our clients and friends again in person.” —Jose Antonio SalsoThe Father La Ruta (The Route)
Banijay Rights’ catalog features Marie Antoinette, created by Deborah Davis (The Favourite). The eight-part series follows as the titular woman grows from a stubborn young princess navigating the rules of the French court into a fashion icon and notorious figure. Bali 2002, meanwhile, explores how everyday heroes from Bali, Australia and beyond showed up to help the victims of the Bali terrorist attack that took place on October 12, 2002. Stonehouse stars Matthew Macfadyen (Succession) as disgraced Labour minister John Stonehouse, who tried to fake his death and seek a new life in Australia.
“What all these dramas have in common is a gripping story arc—all based on true stories with an emotional investment that keeps viewers wanting to see more,” says Claire Jago, executive VP of sales and acquisitions.
Bavaria Media International has on offer The Heart of Cape Town, a movie inspired by the true story of the first heart transplant, carried out by Christiaan Barnard in December 1967 in Cape Town. It tells the story of Hamilton Naki, a Black man who assisted Barnard. The ten-part crime series Cold Valleys sees an unlikely team of police officers solve twisted rural crimes. “Richly plotted, with its charming and charismatic investigator duo, the series is a must for lovers of the genre,” says Helge Köhnen, head of content sales. Sugarlovedotcom centers on an academic couple who invites a young student into their relationship for sex. Köhnen says the movie is “a multifaceted, clever drama around a love triangle, which surprisingly develops into an entertaining thriller.”
Blu. Digital Group is an end-to-end digital media solutions company with a mission to “empower distributors to easily process and deliver their film and TV content by using our services and custom-tailored cloud-based software,” says Silviu Epure, VP of content globalization. “Our mission is to continually innovate better ways to prepare, process and deliver media content, in an effort to empower distributors and video platforms with tools and services that will help them share their stories with global audiences.” BDG Studios, the group’s localization division, is one of the top audio postproduction facilities in the U.S. “Reaching over 9,000 native linguists across 80-plus languages, BDG offers high-quality dubbing, subtitling and audio description services to a multitude of high-profile clients,” says Epure.
“We are excited to be together after three years—bigger and better than ever before.”
—Claire Jago
Blu. Digital Group facilities
The Heart of Cape Town
“We invite all interested buyers to visit us and look forward to presenting our full catalog with the newest MIPCOM highlights.”
—Helge Köhnen
“For over 15 years, Blu. Digital Group has been in the business of ‘better’—better service, better technology and better results.”
—Silviu Epure
Desperate Measures, a highlight of Eccho Rights’ catalog, tells the story of an ordinary woman who goes to extraordinary lengths to pull off a bank heist to save her son’s life. The series stars Amanda Abbington ( Sherlock ) and Warren Brown ( The Responder ). The Turkish drama series Golden Boy, from OGM Pictures, is also on offer from Eccho Rights. “The production is incredible, and it’s great, classic Turkish storytelling about a family that is destabilized by an unlikely romance,” says Fredrik af Malmborg, CEO of Eccho Rights. Granite Harbour follows a soldier from the Caribbean who dreams of serving in the U.K. police force but is first sent to train in northern Scotland. “There is a thrilling crime in the story but also real human heart at its core,” says af Malmborg.
Hostage / Munich ‘72 / Dome 16
Hostage is a six-part thriller on offer from Global Screen, a Telepool brand, that features a wide-ranging perspective on a multicultural Europe trapped in the long shadow of the war on terror. In the sequel to Stockholm Requiem, a plane is hijacked and a criminologist is tasked with figuring out the truth while her male partner tries to hide it. Meanwhile, Munich ’72 uses documentary and reenactment styles to tell the story of the 1972 Munich Olympics terror attack. Dome 16 centers on young people who find themselves on different sides of the class divide in a dystopian future. “Through danger, cliffhangers and abundant humor, it is the romance of the two main characters and all the hurdles they encounter that is at the heart of Dome 16,” says Julia Weber, head of international sales and acquisitions.
Sadi Payaslı leaves his bullying past behind when he becomes a high school geography teacher in Inter Medya’s Another Chance . Before long, his life takes another turn when the school welcomes a new student, who happens to be his long-lost son. Another Chance “tells a father-son story in a striking and heartwarming way,” says Can Okan, CEO and founder. In The Girl of the Green Valley , an orphaned child named Melissa finds an unlikely new home with the timid middle-aged Metin and his sister Meral on their farm. Hicran follows the titular young woman, who believes that the daughter she was told died at birth is actually alive. After meeting and saving the life of a young girl named Melek, she is hired as her babysitter, unknowingly looking after her own daughter.
“This year, as always, we have added many new and successful titles to our catalog.”
—Can Okan
“We are constantly improving our business so that we can offer our clients even higher quality programming.”
—Julia Weber
Another Chance
“Our lineup continues to expand and diversify, and we are excited to bring so many great titles to MIPCOM.” —Fredrik af Malmborg
A multi-language title, the Legendary Television highlight Drops of God is an adaptation of the wine-centered Japanese manga series of the same name. It follows a daughter’s journey after she learns that her estranged father has left her with his wine collection—with the caveat that she must compete against his protégé. “This groundbreaking drama excels in character-driven storytelling,” says Anne Thomopoulos, partner. The company’s first Spanish-language production, the thriller You Would Do It Too is about an armed robbery that leaves the three assailants dead—and six witnesses who won’t identify the fugitive who saved their lives. A heist drama based on a true story of a woman in Lisbon who went on a bank-robbing spree in 2008, Vanda is also among Legendary’s highlights.
The six-part political espionage thriller Bonn, set against the backdrop of 1950s Germany, leads LEONINE Studios’ MIPCOM highlights. It follows a young woman who struggles to find her place in a male-dominated society. Based on the Crimson Lake novels by Candice Fox, the Australian eightpart thriller Troppo explores a criminal case in tropical Far North Queensland. Over the course of its six episodes, the dramedy Herzogpark offers a glimpse at the seemingly picture-perfect lives of five very different women who all live in the same posh neighborhood. “These series are from award-winning producers, directors and writers and have great casts with international appeal and are all very soughtafter genres,” says Patrick Phelan, director of world sales at LEONINE Studios.
In the Lionsgate drama highlight Leopard Skin, a criminal gang fleeing a botched jewelry heist is forced to hide out in a beachside estate where two women live in seclusion. The slate also features Nacho, which explores the life of Spanish adult entertainment star Nacho Vidal, and Dangerous Liaisons , based on the novel of the same name by Pierre Choderlos de Laclos about a pair of scheming ex-lovers attempting to exploit others by using the power of seduction.
“With talented international casts, these shows push the boundaries of what content can do, highlighting stories that may otherwise go untold,” says Agapy Kapouranis, president of international television and digital distribution at Lionsgate. “Each show possesses a unique and compelling narrative that will leave audiences wanting more.”
“Each of these series highlights aspects of the human condition and shares universal themes of loss, justice and hope that audiences can relate to.” —Anne Thomopoulos
“Lionsgate is bringing a roster of new content to MIPCOM that is bigger and better than ever before.”
—Agapy KapouranisDangerous Liaisons Troppo
You Would Do It Too
“We’ve got a great lineup in store for MIPCOM, with three fresh and intriguing new series ready for delivery.”
—Patrick Phelan
MISTCO is shining a spotlight on Bahar , a drama in its portfolio that it co-produced with ÜS Yapım. It tells the story of a young girl who has witnessed the murder of her father and is trying to prove that the murderer is her stepmother, Aysun. Amid her quest for justice, Bahar begins to fall in love with Demir, who is also the object of her stepmother’s affection. “We believe that it will get the attention of international audiences with its typical telenovela plot,” says Aysegul Tuzun, managing director of MISTCO. “It will match market needs perfectly.” The slate also features the historical drama Alparslan, as well as An Anatolian Tale , the “highest-rated drama in Turkey,” according to Tuzun. The high-budget action-crime series Shadow Team rounds out the catalog.
Among the dramas on Paramount Global Content Distribution’s slate, Fire Country is inspired by star and executive producer Max Thieriot’s experiences growing up in northern California fire country. The series has “very strong characters and a procedural element set against a life-and-death backdrop that will resonate with viewers around the globe,” says Lisa Kramer, president of international licensing. She calls Poker Face a “cinematic crime procedural series with a twist.” It marks the first TV series from director Rian Johnson and stars Natasha Lyonne. The duo of Patrick Brammall and Harriet Dyer star in and executive produce Colin From Accounts. “This very funny comedy had buyers from all over the world laughing out loud at L.A. Screenings,” Kramer says.
Saran Studios, the newest division within Saran Media Group, is presenting at MIPCOM the daily drama A Mother’s Love . In the series, when the mother of a little girl with a heart defect dies in a car crash, her father hires a lookalike to pretend to be her mother until she is old enough for heart surgery. Starring Selin Sezgin, Gece Işık Demirel and Erol Gedik, A Mother’s Love’s mysteries include the lookalike’s identity and who is pulling the strings from behind the scenes. It has already been sold into Bulgaria, Slovenia, Romania, Moldova, the Czech Republic, Slovakia, Lithuania, Israel, Spain, Argentina, Uruguay, Paraguay and Peru. “The success of our first production, A Mother’s Love, indicates our experience and professionalism in content creation,” says Esra Ercan, Saran Studios’ head of sales.
“Our focus is to make connections with new partners and present A Mother ’s Love and our other projects in the pipeline.”
—Esra Ercan
“Our slate continues to grow, which allows us to expand our licensing deals with key clients across the globe.”
—Lisa Kramer
A Mother’s Love
“MISTCO represents a multi-genre portfolio consisting of dramas, movies, animations and documentaries.”
—Aysegul TuzunBahar Fire Country Bahar / Alparslan / An Anatolian Tale
Voxx Studios’ 10,000 square-foot facilities offer 11 record ing studios used for dubbing, ADR, original voice anima tion, vocals and instrumental recordings; stereo, 5.1, 7.1 and Atmos mixing (including surround sound for music mixing); and a large venue available for concerts, screen ings, professional workshops, seminars and live-streamed productions of a variety of shows. “Voxx’s ownership and active managing partners are experienced filmmakers, producers and actors from Europe and Latin America,” says Danubia Farias, general manager. “Our team gives Voxx the ability to understand better and emulate the cre ative process of the original production, finding the best creative localization solutions that translate words, cul tures, mentalities and humor.”
ZDF Studios’ main drama highlight at MIPCOM is the new big-budget period drama Boundless, which tells the story of the first circumnavigation of the Earth 500 years ago by Portuguese explorer Ferdinand Magellan. “ Boundless is one of the biggest and most ambitious dramas that ZDF Studios has ever had the pleasure of being involved with,” says Robert Franke, VP Drama. Inspired by true events, Clean Sweep features Irish actress Charlene McKenna ( Bloodlands , Peaky Blinders , Vienna Blood ) in the lead role as a mother caring for an ailing son, her unfaithful husband and all the usual burdens of motherhood. ZDF Studios is also presenting the fourth season of The Crimson Rivers , set in a macabre world of gruesome crimes and harrowing rituals.
There’s a mix of thriller, comedy and romance leading ZEE Entertainment Enterprises’ MIPCOM slate. Filmed on location in the U.K., Never Kiss Your Best Friend is the story of two best friends who fall in love but circum stances, time and time again, prevent them from being together forever. “Audiences will fall in love with the characters and cry, laugh and wish for their love to tri umph as much as they do,” says Manoj Mathew, executive VP, territory head for the Middle East, North Africa, Pakistan, Turkey and the Americas. Carmen is a rom-com Arabic drama series filmed in Egypt about a young woman who uses lies to cover up her lies. SER is an Arabic coproduction filmed in Lebanon about love, murder, lust, betrayal and deceit.
“We are excited to showcase our new launches at MIPCOM, and many of them are filmed in international locations.”
—Manoj Mathew Never Kiss Your Best FriendClean Sweep Voxx Studios facilities
“Clean Sweep is a binge-worthy addition to our growing slate of English-language productions.”
—Robert Franke
“This year, and coming out of the pandemic, Voxx is stronger than ever.”
—Danubia Farias
Almost $60 million per episode. That’s how much Amazon is said to have spent on its epic new original The Lord of the Rings: The Rings of Pow er, making it the most expen sive TV production ever, per a study by VPN Overview. In a distant sec ond? A five-way tie between five dif ferent Disney+ shows that cost about $25 million an episode, including Loki and Obi-Wan Kenobi.
The list is rounded out by several other Disney+ shows and Netflix’s The Witcher, alongside three non-streaming originals: HBO’s Game of Thrones, House of the Dragon and Watchmen
The global streamers may be making the most headlines with their (oversized?) walled-garden originals, but as the IP owners surveyed for this report indicate, some produc ers aren’t as enamored with the global streaming cost-plus model as they once were. Meanwhile, distributors are finding lots of ways to create innovative funding mechanisms to maximize the value of their IP—a process that is not getting any easier amid inflationary concerns that are making an already expensive business even costlier.
“Consolidation, mergers, inflation and the cost of living, stock price drops and global political uncertainty will all have an impact on the drama business,” says Matt Creasey,
Banijay Rights’ executive VP of sales, co-productions and acquisitions for the rest of the world outside EMEA. “The incredible spending over the past few years to launch stream ing services has now hit the first roadblocks. Varied subscriber growth and the immediate impact on the markets have spooked the corporations that own the platforms, so we will see adjustments to spending and a churn of strategy and probable restructuring. There will inevitably be more consol idation in 2023. We are already seeing a knock-on effect with the U.S. co-production business, and I expect that to continue into next year; there will be fewer buyers in the market in 2023. However, I don’t want to be all doom and gloom. While doors close, other opportunities often appear, so our drive to create new partnerships continues.”
The rising cost of production and talent “is a major issue, par ticularly in the U.K.,” adds James Durie, the head of scripted at Cineflix Rights. “While financial models differ between the major platforms spending at a premium level and broadcasters and platforms that pay lower tariffs, all production budgets are increasingly stretched. Commissioners, financiers and distribu tors are going to need to take more responsibility for supporting the production community to sustain the pipeline and continue to deliver to the level of quality that audiences expect.”
Per Sam Kozhaya, executive VP of operations and cor porate development at Leg endary Entertainment, “The
Studio is offering up a new season of The Boarding School: Las Cumbres.
amount of investment by the streamers themselves is mas sive and arguably unsustainable, so third-party financing and collaborative exhibition models will likely take on more importance going forward.”
With a slowdown in subscribers likely to have the streamers reevaluating content spend, distributors point to a new willing ness on the part of some global players to be flexible in the rights they acquire. “They are doing deals for territories or win dows—they are not insisting on worldwide,” says Nadav Palti, president and CEO of Dori Media Group. Fredrik af Malmborg, the CEO at Eccho Rights, observes, “At some point, I thought that all projects would go to global deals with the platforms, but I see a very strong trend in the other direction.”
Eccho Rights, like many other distribution outfits, has been positioning itself earlier in the value chain to help cobble together the complex financing structures often needed to get premium drama off the ground.
“We are investing much more in develop ment financing with producers,” af Malmborg says. “Instead of going the commissioning route, we are going the acquisition route. We sell it as an acquisition to the platforms regionally and manage the rights from the start. There are several cases where the pro ducer keeps all the IP but is pretty much ful ly financed from the start. We sell the rights to different regional or global plat forms, in pieces and for shorter terms.”
A+E Networks is also aligning with produc ers early on in the process. “We believe in the prospect of profitable scripted projects,” says Patrick Vien, group managing director for international. “We focus on the independent film model in the scripted space, but we are not producing niche content for a niche audience.”
Vien continues, “We’re not a commissioning broadcaster. Rather, we establish a collection of players through a com missioning broadcaster and presale partners. In success, producers do well as a result. We’ve won projects against some heavy-duty competition on that exact formula. It’s about bringing key players together who get more screen value for their investment.”
Marta Ezpeleta, general manager of distribution, coproductions and international offices at The Mediapro Studio, stresses the importance of being adept in various financing mechanisms. “We work with very different business and collaboration models depending on each production. To a large extent, everything depends on the content before deciding who might be the most suitable partner, and from there, we implement the business model with the platform or network in question.”
“Each project has its own challenges and has to be con sidered on its merits and the local market setup,” agrees Banijay’s Creasey. “We, the distributor, may look at a deficit on a drama and decide the gap is too much of a risk to fully fund, so we will need to find a buyer or partner to help close said gap. For producers, this sometimes isn’t ideal as it could delay production, and the possibility remains that funding might not be raised. The more common model is where we are willing to take the risk up front and step in on the deficit, which we then look to recoup through co-production and sales. This way, our producers can start production immediately and hit the schedules needed. Soft funding— tax credits, location grants—remains important.”
Legendary is deploying a variety of approaches—deficit financing, co-productions and cost-plus structures with global streamers—Kozhaya says. “We construct a business model for each show. This allows us to find the best home for each project and maximize the value. For our projects that we deficit finance, the key is to start with channel part ners from the territories where the content has originated or where it will resonate the most, and then build out addi tional co-commissions and partnerships from there, har nessing local incentives, but never at the expense of the creative vision.”
As Durie at Cineflix Rights indicates, between rising costs and intense competition, it’s incumbent on distributors to
“be more creative as a company when we look at financing models and be flexible in our approach. This has meant a greater emphasis on getting in the door at an earlier stage and looking at development funding, but also co-production opportunities to assist in closing off the financing. Traditional deficit financing remains core to our business model, but we are seeing bigger deficits, so finding projects that stand out both creatively and commercially for us is essential.”
As for what it takes to stand out today—well, it turns out you need a fair bit to make an impact in the age of peaking peak TV. “Talent is a big one,” says Sally Habbershaw, exec utive VP for sales and co-productions in the Americas at All3Media International. “It does the marketing for you. We’re taking out The Marriage , starring Sean Bean and Nicola Walker. That caliber of talent immediately creates an appointment to view, so there is certainly interest from buyers. There’s also been quite a trend of revamping old classics—again, the preestablished IP does the marketing for you,” says Habbershaw.
It is all about casting and brand recognition, Cineflix’s Durie agrees. “Firstly, premium-level talent able to make noise assist in the promotion of the series and bring audi ences to a given project. Secondly, IP [buyers and commis sioners] can market effectively connects with an audience with more immediacy and can build into a high-profile, returning brand. That was our feeling when acquiring Last King of The Cross—not only did we have a series that was inspired by a best-selling memoir, but also it had the poten tial for some great casting in established Hollywood star Tim Roth as Ezra Shipman and the very talented Lincoln Younes as John Ibrahim, which, coupled with the explosive story, makes it a compelling series for buyers.”
Banijay’s Creasey says it’s all about the package that will give buyers and commissioners “comfort in the show’s poten tial. The local commissioning broadcaster, the creator/writer, director and production company are as key as the foundation
to getting that hit series,” Creasey explains. “Buyers need this assurance that a show can deliver creatively and practically. It’s the initial package that can get the program greenlit. To achieve attention, platforms increasingly rely on a big-name attachment or a piece of IP to build a campaign around.”
Vien at A+E Networks has his eye on three factors when he and his teams are exploring properties to potentially invest in. “First, might the potential story be so fresh and unique that it can crack through the clutter and may not even need brand recognition? Second, can it be anthologized? Could we bring this concept back with new talent and a fresh story? We do this very successfully with our V.C. Andrews franchise. It means that seasons two and three are more manageable to bring to market, instead of starting from the beginning all over again. The third piece, could it be a returnable series? Return ability is probably harder now than ever, but it is achievable. That, of course, is what everybody is ultimately looking for.”
Returning series are indeed crucial, distributors assert, as both subs-driven platforms and ad-funded broadcasters look for ways to keep audiences tuned in and engaged. “For long-running returnable series, there is the obvious advan tage that you can build brands around them, bringing back a loyal audience season after season,” Durie says.
“Long-running shows that build an audience and grow over time are key for broadcasters and platforms,” Creasey adds. “It gives the platform and broadcaster less of a headache when they can pencil shows into their schedules knowing there is already a viewership.”
“While a long-running returnable show is generally the biggest prize, there’s no guarantee of sustained success at the outset,” says Kozhaya at Legendary. “So, while it’s good to have a plan for a multi-season show that could become a franchise, the producers and the commissioners/buyers need to adjust if the performance doesn’t warrant continuing. Many highly touted projects have not performed to expectations over the last few years, so perhaps that’s why we’ve seen so many
Slated for Paramount+ in Australia, Last King of The Cross headlines Cineflix Rights’ MIPCOM lineup.
Inspired by a true story, Vanda, a Portuguese heist thriller, is among Legendary’s new series slate.
lim ited event series come into the market as of late. Buyers can benefit from less of a long-term financial commitment. Yet, in some successful cases, there’s still the possibility of con tinuing the ‘franchise,’ maybe with a different cast or setting.”
“Event series can make for incredibly entertaining televi sion with many opportunities for impactful stories and interesting, high-level casting,” observes Durie. “Audiences are responding to this type of programming. It’s a shorter number of episodes, which is easy to consume, particularly across catch-up and on-demand, so it serves broadcasters and platforms alike.”
Vien at A+E Networks remarks, “You’ve got to give [broadcasters] a reason to deploy capital in marketing against the show. If it’s going to be one and done, it will have to be pretty remarkable. Streamers market differently than television broadcasters. If you’re asking the broadcaster to invest, they will be looking for ad sales ROIs.”
As for what’s next in the drama space, IP owners are keeping watch on various developments, from new narrative techniques to the increasing importance of diversity, equity and inclusion (DEI).
“We are completely committed to DEI in terms of how we make shows and what shows we make,” Vien says. “We work very closely with our producing partners to under stand their own DEI policies. If they don’t have one, we don’t tend to want to work with them. DEI is a big part of who we are. It’s not something we want to spend much time talking about—it’s good to have a conversation, but it’s way better to take action. We’re on the let’s take action side of things.”
It’s a similar situation at Cineflix, Durie explains, “On-screen diversity is certainly something that is at the forefront of our minds and something we speak to buyers about regularly. That’s something that drew us to Last King of The Cross , an incredible story about a mix of cultures descending onto one very specific area in Australia. It comes down to great storytelling and an intriguing mix of characters.”
Expanding its non-English-language offerings is a priority at All3Media International, Habbershaw says, referencing the MIPCOM launch of the Italian YA production The Gymnasts. “Aside from foreign language, we’re all impacted by monoliths like The Lord of the Rings and House of the Dragon launching, but I think there is quite an interesting development in seeing video games and graphic novels transformed into dramatic iterations.”
Asked about the trends he’s keeping an eye on, Banijay’s Creasey observes: “The beauty of the drama business is that there is always a surprise; and just as you predict one genre, another show comes along, sending everyone in a different direction. If the show is great, then the audience will come, whatever the genre!”
And it’s incumbent upon distributors to be flexible in the deals they are structuring. “Ultimately, you’re trying to look for the most promising opportunity,” says Vien. “The most promising opportunity is also about where the show will perform best. It’s a fluid marketplace. The way new players in the market are making windowing decisions is evolving, and we are evolving with it.”
As for if peak TV has hit its peak, the verdict is out on that, but the consensus is—probably. “We may be gravitating toward a world where less is more,” Vien observes. “There’s been some research about the number of minutes spent perusing the menu before you make a choice; it’s 45 hours per year. That’s one of the reasons people fall back on familiar shows. Those of us in the business are spending much more time being very thoughtful about every single initiative, finding a way for the show not to get lost in that marketplace. You’re seeing some of our bigger competitors pull back in volume. I don’t think that’s necessarily a bad thing. The search fatigue is very real. The industry, over time, will react to it. The last thing any of the tele vision broadcasters or streamers out there want is for you to turn off. I think the bar will continue to be raised, and everybody will win as a result.”
Nicola Walker is one of the U.K.’s most accomplished and popular TV and stage actors. She has played a variety of roles on the small screen, from a spy in Spooks to a farmer in Last Tango in Halifax to a high-powered divorce lawyer in The Split. She has been cast as a detective several times— Jackie “Stevie” Stevenson in River, Cassie Stuart in Unforgotten and currently as Annika Strandhed in Annika. She also recently starred alongside Sean Bean in Stefan Golaszewski’s Marriage, an unflinching, up-close look at a couple, Emma and Ian, wedded for 27 years. By Anna Carugati
TV DRAMA: What appealed to you about Marriage and work ing with Stefan Golaszewski?
WALKER: Stefan was the main, immediate draw for me because I’m a huge fan of his work. So as soon as [I heard there] was a new piece by him, I thought yes, I want to get involved. It’s very different from anything I’ve ever done before and anything I’ve ever seen before.
Stefan was interested in looking at a real marriage and tak ing a snapshot of these people’s lives. Sometimes not very much happens, which is like our real lives, not the lives we all adore watching on television. I love watching incredibly dra matic, exciting pieces of work. But for me, this felt like, Oh, this is dropping in on these people’s lives for a period of time and seeing them cope with loving each other for 27 years and [dealing with] the weight of that shared experience. They don’t talk about their awful, shared history, but it is always there. That was the appeal for me—to see something a bit more real.
TV DRAMA: Much attention is given to the minute-by-minute interactions between your character, Emma, and Ian, played by Sean Bean. There are scenes with few words and uncom fortable silences. What was that like for you as an actor?
WALKER: Silence is the hardest thing to do. There’s a sense, for all of us, that in a relationship, when you’re talking, it’s to prove that you’re OK. As long as you keep talking, you’re fill ing those gaps and those silences, everything’s all right. But Emma and Ian have been together for so long that there are comfortable silences as well. They comfortably move around each other in the kitchen, making tea or filling a dishwasher, knowing what the other feels. That seemed very realistic to me. Then there are the absolutely appalling silences like the silence that Emma has with her father, played by the brilliant James Bolam, while she’s making him a sandwich instead of going out for the anniversary dinner with her husband. Those silences are difficult to play because ordinarily, as actors, we’re used to being given words by brilliant writers to express our emotions and state of mind and tell the audience how we
feel. What was brilliant about the script is that Stefan does not give that to the audience that easily because people don’t give themselves out that easily, minute by minute, day to day. Yes, silence is harder than words. Words can be tricky. On a basic level for actors, it’s tricky to learn those fast-paced scenes when there are 12 of you around a table. I’m thinking of all my years in Spooks where, very early on, I said, I think Ruth always has a file with her so that I could have notes scribbled down! But the silence between two actors, it’s a lot harder not to fill it, but with Stefan we’d be encouraged to hold and hold. Your instinct is to do something, say something, show some thing, and tell the audience how to feel. And he took that away from us. So it’s quite uncharted territory. I’m used to that on stage, but I’m not used to that in front of a camera.
TV DRAMA: Did you have rehearsal time, and is that unusual for a TV series?
WALKER: We had a week’s rehearsal. When I first started acting in my early 20s, that was normal. For dramas, you would get a week’s rehearsal. Over the years, it’s increas ingly fallen away. Sometimes it can feel like you turn up to start a drama, and you’ve all been working on your character in solitude at home and thinking you’re doing a great job, talking at yourself in your bathroom or your kitchen. Then you’re faced with other human beings, and everything changes because, suddenly, you’re inhabiting this real world rather than just your character. It was bril liant to have a week with Stefan, Sean and everyone in the show. We got to sit in a Covid-friendly tent, talk about the piece, run through everything and understand the stage directions. I always adhere to stage directions; I find them helpful. But Stefan’s stage directions are really pre cise. He tells you when to open the recycling bin. He tells Sean when to take a squashed tomato out of the fridge that’s been left while they were away for the week. All those actions are part of your script. So it was amazing to get a week rehearsing. It had that feeling of knowing each other before we stepped in front of the camera.
chance? Are you drawn to the genre?
WALKER: It’s an interesting question because I think about it a lot. I look at my CV and wonder why there are so many detectives on there! There was a year when I was a detec tive on two shows almost back-to-back. At the time, I was working on Broadway. My father phoned me and said, You’re a detective on one channel, and I switch over, and you’re a detective on the other! In my defense, I would like to say that those two detectives, one was Cassie in the show Unforgotten, and [the other] was Jackie in the Abi Morgan show River. Cassie Stuart, created by Chris Lang, is one of the finest detectives ever. Then I got offered River, which was Stellan Skarsgård manifesting me as a version of his mental health. And I’m sorry, I challenge any actor to say, Oh, no, I’m not going to play this other detective. They were so different. So that’s my defense on those two. They were both incredible scripts.
But I think there’s something else going on as well, cul turally. There has been a drive over the years to get women at the front of shows. And I think, interestingly, audiences, myself included, accept a female leading a police show. They believe that a woman could do that. In the early years of my career, there were so many [detectives] because they were the best parts. It was where you were allowed to be pushed a little bit out to the front. That might be why. All actors have a bit of a type, and maybe the policewoman is my type. It’s not a bad type. I’m very happy!
TV DRAMA: What drew you to Annika?
WALKER: It’s another policewoman, but I had been playing Annika on the radio for eight years. Covid hit, and my agent phoned me and said the company Black Camel Pictures wants to make Annika into a TV show. They want to do it by the end of this year. This was at the beginning of the first lockdown. We were so stunned by their hopefulness and their desire to make something when everyone else was terrified about what Covid was going to do to the industry. I was so impressed by the drive to say we’re going to get this done. [Accepting that role] was a no-brainer because I’ve played her on the radio. I love her and wanted to see what it would be like to transplant her to Scotland. She
radio show. And it gave me a chance to work with Nick Walker again, but in a completely different format. And Annika is very different. The [TV] show is quietly subversive because it’s aware of our love affair with police procedurals. But it’s gently asking about that, and it’s in Annika’s head [and she] speaks to us directly. There is something philosophical going on with Annika It’s a little bit different. I like its difference.
TV DRAMA: I love when she speaks directly to the audience.
WALKER: Nick, the writer, was thinking, Well, in the radio series, there are no other characters. It’s just Annika. And because it’s radio, you have this direct line with the person listening. It’s very personal. He came up with the idea as a way of keeping that direct relationship with the audience. The audience see her confessionals and are her silent part ner in crime. She goes to them with problems and with joys. In season two, it’s very interesting because she starts to think that maybe the audience is thinking that she’s not behaving very well. So we’re doing quite interesting [shots] to the camera where she’s trying to slightly defend herself. She’s aware that she might be being judged.
TV DRAMA: The outdoors is almost a character in the series, isn’t it? What’s it like shooting in Scotland?
WALKER: Yes, the landscape is Scotland is another character. When we did the first season, it was very cold. It was winter in Scotland, and it toughened me up. Since then, it has to be very cold back home for me to complain anymore because I have experienced a winter in Scotland. We [started filming the second sea son] in the last few weeks of summer. That was glori ous sunshine, and Loch Lomond in the sunshine is incredible. But you do get midges! Most of the other actors and a lot of the crew were Scottish, and they were laughing at me because I was wearing the full midges net with pride! There was no vanity happily covered in spray and wearing a net! There were those challenges. But it looks incredible. We’re here until December; the cold will come again. But I’m not frightened this time. I’ve survived one Scottish winter. I think I can do a second.
Nicola Walker stars opposite Sean Bean in the BBC One drama Marriage, sold by All3Media International.
Jacob Batalon was catapulted into global stardom in 2017 when he made his first appearance in the Marvel Cinematic Universe (MCU) as Ned Leeds, Peter Parker’s best friend in Spider-Man: Homecoming. This year, with Reginald the Vampire, Batalon finds himself number one on the call sheet. In the SYFY series, adapted from the Fat Vampire books by Johnny B. Truant and premiering this October, Batalon plays Reginald Andres, an unlikely hero navigating the ups and downs of undead life while surrounded by arrogant, beautiful vampires. TV Drama caught up with Batalon to talk about his starring turn in Cineflix Rights’ Reginald the Vampire , serving as co-executive producer and what he learned from his time in the MCU.
TV DRAMA: What attracted you to Reginald the Vampire? BATALON: It was a sci-fi show where the leading man wouldn’t be a prototypical Hollywood sort. And that really intrigued me. I read the first two episodes and the story was just funny, relat able and very sweet.
TV DRAMA: Tell me about Reginald Andres. BATALON: Reginald is a thoughtful, neurotic person. He’s dealt with a lot of societal stigma throughout his life because of the way he looks. And he’s never let that deter him from being who he wants to be, even though he may be lost in who he wants to be. That played a big part in how he became a vam pire—he found new life through death. It’s a poignant [reflection] of how we let life go by without understanding what we’re doing. That’s Reginald in a nutshell. He’s also self ish and shy and all these things. But we’re all human, right?
TV DRAMA: We’ve seen the sexy Twilight and True Blood vam pires. What are Reginald and his crew like? BATALON: Reginald is the bane of the vampire community. He definitely does not fit into their ways. The main antagonist, the reason she wants him dead is because he’s a blemish on their perfect community. That’s his deal. Our vampires are obvi ously all beautiful, cool and suave. I’ve got a few vampires on my side who are amazing.
TV DRAMA: Everyone knows you best from the Spider-Man movies. How was that shift, going from big Hollywood block buster movies to the production schedule of a TV show?
BATALON: It was a big change in preparedness. With SpiderMan, we wait around a lot. You’re filming one scene all day. With Reginald, we go through 10, 11 pages of dialogue every single day. It taught me a lot about being prepared, open and present. We don’t have time to waste. You have to be on your game. Otherwise, you’re throwing everyone else, and the schedule, off. And making sure I am good enough to carry a
By Mansha Daswanishow and work well with everyone—and to continually bring through Reginald.
I feel like a lot of actors work toward this idea of knowing that they have the ability to do these things. Coming into work every single day and having people look to you to continually perform and bring the energy and work well with other people and not be difficult—it’s a lot of self-preparation. Everyone’s really counting on you to perform.
TV DRAMA: You’re an EP as well. Tell me about being involved in the behind-the-scenes aspects.
BATALON: As an actor, you don’t really think about the process—the nuances that come along with producing. But being a producer, you see everything. You have to understand why we do the things we do. The story and the message, mak ing sure that everything is still coming through very clear. A lot of business stuff. I feel like I learned a lot about how things are run. I’ve learned a lot on Spider-Man, but to have a hand in the pie was eye-opening.
TV DRAMA: What’s your sense of how Hollywood is doing in terms of upping Asian American representation on-screen?
BATALON: Being Filipino, I’d never seen anyone like me on TV, much less be the lead of a show. Especially with Spider-Man, we were all happy to be part of this narrative of diversity. A lot of Asian actors are very much deserving of the spotlight. And that’s important. I do feel like the industry is moving to where inclusivity is the name of the game. I want it to be a lot more than what it is. I’m sure it will be, sooner rather than later.
TV DRAMA: Do you plan to continue going back and forth between television and film?
BATALON: Hopefully Reginald will go on for a bit. I’ll do movies for sure. Now that I’ve been the star of something, I don’t want to be a sidepiece anymore. I want to be like the main dish all the time!
Abranch of India’s Swastik Productions, One Life Studios was set up in 2017 by Siddha rth Kumar Tewary, the founder and chief creative behind Swastik. A producer and distributor with its own editing and VFX studios, the company’s main mission is to bring stories from India to audi ences around the globe.
“We want to tell stories that are very Indian at their core and take them to the world,” says Tewary. “We went into distribution for the first time with our flagship series, Porus, in 2017—which has been licensed to over 17 countries— and today, we have partnered with some of the biggest broadcasters and film companies to represent their content. We aggregate and curate to get the best Indian and interna tional content to the world.”
Not only is Tewary the founder of One Life Studios and Swastik Productions, he is also the writer, director and producer behind the tech thriller web series Escaype Live, which has found success on Disney+ Hotstar. Tewary was inspired to make the series from everyday life in the modern world, which sees people glued to their phones and social media—and how social media has the potential to create overnight stars as well as to have myriad negative impacts on one’s life.
In Escaype Live, the titular live-streaming app holds a contest that gives contestants the chance to win half a million dollars. The series follows six characters who hail from different cities across India as they vie for the money and delves into the effects that the competition and social media at large have on their personal lives.
In this video interview, Tewary also talks about One Life Studios’ Indian adaptation of The Cleaning Lady, locally titled Saaf, as well as what One Life Studios and Indian content uniquely offer to the international market. “I genuinely feel that, as a country and as a company, we are quite well poised to take our stories to the world,” he says. “My vision for One Life Studios is that we should be known for bringing Indian and international stories that are very much local in nature and heart but narrated with a global appeal.”
“We want to tell stories that are very Indian at their core and take them to the world.”
Creators of the critically acclaimed series The Good Wife, the husbandand-wife team of writers and producers Robert and Michelle King have followed that hit with other shows, including The Good Fight and Evil. With their signature blend of drama and satire, they offer viewers thoughtpro voking examinations of current events and human nature, with a particular interest in what drives people to behave badly.
TV DRAMA: What issues have you wanted to explore in The Good Fight ?
ROBERT: Right now, what drives the show is fear of civil war in America. It seems like an extension of what we were doing with [Judge] Wackner’s court last year, which was all post-January 6 worries about a Balkanization of American politics. You see this in Ukraine, too; how do people live their lives, start their businesses and run their businesses as warfare is going on around them? So, we are taking it to a political dimension.
MICHELLE: And much of this, of course, is through the eyes of Diane Lockhart, played by Christine Baranski, who’s torn. On one end, she is very political and wants to fight the good fight; on the other, she is sick of feeling miserable. So [we look at] wanting to be happy, and is that selfish?
TV DRAMA: How did Evil come about, and what served as inspiration?
ROBERT: I think our relationship served as inspiration, as it did for The Good Wife and even The Good Fight, in that we have a very strong religious distinction between us. I hate saying I am devout Catholic, but I go to mass every week.
MICHELLE: And I’m Jewish but on the agnostic side. For as long as we have known one another, over 30 years, we have been talking about how one explains evil in the world. You read every day in the newspaper yet another evil act. How does one explain it? Robert goes more toward a supernatural demonic explanation, and I am more likely to look at psychology or a sociological explanation.
ROBERT: It’s that basic question of why bad things hap pen to good people. That is a lot of the discussion. We were intent on having two people on opposite ends of this question but had respectful conversations, even lov ing conversations, and didn’t, as in most of American society now, start screaming at each other and throwing things. Hopefully, that’s what you are attracted to when you see it because even though it has scares and comedy, the emotional core is two people who have a very differ ent epistemological view of life but are still able to talk about it and not hate each other.
By Anna CarugatiTV DRAMA: Was the fact that the characters treat each other so respectfully, with different opinions, one of the aims of the show?
MICHELLE: That’s exactly right. I would say the aim of the show as far as I was concerned. You want it to be enter taining, but to have those questions discussed with peo ple who didn’t anticipate changing the other’s point of view but were listening and open-minded.
ROBERT: It’s interesting; most people think of drama as yelling, but in fact, there is a lot of drama in two people who struggle with each other’s view of the world. And that’s what Katja [Herbers] and Mike [Colter], the two actors who play Kristen and David, are doing whenever they face the dilemma of a school shooting or someone dying of cancer. How can that happen if you don’t believe in God? How do you deal with those tragedies? If you do believe in God, does God just ignore you? And what do you do when a bastard gets a miracle? Why does he or she get one and you don’t? There are all these dilemmas about the struggle of life and how you deal with them both when you believe or don’t believe.
TV DRAMA: How do you oversee all the shows you do? Do you divide responsibilities between the two of you?
MICHELLE: Yes, some are divided. There’s overlap in others; weirdly, Zoom has been helpful in that you get more done quicker, although it’s not as fun because you aren’t in the same room with people you like.
ROBERT: We had an overlap between the Evil and The Good Fight writers’ rooms this year. Evil started earlier, and because we were doing a lot of Zooms, we could squish more into one day, as insane as that sounds! Michelle is more about casting, wardrobe and dealing with the producers. I deal probably a little more with the writers’ room and the directors. Our only agreement between us is that we’ll never disagree in front of other workers.
TV DRAMA: How do you run your writers’ rooms, and how do you go through the process of breaking stories? Do you outline? Do you have a board with the beats?
MICHELLE: Yes, there is a board that, when you start, is empty in a terrifying way!
The final season of the hit series
The Good Fight premiered on Paramount+ in September.
ROBERT: We have two ways of talking about an episode. One is you start with what we call a white board, but, in fact, it’s an app where we all can see at the same time what’s being written on it. What do we really want to see? What is this about? Is there any thing even there? And then, when you feel like you are getting closer to building the episode, you go to a Miro board, which has virtual cards that everyone can move around on their individual screen to see how beats look differently. Then the writers are off and writing. But you do not see a chalkboard. You’re not seeing actual 3x5 cards. Everything is virtual, so it melts your mind slightly because it’s not real!
TV DRAMA: Can you talk about the importance of colle giality in the writers’ room?
MICHELLE: First, the writers’ rooms are extremely collegial, and we hire with that in mind. These are very smart and very nice people. They are respectful of each other from the jump. We’ve been fortunate; it’s almost been a non-issue because hiring someone who is not a good listener is cruel to the other writ ers. Before [the pandemic], it was an actual room; you were putting someone in a submarine because you are in that room for eight or ten hours a day. Now it’s Zoom, so it’s a virtual room. It would be impossible if someone was rude or couldn’t listen to others.
ROBERT: The key is that the showrunner has to listen. We write down the names of everybody holding up their hand. And then we go down [the list] and say, OK, you’re next, then you’re next. What’s important is that no one feels they have to give speeches. Because if anybody starts giving speeches, everybody realizes it might be another four minutes until it comes around again to them. Almost everybody knows that you
[need to] share your thoughts very succinctly. We all do that by example. Whenever we either call on our selves or call on each other, we try to keep it [short]. If anybody wants to interrupt us, we shut up. So, it’s very clear. It’s not a showrunner’s ability to say, No, I’m going to barge right in and talk over you. Let the other person talk. Also, make it an example for the youngest writer in the room by going to them just as much, if not more so, than you would to an older writer. [That way] everyone starts realizing it [doesn’t] come down to any prestige from being older or being in the writing room longer.
MICHELLE: There is a hierarchy of titles, but in terms of treatment, there actually isn’t.
ROBERT: There should be a class on how writers’ rooms should run because it makes all the difference for anyone to feel happy in what they do and how they contribute.
TV DRAMA: You are executive producers on Your Honor . What appealed to you about that project?
ROBERT: The Israeli format that started that was excep tional. You’re always looking for an innocent person who has to put him or herself in a position where they break the law or bend the rules. It’s almost Hitchcockian: I’m an innocent man or woman, but I have to do this. And to do it for a loved one like a child—we’re parents—there just seemed to be nothing that was more heartrending and understandable. And then when you think of Bryan Cranston [who stars in Your Honor], who was so perfect for Breaking Bad because your heart goes out to him at the beginning as someone who felt like prestige and money passed him by, what do you do? In Your Honor, his dedication to his son was the core of the show. We just fell in love with that.
By Anna Carugati
he recently merged Warner Bros. Discovery, consisting of WarnerMedia and Discovery, Inc., has frequently made headlines in the past months. Much attention has been given to content production, financial earnings and the upcoming joint streaming service, comprised of HBO Max and dis covery+, set to launch next year. Yet, one sizable divi sion of Warner Bros. Discovery has remained under the radar even as its brands continue to generate revenues and satisfy viewers.
Gerhard Zeiler, president of international, oversees busi nesses in more than 200 countries and territories.
between its pay- and free-TV channels, the company is the second-largest broadcast group in Europe.
Eurosport is the leading pan-regional sports destination in Europe, and Warner Bros. Discovery’s sports channels, plat forms and brands collectively reach roughly 130 million people outside the U.S. every month.
They include Discovery Channel, discovery+, CNN, Eurosport, HBO, HBO Max, HGTV, Food Network, Cartoon Network and many more. He also has joint responsibility for direct-to-consumer in interna tional markets and oversees local theatrical production and acquisitions.
Though viewers are opting to watch programming on streaming platforms rather than linear channels, the rate of that migration varies from one region of the world to another.
As Zeiler tells World Screen , linear television is not dead, and several brands in his portfolio are drawing significant viewership.
With 30-plus pay-TV networks, six consistently among the top ten, Warner Bros. Discovery is the most success ful U.S.-head quartered company in Latin America. And
The international businesses not only contribute to the bot tom line but they also form the foundations for valuable long-term relationships and incubators of talent. Zeiler, who previously held the positions of president of international and chief revenue officer at Warn erMedia, president of Turner International, and CEO of RTL Group, believes in the importance of the local mindset—understanding local economies, cultures and tastes.
Zeiler reiterates what David Zaslav, president and CEO of Warner Bros. Discovery, stated recently: subscriber numbers are not the only factor in measuring success. To that end, the company is still in the business of selling its content to third parties. Zeiler also believes in offering consumers the broadest range of entertainment options across theatrical, home enter tainment, streaming, premium pay, pay- and free-to-air networks, gaming, consumer products and experiences.
Zeiler talks to World Screen about the strong performance of Warner Bros. Discovery’s international channels, feature films and windowing, the company’s evolving streaming strat egy, and serving advertisers and consumers.
WS: How important are international businesses to Warner Bros. Discovery?
ZEILER: Warner Bros. Discovery is a global company. The international part of the business is, therefore, naturally important. A significant portion of our company’s rev enues come from markets outside the U.S. But even more important, from my point of view, is that through the international businesses, we serve all our consumers across all the platforms. We are invested in theatrical, home entertainment, streaming, premium pay, pay TV, free-to-air networks, gaming, consumer products and experiences. We offer all of that to the consumer. To say it simply: We are not a one-trick pony. I believe this broad spectrum of services we can offer—which only a few other companies can—gives us a competitive advantage. But let me add one thought: To be successful as a global player, you must also have a strong local mindset. You know my opinion about that—regardless of where I have worked, I always thought that way. Without the knowledge of the local economies, the local cultures and the local tastes, you can’t be a winner. That’s what makes our international businesses important for the whole company.
WS: What challenges and opportunities do you see for the company internationally?
ZEILER: Let’s start with the smallest of our regions, Asia Pacific. If you want to be a global player, you can’t neglect this region. The biggest challenge is that the Asia Pacific is not one region; it’s at least six: Japan, Korea, India, Aus tralia and New Zealand, the markets of Southeast Asia and let’s not forget China. They are all so different in terms of language, culture, religion and regulation. It requires us to offer the consumer a local proposition that
suits their culture and tastes. Yes, U.S. content is very popular in Asia, and the latest successes of our feature films show that. Australia was in the top three markets for The Batman outside the U.S., as was China, despite the fact that 50 percent of movie theaters were closed because of Covid at the time of the movie’s pre miere. Look at Elvis: Australia was the num ber two market outside the U.S. And last but not least, Fantastic Beasts: The Secrets of Dumble dore: Japan was number one outside the U.S., and China was number three.
But if you want to be successful in Asia, U.S. content alone is not sufficient. Therefore, we have to invest in local content. I will give you two examples from Japan. In the last ten years, we have been producing successful local feature films and anime shows. Last year alone, Japanese local feature films grossed almost $50 million at the local box office in Japan. These examples show that the Asia Pacific is a growing source of great storytelling; we want to and will be part of it. Last but not least, we have the biggest commercial player in New Zealand with Three.
Latin America was a stronghold for Warner Media and a stronghold for Discovery. Combined, the performance of our business in the region is great. We have 36 linear pay-TV networks, [spanning] general entertainment, factual, lifestyle, sports and news. And even more important than the volume and number of linear networks is the fact that six of them—TNT, Cartoon Network, Discovery Kids, Warner TV, Discovery Channel and Space—are within the top ten pay-TV networks in the region, which makes us the most
successful U.S. media company in Latin Amer ica. We also invested in sports. Together with Fox [Sports], five years ago, we acquired the rights for the Argentina Primera División for ten years. We did it on our own in Chile two years later and acquired the Chilean Primera División for 15 years.
Last but not least, a word about our streaming business. We have HBO Max [performing] very successfully in Latin America and discovery+ in Brazil. To summarize: Latin America is a very strong region for Warner Bros. Discovery. Yes, it has not always been a region of stability, but our management knows how to deal with that.
Our biggest region is Europe. Not many peo ple know this, but we are the second-largest broadcast group with pay-TV networks in all [of Europe] and free-TV networks in nine Euro pean markets. Our offer to consumers includes 50 linear brands. We have HBO Max in the Nordics, the Netherlands, Spain, Portugal and Central and Eastern Europe, and discovery+ in the U.K., Italy, Germany, the Nordics and a few other European markets. We are number one in Poland with the TVN Group and number two in Norway and Italy. We are number three in Germany, Spain, Sweden, Finland and Denmark and number five in the U.K.
When we talk about Europe, we also need to talk about sports. Eurosport is the number one pan-regional sports destina tion in Europe. We are the home of the Olympics, the home in most of the markets of the Tour de France, of most of the cycling tours, and we are the home of golf.
And finally, when you think of Europe, you also must acknowledge that it’s the region that
delivers the most revenue when it comes to monetizing the U.S. content we produce, whether it’s theatrical or home entertainment, content sales, games or consumer products.
WS: You mentioned channels, and I was going to ask how relevant they still are. But is it even fair to call them channels? Haven’t they trans formed into destinations or brands that people can watch in different ways?
ZEILER: You are absolutely right. But let me say one thing: Linear TV is not dead. We believe in linear. Yes, we have to be honest—all the statis tics show that the number of minutes watched on streaming is increasing. But still, the majority of minutes watched is on linear, in the U.S. and even more so outside the U.S. For us, this means we are required—and happy to do so—to give the consumer both options, streaming and lin ear. When it comes to linear, it’s pay-TV net works and free-to-air networks. I strongly believe that linear networks will continue to be a factor in the future of video consumption. And it’s also a strong provider of revenues and cash flow. And let’s not forget that we own strong free-to-air networks. That helps us a lot in promoting our streaming services.
WS: Is sports the one genre that has to be watched live as it happens?
ZEILER: Absolutely. Sports is a strong asset for Warner Bros. Discovery. Through our sports businesses, whether channels, plat forms or brands, we collectively reach roughly 130 mil lion people outside the U.S. every month. And we are based in more than 200 markets and 20 languages. This includes
Latin America, as I mentioned, Eurosport; GCN, the Global Cycling Network; GMBN, the Global Mountain Bike Network; and our golf offerings, GOLFTV and Golf Digest. And let’s not forget, you can also watch a lot of sports on HBO Max in Latin America, on discovery+ and on our free-to-air networks in Europe. And one thing is for sure: sports programming is booming. If you compare the ratings of linear networks before and after the pandemic, the big winners are sports and news. And we have both.
WS: How do you decide to launch HBO Max or discovery+ or the upcoming joint service in a country? What factors do you consider?
ZEILER: First of all, David Zaslav [the president and CEO of Warner Bros. Discovery] and JB Perrette [the CEO and president of global streaming and interactive] made it clear during the Q2 presentation in August that our stream ing strategy has evolved as the market has evolved. Yes, streaming is an essential part of our strategy going forward, but it’s not our only strategy. It was also announced that the new combined streaming service will be launched sequentially, starting next summer in the U.S., then in the second half of the year in Latin America, followed in the European markets in the first quarter of 2024 and some key AsiaPacific markets and some Western European markets in the second half of 2024. It’s too early to make predictions going further, but what is important is that we will look at every single market individually. We will make the best
decision on how to tackle streaming, whether it makes sense to go alone or with a partner or postpone the launch. And David Zaslav made it very clear that subscriber numbers are not the only factor in how success is measured. It’s important, but not the only important [metric].
WS: Is it still part of Warner Bros. Discovery’s strategy to sell movies and TV programming to third parties?
ZEILER: We are the owners of probably the largest global library of content. This, I would say, requires us to maximize the value through a broad distribution and monetization strategy. It makes sense to monetize across all windows, from theatrical to home entertainment, stream ing and linear. It’s also clear that when we want to be the home of the best and greatest
storytellers, we can’t create and use content only for our networks. Yes, a lot of the content we create we make for and use on our platforms. But there are also shows that are created for and air on third-party platforms that are very suc cessful: Ted Lasso on Apple TV+, Abbott Ele mentary for ABC and The Sandman on Netflix. And we will not give up this third-party business. It wouldn’t make sense financially, and I also don’t believe that we could hold on to the best storytellers in the world if we tell them they could work only for our networks.
WS: How important is children’s content to Warner Bros. Discovery’s international services? ZEILER: Kids’ networks for our company and especially internationally are important. In Latin America, Cartoon Network and Discovery Kids
Dolores: The Truth About the Wanninkhof Case is a Spanish original commissioned by HBO Max.
are two of the top three pay-TV networks. In Europe, we not only offer Cartoon Network and Boomerang in all the pay-TV markets, but we also have quite a few free-to-air brands: Boing, together with Mediaset in Italy and Spain, K2 and Frisbee in Italy. In Asia, Cartoon Network is in every country. In India, we have three kids’ networks—Cartoon Network, Pogo and Discovery Kids—the number one kids’ portfolio in July. The kids’ business is important for us, and [the significance of these businesses] will not decrease going forward.
WS: From an international perspective, what is your view of movie production and distribution? Movies are still important, aren’t they?
ZEILER: Movies are important. Let’s not for get that the history of our industry is the history of windowing content on different platforms. Only Netflix believes that put ting content on only one platform is good for the consumer and a good business model. We don’t believe in this. David Zaslav made it very clear: We believe in the theatrical window as it elevates the interest and demand for films. We see that slowly people are coming back to theaters. Look at The Batman or No Time To Die or Spider-Man: No Way Home . The box office of these films was huge, much more than most people would have thought. But the smaller films, the “nice to haves,” still struggle. We will see how this goes moving forward. It also means that our local fea ture film strategy is important. We have been operating for more than ten years in
Germany, Japan, France, Spain, Italy and the U.K. in releasing local feature films. That is an essential part of our theatrical strategy.
WS: You’ve been a proponent of local pro gramming for a long time. Local content is not just scripted. Unscripted local is also essential, isn’t it?
ZEILER: Local content is essential for all plat forms, whether streaming or linear. We’ve always had success as a company with our local content. On the scripted side, 30 Coins , a Span ish HBO production, was even successful in the U.S., as was Beforeigners, a mystery sci-fi series that came out of the Nordics.
But local content doesn’t mean only scripted drama or scripted comedy. There are a lot of unscripted formats, documen taries and specials in factual, lifestyle and reality that are successful. The most suc cessful shows in many discovery+ markets are local versions of 90 Day Fiancé . Two examples of successful crime documen taries on HBO Max: Dolores: The Truth About the Wanninkhof Case , which we released last October, was one of the pro grams with the highest engagement numbers in Spain. Recently, a crime documentary in Brazil on HBO Max, Pacto Brutal: O Assas sinato de Daniella Perez [ A Brutal Pact: The Murder of Daniella Perez ], five episodes about the murder of a soap star in Brazil in the 1990s, had the highest acquisi tion and engagement numbers of any local productions in Latin America. You can see that it doesn’t matter if relevant stories are scripted or unscripted. If they are relevant, they find their audience.
WS: In your previous position, you oversaw global advertising. What are advertisers’ major concerns today, and what does Warner Bros. Discovery offer them?
ZEILER: Advertisers and brands want three things: First, the best reach they can get. Sec ond, the best targeting they can get. And third, an environment that is fit for their messages. The good news is that we have the ability with our assets to offer all of it. We have the reach through our linear networks and the targeting through our streaming platforms, which include, in more and more markets, an adver tising solution. And the genres we offer with our networks are so broad that I don’t see a lot of advertisers who won’t find the right envi ronment for their messages. We are in a good place when it comes to advertising, whether in the U.S. or outside the U.S.
WS: Given everything going on in the world, the war in Ukraine and inflation, are you more opti mistic than concerned about the possible impact on consumer spending?
ZEILER: The war in Ukraine and the global sup ply chain crisis have an impact on the global economy. A lot of people are asking whether a recession is coming or not. And I would lie if I replied that a recession wouldn’t have a negative impact on consumer spending.
But let’s not forget that we know from the last financial crisis that when people have to make tough choices about where and how they spend their money, they also tend to spend more days at home watching TV. This will not compensate for everything, but it’s a good factor for our industry. And the [most recent] U.S. data is pos itive. I’m more optimistic than pessimistic.
30 Coins , an acclaimed Spanish-language scripted series, performed well for HBO Max in the U.S. and is now heading into a second season .
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I am properly obsessed with Welcome to Wrexham, the absolutely brilliant FX/Hulu orig inal docuseries about football, fans and a pair of slightly mad Hollywood celebrities descending on a working-class Welsh town.
The series, which premiered in August, chronicles the journey of Rob McElhenney—best known for It’s Always Sunny in Philadelphia —and Deadpool star Ryan Reynolds as they seek to acquire and turn around the ailing Wrexham AFC football club. Part real-life Ted Lasso , Welcome to Wrexham is a love letter to the sport, a fascinating insight into the intri cacies of English football, a quick primer on Wales and incredibly funny. Beautifully written, perfectly edited and deeply heartwarming as it shows the level of devotion that Wrexham supporters have to their club and laugh-out-loud funny throughout. It is also just the footy content I need as I wait (impatiently) for the FIFA World Cup to take over my free time, beginning this November.
The AVOD business is booming, leading to a wealth of new opportunities for distributors with sizable factual content slates.
Our second annual TV Real Screenings Festival spotlights fantastic new and returning properties that reflect the wealth of standout factual content available to buyers today.
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Welcome to Wrexham , which received a two-season order, is part of a wave of hybrid factual series we’re seeing across the landscape, and it’s a trend I hope con tinues. It’s on display in Edge of the Unknown with Jimmy Chin , which deploys a marvelous mix of footage of amazing athletes pushing themselves to the absolute limit, reflective interviews with them and remarkable insights from Chin himself. I got to catch up with the accomplished climber, skier, mountaineer and Oscarwinning filmmaker about the new show; you can read that Q&A in this edition of TV Real . We also feature critically acclaimed documentary maker Joe Berlinger, whose latest project, the series Shadowland for Peacock, attempts to understand the psychology of people who have fallen for conspiracy theories like QAnon and stolen elections.
Peacock is among many streamers commissioning and acquiring ambitious, high-end factual productions today. And while SVOD still makes the most head lines, the AVOD space is picking up pace and emerg ing as a potentially lucrative avenue for generating revenues off library fare. And those with sizable cata logs are finding a range of opportunities with FAST channel operators; you can read my deep dive into this sector later in this issue. Mansha Daswani
At MIPCOM, 3Boxmedia International Sales is presenting new episodes of the science and travel series Children of the Stars, which has aired on Nat Geo Mundo, Science et Vie and Smithsonian Channel. Bees: The Invisible Mechanism “introduces us to the world of pollinators in a unique way,” says Valentín Romero, international sales and acquisitions manager. “It is amazing to know that they are responsible for 75 percent of the fruit and vegetables we eat.” Another naturalhistory title, Hispania: Land of Rabbits shows how the wild creatures’ existence aids the survival of emblematic Iberian Peninsula predators. “We are proud to discover the potential of independent producers and the new stories they develop, for the market we work in, and to make great documentaries accessible for international audiences,” says Romero.
Wolf—Wanderer Without Borders / Resurrecting Eden—Human Help for Nature’s Own Resilience / Chasing Rembrandt—How Art Became a Business
Albatross World Sales has on offer Wolf—Wanderer Without Borders, which tells the story of how wolves came back to Eastern Europe after receiving legal protection. It follows a young lone wolf as he travels westward searching for his own territory and mate. Resurrecting Eden—Human Help for Nature’s Own Resilience examines projects around the world in which humans are helping to restore and strengthen nature.
“In a time when it’s tempting to give up hope for our planet, it is truly inspiring to see that all over the world, people are making changes for the better,” says Eleytheria Heine, sales manager for Japan, India, the Middle East, Africa and CIS. Meanwhile, Chasing Rembrandt—How Art Became a Business tracks art hunters.
Searching: Our Quest for Meaning in the Age of Science / Inside High Noon / Dream of Italy: Travel, Transform and Thrive
Leading APT Worldwide’s highlights, Searching: Our Quest for Meaning in the Age of Science, based on a book by author and physicist Alan Lightman, explores how scientific discoveries can help us find connections to each other and our place in the universe. In honor of the 70th anniversary of the Hollywood western High Noon, the documentary Inside High Noon goes behind the scenes and looks at the film’s troubled production. “It explores not just the feature film itself, but the turbulent era in which it was produced, which has fascinating parallels to the times we live in today,” says Judy Barlow, VP of business development and international sales. Dream of Italy: Travel, Transform and Thrive sees celebrities such as Sting and Francis Ford Coppola talk about Italy.
“Our factual lineup includes outstanding science, history, nature, biography, travel, lifestyle, art and culture, and business programs.”
—Judy Barlow
“We always look for films that can be understood by and enrich audiences anywhere.”
—Valentín Romero
“We have an impressive range of new docs to offer that we can’t wait to share, both ready-tobuy and in production.”
—Eleytheria HeineDream of Italy: Travel, Transform and Thrive Chasing Rembrandt—How Art Became a Business Bees: The Invisible Mechanism Children of the Stars / Hispania: Land of Rabbits / Bees: The Invisible Mechanism
Autentic Distribution’s catalog features GRIP, a car magazine show. “Male-oriented factual entertainment is sought by many of our clients,” says Mirjam Strasser, head of sales and acquisitions, noting that GRIP fits the bill. Berlin 1933—Diary of Metropolis, a follow-up to Berlin 1945, tells the story of how Berlin, a hub of modernity, became Germany’s capital city in step with the Third Reich. Mapping Disasters, meanwhile, seeks to find out what can be learned in the aftermath of Earth’s most catastrophic forces. “Using archive, CGI, modern analytics and experts, we track the time, direction and trajectory of some of the world’s biggest catastrophes,” Strasser says. “What can be uncovered post impact? What do we need to know between the inciting event and the ripple effects to curtail the swell and save lives?”
The four-part docuseries Con Girl, which tells the story of con woman Samantha Azzopardi, leads BossaNova Media’s highlights. “As crime audiences morph into more sophisticated areas and following the huge success of The Tinder Swindler and The Puppet Master, for example, it seems that con artists are the next big thing in the true-crime space,” says Holly Cowdery, head of sales. “Con Girl delivers something not only totally immersive but very relevant for the modern audience as we see her forge her way through over 20 identities and multiple continents, leaving a trail of destruction in her wake.” Across six episodes, Mysteries of the Ancient Dead investigates the methods of preserving and honoring the dead in ancient civilizations. A ten-parter, Engineering Repurposed showcases the innovation and construction behind impressive structures.
GRB Studios’ Death Walker with Nick Groff sees the titular paranormal investigator look into some of the most notorious hauntings in America. The new six-part docuseries Icons Unearthed reveals the secret histories of iconic film and television series and “features icons known and loved the world over, such as Star Wars and The Simpsons,” says Hud Woodle, executive VP of international sales and operations. Also on offer, the Music’s Greatest Mysteries docuseries “investigates the most unique and enigmatic stories in the world of music,” Woodle says. It “covers topics that have altered or elevated the world of music while highlighting the colorful characters that have indelibly changed the course of music history.” Woodle adds, “These shows highlight just a few from our vast catalog of almost 4,000 hours.”
“We see ourselves as the home for authentic stories.”
—Mirjam Strasser
“GRB only acquires and distributes programs that appeal to a global audience in a variety of genres.”
—Hud Woodle
Death Walker with Nick Groff
Mysteries of the Ancient Dead
“BossaNova may be in its infancy, but we are already delivering a diverse slate where quality remains key.” —Holly Cowdery
NHK Enterprises (NEP) is highlighting the documentary film Young Carers: A Silent Cry for Help , which was made over the course of two years exploring the lives of children who serve as carers for family members. “It shows in great detail how they struggle alone without being able to confide in anyone, and it gives an extremely detailed picture of the severe impact on their school life and career,” says Yukari Harada, senior producer. “The biggest appeal of this documentary is that the story goes beyond just documenting the hidden hard lives of young carers.” Among those featured in the doc are a high school student caring for his mother, who has cerebral palsy, and a man in his 40s who spent three decades taking care of his mother.
Nothing Compares / 11 Minutes / Growing Up Grizzly
The MIPCOM highlights from Paramount Global Content Distribution show the depth and breadth that the company is able to offer in the marketplace across its factual brands. The slate includes Nothing Compares , a documentary feature on Sinead O’Connor that outlines her meteoric rise to global fame. “She’s an iconoclast known around the world with an absolutely fascinating life story,” says Lauren Marriott, senior VP of content partnerships and brand strategy. 11 Minutes explores the raw human stories of people present at the 2017 Route 91 Harvest Music Festival in Las Vegas, where a mass shooting took place. Growing Up Grizzly provides a peek into the lives of two orphaned cubs, one left to fend for itself in nature and one raised in captivity.
The ZDF Studios highlight Surviving Hothouse Earth takes a different approach to tackling the issue of climate change. The documentary offers a look into our planet’s distant past in order to understand its present and find clues to how we could survive in the future. “With climate change being the biggest challenge we face today, Surviving Hothouse Earth will offer fascinating insights into the scientific research that is being undertaken to help mankind find a solution,” says Ralf Rückauer, VP Unscripted. The documentary War Gamers reveals the untold story of the Wrens, an all-female team whose brilliant tactics defeated a massive convoy of German U-boats in WWII. The series Africa from Above promises a look at Africa’s people, places and wildlife from a new perspective.
“We have a very impressive offering of programs, both in terms of quality and quantity.”
—Ralf Rückauer
“Paramount Global Content Distribution now has one of the most diverse and largest factual slates at the market.” —Lauren Marriott
War Gamers
“NHK and NEP are also making lots of other appealing programs about Japan’s rich cultural and natural environments and the lives of people who live there.”
—Yukari HaradaYoung Carers: A Silent Cry for Help
W hether you can’t get enough of hotheaded celebrity chef Gordon Ramsay or are eager to spend a day on a true-crime binge, the AVOD universe has something for you. Indeed, FAST channels have taken the model from the heyday of pay TV—branded net works delivering everything from general entertainment to nothing but motoring shows—and put it on steroids. There is a service for every niche, which means that distributors with sizable catalogs are finding plenty of new ways to monetize their IP.
“With Covid slowly disappearing, a war in Europe, an energy crisis and inflation of around 7 percent to 9 percent, people are having a closer look at their subscription fees,” says Ralf Rückauer, VP Unscripted at ZDF Studios. “Ad-funded busi ness models are getting more into play. Specifically, FAST channels are getting a lot of momentum, while SVOD is los ing a bit. For us as a distributor, both models are interesting in the mix with classical free and pay linear.”
Hud Woodle, executive VP of international sales and operations at GRB Studios, notes, “AVOD has presented extremely well for us and our international sales efforts. AVOD platforms are popping up all over the world, and so
are FAST channels. This has certainly resulted in an increased demand for unscripted content across the board.”
Anne Olzmann, managing director of Albatross World Sales, agrees that the AVOD space has become increasingly important. “After a true ‘launch wave’ of SVOD platforms accelerated by the pandemic, this market is slowly but steadily saturated. Now, in combination with inflation and world-shaking events such as the war in Ukraine and the energy crisis, people are becoming more reluctant about where to spend their entertainment money. So, seemingly, the free options that AVOD and FAST offer are the go-to solutions to broaden the offer. With different SVOD platforms now also exploring lower or even dropping subscription fees, this is quite obvious to note. We have been working with different AVOD and FAST operators for quite some time now, and while it has taken some time to set up, it’s starting to become very lucrative, especially for titles that have made their TV round and are ready for third and fourth runs.”
Autentic Distribution is also seeing increased trade with AVOD services, according to Mirjam Strasser, head of sales and acquisitions. “We are already cooperating with a num ber of them for YouTube exploitation and can see a con stant and growing revenue stream from there. AVOD is the fastest-growing segment of the TV market right now. Autentic has been active in this market for a while now. Together
Hot Roads—The World ’s Most Dangerous Roads has been among Autentic’s top sellers in the AVOD and FAST space.
with our trusted partners, we are increasingly monetizing our IP via AVOD.”
The FAST business, however, is not for the faint of heart. Managing deliverables can be a challenge for those without the proper expertise.
“We had to create a specific structure in-house to deal with this volume of deliveries,” Olzmann says. “After all, we remain a small team, and our focus has not necessarily always been volume but rather high-end one-offs and specials. TV remains our core business. When it comes to AVOD/FAST, we noticed that different platforms have different needs. Some need a 100-word synopsis; others want 150 words. The same goes for
now have a good base to work with different AVOD/FAST buyers in different territories.”
Strasser says Autentic has started developing a “metadata delivery infrastructure” as it builds its business with ondemand operators. “Extra headcount is required. And we need to educate our production partners to ensure that the right deliverables are generated in the production workstream.”
As Olzmann notes, distributors have to make strategic deci sions over how m uch time to invest in building an AVOD strategy. “On a per-title basis, AVOD revenues are still rela tively low—it’s all about volume,” she says. “We distribute a German classic wildlife TV series called Eye to Eye with
the artwork that goes with it. But once you have a delivery base for the programs, things can move quickly and need less adaptation. But it was certainly a big challenge to evaluate potential revenues and how much effort we can put in. This is especially the case for revenue-share deals, where you have to take a certain risk in the beginning and deliver without really knowing what revenues are to be expected. But we have spent a lot of time exploring the different markets and platforms and
Nature by Ernst Arendt and Hans Schweiger that has been running since the ’70s and now has over 50 episodes. We have sold AVOD and FAST rights, and we see how much the audience loves this, as these episodes can’t be seen anywhere else. Wildlife and nature films are a very rewarding genre for third and fourth runs on AVOD and FAST.”
Autentic’s Strasser observes, “AVOD represents a signifi cant share of our content distribution revenues. But
ZDF Studios, which is showcasing Africa from Above, is exploring a range of AVOD opportunities for its deep catalog of factual content.
these rev enues have to be seen in context. They are a mean ingful add-on to other revenue sources. But they are not yet significant enough to fund original productions. Will AVOD develop the revenue power to pay for the creation of qual ity content? That’s the big question.”
Woodle has seen reignited interest in GRB’s older shows, such as Full Force Nature , Storm Warning! and The Ultimate Stuntman—A Tribute to Dar Robinson , which are “in-demand and performing relatively well on AVOD platforms,” he says.
“Volume is, of course, key,” he continues. “With sufficient volume, be it series or genre, the content may be pro grammed into its own channel—that lends itself to the leanback process. For example, GRB has 200-plus hours of On the Case. In theory, there might be an On the Case channel, and people could lean back and enjoy it. This works on lin ear as well. Of course, On the Case would also fit nicely on a crime channel or AVOD section. FAST and AVOD present many new opportunities and flexibility. We’ve found it to be a quite lucrative business working with these services.”
Max Einhorn, senior VP of acquisitions and co-productions at FilmRise, encourages content owners to have an AVOD strategy. The company operates the FilmRise Streaming Network, a slate of apps and FAST channels curated around genres, among them true crime, and distributes a library of content to third-party services.
“We’re big believers in ubiquitous distribution for film and television library content,” Einhorn says. “Unless you have something big and special that’s very expensive, hav ing your content exclusively with one platform [means] leaving money on the table, and you’re preventing yourself from building an audience for your content.”
Einhorn adds, “We have business cases that suggest there’s no cannibalization when you distribute content onto multiple platforms. In fact, there’s more than a one-to-one increase in terms of monetization for ad-supported revenue. We see the awareness of a piece of content being lifted overall when content is placed in many places, and it’s to the benefit of the distributor.”
As for where AVOD should sit when crafting a distribu tion strategy, the jury is still out on that one.
While the ‘VOD team’ wants to market as quickly and widely as possible, the ‘linear channels team’ often hopes that we will be able to negotiate a presale or a sale at much better conditions,” says Rückauer at ZDF Studios. “The VOD team tends to say that the linear channel hopes for [exclusivity] last too long. The truth lies in the middle. You have to balance this internal dispute very carefully. And at the same time, almost all ‘traditional’ broadcasters want more and more holdbacks and securities, while VOD and FAST channels offer more attractive long-tail effects. Gut feelings and some market experience help a lot.”
At Albatross, Olzmann notes, “We don’t work as much with windowing and AVOD yet. At this point, our main clients for new programs remain TV broadcasters and SVOD. However, with TV deals, we try to limit holdbacks for VOD, thus including AVOD.”
“We can see that more and more linear partners seek exclusive AVOD rights for themselves, or they require holdbacks against AVOD,” agrees Strasser at Autentic. “This, too, confirms the success of these channels; AVOD services are increasingly competing with linear cable and satellite channels. Windowing strategies are a regular topic in all sales conversations these days.”
While AVOD deals are still largely rev-shares with the occasional minimum guarantee, traditional license fees are a new development in the space, Woodle says.
“If a program is available in a territory, we’ll approach and offer it to all platforms and traditional channels equally,” Woodle says. “Depending on the level of inter est, if any service, be it SVOD, AVOD or linear, is able to pay a license fee, GRB can consider an exclusive agree ment, and we are open to doing that. We’re also interested in windowing as the program and territory/regional mar kets might allow.”
Outside of bigger players like Roku and Amazon Freevee, AVOD channels are almost entirely playing in the acquisi tions game. But originals should be expected for platforms as they scale.
“The advertising-based marketing model seems very suitable for factual programming,” says Rückauer at ZDF Studios.
GRB Studios has done a range of AVOD deals on the long-running Untold Stories of the ER.
“Many AVOD and FAST channels are quite niche-oriented— their advertising offer is limited and therefore can’t gener ate the same advertising revenue” as traditional broadcasters, Olzmann says. “Advertisers, too, have to increase and split their marketing budgets between differ ent advertising platforms depending on their strategy and brand. So, at the moment, revenues are still quite limited, and I believe don’t allow them to invest in many originals. However, to market the AVOD brand itself, it makes sense to invest in flagship programming that will define that brand. I think this is a way to go, but it will still take more time than it took for SVOD platforms.”
FilmRise, encouraged by the success of its true-crime plat form, has begun partnering on originals, among them Bloodline Detectives with Nancy Grace.
have the luxury of being able to effectively syndicate out a series or engineer when there is a micro exclusivity with certain platforms to help make these productions possible. Bloodline Detectives , for which we’ve already done two seasons, we syndicated outward to broadcast and to many digital platforms.”
“The question is not if, but when,” says Autentic’s Strasser on AVOD services becoming major commissioners of originals. “We are already looking for the right projects.”
Strasser says that Autentic is also planning the launch of FAST channels based on its own IP, a space that several dis tributors with major brands are looking at or have already entered. Banijay has FAST channels devoted to megabrands such as Deal or No Deal, Fear Factor and The Biggest Loser Even Curiosity Stream, a leader in the SVOD factual space,
“We found that there is a certain size of production that we can get comfortable with,” Einhorn says. “These are unscripted co-productions that we’re getting involved with in which we say, We understand the capability of monetiza tion and revenue generation in the space. If we get involved in something at this stage, we are not going to be depending on an SVOD platform or a broadcaster to take that first win dow position. We’re not depending on a license fee. We
has unveiled a FAST channel service, Curiosity Now, pri marily to help drive the discovery of its curated originals and acquisitions.
Adam Lewinson, chief content officer at Tubi, notes that the Gordon Ramsay FAST channel has been proving popular with users because it provides “a sampling opportunity for new content. The great thing about democratizing content is that it gives you every opportunity to find different paths to it.”
In 2018, audiences across the globe were mesmerized by rock climber Alex Honnold’s death-defying quest to free climb El Capitan in Yosemite National Park, as documented in National Geographic’s Free Solo. A box-office hit, grossing over $29 million, the film landed many awards, most notably the Oscar for best documentary feature. Free Solo hailed from Elizabeth Chai Vasarhelyi and Jimmy Chin and was among Chin’s many creative endeavors docu menting life on the edge. The accomplished climber, skier and mountaineer is now fronting Edge of the Unknown with Jimmy Chin , which premiered on National Geo graphic and Disney+ in September. The ten-part production goes behind the scenes of several leading athletes’ most hair-raising adventures, featuring the likes of Honnold himself as well as surfer Justine Dupont, snowboarder Travis Rice and more. TV Real caught up with Chin to discuss how the show came about and his and Vasarhelyi’s first-look pact with National Geographic.
TV REAL: What was the story you wanted to tell with this show?
CHIN: These are the greatest stories you haven’t heard of. We previously made Free Solo about Alex Honnold free soloing El Cap. It opened the floodgates; we realized that there was a lot of interest in these types of athletes. Just visually, it’s extraordinary to watch what they do. Still, there wasn’t much context or an understanding of who these athletes are, what they’re doing, what the stakes are, the kind of decision-making they have to use in risk assessment—all of these different layers. This show aims to give the audience more context and appreciation of who these athletes are, what they do, the level of detail and training and their mentality. In some ways, people don’t necessarily relate immediately on the surface to these ath letes. But if you watch the series, you understand that they are very much human, like you and me. They have to make tough decisions to do what they do. How much do you sacrifice to do the things that are meaningful to you? Those are things I think every audience can relate to. We hope to give the audience a much deeper appreciation of the depth and the layers of what they see on social media and in these [athletes’] films and videos. Ultimately, it comes back to this idea of common humanity with people we might not think we can relate to.
TV REAL: How did you decide on the athletes whose sto ries you wanted to tell?
CHIN: If you come from my world of big mountain snow boarding, kayaking, Arctic exploration, skiing, all these different sports, this roster is literally the best of the best. Story was the most important to us. And they had to be truly masters of their craft and have that credibility of being one of the greats. Whether one was as famous as the others didn’t matter as much as they had to be the best of the best. We’re looking at some of the most challenging moments in their careers. Often, these are the ones they didn’t talk about or didn’t get much attention for. These are the greatest stories you haven’t heard. You might follow one of the [athletes] loosely, but you might not have known that this one moment changed the course of their career. It’s not a space anybody’s ever taken the time to explore. For me, as an athlete, those are the most important moments. They also shine a light on people’s true characters because that’s when they’re the most vulnerable. That was a huge part of the motivation of the series.
TV REAL: How did you and the team decide on the format, combining the athletes’ footage with interviews with them and your reflections on these stories layered on top?
Jimmy Chin skis down a mountain in the Teton Range in National Geographic’s Edge of the Unknown with Jimmy Chin
CHIN: I would like to tell you we were just brilliant, and we just thought of it and executed it. I was never sup posed to be in the show. I was trying to tell somebody else’s story. But over the course of making some of the earlier ones, when we were starting to edit, I kept say ing: Someone needs to give context. We need to inter view somebody else because I still don’t get the sense of why Travis [Rice] is so great. He’s so great because he’s not just a snowboarder; he’s an artist. He doesn’t look at his snowboarding lines as physical things. He’s looking at them like an artist. He’s also hugely involved with how it’s captured. He’s directing as well. I’m try ing to explain this and [the other producers] were like, Well, why don’t you tell us? We’ll interview you, and you will tell us how great Travis is. I did that; everyone was like, that’s useful, do that for the next one! And the next one! That’s how it happened. I wasn’t planning on making a show called Edge of the Unknown with Me
TV REAL: Was it strange for you to be in the studio so much, given we’re so used to seeing you hanging off mountain ranges?
CHIN: I’ve been a professional athlete for a long time. I’ve had the camera pointed at me a lot over the last 20 years. This is my 22nd year on the North Face Athlete Team, so I’m used to it. Probably the most painful part of this process is the people trying to interview me, the director: No, no, that’s not the right question! I can try to answer the question, but you asked the wrong ques tion. Can I tell you the question I want you to ask me, and then I’ll answer it? I’m horrible. “Why would you ask me that question? That’s not a good question. The real question is….”
TV REAL: You’ve been in your own hair-raising situa tions. What are some of the things you’ve learned from these other athletes’ stories?
CHIN: I always feel a lot of empathy. I’m pretty cold and clear when the stakes are high, and I have to make hard decisions in difficult moments. If I allow myself, I
can be deeply empathetic to a person’s situation. Maybe this is why I’ve ended up being a filmmaker and a photographer. I can put myself in their place and feel what they feel. That’s the two sides of me. Part of me can be easily emotional. Like if I let myself be. That’s not just crying when I’m watching movies on a plane! It’s part of my process. It’s how I draw inspiration from the stories that I tell. If I know what they’re feeling, I’m translating that to an audience. My first film, Meru, was about translating what I felt toward my partners. That sense of mentorship, brotherhood and loyalty that I felt toward my climbing partners and my mentor, Con rad [Anker]. I want people to understand that the reason why we climb is beyond just climbing mountains. It’s about the sense of loyalty and friendship you have. It’s a common goal. In the storytelling of this series, I hear the frustrations of many athletes. I hear the challenges. I’m about to do this heavy expedition to kayak this river. I have a newborn. Is this the right thing for me to be doing? But this is who I am. How do I justify it? Is there a way to justify it? There are all of these conflicting, internal conflicts that happen. There are many layers to these athletes. I want to express that.
TV REAL: Tell us about your relationship with Disney and National Geographic and the storytelling opportu nities the first-look deal has afforded you.
CHIN: It’s been a dream come true to have Disney and National Geographic support our work. It’s a real vote of confidence for us as storytellers. They’ve given us a lot of latitude in terms of what we bring to the table as filmmakers and even for me as a photographer. Having that support, belief and trust allows us to do the best and greatest work we’re capable of. They’ve given us the resources and the trust. Those two things, in this industry, are challenging! Because we have that trust and those resources, we were allowed to do our best work. That’s the relationship, and hopefully, it’s symbi otic: We bring them the content that allows them to achieve their goals as well.
By Mansha Daswani
t’s been two years since Cineflix Rights and TCB Media Rights alum Paul Heaney established BossaNova Media and a year since the co-production and distribution outfit received a transformative investment from Herbert L. Kloiber’s Night Train Media. As the venture gears up to mark its second anniversary at MIPCOM, Heaney tells TV Real about where the business is today and its plans for the year ahead.
TV REAL: What’s been your approach to building the BossaNova slate since launch?
HEANEY: We’re not obsessed with growing the number of new titles. We want enough volume, noise and quality of the right shows. We’re also not looking at padding out a catalog with potential channel fodder. Others may have that business model, and maybe we will in the future, but this is our plan right now. We see it as more of a slate than a catalog—and maybe that’s a key difference with BossaNova.
TV REAL: There’s much talk about the AVOD potential for factual content, particularly in FAST channels. What’s your approach to this segment?
HEANEY: There are huge burgeoning opportunities for fran chised TV shows to have their own channels. That’s certainly something we’re looking at. We’ve just helped create potential franchises in some cases, so we are at the build phase, seeing what opportunities are there but look ing to control the process a bit more, building the BossaNova brand and the titles themselves. Doing the right thing for our producers is core to our ambitions.
TV REAL: How do you see the prospects for licensing con tent to AVOD platforms on a revenue-share basis?
HEANEY: We don’t want to miss an opportunity, so we’re open to it, but we’re also very open to a license fee deal! We’re pretty fast-moving because we’re small. But I’m not getting hung up by it. If we can do it, we do; if we can’t with our resources, we won’t.
We’re doing our research, talking to as many people as possible and building up our expertise. We won’t turn down a revenue opportunity if it makes sense. Still, at the same time, we’ve got a duty to the producers to ensure we’re not underselling them or overexposing them when we’re not ready yet to make it work properly. We’re ensuring we’re making the right decisions in how we market ourselves and what sort of slate we have. I’m not happy to bring in content for the sake of having new content. That can be counterpro ductive. Everyone’s a million miles away from that now. We concentrate on getting the best deals for the shows. And because there is so much choice for the viewer, commis sioners have to make their projects more incredible, eyecatching, fresher, edgier, etc. There isn’t any room for con tent that just does a little job; it’s got to do a proper job. The market has, without a doubt, changed in this respect. Unscripted has to do the job of a scripted show in respect to attracting an audience—why shouldn’t it?
TV REAL: What does the team look for in acquisitions?
HEANEY: In the producer, a track record of delivering and exe cuting on time. A well-researched idea. If it’s a commercial specialist factual series, you need good archive and an original take on something. Even if it’s the same story, you need an original way in. If it’s simplistic and doesn’t have enough
layers, we won’t do it. We’re not going to do anything that looks too cynical or simplistic. Everything needs a certain layer of sophistication with respect to the audience. All pro ducers realize you have to have something clever now. It doesn’t have to be intellectual or cerebral. If you look at our Development Day (coming up to the third as BossaNova and the eighth overall across the two businesses), the projects that stood out were sometimes outrageously original in the topic, but some ideas were only more original in their angle and execution rather than the story. That’s what we’re looking for.
TV REAL: How was Development Day this year?
HEANEY: It was across two days. We had 124 projects, whit tled down from 300. We had 94 factual projects on day one; the rest were true crime/stranger than fiction on day two. We had over 70 buyers who then voted for their favorite projects. Out of those 124, maybe 10 percent to 15 percent will be ultimately commissioned or co-produced by us. That’s not a bad strike rate. If a broadcaster platform had a similar day, would you expect 10 percent of those projects to go into production? Maybe, maybe not. We’re heavily vetting the projects. We’ve encouraged the produc ers to put more breadth into the range of ideas they’re coming up with. Some might just not hit the mark. The buyers’ online voting process totally informs our decisions. It’s their votes, plus our forecasts, experience and gut feel.
TV REAL: What trends are you seeing in true crime?
HEANEY: You hear that the market has hit saturation for many returning true-crime franchises. At the same time, there is a demand for new strands. If it were four years ago, we’d have more returnable true-crime series than we do now. We have two returnables. And that’s fine for now, till the market tells us something else. Do we have some singles, some two-parters, some potential four- and six-parters, all in the “stranger-thanfiction, you can’t make up” areas? Yes, we do—a complete mixed offering.
TV REAL: What other trends do you see in the market?
HEANEY: The big elephant in the room is about the dis tribution business itself. How can smaller businesses survive when projects they are offered need financing almost every time? It looks like it’s sustainable if you’re a big business. At TCB, in the beginning, most of the shows we got were funded. In this world, the oppo site is the case. [Shows comes funded] 10, 15 percent of the time.
TV REAL: What level of funding gap do you need to provide?
HEANEY: Sometimes it’s 100 percent when we’re fully com missioning. You take that risk.
If it’s not 100 percent, it could be 10 or 20 percent. It depends on the sort of deal you do with the producer. Do you take a bit of backend and a smaller percentage? The whole point is, can we start delivering royalties to this pro ducer and get it into the black? That’s the whole point. You’re not going to be able to do it on every show, so you have to overdeliver on the ones you do.
Producers can be put into a difficult position. They want their show to be made, but at the same time, they’ve got to protect their IP from being flogged around the world with no return, which does happen.
TV REAL: How do you manage growth in this market, where everything changes so fast?
HEANEY: Having done it twice before helped. Everything is a challenge, but there’s a solution for everything. Though I’m often stumped. It’s part of the fun of having a business. I’m always trying to err on the side of caution, but you have to test yourselves and give the business a bit of stretch target. We could easily be the fastest-growing distributor in the U.K. this year. But we came from a very low base! That is not the aim, however. I’m here for many reasons—the relationships, and the challenges, keep us all vital.
A new season of Caught on Dashcam is among BossaNova’s lead titles for MIPCOM.
In the run-up to MIPCOM, our second annual TV Real Screenings Festival spotlights fantastic new and returning properties that reflect the wealth of standout factual content available to buyers today. Whether you’re on the hunt for your latest true-crime obsession, new blue-chip fare celebrating the wonders of the world or high-end factual entertainment that will educate and delight, you’re sure to find it here.
ZDF Studios has long been known for its strengths in science, wildlife and history, and those proficiencies are on display in its TV Real Screenings Festival lineup. The three-part Surviving Hothouse Earth spotlights climate change, delivering “cinematic shots of nature, landscapes and urban life,” says Ralf Rückauer, VP Unscripted, along side expert commentary. Lush footage is also available in the ten-part Africa from Above, Rückauer notes, pointing to its “spectacular aerial adventure” that spotlights how “humans and animals live in some of the most extreme
All3Media International’s War and Justice: The Case of Marine A
environments on Earth.” The six-part War Gamers, meanwhile, delivers a new perspective on World War II as it focuses on members of the U.K.’s Women’s Royal Naval Service (Wrens).
All3Media International is offering up a 90-minute documentary with a different battlefield perspective: War and Justice: The Case of Marine A. “Featuring exclusive footage and powerful, candid testimony from Alexander Blackman, aka Marine A, this documentary film delves into the dark heart of those defining moments in battle and the ensuing four-year legal campaign for Blackman’s freedom,” says Rachel Job, senior VP of non-scripted content. On the true-crime front, Job highlights the two-part How to Hire a Hitman , which she describes as an “eye-opening investigation into the dark side of the internet.” Lifestyle and fac tual entertainment round out the selections, with sea son nine of the beloved Escape to the Chateau, sea son ten of Fake or Fortune, the “colorful and entertain ing” Gino’s Italy: Like Mamma Used to Make with Gino D’Acampo and the six-part Sarah Beeny’s Little House, Big Plans , which Job says is “packed with fantastic tips, profes sional insights and inspiring
stories demonstrating how attainable your dream home can be through cre ativity and ingenuity and hard work.”
Tatiana Grinkevich, senior sales manager at BossaNova Media, high lights The Andes Tragedy: 50 Years Later, which tells the definitive story of the Uruguayan rugby team whose plane disappeared in the Andes in 1972. “One of the most harrowing and fascinating survival stories of all time is retold by the survivors and experts, as we relive their journey and gain new insights into the infamous crash that brought them to the very brink of humanity,” Grinkevich says. BossaNova also has a new science series in the ten-part Engineering Repurposed.
New Dominion Pictures is offering up a true-crime doc: A Spy in the FBI, which, per Kristen Eppley, executive VP of distribution, “has it all: it has drama, it has espionage, it has sex,” as it chronicles the story of Robert Hanssen. The company also has 115 episodes of the paranormal
Tragedy: 50 Years Later
series A Haunting and 70 episodes of the reality series FantomWorks , focused on the “largest automotive restoration shop in America,” Eppley says.
Rive Gauche arrives at MIPCOM with a three-part natural-history pro duction, Living Earth , exploring plants and animals in deserts. “Using gyro-stabilized 8K aerials, 6K drone photography, high-speed Phantom photography, timelapse, macro and elegant graphics, we will reveal the inner workings of these ecosystems in breathtaking detail—from the indi vidual hairs on the back of a jumping spider to the wingbeats of a dragonfly as it plucks a mayfly from above the water,” says Marine Ksadzhikyan, COO and executive VP of sales. Also available is the six-part doc series In Their Own Words , which profiles the likes of Angela Merkel and Elon Musk, and the 13-part series Disaster Déjà Vu, about places like San Francisco and Peru that suffered brutal natural disasters twice.
New Dominion’s FantomWorks
Throughout his prolific career as a documentary filmmaker, Joe Berlinger has sought to tell stories that expose social injustices and explode stereotypes. He tackled wrongful convictions in projects such as the Paradise Lost trilogy and Wrong Man, profiled notorious figures in docs like Conversations with a Killer: The Ted Bundy Tapes and Jeffrey Epstein: Filthy Rich and scintillated with stories of true crime in such works as Murder Among the Mormons and Crime Scene: The Vanishing at the Cecil Hotel . In the recently released Shadowland , streaming on Peacock, the Oscar-nominated filmmaker explores a divided America, dispatching documentary teams across the country to embed with subjects who have rejected mainstream narratives and stoked the fires of conspiracy theories.
TV REAL: What was the inspiration behind Shadowland?
BERLINGER: The Atlantic magazine did some amazing report ing with an online project called Shadowland, in which they talked about conspiracy theories, their origins and why people believe them. I thought that was a great idea. So, I talked to The Atlantic about turning it into a TV series and following their reporters as they investigate while also doing our own report ing. That’s how it started.
The country is very divided; we have divided into two camps for the most part. We demonize each other. We treat each other like caricatures, and yet we’re all Americans. So, I was more interested in the human angle, not in litigating the truthfulness or lack thereof of various conspiracy theories, although the burden of doing the show is obviously you can’t give oxygen to conspiracy theories. I don’t want people to walk away from the show thinking that the point of view that peo ple are expressing about dangerous Covid cures, for example, is true because then I’m contributing to the problem of misin formation. But generally speaking, I wanted to allow people to have their say, to treat them with respect and understand why they’ve come to believe in these conspiracy theories. It’s no longer on the fringes; conspiracy theories have moved to the mainstream. They are driving our politics. The very foundation of American democracy is people with different interests and points of view coming together, agreeing upon a basic set of facts as the truth and then trying to do what’s best for the col lective good. That’s obviously not happening in this country. People don’t talk to each other; they demonize each other. That’s when totalitarianism knocks on the door. I wanted to go out into this world with a team of great filmmakers. There were three terrific directors on this, and I was the executive producer, and they brought back some amazing material.
By Kristin BrzoznowskiTV REAL: How did you decide what stories would be explored across the six-part series?
BERLINGER: We wanted to hit upon all of the major issues that are going on. We focus on several people involved with the January 6 [insurrection]. We focus on families torn apart by QAnon, where one family member is a believer and oth ers aren’t. That’s a huge problem. You see the fabric of society being torn apart at the family level. You also see local politics becoming increasingly dysfunctional. We pro filed school board meetings and shot some of it during the height of Covid, so the hot topic was masking or not, vac cines and all that. It was not a healthy debate at the school board meetings. There were knockdown, drag-out fights, to the point where some school board members going out to their cars to go home were getting death threats. So, [we looked at issues] at the local level, at the family level and, of course, at the national level.
People on the left want to think of the January 6 rioters as just thugs and criminals. I’m not condoning any of their actions, but my feeling is that many of them deeply believe in the righteousness of what they were doing and that the election was stolen and they’re saving the coun try from tyranny—that justified their actions. If you put yourself in their shoes, which is what I want the series to do, and you were to think that a dictator was coming along, taking over and doing a coup, wouldn’t you respond and do something? There are deeply held incor rect beliefs, which have been fueled by irresponsible jour nalism and social media. If we start to understand how people come to their beliefs, then we can start intelligently talking about a solution. But finger-pointing and demo nization are not the way.
TV REAL: What does the docuseries reveal about the current state of American society?
BERLINGER: That it’s deeply divided. That a lot more people than you would imagine actually believe these things.
There’s been a decades-long cause of this, a progression. At one time, there were three television networks, for the most part, national networks. And there was an iron wall [between] their news and entertainment divisions. The entertainment division was the one that made the profits.
The news division was a gift to the American people for the FCC providing that network a license. Somewhere along the line, that wall started to erode, and it got further eroded by the advent of the 24-hour news cycle and the prolifera tion of cable stations. That line between entertainment and news has become blurry, ratings-driven and financially motivated because they sell advertising. It opened the door to opinion journalism and just flat-out irresponsible jour nalism to stoke dissent and make money. That intersects with social media. On the one hand, [a smartphone is] an amazing device. The fact that I can go on my iPhone and get any bit of information I’ve ever won dered about instead of waiting until I can pull out an encyclopedia is miraculous, but it’s also filled with disinformation. So, the thing that has been a great source of information has also been a great source of disinformation. Also, I can use my phone to connect with people of like-minded interests, which was unheard of before the internet and the popular ization of social media. But now, people are finding each other and just confirming their biases and living in an echo chamber because of how news is reported. It’s a troubling situation. I don’t have the answers to how to fix it. But I think we start by understanding the roots of the problem, treating people with respect and trying to understand how they have come to their beliefs. That’s the goal of the proj ect: to promote a little more dialogue so that we can see how we have more in common than what separates us.
TV REAL: Is there a throughline to the stories you want to tell with your work?
BERLINGER: I like to shine a light on a problem that needs fixing. Even though sometimes I’m labeled as a true-crime pioneer, I really think of myself as a social-justice docu mentarian. I’ve tried to shine a light on wrongful conviction or victim advocacy issues. So, this show fits right in because I think there’s a fundamental problem with how
democra cy is functioning precisely because of irresponsi ble reporting of the news and how social media platforms have handled information and disinformation. I think we have a major societal problem.
The other thing I love to do in my work is to explode stereotypes, like with Paradise Lost. Just because some body wears black and listens to Metallica doesn’t make them a devil-worshiping teen who’s killed 8-year-olds, which was the horrible miscarriage of justice that Paradise Lost profiles. The stereotype that I want to explode [in this series] is that somehow those people are just evil, misguided and horrible, like the “deplorables.” If you start talking about people that way, it makes them defensive and doesn’t promote any kind of mutual understanding. My goal is to explode the stereotype that we’re so different and try to really understand how to have a dialogue about get ting back on track because I think our country is headed toward the crumbling of democracy.
TV REAL: With the proliferation of streaming platforms, have you seen more opportunities for documentaries nowadays compared to when you started out or even, say, five years ago?
BERLINGER: When I first started in the business, actually breaking even on a documentary would have been a great goal. I directed television commercials while making docu mentaries in the first decade of my career because that’s really [how I earned money to] raise my family. But, thanks to streaming, documentary has become a real business. It’s the golden age. There’s so much documentary activity. Brother’s Keeper, which turned 30 this year, was the first film I made with my producing partner Bruce Sinofsky. Even though it won a prize at Sundance, all the distributors said, Who wants to see a documentary about these creepy brothers, one of whom is accused of murdering the oth er? We believed in the film, so we took it out and self-distrib uted it, and it was quite successful. We had six 35mm release prints for that movie, and we schlepped them around the country. If 400 people saw the movie in a theater on a weekend, Bruce and I would high-five each other; it was like we died and went to heaven. Today, you push something out on a streaming platform, and it can get a hundred million viewers. Platforms like Peacock and Netflix are providing incredible opportunities for filmmakers. It has never been a more exciting time to do this.
Joe Berlinger explores the deep divides in American society in the Peacock original Shadowland
orbert Himmler was elected director-general of ZDF, Zweites Deutsches Fernsehen, in 2021, succeeding Thomas Bellut.
Himmler is no stranger to the German public broadcaster and its values. He started as a freelancer in the news department in 1997. After holding various positions, he became program director in 2012, a role he had until March 2022, when he took up the post of director-general.
Himmler takes the helm of ZDF at a time marked by signifi cant change and challenges for all broadcasters. For several years, global streaming services have not only been upending viewing habits, but their foray into local production has put pressure on the pool of avail able actors, directors and crews. More concerning is that factions of the public increasingly distrust institutions and disregard facts. ZDF, however, continues to be a trusted source of news and information.
ZDFneo offers domestic and international TV series, movies, documentaries, comedies and talk shows; ZDFinfo, as its title implies, is home to newscasts and factual programs about politics, current events, eco nomics and social issues.
ZDF also has a suite of dedicated websites. And like the other German public broadcaster, ARD, ZDF makes its pro gramming available online (YouTube, Facebook, Snapchat, Instagram and/or other sites) to target younger viewers. ZDF and ARD jointly run the chil dren’s channel KiKA, the public affairs and documentary chan nel phoenix and the European cultural channel ARTE, a German-French collaboration.
By Anna CarugatiBesides its flagship newscast, heute, ZDF is known for high-end documentaries and current affairs, which air alongside engaging drama series and entertainment shows. With its broad programming offerings, ZDF has remained the market leader, with an average audience share in 2021 of 14.7 per cent. That was an increase over 2020’s average of 13.6 percent and 2019’s 13 percent.
In addition to the main nationwide linear network, ZDF, the company operates two thematic channels:
Himmler believes in the benefits of collaborating with other public broadcasters. ZDF is part of The Alliance with Italy’s Rai and France Télévisions to produce quality drama series, such as The Swarm, which will air next year. As Himmler tells World Screen , ZDF also has ongoing production partnerships with BBC Studios and the group of Scandinavian public broadcasters, Nordvision.
ZDF also plays a significant role in the international market through its wholly owned subsidiary ZDF Studios, whose busi nesses include co-productions and worldwide sales of scripted, factual and kids’ programming.
In today’s volatile times, Himmler stresses ZDF’s commit ment to offering independent, fact-checked information and doubling down on quality in all its program offerings.
W S: The German TV market is highly competitive, yet ZDF remains the market leader. What program ming strategies have placed ZDF in this position?
What does ZDF offer viewers that other linear or nonlinear platforms don’t or can’t?
HIMMLER: We have been consistently optimizing our schedule on the main channel for many years. The stable success of our daytime programming, early evening offerings and prime-time lineup is an essential cornerstone of our linear success. In addi tion, we have further increased the quality stan dards in all relevant genres. The recipe for success includes highlights, fiction events, major sports events and unique formats, for example, comedy, factual and information.
WS: On the other hand, where do you see ZDF—the main channel—needing to change or improve its programming strategy?
HIMMLER: Constant renewal and modernization are the pillars of our programming strategy. At the moment, it is essentially about convincing the viewers time and again of the quality of a wellplanned and professionally curated linear offer. However, anyone who prefers to enjoy our content independently of set times will also be offered a good choice of programs.
WS: Does ZDF need to increase its nonlinear offer ings, and if so, how?
HIMMLER: Our video-on-demand platform, ZDFmediathek, has been growing continually for many years. We are thus constantly developing our
prod uct range to be more attractive. Per sonalization via a public-service algorithm is an important tool in achieving this. We use it to make the media library more accessible without sending the audience into filter bubbles. Two things are decisive here: the algorithm must be transparent, and it must ensure that users are not only offered the most popular products but also other interesting formats. We will still rec ommend exciting news and information offerings to someone who only always streams entertainment shows, for example.
WS: How do you balance providing view ers with what they expect from ZDF and innovating with new programs?
HIMMLER: This works quite well with a diversified distribution strategy. On our various platforms in the linear and nonlinear sphere, we offer a wide range of estab lished brands and innovative formats. You could say that the more innovative our products are, the more we are likely to test them on the internet. We have had very good experiences with funk, a prod uct for young people that no longer has a
linear home but functions exclusively as a dig ital network on various digital platforms. That is a wonderful field for experimentation.
WS: How have streamers like Netflix, Prime Video and Disney+ impacted the German market?
HIMMLER: They have changed the TV con sumption habits of many people. They have set new quality standards, above all for series. They have also had a substantial effect on the national production market. It is becoming more difficult to recruit excellent directors, actors and actresses, above all because competition has signifi cantly increased. However, I don’t see this from a purely negative perspective. Com petition is always good. It has spurred cre ative and productive processes, thereby raising the quality of fiction and docu mentary productions.
WS: Public broadcasters in several European countries are facing challenges from their governments. In the U.K., for example, the government wants to freeze funding for the BBC. What is the situation in Germany? What is the government’s position vis-àvis ZDF and ARD?
HIMMLER: The government in Berlin is not responsible for public-service broadcasting in Germany. We have a federal system. The 16 federal states are responsible for ZDF and ARD. They have recently enhanced our sphere of activity. We have b een allowed to create products for the inter net that are no longer related to linear pro grams. A new law will make it easier to move programs from the linear to the nonlinear sphere in the future. In Germany, the financing is organized non-governmentally and is, there fore, significantly more robust than in many other European countries.
WS: How do viewers feel about ZDF? Do they still think public broadcasting is rele vant and does that depend on their age?
HIMMLER: The good news is that even younger people who consume public-service content less often believe ZDF and ARD are important and rate our jour nalistic products as credible and relevant. However, in Germany and many other countries, there is also a growing group of people who, independent of their age, have a neg ative attitude to democracy, its institu tions and the established media. There is a great challenge here for society and the private and public media. We are explor ing this intensively. Acceptance and trust are central prerequisites for the existence of our society.
WS: How important are news and current affairs programming to viewers? How does the news department offer a mix of break ing news and analysis?
HIMMLER: Alongside the major daily news papers, the public-service news programs are the most important suppliers of credible information. Our flagship newscasts, heute and heute journal, are central components of our information offering. Our linear channels and online services complement each other perfectly. In a change from the past, we can now provide up-to-date information online 24/7, even if the threshold for breaking news
on air has not yet been reached. [Given that ZDF has both linear and nonlinear news offerings, it can constantly keep the audience updated. However, online news updates do not need to meet the same criteria as linear and can be posted at any time, whereas breaking news items on linear TV need to be much more relevant and important.]
WS: How is ZDF collaborating with other public broadcasters in Europe? What advan tages do these collaborations provide?
HIMMLER: With regard to your earlier ques tion about the impact of streaming services, stronger and intensified cooperation between public broadcasters is one of the more sensible and effective reactions in that game. Some years ago, ZDF initiated The Alliance, together with Rai and France TV, which can now proudly look back on rave reviews regarding high-end drama series. The Swarm , airing next year, will hopefully be the latest success story here. Additionally, there is a close co-production
ZDF and ZDF Studios frequently board high-end kids’ projects such as the live-action Theodosiacooperation with the BBC and Nordvision, the content grouping of the Scandinavian public broadcasters. A vast majority of the crime-based fiction series coming from that initiative have been co-produced and co-financed by ZDF. And then, of course, we support the co-production initiatives by the EBU, especially when it comes to children’s programming and high-end doc projects. There is no better deal than when
several partners with similar sets of values and production strategies come together and co-produce: 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.
WS: How is the rebranding of ZDF Studios beneficial to both ZDF Studios and ZDF?
HIMMLER: Since its foundation in 1993, our subsidiary has become more and more profes sional. Even though it remains closely docked to ZDF, it is still an independent commercial enterprise that also operates very successfully on the market, among other things, as one of the strongest distributors in Europe. The last step on this path was the rebranding, with which ZDF Studios now confidently places itself on an equal footing with other wellknown “studios.” With around 30 direct and indirect affiliates, the new name conveys what the company stands for today and its impor tance for ZDF. With its work, the ZDF Studios group covers the entire exploitation chain— from development units such as Intaglio Films to production companies such as Network Movie and Gruppe 5 Filmproduktion to post production exploitation with a music rights publisher such as Enterprises Sonor Musik.
WS: What opportunities and challenges do you see looking ahead to the next 12 to 24 months?
HIMMLER: We are all facing major chal lenges. The East-West conflict that has flared up again, the climate and energy crises, inflation, the pandemic, divisions in society—these buzzwords describe the extent of the changes. The media industry is responsible for accompanying and sup porting the debates taking place in society with accurate information and journalistic products. As an influential media plat form, we can make an important contribu tion— with meticulously checked facts and a wide-ranging, independent information product. That’s why we invest in good journalism, training and quality.
heute is ZDF’s flagship newscast, delivering to German audiences the trusted, reliable information they have come to expect from the pubcaster.
Ricardo Seguin Guise Publisher
Anna Carugati Group Editorial Director
Mansha Daswani Editor
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 Coordinator
Andrea Moreno Business Affairs Manager
I went digging through our archives to find the first edition of TV Formats; I was curious to see just how much had changed in this business and how much had stayed the same over the last 20 years.
As it turns out, a lot has stayed the same; our inaugural edition of TV Formats at MIPCOM 2002 (the same year I started at World Screen) featured key buyers discussing their biggest non-scripted successes, which that year included Survivor, Fear Factor and Temptation Island—brands that remain part of the fabric of the reality TV landscape.
The number of megaformats has ballooned over the years, with newer properties like The Voice , Married at First Sight and The Masked Singer joining the likes of Big Brother , MasterChef and Dancing with the Stars in the mix of properties that broadcasters can’t seem to get enough of. Is the reliance on these global hits crowding out innovation and risk-taking? Perhaps, but the many format distributors I surveyed for our state of the busi ness report in this edition are feeling remarkably bullish about the sector and the potential for genuinely break through ideas to come to the fore. Whether innovating megaformats with new twists and tweaks, rebooting classic shows or scouring the globe to develop zeit geisty ideas, format producers and distributors argue that the business has bounced back significantly from the pandemic-induced lull in production.
Leading format development and distribution executives discuss maintaining megafranchises, scouting for innovative ideas and the trend toward reboots.
As our latest TV Formats Screenings Festival indicates, dating, game shows, talent and engaging factual enter tainment remain in vogue.
Ricardo Seguin Guise President
Anna Carugati Executive VP
Mansha Daswani Associate Publisher & VP of Strategic Development
TV Formats
WSN INC.
Broadway, #1207
York, NY 10010
924-7620
—Mansha Daswani
Several dynamics are powering this rebound, including the perennial need for broadcasters to deliver shows that will res onate with local audiences, recessionary fears that have buy ers eager to save on development spend and get shows to air quickly and efficiently, and the emergence of the streaming platforms in what was once a linear-channel-only game. From Dancing with the Stars moving to Disney+ to Netflix rebooting The Mole to the arrival of new players like HBO Max and Peacock, the streamers are having a significant impact on the business. And as it turns out, their needs aren’t that different from traditional broadcasters anymore. Are you going to see your traditional studio game show on a streamer? Unlikely. But their involvement in buzzy areas like dating, cooking and social experiments could well lead to a new level of innovation in the non-scripted area. Distributors are also keeping a keen eye on how next-generation technologies will reshape the business, delivering new ways for audiences to interact with the shows they love.
The director of global entertainment on what broad casters are looking for and the qualities that make for scalable, returnable format brands.
Among Armoza Formats’ highlights, Parents Unfiltered exposes the reality of modern parenting as three families get the unique chance to see their parenting style from the outside. After filming their lives for a week, they sit with an expert and watch each other’s home videos to offer support and critiques. In The Fittest Pensioner , ten of the fittest seniors move into a home together to compete in mental and physical challenges. Whoever has the lowest score goes up for elimination. Pet Detectives follows a team of pet-finding specialists who look for lost pets. “What is so great about this format is that, with just a few tweaks, it can be adapted for family viewing or true-crime fans alike,” says Adva Avichzer, head of sales.
Loaded in Paradise / Bad Chefs / My Mom, Your Dad
Produced by Twofour for ITVX and ITV2, Loaded in Paradise is among the lead offerings from ITV Studios. The adrenalinefueled reality game show sees party-loving pairs island hop around Greece in a race to take control of—and spend—€50,000. Produced by Lifted Entertainment for ITV2 and ITV Hub, Bad Chefs watches as YouTube sensa tion Chunkz welcomes ten culinary-challenged takeaway addicts to the Bad Chefs Cooking School in a reality cook ing competition. My Mom, Your Dad , produced by ITV America’s ITV Entertainment for HBO Max and by ITV Studios Australia for 9Network, follows a group of single par ents who have been nominated by their kids aged 18-plus for a second chance at love. “All the formats have universal con cepts that can reach a broad audience and all have an upbeat vibe,” says Charlotte van Weede, sales director.
Media Ranch has on offer three new formats from Denmark, South Africa and the U.S. The music competition My Song to Denmark , created by DR, features 15 top musicians who travel the country on a quest to get inspired to create a hit song. The format “has all the right components—celebrity musicians, catchy songs and a love of country—that can appeal to viewers in every territory,” says Sophie Ferron, president and founder of Media Ranch. From South Africa’s Trace Studios, The Ultimate Braai Master sees teams compete in barbecue challenges for cash, cars and bragging rights. Hollywood 911 offers a look at medical emergencies, home invasions and epic meltdowns that demonstrate how celebrities are just like us and must call 911 when trouble arises.
“All these formats touch on emotional connections that are universal, making their topics relatable for audiences everywhere.”
—Adva Avichzer
“Bad Chefs is a show where the audience will truly laugh out loud while the candidates are trying to cook.”
—Charlotte van Weede
“We are open and enthusiastic to work with producers and partners from everywhere.”
—Sophie Ferron
From the creators of Dark Doubt, Nippon TV’s Time Potion is a high-concept game-show format where time is the ultimate ruler. The rule is: Save every second no matter what or drink the “time potion” and recover your life—or else you’re out. “This new unscripted format is exciting and sure to entertain audiences around the world with an easily adaptable concept,” says Yuki Akehi, director of international business development at Nippon TV. The company is also presenting Old Enough! , which follows children running errands on their own for the very first time while being filmed by an incognito camera crew. “Our very popular format Old Enough! is attracting much attention from format creators after streaming its ready-made version on Netflix in over 190 countries this year,” Akehi says.
Paramount Global Content Distribution has a format lineup that includes dating and reality, a music game show and a parlor game show. The Real Love Boat, for one, brings singles together to sail the Mediterranean on a luxury cruise ship while looking for love. “Like the beloved original scripted series, the indispensable crew members, including captain and cruise director, will play pivotal roles in the matchmaking and navigation of the romantic (and sometimes turbulent) waters ahead,” says Paul Gilbert, senior VP of international formats. In Superfan, contestants compete in a fast-paced music-centric game show that tests fans’ knowledge about that week’s superstar. The show intersperses musical performances and gameplay. Pictionary is based on the classic Mattel game of quick sketches and comedic guesses.
Passion Distribution is showcasing the format Send Nudes: Body SOS, which invites participants who are considering changing their bodies to investigate what it would look like by using state-of-the-art VR technology to build a naked avatar of themselves. “ Send Nudes is a bold take on a body transformation show,” says Agnes Mbye, senior sales manager for formats. Open House: The Great Sex Experiment is a social experiment that allows curious couples in long-term, committed relationships to explore if having sex with strangers will enhance and strengthen their relationship. It has already been recommissioned for a second season on Channel 4 in the U.K. Most Identical is a reality format that uses a series of scientific tests to find the country’s most identical twins.
“We have been receiving many offers to create international versions of Old Enough! ”
—Yuki Akehi
“Send Nudes is a warm and entertaining transformation show with truly surprising reveals.” —Agnes Mbye
Send Nudes: Body SOS
The Real Love Boat
Old Enough! “Come and see us for the best shows in all categories.” —Paul Gilbert
T he 2000s ushered in the era of the megaformats, marking the arrival of global hits like Who Wants to Be a Millionaire? , Big Brother and Sur vivor. Twenty-plus years later and the busi ness is thriving—with those brands remarkably still on the air in several territories—despite what has been a difficult two years.
“The format business was one of the first to slow down when Covid-19 hit, but it was also one of the first to quickly respond and kick off again,” says Tim Gerhartz, the managing director of Red Arrow Studios International. “It’s an adaptable and flexible genre, as you can quickly stop and start produc tion; you easily can change elements or adjust the volume as needed or to suit demand.”
James Townley, global head of content development at Banijay, observes, “We are seeing a bounce back both from a new IP point of view, as well as with our big super-brands. The opportunities are all there. Last year, Banijay launched over 200 new shows.”
Andre Renaud, senior VP of global format sales at BBC Stu dios, notes that while the segment struggled as produc tions were shut down or scaled back, format licensing and development proceeded at a brisk pace.
“People were looking to us for high-quality shows that they could get to air quickly and to find formats that could be
produced under a Covid-safe environment,” he explains, citing new deals for Weakest Link in the U.S., Greece and Australia
All3Media International, similarly, is home to several brands that were able to continue production amid the pandemic “and even gain new commissions, such as Gogglebox and The Cube ,” says Nick Smith, the company’s executive VP of for mats. “The sector has more than bounced back. Race Across the World, which couldn’t be produced in 2020-21, now has three versions in production.”
Production slowdowns also provided an opportunity for pro ducers to come up with new concepts, according to Renaud. “That time is now starting to bear fruit. If we’re looking at a bounce back, it’s probably about these creative ideas that peo ple had the freedom and flexibility to come up with.”
Tom Miyauchi, head of formats, international business development at Nippon TV, concurs with Renaud’s assess ment, noting, “Format creators from around the world lived the new norm and spent the past two years concentrating on the development of new ideas. As a result, we are now seeing a burst of creativity in the market with many new formats.”
For Avi Armoza, founder and CEO of Armoza Formats, a division of ITV Studios, that influx of creativity has been
Banijay’s Starstruck had a strong launch on ITV this year and has been renewed for a second season.
sitions. “During Covid, most broadcasters exhausted their cur rent formats and had less of a need or desire to change their lineup of shows and bring in something new. Due to this exhaustion, broadcasters are back searching for new for mats to either replace an established show or to give a break to the well-known formats before bringing them back to their viewers.”
The fast-proliferating on-demand landscape is also helping to power the revival of the formats business, with All3Media International’s Smith pointing to the arrival of a wealth of new buyers. “We have licensed formats to global and local SVOD platforms this year such as discovery+, HBO Max, Streamz and VOYO,” he says. “Our formats business has surpassed where we were before the pandemic.”
The consensus among format rights owners is that the needs of broadcasters and streamers are not as different as they once were.
“Broadcasters all have a VOD strategy now,” says Gerhartz at Red Arrow Studios International. “They’re all looking for
linear and that also offer volume, especially for the binge-watching audience.
“There are exceptions, though,” Gerhartz adds. “Certain genres remain a linear game, such as live event shows and studio-based game shows. But most traditional networks are equally looking for binge-watchable, VOD-capable shows.”
BBC Studios’ Renaud says there are slight nuances in the dif ferent needs across platforms. “The bigger broadcasters are looking for prime-time entertainment brands that draw a large audience. The growing competition among the streamers themselves means they’re also looking for brands with wide appeal. They’re often looking for established brand names or talent to stand apart from their competitors. It seems like every streamer is looking for their niche in dating and cooking— [which] are evergreens for linear broadcasters, too. The main advantage for streamers is that they have the nuanced audi ence data and, therefore, the ability to create new ideas target ing a specific audience.”
“The wants and needs of the broadcasters and streamers are merging,” agrees Townley at Banijay. “Local networks all have catch-up services. They all want content that resonates with audiences, whether it’s four-quad, family view ing or a younger demographic, and successful formats that are low-cost and high-volume are definitely desirable. The broadcast networks have the ability to deliver live, appointment-toview television, and they are really strong in the studio entertainment space. But at the end of the day, they all want content; they want to feed the beast. The streamers also want to keep view ers for the entirety of a series, whereas some broadcast networks can do stand-alone nonscripted entertainment shows audiences can dip in and out of.”
Armoza agrees, stating that the clear differ ence between streamers and broadcasters is that the former prefer shows with an arc and a clear visual hook that will grab audiences immediately.
“Streamers are looking for titles that really stand out from the crowd,” says All3Media Inter national’s Smith. “Streamers are also open
to shows that are more niche than linear broad casters would go to—they don’t necessarily have to attract a huge audience but serve neglected groups and convince them to subscribe to their platform.”
Sophie Ferron, president and founder of Media Ranch, adds that the global streamers “also need to control the international rights. The networks want that same high-concept idea. They’re competing against the streamers. It’s an opportunity for the producers to go to the broadcasters and get a better deal. They will be more generous in terms of inter national rights because they know that the stream ers are not. That’s an opportunity for pro ducers and format
With Dancing with the Stars moving to Disney+ and Netflix resurrecting The Mole, it’s clear that reboots and megabrands are being sought after by broadcasters and platforms alike.
A returning franchise is the holy grail for format IP owners, and many of the distributors surveyed here have tak en great pains to ensure that their megabrands return refreshed and updated, season after season.
At Red Arrow Studios International, Gerhartz refer ences the time that has gone into building Married at First Sight into a franchise, with broadcasters such as Channel 4 in the U.K., Lifetime in the U.S. and 9Network in Australia “supersizing their offerings” of the show, he says. “During Covid, especially, many channels realized they could turn Married at First Sight into a megabrand with spin-offs and additional tapes of other international versions. We even have a couple of countries that have two separate versions on air at the same time; RTL in the Netherlands has a more traditional version on the main channel and a more reality-TV-driven version on the VOD platform, while in Finland, MTV3 has commissioned a 20-episode supersized version to sit alongside the original version.”
Gerhartz continues, “The key to successful brand manage ment in the format business is to ensure a show remains authentic and true to itself but has room to develop in response to changing viewing patterns and habits.”
BBC Studios is home to such megaformats as Dancing with the Stars and The Great Bake Off. “We’re always asking our selves, how do we keep improving?” Renaud says. “We make sure that our flying producer network has opportunities for our commissioners and producers around the world to have creative exchanges. We’re continually trying to see if some thing that works in one place can travel elsewhere. In one ter ritory, Bake Off did a house of cards with biscuits. The visual was so strong and persuasive at a creative exchange that we saw three or four other markets replicate it.”
At Banijay, Townley’s colleague Lucas Green, global head of content operations, is laser-focused on maintaining that com pany’s significant portfolio of hits. Townley refers to the process as “creative renewal.”
Older formats are also being dusted off and rebooted, with broadcasters and platforms looking to hedge their bets slight ly by offering up something that is both new and has some brand recognition.
“We are also seeing a revival of shows that were strong before Covid, like Old People’s Home for 4 Year Olds ,”
Gerhartz says, pointing to Old People’s Home for Teenagers in Australia. “It’s a good example of taking an existing brand but renewing it and putting it into a fresh context. The idea is still relevant; you just have to update the execution.”
BBC Studios’ Renaud agrees that there’s a trend toward rebooting older fare, “but it’s shows that have had a good pause from TV, so it feels like a renaissance instead of a riskaverse piece,” he says.
But an industry reliance on reboots and megabrands does make it that much harder for a brand-new idea to break through.
“It’s not easy to make it in non-scripted,” says Nadav Palti, president and CEO of Dori Media Group. “You develop and develop and develop. Only 1 out of 100 makes it and catches the audience. It’s very tough to convince a broadcaster to take the risk and put it on air.”
Nippon TV has begun rolling out Old Enough!, recently securing a Dutch option on the format.
Audiences are, however, clamoring for new concepts, Media Ranch’s Ferron says. “When something breaks out, like Love Is Blind , everybody watches it. There’s an appetite for new. What we see with the megabrands is the risk-averse executives saying, Well, at least we know what we have in this. It’s the devil we know. But after a while, you need to think of what will be the next thing.”
Armoza notes, “This is the contradiction that we see in the industry of formats and new ideas—there is a strong need for new ideas, but at the same time, broadcasters feel safe to keep broadcasting the shows they know and have a track record already.”
However, IP owners are seeing some willingness on the part of buyers to try unproven ideas, despite the recessionary fears gripping the global economy.
“I don’t think anybody in this industry can afford to act riskaverse—maintaining the status quo is not an option anymore,” Gerhartz at Red Arrow Studios International says. “It’s an
indus try in a state of transformation, the speed of which has accelerated because of Covid. There’s certainly a strong willing ness to shape the future, push boundaries and try new things.”
Banijay’s Townley says broadcasters are being considered in their choices given the uncertain economic climate. “They have to be incredibly strategic about what they invest in and the bets they are taking. Luckily, most buyers are quite bal anced with taking on existing and new IP. We’re a creative community, but we can’t ignore the financial constraints— creatives want budgets to go up, not down, but we have to be able to adapt, and we’re here to help find those solutions.”
Paul Gilbert, senior VP of international formats at Paramount Global Content Distribution, says broadcasters are particularly focused on budgets given the concerns about next year. “Their way of combatting the economic cli mate is to cut the cost of production. I get it. However, we try to convince them to order more episodes, which will result in a lower cost per episode. Sometimes they agree, and sometimes they don’t.”
While Gilbert notes that pitching a show with a track record is helpful, broadcasters shouldn’t be overly reliant on ratings in another territory when making commissioning decisions. “There’s nothing better than pitching a show that is on-air and is suc cessful. Everyone wants to buy off success, and I understand that. However, many great shows have not made it past season one for several reasons: bad time slot, subpar casting or not being well produced. I always tell a buyer, Forget how the show performed on-air—if you like it and feel it will do well for your channel, then step up and make us an offer.”
Smith at All3Media International says that creators need to be, well, extra creative in this landscape. “ Format creators have to be smart, whether that means partnering with owners of IP from other spheres to create a TV format or finding ingenious ways to promote new shows.
For example, in Belgium, we have closed a deal with a company that operates virtual reality venues to create a game based on the celebrity
Armoza Formats’ Sex Tape has aired in 15 markets. Stand-Up Warrior is a new format being rolled out by Dori Media Group.
horror format Don’t Scream . They are promoting the game and also the TV series, which, of course, is attrac tive to the commissioner.”
Co-development initiatives, whether among produc ers, broadcasters or distributors, can also be an effec tive process for building formats that are scalable and easily replicable.
“Nippon TV is a pioneer in format co-developments, having partnered with major studios such as Red Arrow Studios for Block Out , ITV Studios for Stacking It! and The Story Lab for 9 Windows , and many more,” says Miyauchi. “It does take some time to develop new for mats across different cultural backgrounds; however, we have garnered many more opportunities and partnerships than ever before with format co-developments. We are expanding our global footprint by building new strategic creative collaborations with international partners to cre ate original content for viewers worldwide.”
“Co-development is really about creating a partnership between companies with great ideas, in-depth local knowl edge about what their respective market wants, great access to commissioners and budgets, and expertise in marketing and selling the idea,” says Red Arrow Studios International’s Gerhartz. “That’s the purpose of the distri bution business: to turn an idea into business—it’s not enough to just have a great idea. These partnerships can happen across any territories and on different levels of the value chain.”
Creative exchange happens across the Banijay portfolio of 120 companies, Townley says. “ We have an internal creative fund set up to invest in embryonic new ideas, fully focused on supporting our producers and super charging our development pipeline. We know how com petitive this market is, so we need to make our IP stand out. We’ve seen positive outcomes from ensuring a new idea is well supported with exceptional materials.”
Renaud points to the development that is happening across BBC Studios, referencing as an example Ex Rated , created by U.K. indie Mighty Productions. “Our L.A. production team worked with them to devel op it and attach talent, and it got picked up by Peacock in the U.S. With that U.S. commission, we can take it back out into the market.”
Dori Media is looking for new ideas via an acceler ator program. Palti notes: “156 new ideas were sub mitted to the program. We chose 20 and then six and then we chose two to develop. Spy Date is a differ ent angle on dating. It combines a secret world— Mossad, CIA, KGB—with love and dating. Stand-Up Warrior has comedians who have to prove them selves in a space they are not comfortable in.”
Nippon TV, meanwhile, “launched a new cre ative team internally with a thriving group of young creators who specialize in developing new paper formats and new creative collaborations,” Miyauchi says.
Armoza Formats, which is part of the ITV Studios network, has a range of processes in place to spot the next big thing. “Our dynamic development team brings a deep knowledge of the industry and
creative ways of thinking,” says Armoza, who adds that the company hosts an annual pitch competition, Formagination.
Media Ranch hosts Horsepower, an incubator program for new ideas, and partners with producers across the globe. “We are extremely open to receiving pitches from all over the world,” Ferron says. “We have strong relationships in Scandi navia and South Korea, and we recently closed a deal with Trace Studios in South Africa. That gives us a footprint in these territories. That’s how we get to these new territories and these new creators. And we have the creators from Horsepow er coming to us with new formats and ideas.”
Ultimately, “good ideas can come from anywhere in the world,” Gerhartz at Red Arrow Studios International says, “but it needs know-how and experience to turn an idea into a project.”
“We are in the business of telling stories,” Armoza says. “From our perspective, every format is a story. It seems at this point that all the stories have been told. The challenge now is to find a new way to tell the story of talent shows, entertainment shows, reality shows.”
All3Media International’s high-concept game show The Traitors was acquired by Peacock in the U.S.All3Media International’s This is Your Life
As our latest TV Formats Screenings Festival indicates, dating, game shows, talent and engaging factual entertainment remain in vogue.
Tapping into the resources of its sister companies and third par ties, All3Media International has assembled an enviable format cat alog to meet the needs of diverse buyers across the globe. The high-end game show The Traitors delivers “thrilling challenges, fas cinating group dynamics, constant plot twists and plenty of scheming and double-dealings,” says Nick Smith, executive VP of formats. Also on offer is the iconic This is Your Life, which has “shown its staying power decades later, continuing to prove its ratings-winning success,” Smith notes, as well as the cooking competition Kitchen Nightmares . The family-friendly talent compe tition Last Singer Standing from ShinAwiL, Optomen Television’s “feel-good” Sort Your Life Out and ModestTV’s dating format Date or Drop, renewed by RTL in Germany, round out the offerings.
ZDF Studios is bringing to market the game show Quiz Hunt, which has been a long-running hit on ServusTV. The show features a life-sized board game on which contestants answer questions as they progress toward a cash prize. “The simplicity of this game show, along with the thrill of the chase, is what makes Quiz Hunt so addictive,” says Ralf Rückauer, VP Unscripted.
Factual entertainment and dating are in the mix in BBC Studios’ lineup, including the social experiment Art on the Brain. In Hungry For It, mean while, ten cooks eager to break into the food industry vie for a lifechanging opportunity.
Dori Media Group arrives at MIPCOM with a new reality competition in which stand-up comedians go through a martial-arts boot camp. Stand-Up Warrior is a “story about change and empowerment,” says Carolina Sabbag, VP of sales for Western Europe, the U.S. and Canada. Also new to the com pany’s lineup is Spy Date, a reality dating show that combines the worlds of romance and espionage. A long-running hit for the company is the game show Power Couple.
Armoza Formats is touting the prime-time game show Family Piggy Bank, which, per Avi Armoza, CEO, brings together “amazing CGI technol ogy with fun-filled family game play. Both of these have led to the success of the format in Portugal, and we look forward to many more adaptations.” Armoza Formats is also showcasing a provocative social experiment, Sex Tape, which has already been adapted in 15 markets.
ZDF Studios’ Quiz Hunt BBC Studios’ Hungry For Itdown turn; people are worried about a recession, security for their fuel and inflation. In this slate, I’ve tried to look for something that is a complete antidote to that. Everything is fun and friendly. Also, a lot of the shows are family-friendly. I still think television, no matter the platform, [provides] an opportunity for families to sit down and share. And in a recession, you’re not going to do that much in the theater or restaurants. Some families will do it solely at home in big pullovers because they won’t be having their gas or heating!
TV FORMATS: Are there key elements to dating, talent com petition and quiz shows? Have those elements changed since the audience has so much choice?
CLARK: I always used to say to our development team that there are three pillars [to a format]. It has to be transferable; it can’t be culturally tied to one specific thing in your coun try. It has to be scalable because if you are going to make a show that transfers across the world, then you need to make it with an American budget for a large country and a much smaller budget for a country with a smaller popula tion or GDP. It also has to be returnable. We don’t want a show we make once and can never return.
I would add that it needs to be promotable. You need something that instantly grabs you. That can be a concept, a
F or nearly two decades, Rob Clark, currently the direc tor of global entertainment at Fremantle, has over seen the rollout of dozens of successful formats, from talent competitions to dating and quiz shows. As he prepares to step down at the company, Clark shares with TV Formats the elements he deems essential for a program to travel to several countries and satisfy today’s audiences.
TV FORMATS: What are you hearing from broadcasters about their format needs today?
CLARK: There is a positivity about most broadcasters in that they seem to have found a way of bucking the trend in their ratings. They are looking for new formats and new content.
At Fremantle, there are two prongs to our development and production. One is local, where a show is developed in a territory and stays in that territory, and we don’t ever expect it to travel. My job is to look for things that can travel and become multi-territory or global. In those areas, what we are looking for is, as ever, universal themes. We’ve got formats that are about first love. We’ve got formats that explore friendship. We’ve got formats that explore relation ships that have been well established. We’ve got formats that are about adventure and romance.
The other aspect is that it’s a fun and very positive slate. There is nothing that I would call negative or downbeat. In Europe, where the majority of our production companies are, there is a big war for the first time in most of our life times. The consequences of that are an economic
style, or a look. It needs to grab quickly and have an engag ing title because if it hasn’t got an engaging title, no one will watch it. I think that is the under-explored area of TV. How many shows were quite good but had dreadful titles?
Also, clever developers develop shows within the world. The world isn’t the same as it was, regardless of how many people watch television or where we watch it. The realworld experiences of our audience change what they’re looking for. I believe they are looking for something that takes them away from the realities of the world that they live in. There is a degree of escapism.
TV FORMATS: In your years working in the business, of which shows or accomplishments are you most proud?
CLARK: If you go back to 2003 when I joined Fremantle, and you look at our catalog then and now, it’s a very different beast. I believe that over the last 19 years, we’ve found shows, developed and acquired shows that will be on air for the rest of my life and probably lots of younger people’s lives. When you look after a catalog like Fremantle’s, and you’ve got shows like The Price Is Right and Family Feud, you realize what a privilege it is.
And then you’ve got big beasts like Got Talent, The X Factor and Idols. These changed the way people watched television. And the way we made television. They changed how broadcasters had to budget these shows because they are not cheap. But they bring audiences and the right sort of audiences from a commercial point of view.
nvesting in quality content is central to All3Media Interna tional’s strategy, and its fall slate is testament to this—across scripted, factual and entertainment.
“We are looking to work with the world’s leading creative talent to bring a diverse slate of high-quality programming to our buyers across all genres,” says Maartje Horchner, EVP of content.
“Across our scripted slate, we’ve seen phenomenal growth in high-quality programming, with a fantastic range of new content joining our catalog, ranging from high-end, big-budget
All3Media International reveals a slate of fresh content across scripted, factual and entertainment. By Kristin Brzoznowski
shows like The English to our latest detective drama Ridley from West Road Pictures.”
The market for scripted content remains strong, according to David Swetman, SVP of content and commercial strategy, who notes an unprecedented breadth of demand. “In terms of drama trends, true crime, epic and domestic style thrillers as well as established returning franchises, particularly our detective series, have strong international appeal,” he says.
With feel-good entertainment in high demand, Nick Smith, EVP of formats, points to the success of Sort Your Life Out and The Dog House. “We have high hopes for our MIPCOM launch of The Dog Academy, which aims to fix badly behaved dogs.”
In the non-scripted space, the market is in the “middle of a premium-factual tidal wave,” says Rachel Job, SVP of non-scripted.
Across all these genres, All3Media International has an investment strategy focused on building partnerships. “We often play a central role in curating direct relationships between producers and broadcasters, which can result in securing co-production partners and closing finance gaps, with the ultimate goal of making the production as successful as possible,” Horchner says.
While Nicely Entertainment has been in growth mode since launch, it has taken a curated approach to remain a boutique production and distribution company. “It’s hard to believe that it’s been almost three years since we launched, but we’re now releasing 20 original films each year and are currently in postproduction on our third scripted TV series,” says Vanessa Shapiro, CEO. “Our 2023 slate is already filling up fast!”
Nicely Entertainment’s Vanessa Shapiro on taking a story-first approach at the production and distribution company.
The company has a library of over 50 movies—and counting. “What’s driving our success is simply delivering quality and everlasting content,” Shapiro adds. “We are putting our clients’ needs first in an increasingly noisy and competitive market.”
And though Nicely is growing, it has been selective and focuses only on projects that fit the company’s wheelhouse. “Our films fol low female protagonists and tell empowering stories,” says Shapiro. “Many of our titles involve romance, but overall, we want to offer an entertaining experience and escape to the viewers. All our movies are centered around smart and confident female char acters dealing with genuine dilemmas, which makes for a compelling story and a great movie-watching experience.” She points to the romance movie Love in Bloom as an example.
“What makes Nicely’s projects unique from a business standpoint is that we put the story first,” she adds. “That might seem obvious, but we don’t chase trends; we focus on great stories and co-produce films that audiences around the world genuinely want to watch. Whether it’s a Christmas movie, a romance or even a co-viewing family film, our throughline is all about offering a satisfying, inspirational and empowering experience.”
Québec has a unique position in the global television market as a generator of French- and English-language media in North America, with productions that are both distinctive and highly exportable. One of its main assets is the variety and the appeal of its dramas, comedies, documentaries, animation, children’s content and entertainment formats. In association with the Société de développement des entreprises culturelles (SODEC), the Québec cultural agency, World Screen is spotlighting this dynamic industry and its presence at MIPCOM this year.
Commissioners: Canal+, TVE & SRC, with support from the Canada Media Fund and Shaw Rocket Fund
Producers: PVP Media, 3 Doubles Producciones, Capitán Araña
Description: (Animation, 1x88 min., 4x22 min.) Longing for wilder adventures, Santa Claus’s wish comes true when he bumps his head and starts believing he’s SuperKlaus: the famous superhero Christmas Crusader.
Pitch Perfect: “With the help of Billie, a tech-savvy 11-year-old, and Leo, his elf executive assistant, SuperKlaus will take on a megalomaniacal toy-obsessed businessman to save Christmas.” —François Trudel, VP & Executive Producer Sales Contact: François Trudel.
Commissioner: Radio-Canada/CBC Producer: Prestigo Medias
Distributor: Prestigo Distribution
Description: (Kids/family, 52x23 min. & Christmas special) A sitcom about a weird but endearing family with insane supernatural powers, trying to live a normal life in a house as exuberant as theirs.
Pitch Perfect: “It’s not always easy to live all together and keep the family’s secret from everyone else!” —Daniel Coutu, CEO & Producer Sales Contacts: Daniel Coutu; Johanna Veysset, Marketing & Sales Consultant.
Commissioner: Radio-Canada
Producers: Yzanakio, Black Wealth Media
Description: (Factual, 4x52 min.) A documentary series event that traces four centuries of the little-known history of the Afro-descendants in Canada.
Pitch Perfect: “Afro Canada is a four-part documentary series directed by Henri Pardo that mixes animation, drama, tableaux vivants and performance art to trace four centuries of the little-known history of the Afro-descendants who helped build Canada.” —Eric Idriss Kanago, Producer Sales Contact: Eric Idriss Kanago.
Commissioner: Crave
Co-Producers: Zone3, ZAMA Productions
Distributor: Zone3
Description: (Drama, 6x60 min.) A policewoman intro duces four troubled young adults to mixed martial arts, hoping to give them a fighting chance at keeping their crime sheets clean.
Pitch Perfect: “After a difficult childhood in which the rug was pulled out from under them more than they could count, the young immigrants in the series must now face their first round in the adult school of hard knocks. And Still I Rise plunges into the gritty reality of life for today’s inner-city youth with hope, authenticity and kindness.” —Mélanie Ratté, Senior Director, International Distribution & Business Development Sales Contact: Mélanie Ratté
Commissioner: TVA
Producer: Pixcom
Distributor: Pixcom is seeking a distribution partner.
Description: (Drama, 8x60 min.) Following a serious trauma, Arnaud turns to drugs, leading his mother, Anna, on a veritable descent into hell. Award-winning Guylaine Tremblay plays Anna.
Pitch Perfect: “From 2010 to today, the relationship between Anna and her son Arnaud follows a path filled with hope and disappointment. Inspired by a true story, this moving original series lifts the veil on a rarely explored social phenomenon: homelessness.” —Nicola Merola, President & Executive Producer Sales Contacts: Nicola Merola; Marjorie Lenneville, Coordinator, Development & Distribution.
Commissioner: Incendo
Producer: Incendo
Distributor: Incendo
Description: (Romantic comedy, 1x90 min.) A proposal planner poses as the best man’s new girlfriend to get to know her clients better and help concoct a perfect Valentine’s Day proposal.
Pitch Perfect: “With a diverse slate of original, multi-genre programming available, Incendo’s curated romantic comedy film collection includes a variety of unique, heartwarm ing stories.” —Gavin Reardon, International Sales & Co-Productions
Sales Contacts: Gavin Reardon; Cynthia Kennedy, VP, Distribution.
Producers: J-Toon Holdings, Syon Media
Distributors: Odin’s Eye (worldwide excluding France), Syon Media (France)
Description: (Animation, 52x11 min.) Welcome to the tropical island paradise known as the Zoobak Resort, home of the Beachbuds, a group of bird friends who live and work together at the resort.
Pitch Perfect: “When the Beachbuds are not busy giving their guests their best day ever, they go on zany adventures the whole family will enjoy watching. Every episode is a vacation you’ll never want to end!” —Danny Bergeron, CEO & Producer
Sales Contacts: Danny Bergeron; Johanna Veysset, Sales & Marketing.
Commissioner: Radio-Canada
Distributor: Encore International
Description: (Drama, 10x45 min.) A brilliant mind in finance, Marc-André got out of the rat race while his friends have incredibly successful careers—until an offer comes up. Will he accept?
Pitch Perfect: “Set in the world of finance, Before the Crash is a fascinating series where ambition, money and success can be extremely rewarding or bring the worst out of you.
When at the crossroads, the question is: how much are you willing to lose in order to win?” — Chrystine Girard, Head, International Distribution
Sales Contacts: Chrystine Girard; Dominique Simard, VP, Business Development & Partnerships.
Producer: UBIQUE|Film
Distributor: HG Distribution
Description: (Factual, 3x52 min. & 1x68 min.) From the dawn of humanity to online cat celebrities, this entertaining series explores the unique bond uniting humans and cats, for better and worse.
Pitch Perfect: “From the U.S. to France via Canada, England and Spain, this documentary takes you to meet (crazy) cat lovers, enthusiasts, scientists and detractors to help us paint a portrait of an animal which, despite its great popularity, remains enigmatic and misunderstood in many ways.” —Henry Gagnon, President Sales Contacts: Henry Gagnon; Andrea Staerke, Business Development; Lydia Horman, Director, Content Sales & Global Digital Strategy.
Producer: Image-in Atlantique
Description: (Animation, 52x5 min.) Everything starts from an egg…
Pitch Perfect: “Barely out of their shells, the Coco Boos wonder what to do today: sing, paint, cook, dream? They don’t know where to turn with their vivid imaginations. Fortunately, Mammoth is there to bring everyone back to their shells before dark.” —Jean de Vivie, Executive Producer Sales Contacts: Jean de Vivie; Annick De Vries, Executive Producer.
Commissioner: Noovo.ca/Crave
Producer: Productions ToRoS
Description: (Comedy, 10x12 min.) This quirky parody of melo dramatic teen series tells the highs and lows of Allie Thompson, the new girl in New Garden Hills Valley’s high school.
Pitch Perfect: “Complètement Lycée is a parody of those iconic, oh-so-melodramatic teen series that we all know and love—they were a quintessential part of our own coming-of-age television rituals. This contemporary series borrows from all the rules of the YA genre to create an absurd high school universe where the tone and humor are updated and refreshed and totally binge-worthy!” —Marc S. Grenier, Producer Sales Contacts: Marc S. Grenier; Marie-Pier Gaudreault, Executive VP.
Commissioner: Radio-Canada
Producer: Nish Media
Distributor: Attraction Distribution
Description: (Drama, 6x45 min.) Inspired by true events, tells the moving story of an Algonquin brother and sister, who, in the 1960s, were taken away from their parents and sent to an Indian resi dential school. The series shows how both are now trying to make peace with their painful past.
Pitch Perfect: “Reveals Canada’s 100-year-long dark history: Indigenous children were forcibly taken into residential schools to be ‘civilized’ by the Catholic Church. How painfully they were uprooted, and how, as survivors today, they struggle and reconcile.” —Xiaojuan Zhou, President
Sales Contacts: Xiaojuan Zhou; Max Oliveras, VP, Television.
Commissioner: TV5Unis
Producer: Avenida
Distributor: Attraction Distribution
Description: (Kids, S1-3: 60x13 min.) Jenny is a tale of joy and the dreams we pursue against all odds. After producing three seasons of Jenny, Avenida and Apartment 11 are now working on the reimagined English version of the series.
Pitch Perfect: “Jenny is the story of a young girl who fights her cancer diagnosis with a strong force of character, courage and humor alongside her friends and family. This award-winning series is sure to inspire and entertain the whole family!” —Xiaojuan Zhou, President, Attraction Distribution Sales Contacts: Xiaojuan Zhou; Max Oliveras, VP, TV; Sylvia Kocman, Manager, Administration.
Commissioner: CBC
Producer: Just for Laughs
Distributor: Just for Laughs
Description: (Comedy, S23: 13x30 min.; total 394x30 min.)
Enjoy all the comedic relief provided by the world’s longestrunning and most adored prank show.
Pitch Perfect: “Just for Laughs, the number one comedy brand, is proud to bring you brand-new episodes of Gags, the world’s top feel-good TV show that is currently airing in more than 200 territo ries.” —Fred Joubaud, Director, Content & Strategic Partnerships
Sales Contacts: Marina Di Pancrazio, Chief Content Revenue Officer; Fred Joubaud
Commissioner: APTN
Producer: Andicha Média
Distributor: Trio Orange International
Description: (Animation, 13x22 min.) Through the ages, across legends and myths, indigenous peo ple have imparted to future generations wisdom, values and life lessons that are applicable to any era.
Pitch Perfect: “Legends Keepers seeks to broadcast indigenous tales, but also to keep the oral tradi tion alive.” —Carlos Soldevila, President & Executive Producer
Sales Contact: Carlos Soldevila.
Commissioner: Radio-Canada
Producer: Happy Camper Média
Distributor: Happy Camper Média
Description: (Animation, 15x3.5 min.) Is it a potato? A tiny dragon? It’s both… it’s a Little Spudragon! Eager to discover our world, this funny-horned beastie explores the backyard and makes up all kinds of stories.
Pitch Perfect: “With his flair for asking original questions and coming up with even more ingenious solutions, the Little Spudragon highlights the importance of creative thinking in children, a value we at Radio-Canada feel is important.” —Nathalie Chamberland, Director, Youth Programming, Radio-Canada Sales Contact: Renaud Sylvain, CEO & Executive Producer.
Commissioners: CBC, Bell Media
Producer: Just for Laughs
Distributor: Just for Laughs
Description: (Stand-up comedy, S16: 8x60 min.) In July, for its landmark 40th anniversary, JFL welcomed comedy’s hottest stars to host the best stand-up comedy shows of the year.
Pitch Perfect: “As Just for Laughs is celebrating its 40th anniversary, we are proud to pro duce premium quality laughter for all audiences with some of the best stand-up comedy shows of the year, a new season of Gags and successful new TV formats.” —Fred Joubaud, Director, Content & Strategic Partnerships
Sales Contacts: Marina Di Pancrazio, Chief Content Revenue Officer; Fred Joubaud
Commissioner: Radio-Canada
Producer: Avanti Groupe
Distributor: Les Distributions Avanti Ciné Vidéo
Description: (Comedy, S1-7: 130x26 min.) Funny, modern, identifiable and addictive, a scripted comedy format about a couple figuring out love and life in a unique modular format.
Pitch Perfect: “Love Bugs is the most-adapted and best-selling scripted format in interna tional TV history (The WIT), adapted in 29 countries with more to come. The format is unique, addictive and hilarious, with a low production cost and an incredible international track record. Find out why everyone loves Love Bugs.” —Arabelle Pouliot-Di Crescenzo, Head, International Distribution Sales Contacts: Arabelle Pouliot-Di Crescenzo; Monique Lamoureux, Co-President.
Commissioner: TV5
Producer: Les Productions JED Lab
Description: (Lifestyle, 10x23 min.) Comedian Erich Preach meets mothers from all over the world to cook their best traditional dishes with them. In this confessional of humor and cuisine, they tell us about their amazing journeys.
Pitch Perfect: “With an avocado or eggplant in hand, comedian Erich Preach invites himself into the homes of Canadian mothers born from various countries to cook traditional meals with them. In the new ten-part series, the host explores cultures through food, from Colombia to Congo, Vietnam and Lebanon.” —Jack Lafortune, Producer & Director Sales Contacts: Jack Lafortune; Kate Lalic, Production Director.
Producer: NOMAD Industries
Description: (85+ hrs.) An endless stream of visual poetry, bringing viewers into a restorative state of “soft fascination.”
Pitch Perfect: “Perfect for aggregators, this unique channel presents a new kind of content called A.R.T. (Attention Restoration Therapy), cinematically inducing a state of ‘soft fascina tion,’ helping to restore your tired brain.” —Jason Rodi, Visual Poet Sales Contact: Jason Rodi
Commissioner: Quebecor/Club illico (TVA)
Producer: Duo Productions
Distributor: Duo Productions
Description: (Drama, S1: 12x60 min., S2: 12x60 min.) Five young adults are confronted with the difficulties of life. They were born at the same hospital at the same time. Yet, when they meet again, they don’t know it. Season two is in postproduction, available in December 2022. Pitch Perfect: “A lighthearted story of the merging of five young adults’ destinies around their quest for happiness and identity.” —Hugo d’Astous, Head, International Development Sales Contact: Hugo d’Astous
Commissioner: Crave
Producer: KOTV
Distributor: KO Distribution
Description: (Comedy, S1: 10x30 min., S2: 10x30 min. in prod.) Presents couples of different ages, social classes and origins, living out realistic situations in funny and touching ways.
Pitch Perfect: “The wildly popular Pillow Talk is a sketch comedy series that takes place in the bedroom, that last refuge where we are completely free to be ourselves. The series revolves around the lives of six different couples who live out situations that are realistic, funny and touching.” —Mia Desroches, VP, Global Distribution Sales Contacts: Mia Desroches; Barbara Vallant, Sales Agent.
Commissioner: Lifetime (A+E Networks)
Producers: Piers Vellacott, Sara Murray, Jesse Prupas
Distributor: Muse Distribution International Description: (TV movie, 1x90 min.) When Louisa meets handsome and sweet Steve at a bar in Chicago, he seems like the perfect guy. Forty-eight blissful, sexy hours and countless lies later, Steve disappears, and Louisa realizes she’s been swindled out of thousands of dollars.
Pitch Perfect: “Louisa finds herself alone, pregnant and on a path to vengeance as she begins to uncover the truth about Steve and his identical twin brother Mitch, who may be the real father of her child.” —Shawn Rosengarten, VP, Distribution Sales Contact: Shawn Rosengarten
Commissioners: CBC, Toute l’histoire, Cineflix Rights
Producer: Ideacom International
Distributor: Cineflix Rights
Description: (Doc., 1x49 min.) Neanderthals have long been thought of as brutish and dimwitted. It’s been impossible to truly grasp who they were and how they lived—until now.
Pitch Perfect: “Traveling back more than 400,000 years to reveal astonishing new discov eries, Who Was the Real Neanderthal? proves our prehistoric cousins were more like us than we ever imagined.” —Josette D. Normandeau, Executive Producer
Sales Contact: Josette D. Normandeau
Commissioner: Quebecor Media
Producer: Toast Média
Distributors: Banijay Rights (format), Québecor (tape)
Description: (Lifestyle/competition, S1: 8x30 min., S2: 8x30 min.) Professional chefs are left in a hostile environment with the bare minimum to survive and cook. They must create a dish to impress a judge.
Pitch Perfect: “The new normal we live in brought a need for people to reconnect with nature. In this cooking reality TV format, the hostile location and survival skills bring contestants to excel using a minimum of resources. Cooks find themselves in a precarious environment that leads them to sur vive this unique competition.” —Ian Quenneville, Producer & Co-President
Sales Contacts: Ian Quenneville; Sylvie Langlois, Québecor; Carlotta Rossi Spencer, Banijay Rights.
Visit the screening rooms for Attraction Distribution, Avanti Groupe, Avenida, Duo Productions, Encore Television-Distribution, Happy Camper Média, HG Distribution, Image-in Atlantique, Ideacom International, Incendo, JED Lab, Just for Laughs, KO Distribution, Muse Distribution International, NOMAD Industries, Pixcom, Prestigo Medias, Productions ToRoS, PVP Media, Syon Media, Toast Média, Trio Orange, Yzanakio and Zone3, as well as SODEC’s Québec Creates event room on WorldScreenings.com
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Hispania—Land of Rabbits (Wildlife, 1x52 min.)
Reflects the importance the rabbit still has for the sur vival of the most emblematic predatory animals of the Iberian peninsula.
Children of the Stars (Science/travel, S3: 10x52 min.) This new season shows Ricardo García’s jour ney of discovery, driven by his passion for chasing after the mysteries and wonders of the universe. Bees—The Invisible Mechanism (Wildlife, 1x52 min./91 min.) We share our planet with almost 9 mil lion species; bees are possibly the most impor tant for the functioning of terrestrial ecosystems. Extremadura—A Natural Paradise in Europe (Wildlife, 1x52 min./87 min./2x45 min.) Extremadura is a paradise of biodiversity with a mosaic of different habitats and ecosystems.
Rookies—My First Days in Life (Wildlife, 1x49 min.) Threats are continuous for those experiencing the first days of life. But it is also a time for learning, constant amazement and for playing games.
Superhumans (Travel/people/places, 6x52 min.) Shows people who have physically adapted to their environment, have special abilities and even genetic modifications that make them superhuman. Queen of Hearts (History/bio., 1x52 min./65 min.)
Larissa Swirski, codenamed “Queen of Hearts,” was a key figure in the espionage network during WWII. An infamous double agent working for the British Secret Service. Gold or Money (Current affairs, 1x50 min.) Miners in Mali work hard to extract gold, digging in the ground with bare hands. Now their livelihoods are threatened by an industrial mining company.
Moldova—A Portrait of Uncertainty (Current affairs, 1x48 min.) Moldova is one of the poorest and lesser-known countries in Europe. But now Russia is at war with Ukraine, and Moldova could be next. Artificial Justice (Current affairs, 1x51 min.) Some countries are already implementing AI algorithms in the administration of justice.
into separate parts of a remote wilderness. Each confronts merciless forces of nature, hunger, wild predators and isolation. Colosseum (History, 16x60 min.) Tells the thrilling story of the rise and fall of the Roman Empire through the lens of the men and women who fought and died there.
phrogging—people secretly living inside some one else’s home.
Top Dog (Competition, S1-3: 27 eps. & format) Expertly trained dogs and their owners compete in a series of rounds that test speed, agility and communication.
WWE Rivals (Bio., 10x60 min.) The WWE thrives on rivalries between stars. Watch as they backstab and double-cross each other for merchandising deals, movie roles and more.
Interrogation Raw (Crime/investigation, 20x60 min.) Explores the delicate twists and turns of some of the most fascinating interrogations ever done. Keeping Up with the Joneses (Movies, 7x120 min.) Following the death of real estate tycoon Theodore Jones, his second wife, Robin, takes charge of the business and, along with her four stepdaughters, will stop at nothing to protect their family and their fortune. North Sea Connection (Drama, 6x60 min.) Set on the stunning coast of Ireland’s North Sea, charts the turbulent journey of the Kenny family from humble fishermen to drug runners for an international cartel.
Phrogging: Hider in my House (Crime/ investiga tion, 10x60 min.) This stranger-than-fiction true-crime thriller explores the phenomenon of
Interstellar Ella (CGI adventure, 52x11 min.) In the year 3021, on a faraway space station, Ella and her friends set out on interstellar adventures and discover the wonders of the universe! Lloyd of the Flies (CGI comedy, 52x11 min.) It is esti mated that there are some 10 quintillion insects alive at any one time. This series is about one of them: Lloyd.
Pop Paper City (3D/mixed media view-and-do, 52x11 min.) Preschool series focuses on creating adventures together, encouraging “doing as well as viewing” through lovable characters and adventures.
The Very Small Creatures (Stop-frame comedy & discovery, 21x3 min.) Five curious friends have lots of fun exploring a child’s playroom. Through play and discovery, they learn about themselves, each other and the world around them.
Happy the Hoglet (2D comedy, 26x7 min., 26x1 min.) Inspires preschoolers with the inner strength that comes from tackling big feelings and growing positive ones!
The Abominable Snow Baby (2D kids & family, 1x25 min.) From best-selling author Terry Pratchett, a magical story about love, acceptance and the true meaning of family.
Numberblocks (CGI educational, 120x5 min., 1x20 min., 3x10 min.) Math brand uses humor, music, delightful characters and engaging story lines to show children how numbers really work. Timmy Time (Stop-frame comedy, 78x5 min., 2x22 min.) Timmy is the littlest lamb in Shaun the Sheep’s flock and star of his own award-winning series that is loved by fans around the world.
Shaun the Sheep (Stop-frame comedy, 170x7 min., 1x30 min., 1x28 min., 15x1 min., 21x1 min.) Aardman’s family favorite TV series is recognized for its slapstick humor, distinctive look and strong, quirky characters and enjoyed across multiple media platforms. Colourblocks (CGI educational, 30x5 min.) Full of musical adventures, a series about unlocking the imagination and creative brain to explore the world in a new colorful way.
2 Good 2 Be True (Romance, 70x45 min.)
Strangers to each other, a mechanic and a nurse were brought together by lies and deceit as they enter the world of a real estate magnate who is secretly battling an incurable disease.
Flower of Evil (Family drama, 32x45 min.) A top
detective and her team reopen the unsolved case of the mysterious serial killing that now involves someone very dear to her.
Love in 40 Days (Fantasy romance, 40x45 min.)
An insurance agent meets her untimely death but is given a chance to settle all her unfinished business on Earth for 40 days.
A Family Affair (Family drama, 40x45 min.) A beautiful woman gets involved in the lives of the richest family in her town and unravels deep buried secrets from their past.
Darna (Fantasy adventure, 70x45 min.) A young woman needs to protect a magical artifact and find the courage to be a superhero who is ready to face malevolent forces.
The Law of Revenge (Family drama, 64x45 min.)
A friendship turns sour when a woman is convicted for her friend’s crime and vows to get revenge.
La Vida Lena (Family drama, 50x45 min.) Seeking revenge against the family that ruined her life, a young lady turns to the one weapon that will effec tively bring them down: her beauty.
Marry Me, Marry You (Romance family drama, 40x45 min.) Two different people find themselves working together and eventually falling in love, leading to the healing of their personal scars. When Love Burns (Family drama, 40x45 min.) A politician and her impotent husband try to save their marriage by conceiving via a sperm donor— who turns out to be the politician’s ex-lover. Viral Scandal (Family drama, 50x45 min.) The lives of a simple family are disrupted when a scandalous video involving their eldest daughter goes
National Tournament, travels to Spain after being scouted by the prestigious Spanish club BC Sol. Beyblade Burst Turbo (Kids action/adventure, 51x22 min.)
Inspired by a chance Bey battle with World Champion Valt Aoi, Aiger Akabane sets his sights on becoming an invincible Blader with the help of his Turbo Bey, Z Achilles. Beyblade Burst Rise (Kids action/adventure, 26x22 min.) Dante witnesses Valt unleashing his newly-evolved Gamma Bey. Inspired, Dante seeks to achieve the same bond with his Bey, Dragon.
Beyblade Burst (Kids action/adventure, 51x22 min.) Valt Aoi is crazy about Beyblade. His friend Shu Kurenai is hailed as a Beyblade prodigy. Inspired by Shu’s accomplishments, Valt sets his sights on reaching this year’s national tournament. Beyblade Burst Evolution (Kids action/adventure, 51x22 min.) Valt Aoi, runner-up at the Japanese
Beyblade Burst Surge (Kids action/adventure, 26x22 min.) Two unknown brothers, Hyuga and Hikaru Hizashi, issue a challenge: armed with their own Lightning Beys Hyperion and Helios, this unlikely duo is going to topple Beyblade’s ruling elite. Beyblade Burst QuadDrive (Kids action/adventure, 26x22 min.) Bel Daizora, the ruler of the graveyard for Beys, Phantom’s Gate, issues a challenge to Bladers all over the world. At his side is his Bey, Destruction Belfyre.
Heroes of the Sea (Science, 1x70 min.) Travels the world in search of the heroes creating visionary solutions to one of the most pressing challenges of our time: saving the oceans. What is Wilderness? (Science, 1x52 min./43 min.)
This film embarks on a journey through Europe looking for answers, and what it discovers consti tutes an opportunity for the preservation of nature and the future of humankind.
Wildlife in Windmill Country (Nature/wildlife, 1x52 min.) A journey of discovery through the Alblasserwaard, unveiling the wild side of the bucolic Dutch landscape and the animal species who benefited from the legacy of the windmill. Why We Dance (Science, 1x47 min.) Explores dance as an emergent phenomenon in evolution across species.
Of Lava and Life—The Volcano Eruption on La Palma (Science, 1x52 min.) The largest volcanic eruption in Europe in the last 500 years is a rare chance to experience Earth’s history in the making.
Taming the Beasts—The History of Animal Domestication (Science, 2x52 min./43 min.) Shows the rise of humankind through the animals that have made it possible for millennia.
Chasing Rembrandt—How Art Became a Business (Arts/culture, 1x52 min.) Reveals how Rembrandt’s artistic influence led to the marriage of art and business for the first time—the birth of the art market as we know it today.
Hike the Line—European Border Trails (Travel/adventure, 3x43 min.) Showcases some of the most beautiful and adventurous long-distance hiking trails in Europe’s frontier regions.
Wolf—Wanderer Without Borders (Nature/ wildlife, 2x52 min./1x90 min.) Dedicated to the return of this predator to Western Europe, follows the journey of a young lone wolf westward on a search for his own territory and mate. Wild Prague (Nature/wildlife, 1x52 min./80 min.) The “mother of all cities” has a particular hidden aspect— within sight of the Old Town Square’s Astronomical Clock and Charles Bridge live hundreds of rare species.
Rise of the Billionaires (Factual, 4x60 min.)
Bezos, Elon Musk, Mark Zuckerberg,
Sergey Brin and Larry Page have shaped the modern world as we know it.
The Real Crown (History, 5x60 min.) Through exhaustive research, unseen footage and new rev elations, reveals a modern and forensic exploration of the British Royal Family.
created by Emmy-nominated writer and director Hugo Blick and produced by Drama Republic. The Ex-Wife (Thriller, 4x60 min.) Follows newlywed Tasha, whose life appears perfect apart from the con stant presence of her husband’s ex-wife Jen. The Gymnasts (Thriller, 6x60 min.) Combines com ing-of-age drama with murder mystery, tracking the most important week in the lives of an elite team of teenage athletes as they compete for Olympic selection. Ridley (Drama, 4x120 min.) Line of Duty’s Adrian Dunbar stars as the charismatic, recently retired DI Alex Ridley, who returns to consult on a complex and compelling murder case.
Stolen
Stolen (Art/true crime, 3x60 min.) Follows three separate art thefts in Germany, Sweden and Nor way, and how these heists, masterpieces and the criminal underworld are all connected. The Unknown (Format) From the creators of the international hit format The Traitors, idtv, comes a new psychological adventure reality format. “Do you dare to choose the unknown?”
The Dog Academy (Lifestyle format) Tracks the journey of misbehaving mutts and their owners as they try to find a happier, more harmonious relationship.
The Traitors (Game-show format) Contestants join forces to complete challenges and win prize money. But three contestants are “Traitors,” whose goal is to deceive the rest of the group. The English (Drama, 6x60 min.) Emily Blunt and Chaske Spencer lead a stellar cast in this western,
INTERNATIONAL O (1-818) 907-8700 m chevonne@aci-americancinema.com w aci-americancinema.com
Stand: R7.F12
Finding Love in San Antonio (Romance/drama, 1x86 min.) A successful TV chef, Adela Romero, gets offered to work on a network series but now has to decide whether to move her family to Europe or stay in San Antonio.
Finding Love in Big Sky, Montana (Romance/drama/family, 1x91 min.) An indepen dent country girl takes on the task of upholding her grandfather’s ranch. She is reintroduced to her exboyfriend to help her raise money for the farm. A Royal Surprise (Romance, 1x85 min.) Riley Stevenson accepts an invitation to visit her
Video interviews with leading players in the media business, industry analysis and a recap of the week’s events delivered to your inbox every Thursday. FOR A FREE SUBSCRIPTION, PLEASE VISIT SUBSCRIPTIONS.WS
boyfriend Mandla’s family in South Africa. She is shocked to learn that he is the prince of Chacula. It’s Christmas Again (Romance/musical/holiday)
Christmas Eve takes an unexpected turn for Jake Young when a skateboarding accident lands him in a field outside Bethlehem on the night that Jesus was born.
O (603) 7784-6987 m distribution@animasia-studio.com w www.animasia-studio.com
Stand: P-1.C64
Dragon Force S2—Dragonsoul Awakens (Action/adventure, 26x13 min.) The villain Skynet’s plan to conquer Earth was halted by Lucas in 2056. Dragon Force crosses back in time to assist and train Lucas into becoming a hero and fight Skynet.
Finding Love in Big Sky, Montana
Wedding Party (Comedy/romance/drama, 1x110 min.) Chaos prevails when a family prepares for a lavish wedding.
Redeeming Love (Drama/romance, 1x134 min.) Sold into prostitution as a child, Angel knows nothing but betrayal. Can her heart ever be mended? Based upon the novel by Francine Rivers. Finding Love in Sisters, Oregon (Drama/family)
Once close, now spread apart. When their mother suddenly dies, the will threatens to tear them apart forever.
A Very Bavarian Christmas (Holiday) Holly Noel Brigham in her hometown of Bavarian Falls personal izes ornaments at the most famous Christmas store. Plus One at an Amish Wedding (Romance, 1x85 min.) Dr. April and Jesse must travel to Amish Country and introduce themselves to the people Jesse left behind many years ago.
Dragon Force S3—Monsters Rise (Action/ adven ture, 52x13 min.) After a number of failures, Dark Sky decides to go back to the past himself. He lures Lucas and Dragon Force to a virtual world he created and traps them with mech-monsters. Team Curios (Edutainment, 52x13 min.) The team— including Kyle, a boy full of curiosity; the mischie vous Capid; the polite Algo; and Princess Dudu, an alien who accidentally lands on Earth—guards their town with magical badges that give them incredible powers.
Fairytales from the Orient (Folklore, 26x22 min.) Delve deep into the myths and ancient beliefs of Asia with these culturally enriched tales.
Awakens
Fruits Commando (Edutainment, 26x13 min.) A group of kind and lively fruits live a leisurely and carefree life in a large mysterious forest, far away from the noisy human world for generations. Chuck Chicken (Action/comedy/adventure, 52x11 min.) From an ordinary chicken to a kung fu master, Chuck has the power of the golden egg and his mission is to bring down evil.
Harry & Bunnie (Non-dialogue slapstick comedy, 78x7 min.) Features Harry, a not-so-talented young wannabe magician, and his mischievous stage rabbit, Bunnie, who always steal his limelight. Bola Kampung Xtreme (Sports action/comedy, 13x22 min.) A mix of football and traditional village lifestyle, the story delves into the transformation of a group of characters from different backgrounds. ABC Monsters (Preschool edutainment, 26x22 min.) Exploring ABC learning with Alice, Brian and Cherry Berry.
English Tree TV (Music videos, 250x3 min.) Original music videos to help kids learn, laugh and grow.
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.
Zoe & Milo (6-9 2D, 52x7 min.) Zoe and Milo travel the world in a plane piloted by Alim, a knowledge able hamster, meeting friends in diverse countries and learning about cultural differences. Kididoc (5-7 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 (6-9 2D, 52x11 min.) These allrepair specialists come to the rescue at any desti nation 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, Pud ding and kid sister Candy—are forever ready to jump into action with endless enthusiasm and energy. DinoCity (3-7 2D, 52x5 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.
Little Tiaras (5-8 3D, 78x7 min., 1x30 min.) Five princesses and two recently transferred boys study magic on the mysterious island of Wondermont. Adventures, secrets and dangers await them.
Go Green with the Grimwades (Live action/format, 30x10 min.) Tim and Ella Grimwade and their six chil dren set themselves a challenge to go green through five “R” words: refuse, reduce, reuse, repair and recycle. Tinka (Live-action family, 72x26 min.) Fifteenyear-old pixie Tinka discovers she is also half human and embarks on a true adventure to save the kingdom with her new friend Lasse. Hello Maestro (2D educational, 7x26x26 min., 78x7 min.) The series to learn about the human body, the history of humankind, the 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
Searching: Our Quest for Meaning in the Age of Science (Science, 3x60 min.) Physicist and novelist Alan Lightman explores how key findings of modern science help us find our bearings in the cosmos. Modern Pioneering with Georgia Pellegrini (Lifestyle, 8x30 min.) Chef, best-selling author and outdoor expert Georgia Pellegrini encourages view ers to live a more self-sufficient life.
Elmore Leonard: But Don’t Try to Write! (Arts/culture, 1x60 min.) An exploration into the legacy and works of Elmore Leonard, one of the finest crime novelists of the past half-century. Dream of Italy: Travel, Transform and Thrive (Lifestyle, 1x60 min.) Celebrities, including Sting and
Francis Ford Coppola, discuss their love of Italy and the ten essentials of living the Italian lifestyle. Inside High Noon (Arts/culture, 1x60 min.) Explores both the landmark 1952 film starring Gary Cooper, Grace Kelly and Lloyd Bridges, and the gripping story behind its troubled production.
Searching: Our Quest for Meaning in the Age of Science
Real Road Adventures with Jeff Wilson (Lifestyle, 6x30 min.) Showcases eco-friendly travel in Switzerland and Liechtenstein with electric cars and e-bike tours that maximize the fun of traveling while reducing one’s carbon footprint.
Merrill’s Marauders: They Volunteered for This (History, 1x60 min.) A look at one of the most heroic and yet least known combat units to serve during WWII.
Behind the Wings (History, 16x30 min.) New season exploring history’s most iconic aerospace treasures, with access to amazing aerospace organizations and interviews with aviation legends. Her War, Her Story: World War II (History, 1x60 min.) Featuring stories of more than two dozen women, the film shows how women were equal to men in patriotism and service during WWII.
Outside:
the Lens
season
unplanned
cinematic
Family Piggy Bank (Game show, 60 min. eps.) Puts one family’s knowledge and trust in each other to the test over three rounds of trivia. Using innovative CGI technology, the format comes with a technological hub that creates a prime-time, shiny floor studio.
The Fittest Pensioners (Reality competition, 60 min. eps.) Ten of the nation’s fittest seniors move into a home together for a fierce competition where they will face physical and mental challenges, all with the hope of being crowned the “fittest pensioner.”
Parents Unfiltered (Fact-ent., 60 min.) Three sets of parents get the chance to see their parenting style and family from the outside. After filming their lives for a week, the parents will sit together with an expert and watch each other’s home videos. Pet Detectives (Fact-ent., 60 min. eps.) A team of pet-finding specialists focus on the first 24 hours after a pet goes missing to try to bring them home. The Extra Mile (Reality competition, 60 min. eps.) Ten divorced couples with shared children embark on a life-changing experience to see who among them can let go of their past and work together to win a grand prize toward their children’s futures. The Four (Singing competition, 90-120 min. eps.) Four superstar-quality singers are announced in the first episode. In every episode, talented hope fuls will try to steal their seat.
Dance Revolution (Studio ent., 90 min. eps.) With the help of state-of-the-art technology, dancers are judged with a 360-degree shot of their best “revo lution” moments.
Marry Me Now (Fact-ent., 60 min. eps.) Women take charge of their fate, preparing their own wed ding in just three days and all without the groom-tobe’s knowledge.
Exceptional (Teen drama, 20x30 min.) Follows the story of a popular teen blogger as she is forced to spend the summer with her autistic sister. Will they be able to reconcile after years of alienation and distance?
La Famiglia (Comedy, 45x30 min.) Set around the therapy sessions of a couple from an ordi nary suburban family as they flashback to the most embarrassing, awkward and insane moments that are a part of every family’s life.
The Furry Fortune (Family, 1x85 min.) When two twins discover their pet dog is shedding money, the fun begins until their parents find out and their nosey neighbor kidnaps the money-making canine. Now the kids must work together to save their pet and their family from all sorts of trouble.
The New Order (Action/adventure, 1x88 min.) An American detective travels to Ukraine to investigate the disappearance of his former mentor, and with the help of his mentor’s daughter, the pair uncover a sinister plot involving an ancient cult.
medical supplies in her pickup “Night Train.” Now she must stay one step ahead of the FBI. House of Lies (Thriller, 1x90 min.) After retreat ing to her lake house, a troubled widow learns of her recently murdered husband’s corrupt past and hidden fortune. Now she must risk her life, face off against a violent killer and claim what is rightfully hers.
Help Wanted (Thriller, 1x87 min.) A young woman returns home after inheriting her grandfather’s the ater. At first, it is her intent to sell to an eager group of ruthless investors, but things heat up and become dangerous after she changes her mind and decides to reopen the beautiful landmark. Looking for Dr. Love (Romantic comedy, 1x90 min.) Recently divorced hairstylist Jenny, on a mis sion to reconnect with Liam, her college sweet heart, is shocked to learn that he is “Dr. Love,” the DJ she listens to on the radio. As the couple’s rela tionship slowly reignites, Jenny discovers that Liam is already engaged.
Hearts Creek (Romantic comedy, 1x90 min.) After having a car accident, a young event planner finds herself lost in the Rocky Mountains, only to be res cued by a handsome mountain guide on horseback.
Stay the Night (Romantic adventure, 1x94 min.) A failed work opportunity prompts Grace to pursue a one-night stand with a stranger. To her surprise, turns out he’s a well-known professional athlete stuck in town with a problem of his own.
Night Train (Action/adventure, 1x95 min.) A single mom struggling to survive agrees to run black-market
My Dead Dad (Drama, 1x92 min.) A young rebel discovers his estranged father has passed, leaving him the responsibility of managing a rundown Los Angeles apartment complex.
Double Threat (Action/adventure, 1x92 min.)
After skimming money from the mob, a beautiful young woman finds herself on the run with a kind stranger on a pilgrimage across the country to scat ter his brother’s ashes.
O (39-02) 4300-101 m distribution@atlantyca.it w www.atlantyca.com
Stand: R7.A20
Berry Bees (5-9 2D spy action, 52x12 min.) Bobby, Lola and Juliette, three ordinary girls with the most extraordinary talents, have been recruited by the B.I.A. to become spies and solve missions in which only child agents can be involved. Bat Pat (5-9 2D sitcom, 104x11 min.) Bat Pat and his friends Martin, Leo and Rebecca unravel mys teries and cross paths with supernatural creatures who don’t really want to hurt anyone. In fact, what they need is help.
Ella and Kennedy Davis, who investigate the mys terious disappearances of young guys in a small and seemingly quiet village. Dive Olly Dive (3-6 CGI adventure, 104x11 min.) The underwater escapades of two research sub marines-in-training who, under the guidance of Diver Doug, discover the marvels of Safe Harbour.
m sales@atresmediatv.com w international-sales-atresmedia.com
Stand: R7.J11
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. with the idea of creating a great musical, which will col lect the old successes of One Step Forward along with new ones.
La Ruta—The Route (Drama, 8x50 min.) A group of friends will try to find their place in the world in the Valencia of the ’80s and ’90s, when it was the epicenter of a youth movement that revolutionized nightlife based on discos and electronic music.
Berry Bees
Geronimo Stilton (6+ 2D adventure, 78x23 min.)
The famous mouse journalist, together with his com panions Benjamin, Trap and Thea, is launched into adventures in New Mouse City and around the world. Snow Black (10-14 live-action sci-fi/mystery, 10x30 min.) Centers around the ghost of a young vlogger, nicknamed Snow Black, who wakes up trapped inside the web, and her two friends, siblings
La Novia Gitana—The Gypsy Bride (Drama, 8x50 min.) A veteran homicide inspector searches for the cul prit in the murder of a young gypsy girl who disap peared after her bachelorette party and with whom someone has performed a macabre ritual that repro duces the death of her sister seven years earlier. Heridas (Mother) (Drama, 13x50 min.) Manuela declared that she would never be a mother. The day she finds little Alba, a journey begins that will
force her to confront the demons of her past and question the pillars of her life.
Dos Años y Un Día (Two Years and One Day) (Comedy, 6x30 min.) Narrates the downfall of a beloved actor and presenter who is sentenced to serve a sentence of two years and a day for the crime of religious offenses over an innocent but unfortunate joke.
El Desafío (The Challenge) (Ent., S1: 8x120 min., S2: 10x120 min., S3: 10x120 min.)
and
No Se Lo Digas a Nadie (Don’t Tell Anyone) (True crime, 5x50 min.) In the summer of 2016 in Pioz, a small town in the Alcarria region, the bodies of a Brazilian couple and their two children were found. Cardo (Drama, S1: 6x30 min., S2) María, a Madrid girl in her 30s hooked on drugs and toxic relationships, sets out to help a 65-year-old woman whose neighborhood flower shop is about to be closed.
D.A.N.) (Drama, S1: 4x50 min., S2: 6x50 min.) The second season of A Normal Family: The Return , featuring the most atypical family on television. Crímenes Online (Online Crimes) (True crime, 6x30 min.) Presented by Samantha Hudson, brings the most surreal cases that have happened in the Spanish online world.
Flora (Drama, 6x45 min.) Inspired by true events, tells the story of an Algonquin brother and sister, who, in the 1960s, were taken away from their parents and sent to an Indian residential school.
(Drama,
min. eps.)
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.
Wounded Heart (Drama, 107x45 min.) A story of revenge between two families. Your Honor (Drama, 28x45 min.) An idealistic and honest judge enters a war to protect his son, who is involved in a crime.
For My Family (Drama, 200+x45 min.) After the sudden death of their parents, Kadir and his sib lings find themselves in a new life without any money in their pockets and no shelter. The Ottoman (Drama, 321+x45 min.) Osman will fight for the future of the Kayı tribe and to be reunited with his love, Bala Hanım. Destan (Drama, 91x45 min.) Batuga is the hidden Khan of the Turks; he will write a “Destan” (legend) with Akkız, uniting the Turks and proving to the world what a disabled prince and a slave girl can achieve by joining hands. Lone Wolf (Drama, 66+x45 min.) Altay, a fight er, helps Esra escape from her lover and reunite with her little girl. Davut Bahadır, who lives alone in a hut in the forest, will guide Altay on his journey from the legends of 1950s Turkey to present day.
Teide, A World Born of Fire (Teide, un Mundo Nacido del Fuego) (Science, 1x60 min.) Off the north western coast of Africa, the highest active volcano in the Atlantic Ocean gives its name to the inhospitable desert that surrounds it: Teide. (Artico Distribution)
UPA Next (Drama, 8x50 min.) More than 15 years have passed, and Rober returns from Miami with the idea of creating a great musical that collects the old UPA hits along with new ones. (Atresmedia Televisión) The Nameless (Los Sin Hombre) (Thriller, 7x50 min.) Claudia lost her daughter Angela, who became famous after a video that showed her carrying out a supposed miracle went viral. With the anniversary of her death approaching, Claudia receives a phone call that turns her life upside down once again. (Filmax) Melbits (Kids animation, 26x11 min.) Mia Moon is a kid from the future who has made an incredible discovery: the internet is inhabited by magical crea tures, the Melbits. (Hampa Studio)
AUDIOVISUAL FROM SPAIN O (34-91) 349-1989 m ana.canadas@icex.es w www.audiovisualfromspain.com
min.) Johnny finds a skull in the swamp, covered with strange symbols, that introduces itself as the alchemist and wizard Erasmus von Rothenburg. (Influx Animation)
Who is My Human? (¿Quién es mi Humano?) (Quiz show, 50 min. eps.) Two teams of contest ants will compete to guess who is the owner of each dog that enters the set. (Mediacrest)
Secret Obsession (Escándalo, Relato de Una Obsession) (Drama, 8x70 min.) Inés, a 42-yearold woman, dives into the sea to end her life. Her savior is Hugo, a teenager with whom she falls obsessively in love. (Mediterraneo Mediaset España Group)
Motel Valkirias (Thriller, 8x50 min.) In a crossborder motel, the lives of three women with finan cial and personal problems intersect when they meet Elixio, a motel customer transporting valuable merchandise. (Onza Entertainment)
Hot Life Africa (Doc., 5x60 min.) Each episode is dedicated to one iconic African predator and its particular way of surviving the extreme dry season: lion, leopard, cheetah, wild dog and caracal. (Wild Stories Distribution)
The Most Spectacular Robberies (True crime, 6x52 min.) A documentary series about heists, with reenactments, real testimonies, CGI and extensive documentation. (Zona Mixta)
MaveriX (Live-action drama, 10x30 min.) Six young motocross riders come together to form a team, make the national titles or crash out trying.
MaveriX
Crazy Fun Park (Live-action horror comedy, 10x30 min.) After Mapplethorpe tragically dies in the town’s abandoned Crazy Fun Park, Chester discovers that his friend is now “living” with the other undead “Fun Kids” who also met their end at the park.
Built to Survive (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.
Barrumbi Kids (Live-action comedy, 10x30 min.)
A coming-of-age adventure about two best friends, Tomias and Dahlia, growing up together, dealing with the dreams and challenges of childhood in a remote Northern Territory community.
Kangaroo Beach (Preschool animation, 26x12 min.) Four young animal friends share an action-
packed summer training as cadets with their life guard heroes.
More Than This (Teen/YA drama, 6x30 min.)
Explores the experiences of five teenagers as they navigate contemporary issues that will shape who they are becoming.
The Inbestigators (Live-action comedy, 20x24 min.) When 10-year-old Maudie forms a detective agency with her classmates Ezra, Ava and Kyle, no school or neighborhood crime is left unsolved. Hardball (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 ultra-competitive schoolyard game of handball.
First Day (Live-action drama, 8x24 min.) As a transgender girl, Hannah not only has to navi gate the challenges that come with starting a new school but find the courage to live as her most authentic self.
Little J & Big Cuz (Early childhood animation, S1: 13x12 min., S2: 13x12 min., S3: 14x12 min.) Little J is 5 and Big Cuz is 9. They’re a couple of Indigenous Australian kids, living with their Nanna and Old Dog.
Mariupol. UNlost Hope (Current affairs, 1x52 min.) The story of a crime against humanity through the eyes of the victims who managed to survive. 9 Lives (Current affairs, 1x45 min.) Shows the war in Ukraine through the eyes of its most defenseless victims—pets and their owners. GRIP (Fact-ent., 12x52 min.) Pure motoring enter tainment and driving fun. The magazine provides information on everything that happens between the front and rear axles.
The Himalayan Ibex—Monarchs of the Moun tains (Nature/wildlife, 1x30 min.) The lives of the Himalayan Ibex in the high-altitude desert land scape of the Trans-Himalayas region of North India. Stealth & Deception—Weapons for a New Era (Science/tech., 1x52 min.) New menaces demand new weapon systems: the F35 stealth jets and the Independence Class stealth ships are developed to defend freedom in the world.
Gone with the Four Winds—Emigration Stories (Current affairs, 1x100 min./60 min.) Locals of the village of Fondo Negro live scattered in all direc tions. They are united in their love for their families and origins.
Qatar—Between Boomtown and Burqa (People/places, 1x45 min.) We show you a more nuanced picture of a dazzling and colorful world located between boomtown and burqa. White Winter—A Season on the Northern Alpine Rim (Nature/wildlife, 1x52 min./45 min.)
On the Northern Alpine rim, the animal inhabitants need strategies to survive the cold season and to defy snow masses, cold and ice.
What Went Wrong (History, S3: 6x45 min.) Six engi neering disasters that could have been avoided if
designers, maintenance personnel and frontline deciders had followed the rules of com mon sense.
The Asian Financial Crisis and its Aftermath
(Current affairs, 1x52 min.) The Asian financial crisis of 1997-98 was the largest global finan cial crisis since the 1930s, and the geopolitical consequences of this alienation are being felt more than ever today.
O (1-646) 318-8703 m arabelle@apdcsrmedia.com w www.avantigroupe.com
Stand: P4.C20
PROGRAM HIGHLIGHT
Love Bugs (Comedy, S1-7: 130x26 min.) A scripted comedy format about a couple figuring out love and life.
Jenny (Kids, S1-3: 60x13 min.) A tale of joy and the dreams we pursue against all odds. After producing three seasons of Jenny , Avenida and Apartment 11 are now working on the reimag ined English version.
Love Bugs
AVENIDA
O (1-514) 804-2123 m clafleur@productionsavenida.com w productionsavenida.com
Stand: P4.C20
Jenny
O (44-870) 333-1700 m sales@banijayrights.com w www.banijayrights.com
Stand: C20
PROGRAM HIGHLIGHTS
Marie Antoinette (Drama, 8x60 min.) Tells the story of the incredibly modern and avant-garde young queen. Through a 21st-century lens, the series will explore the dark, manipulative and misogynistic world of Versailles. Rogue Heroes (Drama, 6x60 min.) Based on Ben Macintyre’s best-selling book of the same name, a dramatized account of how the world’s greatest special forces unit, the SAS, was formed in the darkest days of WWII. Stonehouse (Drama, 3x60 min.) ITV drama based on the rise and fall of MP John Stonehouse. Bali 2002 (Drama, 4x60 min.) Based on the 2002 terrorist attacks on Bali’s tourist hotspots, an inspiring drama that explores how everyday heroes
defied the odds to bring order from chaos and hope from despair.
Serial Lover (Drama, 4x60 min.) The story of a man with a gift for manipulating everyone in his entourage and especially the women he targets and steals from.
Starstruck (Ent. format) Leaving their day jobs behind, members of the public will be transformed into their most beloved music stars for one night only.
Survivor (Ent. format) Marooned on an uninhabited tropical island, with little more than the clothes on their backs and their own animal cunning, every second of their adventure as castaways is recorded over several weeks.
Blow Up (Ent. format) We see the nation’s best balloon artists battle it out in a colorful and creative competition sure to entertain the whole family.
My Kitchen Rules (Australia) (Ent., S12: 16x90 min.) Australia’s favorite cooking show is back to its original winning recipe with judges Nigella Lawson and Manu Feildel in an exciting new season.
Special Forces: The Ultimate Test (w.t.) (Ent., 10x60 min.) The U.S. adaptation of the hit format SAS: Who Dares Wins will see 16 celebrities put through a series of grueling challenges that are used as part of the recruitment process for spe cial forces.
international@bavaria-media.de w www.bavaria-media.de, www.bavaria-media.com
The Heart of Cape Town (Event movie, 1x125 min.) Inspired by the true story of the first heart transplant in December 1967, carried out in Cape Town. The story of Hamilton Naki, who assisted Barnard in preparing for this groundbreaking oper ation, has never been told before. Cold Valleys (Crime, 10x90 min.) Two Austrian police officers from very different sides of the tracks make for an unlikely team to solve the twisted rural crimes in the insular Alpine countryside. Sugarlovedotcom (TV movie, 1x90 min.) A multi faceted drama around a triangle relationship, which surprisingly develops into an entertaining thriller plot.
All You Need (Dramedy, 11x30 min.) Created by Benjamin Gutsche and produced by UFA Fiction, the series follows the story of four young gay men in Berlin and their everyday lives.
A Secret Book of Friendship (Family ent., 1x96 min.) Paul and Max are best friends. At the begin ning of the summer holidays, they venture off into the mystical wilderness, following the clues left behind by Paul’s father.
Manners (Drama, 2x37 min./1x74 min.) Nineteenyear-old Einar is the coolest guy at college. After a gig, he takes Ella to the student association’s room. She experiences him raping her, but according to him, sex was mutually agreed.
Dark Lake (Mystery thriller, 8x60 min.) The city cop Valerie transfers with her son, Dave, 17, to Lac- Noir, a seemingly serene and secluded vil lage in the Lau rentian forest.
Storm of Love—Calm Before the Storm (Tele novela, 225+x50 min., in prod.) Josie goes headover-heels for Paul. Josie has no clue of how her time at Fürstenhof is going to change her life forever.
CGLC—Coast Guard: Lake Constance (Crime, 40x50 min.) Investigative storylines and interper sonal parallel drama set against the breathtaking alpine setting of Lake Constance, bordering four European countries.
Toni the Midwife (Comedy, 6x90 min.) Toni, a male midwife, is offered a place working for gyne cologist Luise. Events from the past seem to complicate their collaboration.
m sales@bbcstudios.com w sales.bbcstudios.com
Hungry For It (Cooking competition, 60 min. eps.)
A group of young cooks eager to break into the food industry live together and compete for a careermaking prize.
Denmark Saves the Planet (Fact-ent. competition, 50 min. eps.) Contributors pitch their solutions to end climate change to a panel of expert judges. One groundbreaking cash prize. One chance to save the planet.
Dating with My Mates (Dating, 45 min. eps.) Four best friends, all looking for love, date three other singles together, with a new date served up at each course.
Art on the Brain (Social experiment fact-ent., 30 min. eps.) Unique social experiment to test if the simple act of creativity can help heal the invisible wounds of poor mental health.
The 1% Club (Game show, 45 min. eps.) The game show that’s not based on how many school tests you passed or what you can remember but on how your brain works.
Moneybags (Game show, 60 min. eps.) The highstakes game show where contestants can get their hands on a fortune by literally grabbing it from the conveyor belt.
Freeze the Fear with Wim Hof (Ent. reality, 60 min. eps.) Celebrities live together in sub-zero tem peratures and face a series of unique tests—based on extreme cold therapy—that push them to their limits physically and mentally.
This Is MY House (Fact-ent., 60 min./30 min. eps.) Four people declare “this is my house”—but
one is telling the truth.
others are actors hoping to convince the viewers and celebrity judges that the house and everything in it is theirs. Megahit (Singing competition, 60 min. eps.)
celebrities work with established music producers as they attempt to write, and then perform live, the nation’s next megahit.
Me (Competition reality, 30 min. eps) Three talented young candidates compete for a fast track into the career of their dreams in a super sized job interview.
Abandoned Americana (Engineering, 6x60 min.) Traveling across the U.S., we explore the relics of unique structures and everyday institutions that have made the country what it is today. Drowning in Lies (Crime & investigation, 2x60 min.) Who is Donald McPherson? And has he got ten away with murder? We trace his secret past and multiple identities in an investigation spanning the globe.
The Con (History, 1x90 min. & 1x60 min.) Set in WWII, a gripping and dramatic true story of the largest and most elaborate espionage operation ever mounted by one country against an ally.
Building the Impossible (Engineering, 3x60 min.) Rob Bell uncovers extraordinary feats of human ingenuity and goes behind the scenes of each to crack the code of these enigmatic structures.
Vikings: The True Story (History, 2x60 min.) With exclusive access to a team of experts and his torians, new discoveries are challenging much of what we think we know about the Vikings. Wild Heroes (Wildlife, 9x30 min.) Exclusive access follows vital conservation work as special ists rescue, rehabilitate and protect endangered animals at Auckland Zoo and out into the wilds of New Zealand.
Eyewitness WW2: Invasion Italy (History, 2x60 min.) Never-before-seen archive helps tell the story of the often-overlooked Italian Campaign as it nears the 80th anniversary of its commence ment in 2023.
Animals Aboard (Wildlife, 8x60 min.) Explores fascinating stories of animals in transit around the globe—whether for work, medical reasons or family reunions.
When Luxury Holidays Go Wrong (Obdoc./reality, 2x60 min.) Spending big is no guarantee of finding paradise as these holiday tales about accidents, disease and destructive forces of nature prove.
Abandoned Americana
Charles: The New King (Doc., 2x60 min.) Rare royal archive and revelatory interviews from those closest to Charles paint an insightful new picture of a man born to be King.
bimiboo.com,
The Incredible Stories of Bimi Boo and Friends
3D educational adventure comedy, 52x5 min.) A curious puppy cannot sit still, pulling his friends into adventures to explore everything—no matter how silly, no matter how difficult.
their immigrant parent back to the parent’s coun try of birth.
Mary Makes It Easy (Food/lifestyle, S1: 25x30 min., S2: 25x30 min.) The kitchen is Mary Berg’s happy place, and she wants it to be yours too: whether you’re bored of your repertoire or scared to try something new.
Listing Large (Home, 10x30 min.) Follows Odeen Eccleston and Lamont Wiltshire as they build a real estate empire while juggling parenthood, friendship and love.
(1-416)
R7.K8
The Truth About My Murder (True crime, 10x60 min.) Forensic pathologist Doctor Richard Shepherd has performed nearly 23,000 autopsies, including on some of the most high-profile cases of recent times. Secrets in the Jungle (History/science, 10x60 min.) From secret structures in Guatemala, mystery fossils in Madagascar or Mexico’s Skull Cave, unveils never-before-seen secrets.
How I Got Here (Lifestyle/travel, 10x60 min.) Fol lows a second-generation teen/young adult and
Orphan Black: Echoes (Drama, 10x60 min.) Set in the near future, follows a group of women as they weave their way into each other’s lives and embark on a thrilling journey, unraveling the mystery of their identity and uncovering a story of love and betrayal. Robyn Hood (Drama, 8x60 min.) A contemporary reimagining of the Robin Hood legend that follows fearless heroine Robyn Loxley and anti-authoritarian masked hip-hop band, The Hood, as they call out injustices and fight for freedom and equality in the city of New Nottingham.
The Green Veil (Thriller/crime, 8x30 min.) An anthology series on oppression in America. The first season finds us on the backside of WWII. Slip (Comedy, 7x30 min.) Tells the story of Mae Cannon, a 30-something who finds herself restless inside a marriage that totally works.
Beacon 23 (Live action, S1: 8x60 min., S2: 8x60 min.)
Set in the darkest recesses of space, a suspenseful thriller and love story in which two people are trapped in a lighthouse at the end of the known universe.
m sales@bossanovamedia.com w www.bossanovamedia.com
Stand: R8.C7
Con Girl (Crime & investigation, 4x60 min.) Seventyfive aliases, three continents, one woman. In this documentary series, we explore the many lies and lives of serial con woman Samantha Azzopardi.
Engineering Repurposed (Engineering/science, 10x60 min.) This global engineering series explores extraordinary structures, buildings and landmarks that have been transformed from their original function into something different entirely.
Mysteries of the Ancient Dead (History, 6x60 min.) We investigate the secrets of ancient civiliza tions using their approach to death and the hereafter.
The Beauty Rewind Clinic (Lifestyle, 10x60 min.) Welcome to the Beauty Rewind Clinic: where those that have gone too far in the quest to achieve the ultimate look check in to rewind the clock and embrace their natural beauty.
The Andes Tragedy: 50 Years Later (Doc., 1x60 min.) Fifty years after one of the greatest ordeals of survival in recorded human history, the full story is comprehensively told by each of those who lived it.
Borderforce USA: The Bridges (Access/ob-doc., S1-4: 40x60 min.) We follow America’s CBP agency, whose job is to protect the border and stop terrorists, human traffickers, drugs and illegal weapons from entering the country.
Siegfried and Roy: The Original Tiger Kings (Doc., 1x60 min.) For 40 years, magician Siegfried Fischbacher and his partner, Roy Horn, transported Las Vegas audiences to another world. But almost everything about them was an illusion. Homicide with Ron Iddles (Crime & investigation, 6x60 min.) One of Australia’s greatest detectives reveals the untold stories of his most challeng ing cases.
Caught on Dashcam (Motoring, S1-4: 29x60 min.) Brings together spectacular car crashes, near misses and road incidents.
Cold Case Killers (Crime & investigation, S1-2: 12x60 min.) Returns for a second season to tell the intricately twisting tales of Britain’s most gripping cold case murder investigations.
Super Sema (5-7 animation, 20x5 min. & 12x11 min.)
Sema uses ingenuity, superintelligence
her technovating powers to save
her African village from artificially intelligent villain Tobor and his robot minions.
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.
Angry Birds MakerSpace (4+ animation, S2: 20x1 min.) The Angry Birds tackle the latest gadg ets and online crazes in their all-new studio. Non-dialogue and now in 3D.
Mush-Mush & the Mushables (4-8 animation, 96x11 min., 4x22 min.) Follows the exciting out door adventures of the Mushable community, pocket-sized Guardians of the Forest, as they embark on a fun journey of self-discovery. 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.
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 elimi nations and total insanity.
Lucas the Spider (Preschool animation, 78x7 min.)
Based on the YouTube hit, adorable spider Lucas and his friends leap head-first 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.) Everyday school life as experienced by 11-year-old Joe Connolly navi gating the dramas and pitfalls of his first year at secondary school.
Last King of The Cross (Scripted, 10x60 min.) Inspired by John Ibrahim’s best-selling autobiography charting his rise from a poverty-stricken immigrant to Australia’s most infamous nightclub mogul. Reginald the Vampire (Comedy drama, 10x60 min.) Reginald Andres tumbles headlong into a world populated by beautiful, fit and vain vampires as an unlikely hero who will have to navigate every kind of obstacle. Sugar (Thriller, 1x90 min.) Inspired by the dramatic true story of the Cocaine Cowgirls, two influencers get caught up in a deadly drug smuggling operation aboard a luxury cruise ship. Whitstable Pearl (Procedural crime, S1-2: 12x45 min.) The beautiful English seaside town of Whitstable is home to Pearl Nolan, who divides her time between serving up tasty seafood delicacies in her
restaurant and solving the crimes, debauchery and murder regularly brought in by the tide.
Patrick Aryee’s Wild World (Wildlife/natural history, 4x60 min.) The British biologist and explorer reveals how nature’s delicate balance can be dis rupted—and restored.
CINEVEST INTERACTIVE O (1-212) 203-6273 m arthur@cinevestinteractive.com w www.cinevestinteractive.com
Great Kills (Dark crime comedy, 8x30 min.) A film crew follows a small-time hit man, documenting his torture and bloody murders.
Wine Outsiders: Behind the Vines (Travel, 5x60 min.) Discovers out-of-the-ordinary wines and wine makers with Felix M. Mendez, a TV producer, restless spirit and great lover of foods and cultures.
The Yorkshire Auction House (Fact-ent., S1-2: 40x60 min.) Celebrated auctioneer Angus Ashworth clears out cluttered homes—and turns forgotten gems into windfalls of cash.
Cult Justice (Crime/investigation, 8x60 min.) Explores the power of criminal cult leaders— and the investigations that finally brought them to justice.
Somebody’s Hiding Something (True crime, 26x60 min.) When the leads dry up and a case goes cold, there’s only one thing that keeps detectives going—the hunch that somebody’s hiding something.
Ghost Ships (History, 4x60 min.) Follows pro sal vage diver Tony Sampson and his team as they brave the shifting currents and bone-chilling leg ends of Nova Scotia in search of answers.
Close Encounters Down Under (Fact-ent., 6x60 min.) From the Australian Outback to the alps of New Zealand, investigates some of the most bizarre alien contacts of all time.
RVD Headstrong (Doc., 1x60 min.) Rob Van Dam, one of the greatest professional wrestlers in history, embarks on a life-changing journey across the U.S., spotlighting the harsh and sometimes devastating realities of head injuries in contact sports.
The Invisible Ones (Doc., 1x60 min.) Looks at the vicious circle most Romani communities are trapped in and the critical role nonprofit organiza tions like Fundiatia Caleb have in transforming the Romani people and society at large.
The Deli (Movie) A slice-of-life comedy about a hardon-his-luck gambler who gets in over his head when he starts putting his store’s profits on the line.
Chokehold (Factual, 12x30 min.) Hosted by Rob Van Dam, we unlock the mysteries behind the untimely deaths of legendary wrestling ring warriors. Stonehenge (Scripted, 3x60 min./1x100 min.) Stonehenge, a gateway to a wormhole that connects our galaxy to others, will open again in 292 days. An alien war will doom planet Earth unless the gateway is reset by the Keeper. Available for co-production. Vizons of Rock (Dramedy, 10 eps.) A struggling hard rock band pulls together and books the open ing act on tour with one of rock and roll’s biggest bands. Available for co-production.
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.) Edu cational wildlife program, bringing every kind of animal imaginable to families in an incredible adventure to discover the animal kingdom. 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.
Zumbar
Mysterious Earth (Docuseries, 13x30 min.) Delve into fascinating historical enigmas through the most recent experts’ findings and discover shock ing new insights about the world.
Killer Instincts (Docuseries, 13x30 min.) 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 con sumed 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 worldwide.
O (1-301) 755-2050 m distribution@curiositystream.com w www.curiositystream.com
PROGRAM HIGHLIGHTS
Oddly Satisfying Science (Factual, 10x24 min.)
Nick Uhas and his guests introduce us to visually appealing experiments designed to blow our minds.
NYC Revealed (Factual, S2: 10x24 min.) New York: America’s largest city. This returning series reveals more of the mostly unseen net work of infrastructure systems that keep the city breathing.
War Gamers (Factual, 6x50 min.) WWII: The British Royal Navy turns to a retired wargamer and an unlikely group of young women to develop tac tics that sink the German U-boats. Oops, I Changed the World! (Factual, 15x52 min.) Tells the fascinating stories of accidental and surprise inventions that have transformed our lives.
Titans: The Rise of Hollywood (Factual, 6x50 min.) Inspiration, power, greed, scandal. This is the gripping drama of how Hollywood was built. Traitor/Patriot (Factual, 5x50 min.) An insider’s look at the motivation behind the people who com mitted the most notorious cases of espionage. Behind LUCY (Factual, 1x90 min.) Follow the development of NASA’s LUCY mission to Jupiter’s Trojan asteroids, from its inception to its launch.
Rescued Chimpanzees of the Congo with Jane Goodall (Factual, S2: 6x52 min.) We move from Tchimpounga’s history to its future, deeply immersed in the day-to-day activities at the sanctuary.
CYBER GROUP STUDIOS O (33-1) 5556-3232 m sales@cybergroupstudios.com w www.cybergroupstudios.com
Gigantosaurus (4-6 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. Taffy (6-10/family 2D comedy, S1-2: 156x7 min.) Follows the nonstop, slapstick extrava ganza faced by loyal hound dog Bentley when his billionaire old lady owner, Mrs. Muchmore, takes in an imposter posing as a wide-eyed, fluffy Angora cat.
50/50 Heroes (6-10 2D comedy/adventure, 52x11 min.) Mo and Sam are half-siblings and have powers—well, half-powers. Managing their abilities isn’t easy when they need to do every thing together. And living their daily life is a challenge.
Droners (6-10 CGI/2D adventure/comedy, S1-2: 52x22 min.) Three friends, one drone, one goal: The Whale Cup. Young droners Corto, Mouse and Enki put their unique skills together in order to save their island.
Zak Jinks (6-10 2D adventure/comedy, S1-2: 104x13 min.) The hilarious day-in-the-life of a mis chievous and lovable 8-year-old boy. Nefertine on the Nile (4-7 2D/CGI comedy, 52x11 min.) Nefertine aspires to be the first female scribe in the history of Egypt so she can describe the wonderful world that surrounds her.
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. The music in his heart will guide him along the journey.
Squared Zebra (3-5 2D comedy/edutainment, 78x7 min.) Checkery the zebra, Polly the zebra, Rodion the elephant, Gosha the crocodile, Pasha the ostrich and his little brother Petya the little egg learn to overcome their differences and embrace life in all its diversity and beauty.
Bananimals (5-8 2D comedy, 78x7 min.) Follows the daily lives of the animal inhabitants of a farm vil lage whose primary activity is to go and ask Gordon the Bull, their mentor, for help and advice.
The Last Kids on Earth (7-12 comedy/action, 1x66 min. & 24x22 min.) Netflix original animated series follows Jack Sullivan and a group of zombiefighting middle schoolers who live in a treehouse filled with video games and candy.
Stand:
Billy the Cowboy Hamste r (2D, 52x11 min.)
new day presents Billy in his cowboy outfit
with an opportunity to go on an adventure worthy of the greatest cowboys.
Our Piggy (2D, 52x2 min.) Our Piggy is discover ing and learning about the things around him. Everyday things transform in his imagination. Margot and the Space Robot (2D, 1x30 min.) Margot meets Gabriel, a robot with the appearance of a human boy. Together they decide to sabotage the aliens’ plan because nothing is impossible when artificial and human forces come together.
Royals Next Door (2D, 52x11 min.) The royal family must move out of their castle and into a nor mal house in an ordinary suburb. Crown Princess Stella has her own Royal Vlog on YouTube and will share anecdotes about her new life as a normal girl.
Jasmine and Jambo (2D, 52x7 min. & 52x1 min.)
Jasmine and Jambo share a passion for music. They love music so much that everything they do is related to it. And they live in the perfect place: Soundland, a surreal land where music reigns.
Mum is Pouring Rain (2D, 1x28 min.) Jane doesn’t understand why her mother is not joining her and her grandma for Christmas. As she learns to open up to others, Jane will inspire her mother with the strength to get back on her feet. The Treehouse Stories (2D/live-action, S4: 26x7 min.) Four friends meet in a secret treehouse to share their favorite books and dive into the stories.
Ernest & Celestine (3D rendering 2D, S2: 26x13 min.) Celestine is more mischievous than ever, as she and her new friends explore their fun and sometimes mysterious surroundings. Dounia (2D, 1x28 min./6x7 min.) Forced to leave her country, Dounia and her grandparents set off in search of a new home. When she encounters an obstacle that seems insurmountable, the wisdom of the ancient world comes to her rescue in the form of the nigella seeds of her grandmother. Petit (2D, 39x7 min.) Discover Petit’s unique and imaginative perspective about daily situations that will become adventures he will have to face by being brave and creative. Based on the book Petit el monstruo by Isol.
O (49) 228-429-0 m sales@dw.com w b2b.dw.com
Stand: P-1.K22
Life, the Universe and Almost Everything Pro vides smart, entertaining and insightful answers to some of life’s biggest questions.
Guardians of Truth Turkish journalist Can Dündar meets people who are living in exile for taking a stand, like a woman who has locked horns with Mexico’s government and drug cartels.
Classical Music under the Swastika Footage from Auschwitz and WWII has been restored and colorized, bringing the stories of the Jewish maestro Wilhelm Furtwängler and cellist Anita Lasker-Wallfisch to life.
The Art of Space Shows the incredible variety of spatial experimentation being conducted today. It shines the spotlight on the architectural risks and
opportunities presented by the ever-changing face of our world.
HER—Women in Asia (S2) Women in Asia are speaking up and having their voices heard. Discover the issues that define them and connect them.
Global Snack
175 Years of Zeiss From the moon landing to microchips, Carl Zeiss has grown from a small workshop to a global leader in technology. Global Snack Takes us on a culinary journey, offer ing portions of happiness—both large and small. Euromaxx Design & A La Carte We travel to trace the manifold roots of European cuisine and to show how Europe’s culinary heritage is reworked and refined by the continent’s top chefs. Railway Stories From the luxury of first class to the necessity of everyday travel, we hear the unique stories from people in some of the most breathtak ing locations as we travel around the world on rails.
LATIN AMERICA O (1-305) 567-3700 w www.dmdcentral.com
Stand: P3.C1
Terminator: Dark Fate (Action, 1x133 min.) Linda Hamilton and Arnold Schwarzenegger return in
their iconic roles in this film, which follows the events of Terminator 2: Judgment Day.
Jojo Rabbit (Comedy/drama, 1x132 min.)
Writer/director Taika Waititi’s WWII satire follows a lonely German boy whose worldview is turned upside down when he discovers his single mother is hiding a young Jewish girl in their attic. In spite of his idiotic imaginary friend, Adolf Hitler, Jojo con fronts his blind nationalism.
O (1-416) 646-2711 m sales@distribution360.com w www.distribution360.com
Stand: R8.E1 (Canada Pavilion)
Ford v Ferrari (Action/drama, 1x87 min.) Matt Damon and Christian Bale star in the true story of visionary American car designer Carroll Shel by and fearless British-born driver Ken Miles, who together build a revolutionary racecar for Ford Motor Company.
Spies in Disguise (Animated action/adventure/ kids/family, 1x113 min.) Super spy Lance Ster ling and scientist Walter Beckett must team up for the ultimate mission to save the world when a “biodynamic concealment” exper iment transforms Lance into a brave, fierce, majestic pigeon.
Underwater (Action/drama/horror, 1x113 min.)
The crew of the Kepler undersea mining rig knew there would be hardships on their current mission, but nothing has prepared them for the terrors they’re about to face.
A Cut Above (Competition, 12x60 min.) Worldclass chainsaw carvers compete in the ultimate test of creativity, strength and skill, as they turn ordinary logs into extraordinary works of art. Race Against the Tide (Competition, S1-2: 20x30 min.) On the shores of the Bay of Fundy, New Brunswick, ten world-class sand-sculpting teams are put to the test in the original skills competition. Best in Miniature (Competition, S1-2: 18x60 min.) Eleven of the world’s best miniaturists put their skills to the test as they build their miniature dream home one room at a time at 1:12 scale. Overlord and the Underwoods (Kids/family, 20x30 min.) The Underwoods, a normal, good hearted family, have their lives thrown upside down when the second-most-wanted villain in the galaxy moves in with them under witness protection. Lady Ada’s Secret Society (Tween, 1x80 min.) Four girls rebel against their hyper-traditional boarding school by pranking it using technology they invented, hacked or “borrowed,” while staying only one step ahead of their horrible headmistress.
The Parker Andersons/Amelia Parker (Family, 20x30 min.) An intercontinental, interracial, blend ed family discovers the ups and downs of learning to live together.
All-Round Champion (Kids competition, S1-5: 55x60 min.) World-class teen athletes step out side their own specialties and compete against each other in all their rivals’ sports.
Happy House of Frightenstein (Animation, S1-2: 20x3 min.) Mini-monsters play, laugh and grow together in the Happy House of Frightenstein, a giant play structure located in the charmingly spooky backyard of the iconic Castle Frightenstein. Rhymington Square (Animation, 13x11 min.) Come on down to Rhymington Square and have an adventure if you dare. In a house on the hill at the edge of town live a group of friends who can show you around.
Finny the Shark (Animation, 12x11 min.) Finny and friends explore stories of friendship, family and everyday life through the lens of a preschooler.
Hammam (Drama, 6x45 min.) This modern adapta tion of the Biblical tale of Saul and David takes place in an abandoned military base named Hammam. Los Hermanos Salvador (The Salvadors) (Comedy, 10x30 min.) Five eccentric siblings who inherit an antiques and magic shop embark on a series of wacky supernatural adventures as they battle the forces of evil and band together as a fam ily to protect their legacy.
Spy Date (Reality dating) A former Mossad agent and a professional matchmaker use their special ties to manipulate two singles to meet “by chance” and go on a date.
Stand-Up Warrior (Reality competition) Fourteen stand-up comedians go through a ten-week martial arts boot camp. They will have to use their fists in order to stay in the game.
El Cielo Puede Esperar (Heaven Can Wait) (Ent.) Have you ever wondered how your own funeral would be? Some of the most-loved Spanish celebrities have been chosen to check it out. Ten Piedad de Nosotros (Mercy on Us) (Psy chological crime drama, 6x30 min.) Two cops go after a serial killer who will make them pay for the sins of their pasts. Milan High (Teen drama, 54x30 min.) A prestigious fashion design major from a private art high school reluctantly lands in a rough vocational high school. Little Mom (Comedy, 51x30 min.) An internation ally successful comedy that reveals the harsh truth of life after having kids.
In Treatment (Drama, 45x30 min.) Takes viewers on a journey through the intriguing and fascinating world of psychotherapy, following ongoing treat ments of five different patients.
Power Couple (Reality format) Eight couples face extreme challenges that will test how well they really know each other.
Harry Wild (Crime, 20x60 min.) Stars Jane Seymour as a recently retired English professor who discov ers a real knack for investigation and cannot help but interfere with the cases assigned to her police detective son.
The Fighter (Crime, 6x60 min.) Follows a female boxer on a high-risk path to becoming the world champion.
The General’s Men (Event series, 8x60 min.) The true story of the special anti-terrorism unit created by General Dalla Chiesa in response to the attack launched by the Red Brigades on the Italian state. Reindeer Mafia (Crime, 8x60 min.) This dark comedy tells the story of an intense power struggle between members of a family that controls the local reindeer business and owns vast areas of sur rounding land.
HIGHLIGHTS
Savage River (Crime, 6x60 min.)
Miki Anderson returns to her hometown in rural Victoria after eight years in prison, she’s
to finally move on with her life. But the close-knit community is not about to
her
Desperate Measures (Drama, 4x60 min.) A bank clerk
use her inside knowledge to pull off the ultimate heist
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.
As Long as We Live (Drama, 6x45 min.) A strug gling couple in a stale marriage is introduced to flirting games full of lust and excitement. But will it save their marriage?
Golden Boy (Yali Capkini) (Drama, 120x45 min.)
This classic family drama tells the story of two sis ters whose paths have crossed with golden boy Ferit and his family, full of betrayal, lies and secrets. Legacy (Drama, S3: 255x45 min.) An innocent little boy’s future is at the heart of a bitter struggle between two families. Can love save him and his family’s legacy? Chrysalis (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.
Hear Me (Romance drama, 120x45 min.) A young adult drama set in a prestigious high school that explores the endless teenage struggle of living with bullying, social injustice and high school romances. Everyone But Us (Drama/comedy, 10x22 min.)
Hilma and Ola are desperately trying to get preg nant. They struggle to start a family, while their sur roundings give advice on how best to succeed.
Honour (Crime drama, S3: 6x45 min.) Four partners at a law firm gain notoriety by helping victims of sex crimes and speaking out against the patriarchy. Threesome (Drama, S2: 8x23 min.) The relation ship is in shambles. David knows Siris has been unfaithful and decides to try to figure out his life and who he is without her.
O (1-323) 817-1300
sales@electricentertainment.com w www.electricentertainment.com
Stand: R8.B1
Leverage: Redemption (Action/crime, S1-2: 29x60 min.) The Hitter, the Hacker, the Grifter and the Thief are together again to take on a new kind of villain, this time with help from a new tech genius and corporate fixer.
The Ark
Almost Paradise (Action/crime, S1-2: 20x60 min.)
A U.S. DEA agent retires to a tranquil beach in the Philippines. Against the doctor’s orders, he uses his skills as a longtime operative to put away criminals. The Ark (Sci-fi drama, 12x60 min.) The spacecraft “Ark One” and its remaining crew members try to survive after a catastrophic event causes massive
the Crash
mind in
Marc-André
lives with her younger brother George, Mummy Pig and Daddy Pig. Peppa’s adventures always end happily with loud snorts of laughter.
Peppa Pig (Preschool
PJ Masks (Preschool CGI, 260x11 min.) Follows the night-time exploits of three young friends who trans form into their dynamic superhero alter egos, Catboy, Owlette and Gekko, when they put their pajamas on at night and activate their animal amulets.
My Little Pony: A New Generation (Adventure/comedy/musical, 1x90 min.) Equestria has lost its magic and Earth Ponies, Unicorns and Pegasi are no longer friends. Idealistic Earth Pony Sunny is determined to find a way to bring enchant ment and unity back to their world.
Transformers: EarthSpark (Action comedy, 26x22 min.) This animated series centers on two human kids as they forge a connection with Trans formers robots and work alongside fan favorites like Optimus Prime and Bumblebee.
Power Rangers Dino Fury (Action/CGI, 44x22 min.) When an army of powerful alien beings is unleashed on Earth, a brand-new team of Power Rangers, fueled by the prehistoric power of the dinosaurs, is recruited to deal with the threat. Ricky Zoom (Preschool CGI, 104x11 min.) Ricky, a rescue bike, lives in Wheelford, where he shares his
experiences with his enthusiastic bike buddies Loop, Scootio and DJ.
Alien TV (Live-action/animated slapstick comedy, 78x7 min.) Follows the adventures of an intrepid extraterrestrial news crew as they investigate the strange, unusual and downright weird on Earth. Ninja Express (Animated comedy, 52x11 min.)
Imagine a delivery service that delivers anything, anywhere and anytime, not restricted by the limita tions of time and space. Now imagine it being run by three ninja brothers with incredible powers. Baby Alive (3D preschool, 46x4 min. & 6x2 min.)
The day-to-day adventures of Charlie and her three silly and adorable babies. When Charlie needs some help along the way, she calls on the Glo Pixies, Siena Sparkle, Sammie Shimmer and Gigi Glimmer. The Play Doh Show (Stop-motion preschool, 142x2 min.) Join the Doh-Dohs and their friends in a play-dohmation world where they find creative solu tions to all kinds of colorful and hilarious situations.
Bluenoses (Kids, 26x5 min.) A series for young view ers 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. Strong Women (Factual, 3x30 min.) Centers around Australia’s top female athletes competing in the Strongman sport. Athletes from across the country share their motivations and experiences.
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.) Nar rated by Jai Courtney, offering insights into the world of people and pets at a unique time when pet ownership has never been higher. The Healing (Factual, 1x60 min.) Explores a lifesaving equine welfare program that brings trauma tized 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.
Killer Soundtrack (Factual/crime, 13x60 min.)
Spins tales of murder and mayhem with memo rable music and record industry accounts that cut close to the bone.
The Best Kind of Beautiful (Drama, 6x60 min.) A series about the relationship between Florence St. Claire and Albert, whose journey is filled with feel ings 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 magical destinations.
O (1-718) 369-9090 m sales@filmrise.com w www.filmrise.com
Stand: R7.N9
Cheaters (Reality, 692x30 min./346x60 min.) People who think their significant other is cheating on them hire a hidden camera crew to investigate. (Worldwide digital rights.)
The Kids in the Hall (Sketch comedy, 110x25 min.) The beloved TV series where a Canadian sketch comedy troupe puts bizarre, unique and insane twists in their skits. (Digital rights U.S., Caribbean, U.K., Ireland, Nordics, Africa, ANZ.)
Digital Native Collection (Reality, 250+ hrs.) A wide variety of lifestyle and gaming content from internet stars, including Preston & Brianna, Unspeakable, Azzyland and many others, across ten-plus series. (Digital Rights U.S., Caribbean, U.K., Ireland, Nordics, Africa, ANZ.)
Crime Reality Collection (Crime reality, 600+ hrs.) These classic North American series center around crime fighting and law enforcement like Worl d ’s Wildest Police Videos , To Serve and Pro tect and Under Arrest MVP (Drama, 1x90 min.) A recently retired NFL player is saved from scandal by a homeless veteran. The two men bond in search of purpose and identity. A Christmas Karen (Comedy/drama, 1x90 min.)
Entitled and demanding Karen receives an “interven tion” by some unconventional spirits who take her on a journey of self-awareness and self-reflection.
Dr. G: Medical Examiner (Medical, 91x60 min.)
Renowned coroner Dr. Jan Garavaglia provides explanations and theories for mysterious causes of death that don’t make sense from the outside. Highway to Heaven (Drama, 111x60 min.) A probationary angel (Michael Landon) is sent back to Earth and teams up with an ex-cop to help people. (Worldwide digital, international broad cast available.)
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. Animal Control (Comedy, 12x30 min.) A work place comedy following a group of animal control workers whose lives are complicated by the fact that animals are simple, but humans are not. Grimsburg (Animated comedy, 13x30 min.) Marvin Flute may be the greatest detective ever, but there’s one mystery he still can’t crack: his family.
Christmas Unfiltered (Holiday, 1x90 min.) When a tween makes a Christmas wish for her family to truly hear her, hijinks ensue as she uncontrollably tells everyone what she really thinks.
The Great Holiday Bake War (Holiday, 1x90 min.)
Sparks fly when two former pastry school rivals meet years later at a holiday TV baking contest. Stay Awake (Drama, 1x90 min.) Two brothers must decide whether to stay in their hometown to care for their drug-addicted mother or leave their past behind to pursue their dreams. Tow (Horror, 1x90 min.) Twin sisters must con front their past when their attempted killer reenters their lives.
Alone in the Dark (Thriller, 1x90 min.) A recent divorcée under house arrest must deal with a stalker that appears to have control over her surroundings.
Brutal Brainwash (Thriller, 1x90 min.) When a woman senses her daughter is in trouble after join ing a secret society, she investigates the club’s mysterious practices.
Secret Diary of a Cheerleader (Thriller, 1x90 min.) A new student must figure out who is target ing the cheerleaders at her school before she becomes the next victim.
O (33-1) 4643-2000 m tvsales@gaumont.com w www.gaumonttelevision.com
Stand: R8.C1
Off Season (Noir/thriller/crime, 6x60 min.) Captain Sterenn Peiry must stop the Edelweiss serial killer. When discovering that her son accidentally killed his girlfriend, she decides to cover up this accident by reproducing the serial killer’s staging. The Art of Crime (Drama, S1-6: 28x60 min.) In this modern-day police procedural, a hot-headed Paris cop teams up with a Louvre art historian to solve crimes across storied French muse ums and landmarks.
Narcos (Action/drama, S1-6: 60x60 min.) An inside look into the world of international drug traf ficking and the rise and fall of the world’s most dangerous criminals, who would stop at nothing to attain the ultimate goal—power. El Presidente (Drama, 8x60 min.) Inspired by the real-life characters and events behind the 2015 “FIFA Gate” corruption scandal. Hannibal (Horror/thriller, S1-3: 39x60 min.) Hannibal Lecter was a brilliant psychiatrist in the employ of the
FBI. His task: to help an unusually gifted criminal pro filer, Will Graham, solve horrible crimes. Do, Re & Mi (2-5 CGI musical adventure, 52x11 min.) Join birdie friends Do, Re and Mi in the musi cal world of Beebopsburgh, an island where instru ments grow in the Falsetto Forest and a giant Music Mountain towers above all their adventures.
Bionic Max (6-11 animated comedy, 52x11 min.) A malfunctioning bionic guinea pig and his goldfish buddy escape from their laboratory into Woodchuck Woods and must learn to adapt in this urban jungle.
Belle and Sebastian (5-9 animated action/adventure/comedy, 52x11 min.) Tells the outdoor adventures of a courageous young boy, Sebastian, and his huge white dog, Belle, who will rush to anybody’s rescue, no matter what the risk.
Galactik Football (6-12 CGI action, S1-3: 78x26 min.) The ultimate sci-fi football game that mixes foot ball, teen drama, amazing planets and scary enemies. Furiki Wheels (6-11 animated comedy, 52x11 min.) André Furiki is a hyperactive young sloth with oodles of drive to become a racecar driver.
Palestinian terrorists invade the Olympic Village and abduct members of the Israeli Olympic team. The Night in Question (Drama, 6x45 min.) The young lawyer Clara goes beyond all moral limits to have her father, the famous singer Carsten, declared innocent of raping her best friend, Leonie. Dome 16 (Drama, 10x20 min.) One hundred and twenty years from now, Anton and Emma (both 14) live in different climate zones, within the same city. They were never supposed to meet, and certainly not fall in love.
RIP Henry (Drama) When Henry Johnsen (Mads Ousdal) is diagnosed with an incurable brain tumor and given just one more year to live, he starts a secret battle to find a cure.
Hostage (Drama, 6x45 min.) Fredrika Bergman is a civil servant at the Swedish Department of Justice, awaiting a promotion while reviewing the case of a Syrian academic arrested in obscure circum stances by Swedish Intelligence agency SAPO. Munich ’72 (Doc./drama, 3x45 min.) Relives Sep tember 5, 1972, minute-by-minute. A group of
Melchior (Medieval crime, 3x90 min./6x45 min.)
A medieval crime thriller about a Tallinn pharmacist who has to uncover the secret behind a terrible wave of murders that threatens to wreck the entire Christian world.
Two in a Million (Romantic comedy, 1x89 min.) Parcel carrier Henry Lafers lives a modest life in Hamburg’s city center with his wife and daughter. He grew up on a fruit farm in the Alte Land, but left it a good 20 years ago after constant arguments with his father Knuth.
Zenith-Supercharged (Family, S2: 15x25 min.) Boris and Fay find out Mom and Dad have replaced
themselves with robots to get a grip on their family
then the kids decide they like the robo-parents better. When the parents have second thoughts, the robots lock them in the attic. 3Hz (Family, S2: 13x26 min.) Felix and his friends use the walkman to search for Sammy’s cousin Robin, who left in 2012
mysterious
Widow’s Web (Crime/suspense, 23x45 min.) Because of deceit, three women are suspected of being involved in the twisted murder case of a man with whom they are all connected. Article 247 (Crime drama, 30x45 min.) Portrays a woman’s journey as she tries to move on from the consequences of her past entanglement with her boss and his psychopath wife.
Broken Faith (Drama, 80x45 min.) In her desper ation to seek revenge against her husband’s other woman, a wife becomes the person she hates the most—a mistress.
I Left My Heart in Sorsogon (Romance drama, 30x45 min.) A woman who reinvented herself to become a top fashion designer and socialite returns to her hometown to confront the life she left behind.
To Have and to Hold (Romance drama, 30x45 min.)
A loving husband decides to leave his comatose cheat ing wife for a newfound love, but soon, the wife regains consciousness without memory of her infidelity.
I Can See You: AlterNate (Drama/thriller, 10x45 min.) Nate asks his long-lost twin, Michael, to pose as him and deal with his troubles. Unknown to Nate, Michael wants to steal his life. Heartful Café (Romance comedy, 22x45 min.) Heart enjoys playing cupid for her customers in Heartful Café. When her café turns into shambles, a handsome co-investor comes and rescues her. Break Shot (Drama, 33x45 min.) A young woman learns that winning at pool and life are filled with challenges, especially for a girl in the maledomi nated world of billiards.
Love of My Life (Drama, 40x45 min.) A man’s dying wish is for his loved ones to live under one roof. Conflicts arise, testing how much they are will ing to sacrifice for him.
Legal Wives (Drama, 40x45 min.) An upright Muslim man marries three women for different reasons and struggles to keep harmony among his wives.
Crazy in Love (Drama, 260x22 min.) Piotr and
had a brief summer romance, and then he for got about her. Now they meet again after ten years.
Sacrificial (Drama, 100x45 min.) Revolves around the extraordinary stories of three sisters who were separated and were only reunited years later by the fortuitous connection of their children. Traitor (Espionage/spy thriller, S1-2: 12x58 min.) Greed and the need for recognition lead Alfred Vint, an Estonian Ministry of Defense 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. Secrets of the Grapevine (Romance drama, S1- 2: 72x50 min.) Tells the incredible story of two wine-making families. The intimate saga of the feuding families is ripe with devastating secrets, long-lost love and heartbreak. 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.” Rats (Crime thriller, 6x55 min.) Nobody wants to end up as a rat for the DEA, but David didn’t have a choice. After cracking under interrogation, he spills the secrets of the Czech-Vietnamese meth syndicates and betrays his best friend.
Divorce in Peace (Dramedy, S1-2: 20x28 min.) Businesswoman Laura wants to end her marriage to music teacher Aksel after 20 long years. A rela tionship therapist compiles a divorce plan for them. Sex Insta Exams (YA drama, 12x25 min.) On the eve of exams that will determine their future, high school students become friends, fall in love, quar rel, compete and experience all the classic prob lems of Gen Z.
Still Waters (YA drama, 8x30 min.) Upon arriving at a new bilingual school far from the capital city, teenager Marianne finds herself being blackmailed when someone launches an online smear and bul lying campaign against her.
Death Walker with Nick Groff (Paranormal, S1-3: 40x60 min.) Death walker: a person who walks among the dead. Nick Groff investigates the origin of some of the most notorious hauntings in America. Icons Unearthed: Star Wars (Docuseries, 6x60 min.) Witness the creation and filming of George Lucas’s two Star Wars trilogies. Interviews with cast and crew make it the definitive account of the space saga that changed movies forever.
Icons Unearthed: The Simpsons (Docuseries, 6x60 min.) Reveals previously unknown and surprising details about the beloved animated series, including exclusive interviews with several writers, directors, actors and network executives.
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.) Covers topics that have altered or elevated the world of music while highlighting the colorful characters that have indelibly changed the course of music history.
On the Case (Crime, S1-11: 286x60 min. & 1x120 min.) Explore murder mysteries through in-depth interviews with those closest to the case and exam ine the evidence that helped unravel the mystery. The Center Seat: 55 Years of Star Trek (Docuseries, 9x60 min. & 1x120 min.) Takes audi ences on a journey through an all-encompassing history of Star Trek
Jim Gaffigan: Quality Time (Comedy, 1x75 min.) The comedian continues to impress with his relatable takes on everyday life in his seventh comedy special. The Bay (Drama, 62x30 min., 10x60 min.) Fol lows the affluent yet dysfunctional residents of Bay City, a town cursed by an ominous senator who was murdered by his socialite granddaughter. Sea son seven coming soon. Untold Stories of the ER (Docuseries/format, 162x60 min.) These true stories demonstrate the nature of medicine practiced under pressure and unpredictable circumstances.
Team S.T.E.A.M.! (Edutainment, 104x15 min.) Team S.T.E.A.M.! is made up of six amazing kids who each use a different STEM-based area of expertise to solve the problems they face.
GOGOBUS (Edutainment/family, 260x13 min.)
The story happens in the school. When trouble strikes the kids, GOGOBUS is there to solve the problem and save the day.
GG Bond: Ocean Mission (Family/ent./comedy/ adventure, 1x85 min.) GG Bond encounters Noah when executing a task in the ocean. Together, they go through difficulties and conquer their fears.
GG Bond: Dino Diary (Ent./adventure, 156x13 min.) GG Bond and his partner Woody need to get out of the dinosaur world and return to their own through all difficulties and adventures.
GG Bond: Kung Fu Pork Choppers (Family/ent./adventure, 104x15 min.) A rescueand adventure-themed story that happens in the sky city, with protagonists who are pigs with Chi nese kung fu skills and superpowers.
O (1-416) 599-4878 m sales@gurustudio.com w gurustudio.com
Stand: R7.D25
123 Number Squad! (Preschool 3D, 104x11 min.) Paula, Billy and Tim use their love of numbers and counting to become a fast-response rescue team, helping solve problems faced by the citizens of Numberville.
O (1-818) 755-1244
m franciscogonzalez@crownmedia.com w crownmediainternational.com
Stand: R8.C9
The Way Home (Drama/family/rom-com/sci-fi, 10 eps.) A heartfelt family drama with a time travel twist follows the lives of three generations of women in a single family.
Groundswell (Romantic comedy, 1x90 min.) Chef Emma learns to surf, competes in a cooking com petition and finds romance.
Moriah’s Lighthouse (Romantic comedy, 1x90 min.) Moriah, a woodworking artisan living in a French seaside town, dreams of restoring a local lighthouse. But American architect Ben may derail her plans.
Big Blue (5-9 2D comedy, 52x11 min.) Siblings
Lettie and Lemo lead their quirky submarine crew to solve the ocean’s mysteries and find the origins of a new magical recruit named Bacon Berry. True and the Rainbow Kingdom (Preschool 3D, 30x22 min., 5x22 min., 1x44 min.) True, our bright and fearless heroine, and her hilarious best friend, Bartleby the cat, come to the rescue of Rainbow City’s whimsical citizens.
Pikwik Pack (Preschool 2D, 52x11 min.) Follows Suki the hedgehog and her team of adorable ani mals as they deliver magical packages to the kind citizens of Pikwik.
Justin Time (Preschool 2D, 74x11 min. & 2x22 min.) Justin’s imagination catapults him into larger-than-life adventures set in different points in history.
Wedding of a Lifetime (Romantic comedy, 1x90 min.) A recently separated couple rekin dles their romance when they are inadvertently entered into a nationally televised contest com peting for an all-expenses-paid-for wedding. Unthinkably Good Things (Romantic come dy, 1x90 min.) Three best friends reunite in Tuscany, making important decisions on life and love.
Hidden Gems (Romantic comedy, 1x90 min.)
Maid of honor Addie and sailor Jack dive for a lost ring before the wedding.
Two Tickets to Paradise (Romantic comedy, 1x90 min.) A jilted bride and groom make a pact to take their tropical honeymoons alone.
Jolly Good Christmas (Christmas, 1x90 min.) An architect and a personal shopper team up to find the perfect Christmas gift.
A Holiday Spectacular (Christmas, 1x90 min.) Maggie heads to NYC in 1958 to dance with the Rockettes.
Ghosts of Christmas Always (Christmas, 1x90 min.) A Ghost of Christmas Present must help Peter rediscover his Christmas spirit.
HAPPY CAMPER MÉDIA m r.sylvain@happycamper.media w happycamper.media
Stand: P4.C20
The Little Spudragon (Animation, 15x3.5 min.) Is it a potato? A tiny dragon? It’s both… it’s a Little Spudragon! Eager to discover our world, this funny-horned beastie explores the backyard and makes up all kinds of stories. Everything is possible with the Little Spudragon as an observer and commentator!
HEADSPINNER PRODUCTIONS O (1-416) 882-5579 m michelle@headspinnerproductions.com w www.headspinnerproductions.com
Happy House of Frightenstein (Preschool anima tion, 20x3 min.) Get ready for the animated misadven tures of Count Jr., Wolfie, Iggy and Griz, wee children of the night, as they play, laugh and grow together in the Happy House of Frightenstein. (Distribution360)
Little Spudragon
Gisele’s Mashup Adventures (Preschool animation, 10x3 min. & 10x2 min.) Each episode is inspired by the creative ideas of children through casual interviews with our star, Gisele Corinthios. Aunty B’s House (Preschool live-action, 20x7 min. in dvpmt.) Aunty B and her flowing and grow ing roster of foster kids use laughter, music, play and unconditional love to navigate the ups, downs and merry-go-rounds of foster family life.
Emma Memma: Sing. Dance. Sign. (Preschool live-action, 52x7 min. & music videos) Created by and starring Emma Watkins, focuses on a new generation of communication using sign language, choreographed dance narratives, singing and more. Denis and Me (Animated comedy, 30x3 min., 4x11 min.) Based on the popular YouTuber Denis and his chaos-magnet cat, Sir Meows A Lot. (WildBrain)
SMAL Tales (50x1 min. in dvpmt.) Short silly sto ries following the daily adventures of Denis and Me star Sir Meows A Lot (SMAL) as they make their usual cat rounds in their neighborhood.
O (1-514) 944-8038 m henry@hgagnondistribution.com w hgagnondistribution.com
Stand: P4.C20
Cat Empire (Factual, 3x52 min./1x68 min.) From the dawn of humanity to online cat celebrities, this entertaining series explores the unique bond uniting humans and cats, for better and worse.
Who Was the Real Neanderthal?
O (1-514) 549-0146 m jdevivie@image-in.cc w www.image-in.cc
Stand: P4.C20
PROGRAM HIGHLIGHT
The Coco Boo (Animation, 52x5 min.) Barely out of their shell, the Coco Boos wonder what to do today: sing, paint, cook, dream?
Cat Empire
O (1-514) 849-6966 m info@ideacom.tv w www.ideacom.tv
Stand: P4.C20
Who Was the Real Neanderthal? (Doc., 1x49 min.) Neanderthals have long been thought of as brutish and dim-witted. It’s been impossible to truly grasp who they were and how they lived—until now.
The Coco Boo
O (1-514) 937-3333 m greardon@incendo.ca w incendo.ca
Stand: P4.C20
PROGRAM HIGHLIGHTS
Be Mine, Valentine (Romantic comedy, 1x90 min.) A proposal planner poses as the best
girlfriend
Day proposal.
to know her clients
concoct a perfect
group of college seniors
Train (Horror, 1x90 min.)
for survival as an unknown
revenge during a Halloween-themed pre-graduation bash aboard a
killer
train.
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.
Another Chance (Drama) Sadi Payaslı is a geog raphy teacher who will balance his life and take care of five convicted students from a reformatory. The Girl of the Green Valley (Drama) Melissa Çelik was left without a mother and father when she was a baby. No one knows the truth about what happened to her family. Hicran (Drama) 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. Aziz (Drama, 91x45 min.) In 1934, Aziz, son of the prosperous Payidar family, must flee after killing French delegate Monsieur Pierre’s son Lieutenant
Scorpion (Drama, 91x45 min.)
Ferda’s stubborn ness and Perihan not wanting her causes a great war between the mother and daughter.
Last Summer (Drama, 93x45 min.) An idealistic prosecutor agrees to protect Akgun in exchange for testimony from the young man’s father, an impris oned mob boss.
Respect (Drama, S2: 8x60 min.) We follow the story of a psychopath, Ercument Cozer, and delve into his obsession with disrespect and its reflec tions on the community.
Deep (Drama, 8x60 min.) Sahir, who serves in the Istanbul Police Department to dissuade people from committing suicide, finds Bilge after getting a notice on his phone one day, opening the doors to a new and dangerous world.
Regardless (Drama, 8x60 min.) When life was clamorously handing him agonies to bear, Ihlan insisted on bringing grace into it.
is King
Stand: C16.A
Loaded in Paradise (Format, 15x60 min.) An adrenaline-fueled reality game show where partyloving pairs island hop around Greece in a race to take control of, and spend, €50,000. Bad Chefs (Format, 10 eps.) YouTube sensation Chunkz welcomes ten culinary-challenged take away addicts to the Bad Chefs Cooking School in this chaotic new reality cooking competition. Love is King (Format) Millennials transform them selves into princes and princesses to find love. They live together in a dream castle, and if they want to find their perfect partner, they have to convince all along the line!
My Mom Your Dad (Format) A group of single parents have been nominated by their college-age kids for a second chance at love. The parents move into a house together, unaware that their adult children are watching their every move through hidden cameras. Malpractice (Scripted, 5x60 min.) New medical thriller combines insight into the pressures and pol itics of hospital life with a story about a damaged doctor caught up in a dangerous conspiracy. Maternal (Scripted, 6x60 min.) Exploring working motherhood, blends laugh-out-loud moments with
tear-jerking drama as it takes us into the lives of three female doctors returning to post-pandemic frontline medicine after maternity leave.
You & Me (Scripted, 3x60 min./6x30 min.) A con temporary love story packed with the twists of a thriller, exploring what it means to find love, lose love and what it takes to try to love once again.
A Year on Planet Earth (Non-scripted, 6x60 min.) This landmark series, presented by Stephen Fry, reveals the incredible ways in which all life is impacted by our journey around the sun.
Mother Nature (Non-scripted, 2x60 min.) The story of nature’s greatest moms and the unique challenges they face in looking after their offspring.
Rainbow Warrior—Murder in the Pacific (Nonscripted, 1x90 min. & 2x60 min.) The story of the fatal bombing of Greenpeace’s flagship Rainbow Warrior.
Mamma en Chef (Lifestyle, 10x23 min.) Comedian Erich Preach meets mothers from all over the world to cook their best traditional dishes with them.
Mamma en Chef
Mimi’s World (Action, 40x11 min.) Mimi, a modernday Mary Poppins, is on a mission to inspire her young charges to be confident, kind and inclusive. Biff & Chip (Action, 25x11 min.) Based on the hugely popular reading series from Oxford University Press, this series focuses on the Robinson children, their family and their neighborhood friends.
have all gone home, these wacky monsters creep out for their own slapstick adventures. Mechamato (Adventure, 26x22 min.) The adven tures of a kind and creative young boy named Amato, who inadvertently becomes the master of MechaBot. Critters TV (Edutainment, 26x11 min.) Featuring a cast of hilarious cartoon animal families, shows Irish wildlife like it’s never been seen before. Viking Skool (Action, 26x22 min.) By learning often outlandish Viking skills, students get chal lenged in order to emerge stronger and better—not always in an obvious way.
Kung Fu Pork Choppers (Comedy, 52x11 min.) The Kung Fu Pork Choppers travel through space and time in their action-packed quest to right wrongs, keep the peace and defeat evil everywhere.
Alice’s Diary (Action, 52x5 min.) A magical insight into the very individual thoughts of Alice, our adorable, quirky and highly imaginative 6-year-old lead. Mini Kids (Action, 28x16 min.) NRK’s first TV show aimed at toddlers: it combines live-action perform ances by actual 1-year-olds with animation and playful use of props and objects. Silly Animals (Edutainment, 20x6 min.) Gary the vlogging Dog (played by British comedian Alan Carr) sneaks into a secret vault to show you all of the funniest animal clips. Spookiz (Adventure, 26x2 min.) When night falls and the human kids from Freemont Elementary
from Just for Laughs—2022 (Stand-up com edy, S16: 8x60 min.) For its landmark 40th anniver sary, JFL welcomed comedy’s hottest stars to host
stand-up comedy shows of the year.
Just for Laughs Gags (Comedy, S23: 13x30 min.; total: 394x30 min.) The world’s longest-run ning prank show, where unsuspecting people get roped into hilarious situations.
KANAL D INTERNATIONAL O (90-212) 413-5111 m hello@kanald.international w www.kanald.international
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.
Ateş Hekimoğlu, an acclaimed infectious diseases and nephrology physician. With his team of three young doctors, he does whatever it takes to solve the most puzzling cases. Ruthless City (Drama) The journey from the Southeastern city of Antakya to the ruthless city of Istanbul is a story of survival and struggle. After their encounter, Agah and Seher’s lives will never be the same.
Love Trap (Romantic comedy) The marriage game between poor girl Ayşe and rich boy Kerem started as a “love trap” and will bind them forever. Price of Passion (Romantic drama) What hap pens when the woman who saves lives is captured by the man who takes lives? A passionate love is about to be born.
Love & Hate (Drama) Follows Tolga, a famous young actor at the top of his career but dissatisfied with his life, and Asya, an ordinary girl who dreams of studying at university as she works as a shop assistant. Three Sisters (Drama) An adaptation of the best seller by İclal Aydın. At the end of the ’90s, three sisters, Türkan, Dönüş and Derya, dream of a promising future. Hekimoğlu (Medical drama) The local version of the hit U.S. series House, starring Timuçin Esen as
Pillow
S1: 10x30 min., S2: 10x30
couples of different ages,
classes and origins, living out realistic situa tions
funny and touching ways, without taboos.
Stand:
Yu-Gi-Oh! SEVENS (Animation, S1: 43x22 min., S2: 46x22 min.) Yuga Ohdo may seem like any other 5th grader in Goha City, but he’s about to take his favorite game to the next level by inventing a whole new way to duel: Rush Duels. (Excluding Asia)
Yu-Gi-Oh! VRAINS (Animation, S3: 38x22 min.)
Duelists worldwide plug into LINK VRAINS to compete in fast-paced competition. But this cyberspace is under attack by a team of hackers determined to destroy the virtual realm. (Excluding Asia) Yu-Gi-Oh! Duel Monsters (Animation, 236x22 min.) Meet Yugi and his best buds Joey, Tristan and Téa, who share a love for Duel Monsters. (Excluding Asia)
info@leoninestudios.com
screenings.leoninestudios.com/en/
Stand:
Bonn (Period event drama/political thriller, 6x60 min.) True untold story of a young woman’s
strug gle 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.
Troppo (Crime drama, 8x60 min.) Ex-police detective Ted Conkaffey left Sydney in disgrace to find redemp tion in a Queensland rainforest town. As he struggles to put his life back together, he finds himself drawn into the criminal cases of eccentric private investigator Amanda Pharrell, herself a convicted murderer.
Herzogpark (Comedy/drama/thriller, 6x60 min.)
The perfectly polished existence of a glamorous, champagne-fueled world is on the brink of chaos, as carefully hidden secrets threaten to surface.
The Name of the Rose (Thriller, 8x60 min.) A suspenseful crime thriller set in an intriguing and gloomy medieval world with a modern take and new details to a multilayered story.
Badass Class (Comedy/scripted reality, 1x97 min.) True friends, pure love and absolute chaos— the 12th grade of a Berlin high school goes on a wild graduation trip to Croatia.
JGA: Jasmin. Gina. Anna. (Comedy, 1x118 min.) A story of friendship and saying goodbye to single life, full of humor and witty dialogue. Youtopia (Ent., 5-day digital live format) A unique cross-media innovative live event. One of Germany’s biggest digital events, drawing maximum atten tion to climate change, environmental protec tion and sustainability.
general-inquiries@lionsgate.com w www.lionsgate.com
C15.A8
Paul T. Goldman (Docuseries, 6x30 min.) A truecrime/scripted hybrid series from director Jason Woliner and EPs Seth Rogen and Evan Goldberg, tells an astonishing tale of betrayal and empowerment. Gray (Drama, 8x60 min.) CIA spy Cornelia Gray is coming in from the cold after 20 years in hiding, dodg ing the government agents who suspected her of being a traitor. But when she returns to her old life, it is discov ered there is a new mole within her old spy network.
Leopard Skin (Drama, 8x30 min.) After fleeing a botched jewelry heist, a criminal gang is forced to hide out in a remote beachside estate, where two intriguing women live in Playa Perdida, Mexico.
Son of a Critch (Comedy, 26x30 min.) Based on the award-winning, best-selling memoir from Mark Critch.
The Serpent Queen (Drama, 8x60 min.) Tells the tale of Catherine de Medici’s rise to power.
Dangerous Liaisons (Drama, 8x60 min.) This prelude to the classic 18th-century novel focuses on the origin story of how the Marquise de Merteuil and the Vicomte de Valmont met as passionate young lovers in Paris on the eve of the revolution. Welcome to Flatch (Comedy, 27x30 min.) When a documentary crew sets out to explore the lives of residents in a small American town, they stumble upon the midwestern town of Flatch, which is made up of many eccentric personalities.
Wong & Winchester (Drama, 6x60 min.) A bitter ex-cop turned private investigator and a former career student with ambitious naivety form an unlikely partnership in this female-driven procedural. . Party Down (Comedy, 26x30 min.) Follows a Los Angeles catering team—a sextet of Hollywood wannabes stuck working for tips while hoping for their “big break.” Nacho (Drama, 8x60 min.) Nacho changed the rules of the porn industry game in the 1990s when he became an international superstar.
The Gruffalo (Family/children/animation, 1x27 min.) Tells the magical tale of a mouse who takes a walk through the woods in search of a nut. The Gruffalo’s Child (Family/children/animation, 1x26 min.) A sequel to The Gruffalo. One night the little Gruffalo ignores her father’s warnings and tip toes into the snow in search of the Big Bad Mouse. Room on the Broom (Family/children/animation, 1x26 min.) An enchanting tale about a kind witch who invites a surprising collection of animals to join her on her broom.
Stick Man (Family/children/animation, 1x27 min.)
A moving tale of a happy-go-lucky father’s epic journey to make it home to his family in time for Christmas.
The Highway Rat (Family/children/animation, 1x27 min.) Tells the tale of a greedy rat whose desire for buns, biscuits and all things sweet leads him to a sticky situation. Zog (Family/children/comedy/animation, 1x27 min.) The story of a keen, young, accident-prone dragon and his surprising friendship with a power ful young princess.
The Snail and the Whale (Family/children/ ani mation, 1x27 min.) A tiny snail hitches a ride on the tail of a humpback whale and together they embark on an epic journey around the globe. Superworm (Family/children/animation, 1x27 min.) Superworm is a super-long, super-strong earthworm who always comes to the rescue of bugs and animals in distress.
The Smeds and the Smoos (Family/children/ ani mation, 1x27 min.) The red Smeds and the blue Smoos must learn to overcome their differences and work together to find Janet and Bill, who eloped to escape their families’ long-standing divisions.
Pip and Posy (Preschool animation, 104x7 min.) Pip and Posy are best friends. Together they navigate
the ups and downs of friendship through a wonder ful world of play.
Barbie Big City Big Dreams (Animation, 1x60 min.) Barbie swaps the shores of Malibu for the bright lights of Broadway to attend a summer per forming arts program and meets Barbie in this new sing-along adventure.
Barbie: It Takes Two (Animation, 26x22 min.)
Follows Barbie “Malibu” Roberts and Barbie “Brooklyn” Roberts as they attend a year of per forming arts high school in NYC.
Barbie Mermaid Power (Animation, 1x60 min.)
Join Barbie “Brooklyn” Roberts, Barbie “Malibu” Roberts and her sisters Skipper, Stacie and Chelsea as they transform into mermaids to help save the world of Pacifica.
Thomas & Friends: All Engines Go! S25 (Ani mation, 52x11 min.) Adventure and excitement abound for Thomas and his friends as they work together and form lasting bonds that help them overcome any obstacle on the Island of Sodor.
MATTEL TELEVISION m content_sales@mattel.com w www.mattel.comBarbie Mermaid Power
Thomas & Friends Race for the Sodor Cup (Anima tion, 1x60 min.) Super-fast Kana is convinced that her speed is all she needs to win the Sodor Cup. But when she ends up paired with Thomas, she discovers that it takes much more than speed to really be a champion. Thomas & Friends: All Engines Go! S26 (Ani mation, 52x11 min.) 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.
Hollywood 911 (Celebrity, 6x30 min.) When trou ble comes, stars are just like us, and there’s one call to make: 911.With expert analysis, gives a behind-the-scenes look at each call.
My Song to Denmark (Variety, 5x60 min.) A music competition featuring 15 top musicians who travel the country in a quest to get inspired by their nation and create a new hit song.
The Ultimate Braai Master (Food competition, 13x60 min.) A fun, engaging barbeque (“braai”) competition.
Wild America (Nature/travel competition, paper format) Aspiring nature cinematographers go headto-head in the high-risk, high-reward world of wildlife filmmaking. Planted (True-crime) Uncovers the stories of law enforcement’s secret weapon: forensic botany. In cases where victims and their families feel all hope is lost, it provides answers.
Up in the Air (Factual, 12x50 min.) One host inter views a celebrity in a hot air balloon with a surprise guest (who is a friend of the celebrity). Then, the celebrity must guess which friend is behind them. Love Van (Dating/reality, paper format) Singles find love on a rally in their vans. Will they choose the potential suitors or replace them with hitchhik ers they meet along the way?
The Story Of… (Factual/docudrama, 10x60 min.) Through high-end drama and sophisticated story telling, brings viewers on a fascinating journey through the past and into the present. Watch! (Game show/variety, 3x60 min.) There’s nothing more gripping than watching world-class talent; and nothing more thrilling than a high-stakes game show.
House Party (Game show, paper format) The only TV format in partnership with Ubisoft’s international megahit game Just Dance.
The Head (Thriller, S2: 6x50 min.) Arthur Wilde and his team of scientists have finally found a biological solution to climate change. Then his most brilliant collaborator is found dead, decapitated.
Express (Thriller, S2: 8x60 min.) Bárbara will dis cover that the express kidnappings they have been entrusted with are just the tip of the iceberg of an industry built and sustained on fear.
(Mystery/adventure, S3: 6x50 min.) Three months after the terrible events that ended Paz’s life, Amaia is sure that the mysteries that inhabit the boarding school have not been solved. Primate (Comedy, 8x25 min.) Tells the story of William Days, the stage name of William Diaz, a famous actor who never thought about growing old. UPA Next (Musical comedy, 8x50 min.) Fifteen years after Un Paso Adelante , the Carmen Arranz school reopens its doors with Silvia, Lola and Rober as teachers and champions of a new project.
The Head
Las Bravas (Comedy, 8x45 min.) A small seconddivision women’s soccer team from Playa Ángel has more passion than talent. Paraíso (Sci-fi/adventure, S2: 8x50 min.) Three years have passed since the events of the first sea son, and another group of Undead, the Novavis, appears to have deployed to Almanzora de la Vega. The Paradise (Thriller, S2: 8x50 min.) The Finnish crime detective Hilkka Mäntymäki and her Spanish colleagues, Andrés Villanueva and Luisa Salinas, reunite and start a new criminal investigation. Las Pelotaris: 1926 (Drama/romance, 8x50 min.) Recounts the struggle of three Basque pelota players who try to achieve their dreams by over coming the prejudices in the 1920s.
Living with Dad (Kids 2D 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.
The Fox Badger Family (Preschool 2D comedy, 104x12 min.) Watch as the Fox-Badger family learn to love each other.
Nicholas’ Fantastic Summer (Young kids 2D comedy, 52x12 min.) Whether it is spending time with family, finding new places to explore or meet ing new friends, Nicholas always makes certain to have a fantastic summer. Kid Lucky (Young kids 2D comedy/adventure, 52x12 min.) Saddle up for a wild ride with Kid and his friends. Where there’s an injustice, Kid is there to save the day and laugh along the way.
Little Furry (Preschool 2D adventure/edutainment, 117x7 min.) Follow this endearing character who throws himself into extraordinary universes where anything is possible, managing to overcome the most unexpected obstacles.
ESPAÑA GROUP O (34-627) 02-46-71 m
Akissi (Young kids 2D comedy, 1x26 min.) Desper ate for a younger sibling, this cheeky troublemaker tries to convince her family to adopt Boubou the monkey, the perfect companion for her adventures. The Marsupilamis (Kids 3D adventure/comedy, 52x12 min.) Hope, Twister and Punch live under the watchful eye of Jade, Mica and their grand mother. These mischievous Marsupilamis have no idea how special they are. SamSam (Young kids 3D comedy/adventure, 52x12 min.) SamSam the tiny superhero is back and saving the galaxy once again alongside SamTeddy aboard his SamSaucer.
Versailles Unleashed—Belfort & Lupin (Kids 2D adventure/comedy, 26x26 min.) King Louis XIV’s favorite dog, Belfort, and his best friend, Lupin, dis cover the secrets of Versailles. ZooBox (Preschool stop-motion adventure come dy, 1x26 min.) Have you ever thought about what the story of Noah’s ark would be if told from the animal’s perspective?
Secret Obsession (Drama, 8x70 min.) A story of forbidden love, showing the progressive fall into hell of someone who allows her obsessions to overcome reason.
Wrong Side of the Tracks (Drama, S1: 8x70 min., S2: 8x70 min.) Contextualizes in a realistic way daily life in a problematic neighborhood. Disappeared (Drama, S1: 13x70 min., S2: 8x70 min., S3: 8x70 min.) Tells the story of police inspector Sonia, affected by the drama of the disappearance of a close person, who joins Group 2 of the Central Brigade.
Angel Nieto: Four Lives (Bio., 4x30 min.) Offers a portrait of one of the most significant figures of worldwide motorcycling. Wanted: El Sapo (Bio., 4x70 min.) Qualified as one of the best thieves in Europe and, undoubtedly, the best Spanish thief, El Sapo stood out for being an expert in concealment.
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 witness ing the murder of her father, she tries to prove that her stepmother is responsible.
The Town Doctor (Drama, S1: 42x45 min., S2) A town hospital brings together three idealistic doc tors who do their best to help people. The Blackboard (Drama, 76x45 min.) Atlas returns to his hometown as a mathematics teacher.
The Great Seljuks: Alparslan (Historical drama, S1: 91x45 min., S2) Tells 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) 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) Tells the story of the fight, devotion and sacrifice of seven patriots who accept a challenging duty that requires them to leave their own lives behind and become ghosts among the crowd for their country, going underground for this purpose.
Balkan Lullaby (Drama, 100x45 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. Reckless Love (Drama, 26x45 min.) Tells the story of the love between the smart, resourceful and beau tiful Zeynep, who runs the family business, and Civanmert, who is known as the “charming valet.” Perfect Match (Drama, 100x45 min.) Family com edy about two young people who never knew each other and never thought of getting married who meet their mothers’ request and build a happy home. Barbarossa: Sword of the Mediterranean (Historical drama, S1: 107x45 min., S2) The story of four brothers born and raised in Lesbos, who rise up against dangers and become conquerors of the seas in the 16th century.
superpowered kids fight to protect the planet from climate change and pollution in a contemporary series that both educates and entertains.
Monster Loving Maniacs ( 2D comedy adven ture, 52x11 min.) Three siblings go into training with their grandfather to become monster hunters—but they want to get to know the monsters rather than hunt them. (Presented by Mondo TV & Toon2Tango.)
Agent 203 (CGI sci-fi adventure comedy, 26x22 min.) Zoe is Agent 203, on a quest to save the uni verse and find her father, while also coping with everyday teenage social and emotional issues. (Presented by Mondo TV & Toon2Tango.)
Grisù (CGI comedy adventure, 52x12 min.) Grisù wants to be a firefighter. There’s just one problem: he’s supposed to be a fire-breathing dragon when he grows up.
Nina & Olga (Preschool 2D comedy adventure, 52x7 min.) The story of Nina, a little girl, and her friend Olga, a cute and funny cloud, as Olga helps Nina to cope with everyday emotions. Disco Dragon (2D comedy, 52x13 min.) Disco the music-crazy dragon can hear every child’s inner groove and knows when a child needs help from him and his daredevil pal Betty. (Italy, Spain) One Love (Preschool 2D, 26x7 min.) Visit Amo and Ama on the planet One Love and learn about emotions, kindness, courage, friendship and the power of love.
Robot Trains (CGI comedy adventure, S3: 26x13 min., S4: 26x13 min.) When villainous Train X takes control of a deadly source of energy, an unex pected new ally joins Railwatch. Can they defeat their most dangerous foe?
The Wee Littles (Simulated stop-motion comedy adventure, 46x5 min.) A family of four very small creatures—the Wee Littles—handle their tiny size with their own unique and inventive flair. (Presented by Mondo TV & Toon2Tango.)
Annie & Carola (2D comedy adventure, 52x11 min.) Nerdy Carola builds Annie, a robot clone, as a friend. But the crazy, uninhibited Annie drags Carola into all the situations she fears the most.
Fia’s Fairies (Animation, 26x5 min.) Follows Fia and her best friend as they journey to Fairy World, where they learn an enchanting second language through exciting adventures with the fairies and all their magical friends.
An animated talk show for 4- to 7-year-olds hosted by a funny and clumsy sheep who interviews all sorts of everyday objects.
Storytime with Ms. Booksy (Animation, 30x7 min.) A magical and whimsical storyteller jumps into classic fairy tales, bringing the well-known stories and characters to life with her own unique twist. Zizi & Hannibal (Animation, 26x5 min.) Follows Zizi, a clever and curious little girl, and her best friend, a happy-go-lucky hippo called Hannibal. Zizi uses her imagination to enter a magical world, where she learns all about the wonderful animals of Africa.
Stories imagined and told by children through their inimitable 6-year-old lens and in their own words. Noodle & Bun (Animation, 13x3 min.) Follows the adventures of Noodle; Bean, a pug who whimpers in the face of danger; and Bun, a little mouse who holds this peculiar group together. Paddles the Huggable Polar Bear (Animation, 26x11 min.) Through the adventures and discover ies of its funny and huggable star and his friends, shows its young audience that being different is something to be celebrated and enjoyed.
Pins & Nettie (Animation, 26x5 min.) Pins and Nettie are hedgehog besties and there is nothing they like more than going on fun adventures all around where they live. Urban Tails (Animation, 26x2 min.) Animal music artists ooze attitude as their videos play in the Urban Tails Music Chart show. Earth to Luna (Animation, 182x12 min.) A pre school series all about Luna, a 6-year-old girl who is completely, undeniably and passionately into just one thing: science.
Swindler Seduction (TV movie, 1x90 min.)
Louisa meets handsome and sweet Steve at a bar in Chicago. Two days later, Steve disappears, and Louisa realizes she’s been swindled out of thou sands of dollars.
Swindler Seduction
Vampire Academy (Drama, 10x60 min.) In a world of privilege and glamour, two young women’s friendship transcends their strikingly dif ferent classes as they prepare to complete their education and enter royal vampire society. The Calling (Drama, 8x60 min.) Tells the story of NYPD Detective Avraham Avraham, whose belief in mankind is his superpower when it comes to uncovering the truth.
Vampire
Quantum Leap (Drama, 12x60 min.) It’s been nearly 30 years since Dr. Sam Beckett stepped into the Quantum Leap accelerator and vanished. Now, a new team, led by physicist Ben Song, has been assembled to restart the project.
A Friend of the Family (Drama, 9x60 min.) A true-crime limited series based on the story of the Broberg family, whose oldest daughter Jan was kidnapped multiple times over several years by a charming and manipulative neighbor. A Town Called Malice (Drama, 8x60 min.) Set in the early ’80s, follows the Lords, a family of for mer South London gangsters who, after fleeing to the Costa del Sol in Spain following a gangland battle, realize this is a golden opportunity to re invent themselves.
Pitch Perfect: Bumper in Berlin (Comedy, 6x30 min.) Based on the film franchise that grossed nearly $600 million at the worldwide box office. Bumper Allen moves to Germany to revive his music career after one of his songs becomes a big hit in Berlin.
Abominable and the Invisible City (Animation, 20x30 min.) A comedy adventure series that con tinues the wild and woolly fun of DreamWorks
(Animation, 16x30 min.) Megamind goes from
being a supervillain and the scourge of Metro City to a superhero who’s learning on the job.
Real Girlfriends in Paris (Reality, 10x60 min.)
Follows six American expats as they live life to the fullest in the City of Lights, embracing new experi ences, navigating careers and looking for love.
El Señor de los Cielos 8 (Super series, 88x60 min.) Aurelio Casillas unleashes a battle against all the cartels, corrupt politicians and businessmen who profit from the fatal drug fentanyl.
DISTRIBUTION KIDS & FAMILY O (1-818) 777-1300 w www.nbcuniversal.com
Stand:
Abominable and the Invisible City (Animation/adventure/comedy, 20x30 min.) Everest, Yi, Peng and Jin go on incredible adventures through out China and beyond and discover a magical world around them filled with extraordinary creatures. Dragons: The Nine Realms (Animation/ action/adventure, 52x30 min.) In the modern world, Tom Kullerson and his friends explore an immense fissure and discover a hidden world where dragons exist.
The Croods: Family Tree (Animation/ comedy/adventure, 52x30 min.) The ever-evolving story of the Croods and the Bettermans as they learn to live together on the most idyllic farm in prehistory.
Kung Fu Panda: The Dragon Knight (Animation/ comedy/action/adventure, 41x30 min. & 1x60 min.) When the fate of the world is at stake, Po (Jack Black) must partner with a no-nonsense
Eng lish Knight and embark on a globe-trotting quest for redemption and justice.
The Boss Baby: Back in the Crib (Animation/comedy, 28x30 min. & 1x60 min.)
Boss Baby is back and working with his niece Tina to increase baby love while keeping a new group of archnemeses from destroying Baby Corp.
lifetime camp experience on Isla Nublar is threat ened as dinosaurs wreak havoc across the island.
NHK ENTERPRISES O (81-3) 3468-6984 m info-w@nhk-ep.co.jp w www.nhk-ep.co.jp/en/, pf.nhk-ep.co.jp/
Iriomote—The Fabric of Life (Nature, 1x52 min.) Iriomote Island is a hotspot of biodiversity. This program rediscovers the lives of indigenous crea tures such as the Iriomote cat and the endangered crested serpent eagle.
Gabby’s Dollhouse (Animation/live-action, 60x30 min.) The preschool show with a surprise inside. Join Gabby in her fantastical animated world full of adventure and adorable cat friends. Dodger (Live-action/comedy/drama, 10x60 min. & 3x60 min.) Set before the events of Oliver Twist, this is a fast-paced tale following the hair-raising adventures of the Artful Dodger, Fagin and his gang. The Makery (Live-action/crafting, 25x15 min.) A make-and-do show packed with creative ideas. It educates through play, inspiring children to explore their imagination and creativity.
Team Zenko Go (Animation/action, 22x30 min.) Team Zenko Go is a secret squad of four kids who have a special set of skills that allow them to do good deeds for people in their hometown of Har mony Harbor.
Jurassic World: Camp Cretaceous (Animation/ action/adventure, 49x30 min.) Set against the events of Jurassic World, six teenagers’ once-in-a-
The Unknown Master of Restoration (Arts/culture, 1x49 min.) An art restorer with a skill to flawlessly repair broken pottery has earned the nickname “God Hand.” The practice originated from his father just after WWII, when many antiques were repaired secretly through underground means. Ninja Truth (Arts/culture, 20x15 min.) Adding six new episodes, reinvestigates the actual arts and tools employed by ninjas to demystify the truth behind their superhuman abilities. Cycle Around Japan (Travelogue, 48x49 min.) The cyclists explore the beautiful sceneries of Japan on bike. A memorable journey to a side of Japan you won’t find in guidebooks.
Young Carers: A Silent Cry for Help (Social issues, 1x49 min.) Children who act as caregivers to family members carry a tremendous burden.
From Foe to Fortune: Living with Nuisance Wildlife (Environment/social issues, 1x49 min.) Instead of defending against nuisance animals from destroying crops, one wildlife control expert attempts to coexist with them by changing the lifestyle of the locals. Prism (Drama/romance, 9x45 min.) Satsuki falls in love with a man named Riku, who works as a landscape designer. But things get complicated when Yuma joins Riku’s garden redesign project. Unbeknownst to Satsuki, the two men have a romantic past.
NICELY ENTERTAINMENT O (1-323) 682-8029 m info@nicelytv.com w www.nicelytv.com
Stand: P3.B22
The Christmas Checklist (Holiday romance, 4x60 min.) A grieving daughter discovers a red envelope from her mom with a final request: for her to complete a checklist of 12 activities before Christmas. Cloudy with a Chance of Christmas (Holiday romance, 1x90 min.) When a weather forecaster is asked to co-host her network’s annual snowcast with a longtime rival, tension brews and sparks fly between them on air.
Sappy Holiday (Holiday romance, 1x90 min.)
When Joy discovers her boyfriend plans to pro pose, she begins doubting their future together, especially when a handsome maple farmer res cues her from a snowstorm.
The Christmas Checklist
A Royal in Paradise (Romance, 1x90 min.) While vacationing on a tropical island, a fiction writer runs into one of her fans and starts to fall for him—only to realize he’s a prince.
A Christmas to Treasure (Holiday romance/ LGBTQ+, 1x90 min.) The passing of a beloved neighbor reunites six friends for a holiday treasure hunt, where sparks fly between two former best friends, Austin and Everett.
A Tiny Home Christmas (Holiday romance, 1x90 min.) Former co-stars of a design reality show reluctantly team up to build a tiny home for the city, rekindling sparks just in time for Christmas. The Snowball Effect (Holiday romance, 1x90 min.)
Sparks fly between two meteorologists while they com pete for a position at a national TV station and reinvigo rate a dilapidated Christmas Village along the way.
Baked with a Kiss (Romance, 1x90 min.) A baker famous for her “True Love Pie” accidentally gives the wrong dessert to a difficult customer and ends up the object of his affection.
Love at the Lodge (Romance, 1x90 min.) An uptight attorney finds herself stranded at a retreat and falling for the care-free owner who’s in jeop ardy of losing his lodge to her firm.
Christmas on Repeat (Holiday/family, 1x90 min.) An ad executive gets more than she bargained
HIGHLIGHT
Life on the Wing—Miracle of Bird Migration (Nature, 1x52 min.) Bird migration is one of the miracles of our planet. The paths of hundreds of bird species intersect in Seewinkel, Austria. Wild and Gentle—The Alpine Foothills (Nature, 1x52 min.) The Alpine foothills, a strange border land between the mountains and the plains, is shaped by humans
Family in the Wild (Nature, 16x24 min.) Join filmmaker Kim Wolhuter as he shares his daily interactions with hyenas, elephants and lions, while his adorable daughter Kiki explores her unique surroundings.
Qatar—Pearls in the Sand (Nature, 1x50 min.) Qatar is a country of fascinating contrasts: thou sands of square kilometers of untamed wilderness stretch out behind vast oil refineries and Doha’s distinctive skyline.
(Nature, 1x45 min./1x52 min./1x90 min.) Lake Tanganyika combines two equally magical worlds: an untouched wilderness along the shores, home to chimpanzees, elephants and antelopes, and a spectacularly diverse under water universe.
The Builders of the Alhambra (History, 2x52 min./1x90 min.) Knowing their kingdom is doomed, two sultans embark on constructing a building in an attempt to reach for the stars: the Alhambra Palaces.
Brazil (History, 1x52 min.) Dom Pedro I and Leopoldina of Austria founded the Empire of Brazil in 1822. To this day, she is considered Brazil’s “Mother of the Nation.”
Days That Never Were (Fiction, 8x45 min.) Miriam, Doris, Inès and Christiane are four women who have been friends since school days. A murder case puts their trust and bond to a hard test. The Gates of Hell (Fiction, 1x90 min.) A dead priest was found severely beaten, carrying an amulet with a demonic symbol. The reason was soon found: he was an exorcist. Soko Linz (Fiction, S2: 26x45 min.) The Soko Linz, a special commission deployed in the border triangle of Austria, Germany and the Czech Republic, solves every crime with a good portion of skill and charm.
O (27-11) 428-2900 m bonolo.madisakwane@vimn.com w www.viacbs-africa.com
Redemption (Daily drama, 130x30 min.) Will Faith Zikode’s discovery of the truth about her family’s unscrupulous and devious past and present make her walk her away from her own blood for good, or will she stick around to save the family’s legacy?
Black Tax (Sitcom, 13x22 min.) Revolves around a successful professional woman, Thuli Dlamini, and her family after the sudden arrival of her parents into her modest suburban townhouse. Thuli deals with the unspoken law of payback to the community of people that helped her get to where she is.
Isono (Telenovela, 260x24 min.) In the East Rand of Johannesburg, Vosloorus, Gabriel, born into a dysfunc tional family, searches within himself for the strength to stand up against a powerful evil matriarch, Mother Mary, who will stop at nothing to serve her own needs.
m gdgsales@viacomcbs.com w www.paramount.com
Stand: C14
Fire Country (Drama, 60 min. eps.) Max Thieriot plays Bode Donovan, a young convict seeking redemption and a shortened prison sentence by joining an unconventional prison release firefighting program in Northern California. Poker Face (Mystery, 60 min. eps.) A ten-episode series starring Emmy nominee Natasha Lyonne for Peacock from T-Street and MRC Television. Colin from Accounts (Comedy, 30 min. eps.) A relationship comedy about Ashley and Gordon, two single(ish), complex humans who are brought together by a nipple flash and running over a dog. So Help Me Todd (Drama, 60 min. eps.) A lawyer bails out her PI son by giving him a job as an inves tigator at the law firm where she works and they must figure out how to function together.
Walker Independence (Drama, 60 min. eps.) A Walker origin story follows Abby Walker. On herBlack Tax
quest for revenge for her husband’s murder, Abby crosses paths with Hoyt Rawlins, a lovable rogue searching for purpose. Munich Games (Thriller, 60 min. eps.) From the writer of Fauda comes a modern, multinational sixpart drama thriller series set 50 years after the Munich Massacre, a traumatic terrorist attack on the Israeli Olympic team in 1972.
McLane and led by the larger-than-life WOW Superheroes and their in-ring rivalries.
PASSION DISTRIBUTION O (44-207) 981-9801 m sales@passiondistribution.com
Dinosaur with Stephen Fry (Doc., 4x60 min.)
The landmark event that chronologically tells the definitive story of 165 million years on Earth—from the dawn of the dinosaurs to their extinction.
Send Nudes: Body SOS (Fact-ent., 10x60 min.)
Ze Network (Dark action-comedy, 30 min. eps.)
The fictional story of Hollywood actor David Hasselhoff’s new lead role in a theater play in Germany that plunges him into the center of an interna tional conspiracy of former Cold War assassins. Bestseller Boy (Dramedy, 60 min. eps.) Inspired by the scandalous best-selling novel of the same name about the life of rising literary star Mano Bouzamour, his struggles as a Dutch-Moroccan millennial navigating two cultures, overnight suc cess and identity in Amsterdam. 11 Minutes (Doc., 1x45 min.) Takes viewers inside the heart-stopping stories of terror and survival experienced by those who were at the 2017 Route 91 Harvest Music Festival in Las Vegas.
WOW—Women of Wrestling (Sports ent., 60 min. eps.) The premier all-female sports entertain ment property, owned by Jeanie Buss and David
The ultimate “try before you buy” for people seri ously considering cosmetic surgery, as they see what they could look like before making a lifechanging decision.
Freddie Flintoff’s Field of Dreams (Factent., 3x60 min.) Freddie Flintoff returns to his hometown for the sporting challenge of a life time. Can he inspire some unlikely teens to give cricket a chance?
Elizabeth: Life Through the Lens (Doc., 1x60 min.) Marks the reign of Queen Elizabeth II as the most photographed and filmed person of the last seven decades.
Afghanistan: No Country for Women (Doc., 1x60 min.) British-Iranian correspondent Ramita Navai powerfully exposes the reality of life for women under Taliban rule in Afghanistan.
Women’s Health: Breaking the Taboos (Factent., 4x60 min.) Uncovers the secrets surrounding women’s health and explores some of the biggest issues out there.
Men of West Hollywood (Ent., 10x60 min.) Fol low six well-known male socialites, along with their boyfriends and girlfriends, as they come together to make up the most drama-driven, polarizing friend group in West Hollywood.
Miriam and Alan Lost in Scotland and Beyond (Fact-ent., 4x60 min.) Hollywood actors Miriam Margolyes and Alan Cumming are back behind the campervan wheel as their rip-roaring road trip antics continue across Scotland and beyond. Stacey Dooley Sleeps Over USA (Doc., 3x60 min.) Celebrated journalist Stacey Dooley takes her hit show overseas. The Cotswolds with Pam Ayres (Doc., 4x60 min.) Poet Pam Ayres uses her local knowledge to reveal both the familiar and the not-so-familiar gems of one of Britain’s most beautiful areas.
O (34-689) 244-687 m info@pinkparrotmedia.ca, begona@pinkparrotmedia.ca w www.pinkparrotmedia.ca
Stand: R8.E1
Butterfly Academy (Comedy/adventure/family, 52x11 min.) Welcome to Butterfly Academy, a school without all the boring stuff. The place where
young monarchs learn to become the best butter flies they can be. Snowsnaps (Comedy/adventure, 52x5 min.) For Violet, Tomas, Sami and Kiki, every aspect of life is all about fun and games. There is nothing they like more than playing outside, especially in the snow on a winter’s day.
Polinopolis (Comedy/adventure, 52x11 min.)
There is a first time for everything. In Polinopolis, an incredibly diverse group of friends face their first experiences in life, in bizarre and far-out ways. (LatAm Rights)
The Sleepy’s Dream Team (Gentle adventures, 52x5 min.) Sleepy every day joins Fleur the Fairy and Fluffy the Cloud to harvest the precious dream dust, ready for Starlet, a shooting star, to scatter in bedrooms all over the globe.
Double Dribble (Comedy, 10x2 min.) Basketball fever has finally hit the Great White North and Bron and Brina are two of its biggest players.
NCK Backstage (Comedy adventure, 10x2 min.)
Join the pop music group NCK and watch as they transform into mini tornados of hilarious energy minutes before the show. My Grandpa is an Alien (Live-action comedy/adventure, 1x79 min.) The extraordinary adventure of a girl and an alien robot on a mission to save her partly alien family.
The Extra Terrestrial Orchestra (Comedy, 1x70 min.) As a child, Manu fell platonically in love with the great pianist Stella Panini and has been dying to meet her ever since. To make his dream come true, he decides to form an orchestra.
Matti & Sami (Live-action adventure, 1x95 min.) The universe must have a lot of mistakes; other wise, people would be much happier. Matti decides to help fortune a little by inventing a lottery prize. The Red Scroll (Adventure, 1x90 min.) A fun adventure about a little girl on a mission in the land of dreams, using a magical red scroll to fight evil and bring balance between light and shadows.
O (1-818) 854-7320 m ron.assist@pinnaclepeakpictures.com w pinnaclepeakpictures.com
Stand: R7.M2
High Expectations (Drama, 1x115 min.) After being cut by his legendary father’s team, a soccer player joins their rival to achieve his dreams of soc cer glory.
Lifemark (Drama/family, 1x120 min.) Alex and Stephen Kendrick have teamed up with actor Kirk Cameron to make a new movie about the beauty of adoption. Love on the Rock (Action/adventure, 1x99 min.) A burnt-out former cop from the Midwest living in Malta is suddenly plunged into the high-stakes world of international espionage. Banking on Christmas (Romance, 1x99 min.) A failing mechanic and an uptight loan officer form a special bond after being locked together in a bank vault during Christmas.
Walking with Herb (Comedy, 1x110 min.) After a family tragedy, a grieving grandfather is coached by a messenger from God to win the U.S. Open Golf Championship. Beckman (Action, 1x90 min.) An ex-hitman comes out of retirement to track down the gangster who took his daughter and everything from him. Little Women (Drama/family, 1x112 min.) A mod ern retelling of Louisa May Alcott’s classic novel, we follow the lives of four sisters, detailing their pas sage from childhood to womanhood.
O (1-514) 931-1188 m mlenneville@pixcom.com w www.pixcom.com
Stand: P4.C20
Anna & Arnaud (Drama, 8x60 min.) Following a serious trauma, Arnaud turns to drugs, leading his mother, Anna, on a veritable descent into hell.
Ryan’s Mystery Playdate (Live-action, 90x22 min.) In the top-rated, Emmy-nominated series, kid video superstar Ryan, along with his parents and animated friends, work together to identify a mystery guest.
Toys and Colors Ultimate Mishmash (Live-action, 90x22 min.) YouTube’s number one kids ensemble, Toys and Colors learn life skills, letters, numbers and more through musical and pretend play adventures. Kids Diana Show Ultimate Mishmash (Liveaction, 45x22 min.) Join family vlog superstar Diana, aka the Princess of Play, and her brother Roma on their hilarious pretend play adventures. LankyBox Ultimate Mishmash (Liveaction/gameplay, 60x22 min.) YouTube’s number one gamers, LankyBox is Justin and Adam, two best friends who love playing Roblox and making funny videos with sidekicks Foxy, Boxy and Rocky. Onyx Family Ultimate Mishmash (Live-action, 45x22 min.) Best known for their silly and spooky adventures, follow YouTube’s most popular AfricanAmerican family creators as they sing, try fun chal lenges and investigate mysterious occurrences. Onyx Monster Mysteries (Animation, 8x22 min.)
Toys and Colors Kaleidoscope City (Liveaction/CGI, 10x22 min.) Starring global sensation Toys and Colors, a magical world where kids learn to see the world through new perspectives. Elemon (Anime, 30x11 min. & 15x22 min.) A kid scientist creates amazing new life forms using his secret home lab, and teams with video star Ryan to learn science and save their city. Love, Diana (Animation/live-action, 13x22 min.)
Real-life vlog superstar siblings Diana and Roma take you on a magical adventure where imagination rules and anything is possible.
Ryan’s World Specials (Live-action/animation, 193x22 min.) Kid video superstar Ryan, along with his family and animated friends, play games, make crafts, learn science and go on adventures.
Onyx Family comes to cartoon life in epic adventures to save the most endangered species of all: monsters.
A Magic Family Show (Kids/family, 52x23 min. & Christmas special) A sitcom about a weird but endearing family with insane super natural powers, trying to live a normal life in a house as exuberant as theirs.
affairesinternationales@productionstoros.com
www.productionsj.com
Stand: P4.C20
PROGRAM HIGHLIGHT
Complètement Lycée (Comedy, 10x12 min.)
This parody of melodramatic teen series tells the highs and lows of Allie Thompson, the new girl in New Garden Hills Valley’s high school.
O (39-071) 7506-7500
info@rbw.it
www.rbw.it/en
Stand: R7.H2
PROGRAM HIGHLIGHTS
Summer & Todd—Happy Farmers (CGI comedy edutainment, 52x7 min.) Summer, the enthusiastic bunny, and Todd, the handy raccoon, live at Sun shine Farms, learning new things every day and solving farm issues in original ways.
marie.morency-lee@pvp.ca
www.pvp.ca
Stand: P4.C20
4 Days Before Christmas (3D animation, 1x88 min., 4x22 min.) Longing for wilder adventures, Santa Claus’s wish comes true when he bumps his head and starts believing he’s SuperKlaus: the famous superhero Christmas crusader.
and Friends (CGI adventure comedy, 52x11 min.) A fresh adaptation of timeless Pinocchio’s adventures set in our day, a bridge show combining fantasy, friendship and big adventures.
44 Cats Season 1 (CGI comedy, 52x12 min.) The adventures of the Buffycats, four special musician cats, always ready to play new songs and help all friends in need with their Noodle Power.
44 Cats Season 2 (CGI comedy, 52x12 min.) The Buffycats are back with new funny missions along with their furry fellows, always ready to find creative ways to save the day.
Winx Club (2D adventure/action comedy, S1-8: 26x23 min. each) The magical adventures of the
most famous group of fairies, always ready to save the day thanks to their great friendship.
Regal Academy (Toon-shade CGI comedy, S1-2: 52x23 min.) Fairy-tale heroes and their grandkids come to life at Regal Academy, where Rose Cinderella and her friends combine their hero life with magic studies.
Kid Sister (Comedy-drama, 5x30 min.) A young Jewish woman navigates life’s big issues in this comedy-drama set in New Zealand, where more people identify as Jedi than Jewish.
Claim to Fame (Reality format) In this new primetime entertainment format, 12 ordinary people with famous relatives are challenged to keep their iden tities a secret while exposing others, one-by-one. Summer Love (Drama, 8x30 min.) An enchanting anthology series in which eight very different sets of people rent the same beachside holiday house and experience some incarnation of love.
My New Mystery Job (Reality format) In this rad ical new reality format, a group of participants sign up for a career change—without knowing what it is.
Maggie & Bianca Fashion Friends (Live-action comedy, S1-3: 78x23 min.) Maggie and Bianca meet at the Milan Fashion Academy, where they follow their dreams and discover secrets that change their lives forever.
World of Winx (2D action/mystery, S1-2: 26x23 min.) As talent scouts for WOW!, the Winx fairies travel the world searching for talented kids to prevent the mysterious Talent Thief from kidnapping them.
Love for the Ages (Reality format) Couples turn back time to see if fading passions can be reignited by a new, younger flame in this ultimate test of whether the grass is better when it’s greener.
Old People’s Home for Teenagers (Reality format) A new social experiment and spinoff to the multiaward-winning Old People’s Home for 4 Year Olds. Vienna Blood (Drama, S1-3: 9x90 min./18x45 min.) Season three of the thrilling crime drama set in 1900s Vienna from acclaimed screenwriter Steve Thompson.
Hold the Front Page (People/society format) The new format that sees celebrities go from grabbing the headlines to chasing them.
The X Experiment (People/society format)
The intriguing new factual-entertainment format that goes to extreme lengths to test the issues of the day.
Celebrity Career Challenge (Format) Will celebrities consider a change of career in this travel and training prime-time challenge format?
SARAN STUDIOS O (90-212) 363-0404 m esra.ercan@saran.com.tr w www.saran-studios.com/en
Stand: P-1.L51
Canim Annem (A Mother’s Love) (Drama, 45 min. eps.) Planned for a total of 250 episodes and subject to extension. Zeynep is a beautiful little girl with a dangerous heart defect. When her mother Cemre dies in a car crash, no one tells her. Instead, her father, Murat, hires a lookalike to pretend to be Cemre until Zeynep is old enough for heart surgery.
SERIOUS KIDS O (44-20) 8771-7310 m leila.o@seriouskids.com w www.seriouskids.com
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.) Sixty short stories about sound, as heard through the ears of a small but very active lit tle being called the Sound Collector, who has a passion for sound despite the fact that he is very hard of hearing.
Messy Goes to Okido (Animation, 104x11 min.)
Inquisitive and lovable monster Messy brings sci ence to life as he adventures with his best friends Zoe and Felix through the colorful world of Okido. Girls of Olympus (Animation, 26x24 min.) Three high school girls discover their true identities as reincarnations of Athena, Aphrodite and Artemis. Embracing their supernatural talents, they move between reality and fantasy worlds.
Tulipop (Preschool animation, 52x7 min.)
Mod ern-day fairy tales set on the fantastical island of Tulipop, where anything can happen.
Welcome to Earth (Animation, 26x5 min.) Com mander Alpha has sent Mish, Klaus, Erza and Suzy to Earth. Their mission: locate the best headquar ters from which to invade the planet.
The New Legends of Monkey (Live-action adventure, 20x26 min.) This high-end-budget drama 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.) Stim ulates children’s cognitive development in a relaxed, simple way.
Alma’s Way (4-6 animation, 40x22 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.
Art Ninja (Ent., 40x26 min. & 15x20 min.) A top-five rating, new-look art show for a generation of kids inter ested in experimenting with modern art techniques. Operation Ouch! (Fact-ent., 146x26 min. & 20x15 min.) Double BAFTA-winning, Emmynom inated factual-entertainment show helps kids combat their fears of hospitals by showing them how amazing the human body is at fixing itself.
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.) Fol lows 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, 20x30 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.
The Demon Headmaster (Live-action mystery, 10x22 min.) A group of five teens discover that the principal of their school uses his powers of hypno tism, brainwashing and tech surveillance to “con trol, command and conquer.”
Beyond Black Beauty (Coming-of-age series, 12x30 min.) Follows Jolie Dumont, an Olympicdriven equestrian whose journey is suddenly halted when her mother, Janelle, moves them from their posh Belgium life to Janelle’s child hood 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.
O (44-28) 90-244-675 m rights@sixteensouthrights.tv w www.sixteensouth.tv
Coop Troop (5-9 CGI, 52x11 min.) The Coop Troop are an unlikely bunch of heroes on highaction missions to help any animal with a problem.
WildWoods (4-7 live-action, 26x11 min.) A liveaction comedy featuring Poppy and Cooper, an odd couple in a laugh-out-loud series with a lot of heart. Lily’s Driftwood Bay (4-6 2D mixed media, 96x7 min. & 4x14 min.) Five-year-old Lily lives in a beach hut with her dad. Every day, the sea washes up a curious new treasure that sparks Lily’s imagination and takes her across the way to Driftwood Bay. Big City Park (4-6 live-action, 26x11 min.) Fea tures Billy the badger, Dara the fox and Ruairi, who live in a park with their human friend and parkkeeper, May, where unscripted kids come to visit every day.
INTERNATIONAL
ODO (3-5 2.5D, 52x7 min.) Odo is a little owl with a huge amount of self-belief. This is a comedy series about a little owl’s refusal to be what society expects them to be. Claude (4-6 2D, 50x12 min. & 11x2 min.) Claude is a very helpful little dog who, together with his best friend Sir Bobblysock, goes on madcap adventures in the town of Pawhaven.
FilmBox SPI’s flagship movie service, FilmBox provides entertainment to millions with a catalog that spans Hollywood blockbusters, classic ever greens, 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 SPI’s Dizi is the ultimate destination for Turkish series enthusiasts all over the world.
Vegesaurs (CGI comedy/adventure, 20x5 min.)
An era dominated by the juiciest and crunchiest creatures ever to rule the planet: the mighty Vegesaurs. Each episode follows Ginger, the young Tricarrotops, and the baby Pea-Rexes on adventures that lean into relatable themes for upper preschoolers. FriendZSpace (Comedy/adventure, 52x11 min.) A new animated comedy about three human kids com mitted to making friends with alien kids all across the supercluster of stars—and sharing cool selfies. SeaBelievers (CGI eco-tainment, 52x11 min.)
Each episode leads kids on an eco-adventure. The positive characters problem-solve and take action around key environmental issues.
100% Wolf (CGI comedy adventure, S1-2: 52x22 min.) Freddy is a poodle with a pink mane in a world of werewolves. He wants to prove that despite his appearance, he still has the heart of a werewolf.
Mia and me (Fantasy/adventure, S1-4: 104x23 min.) The fantastic adventures of Mia and her friends in the magic land of Centopia, where they must protect unicorns from villains of all kinds. Season four will be available in fall 2022.
Game Keepers (Live-action, 10x25 min.) Mats and Sari have to enter an unknown digital gaming world, play a game and defeat the mysterious GameMaster.
100% Wolf
Heidi (CGI adventure, S1-2: 65x22 min.) Heidi lives with her grandfather in the scenic idyll of the Swiss Alps. She loves the freedom of life in the Alps, but she also learns how to take on responsibility. Tip the Mouse (CGI preschool comedy, S1-3: 104x7 min.) The exciting and funny stories about the little mouse Tip appeal to the youngest kids. Wissper (CGI preschool adventure/comedy, S1-2: 104x7 min.) Wissper can talk to animals. She can also transport herself to anywhere there is an ani mal in trouble and in need of help. Maya the Bee (CGI preschool adventure, S1-2: 130x13 min.) A young bee named Maya has left her
hive to discover the beauty and mysteries of nature. As she explores the meadow where she lives, she meets other insects, plays to her heart’s content and shares her joy with her friends.
O (33) 516-500-016 m sales@superights.net w www.superights.net
Stand: R7.K28
Go! Go! Cory Carson (Upper preschool adventure comedy, 62x7 min., 1x10 min., 16x3.5 min., 3x22 min., 1x42 min.) CGI-animated series based on the toys line by VTech follows Cory Carson, an adorable orange car, who learns to make his way through childhood with the help of family and friends in Bumperton Hills.
Anna & Friends (Comedy, 78x7 min.) What hap pens when an imaginative little girl, an impatient frog, an over-confident dog, a thoughtful cat and a naïve earthworm get together?
Croco Doc (Edutainment, 26x7 min.) Through fun and educative episodes addressing a different health issue each time, a gentle crocodile doctor heals animals while giving them advice to take care of themselves. Momolu & Friends (Comedy, 78x7 min.)
Momolu, a gentle panda, and his friends have a knack for stumbling into far-fetched situations. Koumi’s Animated Picture Book (Edutainment, 104x5 min.) Koumi, a playful 6-year-old girl, observes the animals of the world in her picture book and takes you to meet them on every continent. A new season will be ready to be broadcast in early 2023. Alma and the Ice Shadows (Tale, 1x26 min.) Tells the story of Alma, followed by Azimut, a clumsy little puffin, entering into a mysterious cave, hidden in the cliff.
Giuseppe (Comedy, 1x26 min.) Giuseppe is a hedgehog whose only dream is to see the snow. But when the cold comes, watch out for the Winter’s ghost—it is said that he comes out of the moun tains to catch the little hedgehogs who don’t want to hibernate.
The Adventures of Little Penguin (Adventure comedy, 52x5 min.) A non-dialogue 3D animation slapstick series about Oscar, a young penguin, who enters a world of exciting adventures after discov ering a mysterious diary that will lead him into some of the most exciting situations ever. Clay Time (3-5 edutainment, 90x4.5 min.) Young viewers are invited to develop their imagination with a universal activity: modeling clay. A third season is in production and will be ready in 2023.
Zibilla (2D, 1x26 min.) Zibilla is different, and the chil dren at school don’t accept her. When she unintention ally falls into an exciting adventure and meets a wild lion, she gains the self-confidence to roar back.
The Beachbuds (Animation, 52x11 min.) Welcome to the tropical island paradise known as the Zoobak Resort, home of the Beachbuds, a group of bird friends who live and work together at the resort.
THE TELEVISION SYNDICATION COMPANY (TVS) O (1-407) 788-6407 m mary@tvsco.com w www.tvsco.com
Caffeine and Octane (Auto/sports, 55x30 min.)
Get an inside look and hear the stories behind some of the most unique and rare cars around in this fast-paced auto show series.
The New Chicago Mob (Crime doc., 10x60 min.) Reveals the untold story and historical timeline of the rise and fall of the Chicago outfit and their rackets.
When the Bands Stopped Playing: The Covid Aftermath (Current affairs, 1x60 min.)
Musical artists and others provide candid indepth insights into how Covid-19 has affected their lives and the obstacles they face as they return to performing live.
I’m Fine (Not) Really (Current affairs, 1x60 min.) Olympic and other elite athletes reflect on the mental
health challenges placed on them and share ways to build resilience and overcome anxiety in sports. Marlin Quest (Sports/travel, 13x30 min.) Two life long friends experience some of the best adventures on the high seas visiting exotic locations around the globe in pursuit of the magnificent marlin.
Elizabeth Stanton’s Great Big World
(Kids/travel, 98x30 min.) Elizabeth and her celebrity friends travel to far-off places, explore ancient cities, visit famous museums and so much more in this travel series.
The Inner Circle (Movie, 1x88 min.) A story of how even in our most personal battles, there is a healing power that evolves from our network of friends and family.
Judge Mom and Dad (Courtroom, 55x30 min.)
Judge Dad and Judge Mom bring tough love and common sense to resolving real-world disputes such as cheating spouses, greedy siblings and scheming coworkers.
Wild Travels (Travel, 18x30 min.) Emmy Awardwinning series goes off the beaten track to seek out the unusual, eccentric and downright quirky peo ple, places and events all across America.
The Legit Fit Show (Fitness, 22x30 min.) With a style that is entertaining, friendly and firm, fitness trainer Mr. Legit pushes audiences to be their best self—spiritually, mentally and physically.
Deep in the Bowl (Animation, 52x5 min.) Inte grating 3D animation with live action, depicts amazing aquariums with a fantastic fishy cast whose hilarious experiences mirror those of children’s daily lives. Kung Fu Wa! (2D animation, 52x11 min.) TZ is an ordinary girl who finds an odd sock called Kung Fu Wa, who is in fact a kung fu master from another time. By putting the sock on TZ’s foot, they trans form into a super heroine and together follow an ancient scroll to defeat evil and protect their world.
she gains access to a parallel realm where mon sters, gods and spirits live in harmony. Vivi Cat (Animation, 200x2 min.) Featuring the interesting daily life of Vivi, an adorable cat who really enjoys slowing up and being cool every day. Shuke and Beita (Animation, 52x11 min.) Follows two mice best friends who travel the universe together on adventures to safeguard world peace. Cruiser Chi Chi (Animation, 26x11 min.) Adapted from the famous Chinese fairy tales, embarks on wonderful, rich and colorful sea adventures. Super Boomi (Animation, 52x11 min.) Imaginative little bear BOOMi, his dog Bibop and their best friends play and learn in a wondrous virtual reality game universe in this positive, creative series about the power of imagination and friendship. Cona Blue (Animation, 52x11 min.) A joyful, adventurous journey about exploration, investiga tion and the protection of nature, follows the exploits of five very different little sea creatures who form a united adventure team.
Mini Mind Warriors (Animation, 52x7 min.) Mini warrior heroes Taffy and Snug must power up their positive energy and use their combined strengths and smarts to restore our lives to normal. Pet Hotel (2D animation, 26x11 min./100x2 min.) Featuring tales of the Pet Hotel crew—a guy with two cats, one dog and a guinea pig—and their spe cial customers.
Monsters in the Forbidden City (Live action/ animation, 78x10 min.) When an ordinary girl, Rain, picks up a mysterious gem in the Forbidden City,
Wild Cooks (Chefs de bois) (Lifestyle/competition, S1: 8x30 min., S2: 8x30 min.) Professional chefs are left in a hostile environment with the bare mini mum to survive and cook. They must create a dish to impress a judge.
Briko (4-7 CGI/live-action DIY, 52x10 min.) The story of two best friends, a boy and a rabbit, and a mystery box. An activity-oriented show with under tones of conservation and recycling.
story of four unique diamonds that together can create an incredibly powerful magnetic field, which then activates a connection with immortal entities capable of answering all questions.
Daisy Dew Drop (Bridge CGI/live-action adven ture, 52x11 min.) Follows the animated adventures of a group of flower kids who live in Blossom Bend, an idyllic village in a corner of the Rainbow Garden. Swat Kats Revolution (8+ CGI, 26x22 min.) A mighty metropolis in the sky. A conquered popula tion on the ground, and two back-alley kats trying to lead a revolution.
Harold and the Bearsy Bears (Bridge CGI, 52x11 min.) Follows the adventures of Harold, a helpful lit tle bear with big ideas for spreading happiness and improving the lives of his fellow tiny Bearsy Bears in the magical forest community of Bearsy Hills. Sunnyside Billy (7+ comedy, 52x11 min.) A fried egg named Billy lives in the most boring town in Alaska, but, with the help of his two best friends, Ben and Shelley, he scrambles up some wacky fun and adventure.
Young animals growing up together enter brilliant dreamscapes when faced with challenges. There, four enchanting Zoonicorns illuminate the solutions to their real-life problems.
Bubble Bath Bay (Preschool CGI adventure, 52x11 min.) Sydney the Sailboat and Zip the Water Taxi learn how to ride the waves of life alongside their fleet of friends in bustling Bubble Bath Bay. The Black Diamond Race (9-12 CGI adventure, 9x60 min.) 1929: a Shamanic prophecy tells the
Paddypaws (Preschool adventure, 52x11 min.) A series created by Keith and Emily Chapman about a bunch of adventurous kitties, led by the mischie vous Paddypaws, and their loving, responsible young owner, Daisy.
Goldie & Friends (7+ STEM, 52x11 min.) Elevenyear-old Goldie and her friends tackle everyday kid problems with an inventor’s twist.
Legends Keepers (Animation, 13x22 min.)
Through the ages, across legends and myths, indigenous people have imparted to future genera tions wisdom, values and life lessons that are applicable to any era.
TVF INTERNATIONAL
O (44-20) 7837-3000 m sales@tvf.co.uk, acquisitions@tvf.co.uk w tvfinternational.com
Stand: R7.C40
World’s Greatest Sporting Arenas (Factual, 3x60 min.) From a windswept football ground in Norway to a state-of-the-art esports stadium in China, discover the history, architecture and identity of the world’s greatest sporting arenas. (Excl. U.K. & Eire, Greater China, South Korea)
Dunhuang: Ancient Frontier Fortress (Factual, 2x52 min.) Discover the Silk Road frontier town of Dunhuang’s incredible story of ancient generals, pious monks and scheming warlords, all brought to life through dramatic recreations and new archae ological discoveries. (Excl. China)
In Search of Precious Stones (Factual, 2x60 min./4x60 min.) Follow gemstone dealer and jew eler Shahzeem Pasha on the hunt for the finest
emeralds, rubies, sapphires and diamonds as he creates bespoke pieces for select clients.
Martin Compston’s Scottish Fling (Factual, 6x30 min.) Line of Duty actor Martin Compston is back in his homeland to discover the most exciting, contemporary experiences Scotland has to offer.
U.K. & Eire)
The World from Above (Factual, S12: 8x26 min.) From Nepal, the gateway to the Himalayas, to the spectacular coastal and mountain scenery of southern France, discover some of the world’s most stunning destinations from above.
Seasonal Specials (Preschool CG, 5x45
offer Caillou a familiar backdrop
experience and enjoy new things during
family-friendly holidays and events.
Berry in the Big City
120x4 min.)
Shortcake
has big dreams to “bake the world a better place,” which is why she is headed to Big Apple City. Teletubbies: Let’s Go (Preschool CGI, 52x5 min.) The Teletubbies are back and ready to explore the world in 3D animation. Each episode features a catchy song. Carmen Sandiego (Kids 2D, 33x23 min.) Carmen Sandiego and her crew pull off impossible heists as they’re pursued by a mysterious law enforce ment agency.
her two best friends to make secret wishes come true.
Malory Towers (Kids/tween live-action, 52x24 min. & 1x44 min.) Based on the book series of the same name by Enid Blyton, follows 12-year-old Darrell as she attends Malory Towers, an all-girls boarding school in the late 1940s.
Jungle Beat: Series & Movies (Kids CG, 39x5 min., 65x7 min., 26x2 min., 2x90 min.) A universe of cute, family-friendly slapstick adventure, centered around the greatest friends in the jungle, Munki and Trunk. Summer Memories (Kids 2D, 40x12 min. & 20x4 min.) Based on creator Adam Yaniv’s actual summer experiences growing up in Israel with his friends and family.
Slugterra Ascension (Kids CG, 20x4.5 min.) Eli, Trixie and their slugs discover a massively powerful new slug named UNI. It’s up to Eli and Trixie to learn how to use UNI’s power against him. Life with Luca (Family live-action, 1x90 min.) Derek and Casey are all grown up, relying on completely dif ferent parenting styles to raise children of their own, including two distinctly different 14-year-olds. Ruby and the Well (Family live-action, 20x45 min.) When 12-year-old Ruby O’Reilly discovers she’s the latest “keeper” of a magic well, she rallies
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 mis chievous hyena and the muscly shark. Marina just found a magic pair of slides, which gives her legs incredible powers.
Zig & Sharko
Karate Sheep (Kids animated comedy, 78x7 min.) Trico loves to share new objects with his fellow sheep. This causes ruckus in the mountain pas tures, especially for Wanda, a tough ewe who has to keep the sheep safe from Wolf.
and the Cockroaches Next Generation (Kids animated slapstick comedy, 78x7 min.) Oggy
takes on the responsibility of parenthood as his friend’s daughter, a 7-year-old elephant named Piya, comes to stay.
Oggy Oggy (Preschool animated comedy adven ture, S1-2: 156x7 min.) Join adorable kitten Oggy and his cast of cat pals in a bright and colorful kitty world. They’re always on the go for fun times and fantastic adventures.
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 every thing and unknowingly foils the plans of Fizz, the mega lomaniacal hamster.
The Adventures of Bernie (Kids animated slapstick comedy, 30x3.5 min.) Bernie is lost at the bottom of the ocean. Amid this hostile environment filled with crazy creatures, it won’t be easy for this genius inventor to find ways to reunite with Zig.
Afro Canada (Factual, 4x52 min.) A documen tary series event that traces four centuries of
the little-known history of the Afro-descendants in Canada.
(49) 6131-9910
Surviving Hothouse Earth (Science/knowledge, 3x50 min.) Investigates our planet’s distant past
understand its present and unravel our future. Each episode covers a separate topic: oceans, land, civilization.
Africa from Above (Wildlife/nature, 10x50 min.) Each episode takes viewers on a spectac ular aerial adventure, soaring over natural won ders and diverse habitats.
Gamers (History/bio., 6x50 min.) Members of the Women’s Royal Naval Service (Wrens) unpick how the German U-boats are sinking so many British and American ships during WWII. Quiz Hunt (Quiz format, 45/60 min. eps.) An exciting duel with entertaining questions,
ingen ious strategies and a cash prize of €5,000 per round. Grisù (Animation, 52x12 min.) Grisù is a little dragon who dreams of becoming a firefighter. Törtle (Animation, 26x24 min.) Törtle, a tortoise who grew up in a pet shop, gets caught up in the culture clash between humans and animals, but always emerges as the unexpected hero.
Mimo & Leva—Back to the Bronze Age (Anima tion, 26x7 min.) The paths of Mimo and Leva are pre determined: he is to become chief, she to remain quiet and well-behaved. But Leva wants to become chief herself, and Mimo prefers to think up visions of how to make life easier for all the villagers.
Boundless—Magellan’s and Elcano’s Journey to the Edge of the Earth (Crime/suspense, 6x45 min.) The voyage of Juan Sebastián Elcano and Ferdinand Magellan would prove to be a critical juncture in man’s perceptions of the world. The Swarm (Crime/suspense, 8x45 min.) Based on Frank Schätzing’s international bestseller of the same title, a thrilling series from Emmy-winning showrunner Frank Doelger. Clean Sweep (Crime/suspense, 6x52 min.)
Irish actress Charlene McKenna stars in the lead role as Shelly Mohan, a housewife and mother of three, married to a Garda detective, who kills her former partner in crime when he threatens to expose her dark past.
Never Kiss your Best Friend (Romance) Can you ever fall out of love once you kiss your best friend?
SER (Thriller) A Lebanese series about love, mur der, lust, betrayal and deceit.
Carmen (Comedy) An Egyptian series about a young woman who uses lies to cover up her lies.
Karenjit Kaur (Biopic) Trace the journey of Karenjit Kaur and her metamorphosis into Sunny Leone, one of the most searched adult celebrities on the internet.
Rashtra Kavach Om (Action/thriller feature) An undercover cop creates havoc to safeguard his country’s interest.
State of Siege—Temple Attack (Action/thriller feature) Witness the heroic efforts of military com mandos to stop a bloody terrorist attack.
London Confidential (Action/thriller feature) An espionage thriller showcasing the race against time of a diligent Indian intelligence agent.
Attack: Part One (Action/thriller feature) A sci-fi thriller revolving around an army soldier who becomes the country’s first bionic super-soldier. Dhaakad (Action/thriller feature) A femme fatale on a mission to deter an international human and arms trafficker.
Love Hostel (Action/thriller feature) A ruthless mercenary is on a mission to eliminate a couple of newlyweds.
m sales@zodiakkids.com w www.zodiakkidsfamily.com
Stand: C20
Mumfie (Preschool, 78x7 min.) A comedy series based on Magic Adventures of Mumfie created by Britt Allcroft ( Thomas the Tank Engine ), featuring the optimistic young elephant Mumfie and his best friends Pinkey and Jelly Bean.
Aliens Love Underpants (Preschool, 12x2 min. & 2x24 min.) Based on the award-winning, much-loved children’s publishing phenomenon. Our five favorite underpants-loving aliens star in a series of silly, catchy songs about their other great loves.
Maddie’s Do You Know? (Preschool, 100x15 min. & 18x19 min.) Join presenter Maddie Moate as she explores the world around her to see how things work and how they are made. Street Football (6+ animation, 104x26 min.) Entries for the qualifiers for the next street soccer world cup have opened in Port-Marie, and the 10- year-old Little Dragon dreams of taking part. Ted’s Top 10 (8+ live-action, 10x23 min.) Battling the challenges of a new stepfamily, a new school and his own poor decisions, Ted tackles life’s prob lems one top ten list at a time.
Silverpoint (10+ live-action, 13x22 min.) At Silver point adventure camp, four friends stumble upon something buried in the woods, something impossible, sending their lives and the world around them spiraling out of control.
The Unstoppable Yellow Yeti (6+ animation, 50x11 min. & 11x2 min.) Small-town life above the Arctic Circle snowballs out of control when an enor mous, outrageous and unstoppable Yellow Yeti arrives in town and befriends two 12-year-old kids. Super Agent Jon Le Bon (6+ animation, 80x7 min. & 49x1.5 min.) On an Earth constantly threat ened by an astronomical number of diabolical plots orchestrated by terrible supervillains, a superduper-secret agent stands head and shoulders above the rest: Agent Jon Le Bon.
Motel Paradis (Crime drama, 6x45 min.) Deter mined to solve the mystery surrounding her sister’s disappearance, Jen returns to her remote home town, accompanied by a police detective days away from retirement.
Entitled (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. Still I Rise (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.
The Devil’s Lot (Reality competition, S1-2: 20x45 min.) Recreating the hard life endured by pioneers, two groups of contestants face epic challenges with out the aid of modern-day comforts or technology.
The World of Gabrielle Roy (Historical drama, 8x30 min.) Inspired by the work of famous Canadian author Gabrielle Roy, these eight tales chronicle the story of her construction through significant moments of her childhood.
Plastic Surgery: Reconstructing Life (Factual, S1-2: 20x22 min.) Four world-renowned Canadian surgeons offer unique access to complex proce dures that will change their patients’ lives, from face transplants to sex reassignment surgeries. Jeremie (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.
Teodore Without the H (Dramedy, S1-3: 18x6-8 min.) Stuck with the strangest visions in his mind, a thirtysomething ADHD guy decides to finally get his high school diploma from a multiethnic adult school. Hoop Loops (Youth comedy, 12x12 min.) Thirteenyear-old best friends Jemima and Jacob, united by their passion for basketball and their skin color, are divided by diametrically opposed worldviews and personalities. Edgar (Procedural dramedy, 8x42 min.) Selfcon tained investigations in which viewers witness a murder and see how Detective Edgar will unravel the riddle and gather the evidence to take the perp down.
Setting sail 500 hundred years ago in pursuit of the mythical Spice Islands, the voyage of Juan Sebastián Elcano and Ferdinand Magellan would prove to be a critical juncture in man’s perceptions of the world. Distributor: ZDF Studios
Can relationships be improved by sharing your intimate moments with others? Three couples take part in a dramatic and spicy therapy, watching their own sex tapes to fix their relationships. Distributor: Armoza Formats
An exciting duel with entertaining questions, ingenious strategies and a cash prize of €5,000 per round. Distributor: ZDF Studios
Everest, Yi, Peng and Jin go on incredible adventures throughout China and beyond and discover a magical world around them filled with extraordinary creatures. Distributor: NBCUniversal Global Distribution
Fifty years after one of the greatest ordeals of survival in recorded human history, the full story is comprehensively told by each of those who lived it. Distributor: BossaNova Media
